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BACK CATALOGUE - P

Peter Doherty & The Puta Madres

Who’s Been Having You Over / Paradise Is Under Your Nose

    THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

    Listen - https://www.youtube.com/watch?v=aWgDKIr3VmQ&feature=youtu.be 2000 only worldwide on pink vinyl. Who’s Been Having You Over is the first single from Peter Doherty, The Libertines and Babyshambles new band, The Puta Madres. Paradise Is Under Your Nose will be the second single. This special RSD release brings both digital only singles together. These mixes are exclusive to this RSD release and wont be on vinyl again. Peter Doherty & The Puta Madres release their eponymously titled debut album on Friday 26th April though Strap Originals. ‘Peter Doherty & The Puta Madres’ was recorded live to beautifully capture the essence and spirit of the Puta Madres at a family home overlooking a fishing village in Étretat Normandy, over 4 days last summer and mixed at Urchin Studios (East London). The album is engineered by Dan Cox (Laura Marling, Thurston Moore, Florence & The Machine)and produced by Jai Stanley (long time friend and manager). ‘Peter Doherty & The Puta Madres’ is a devastatingly intimate portrait of love, loss, being lost, happiness, tragedy, addiction and the power of the human soul to transcend its darker levels. All the songs from the album were road tested over the last 18 months across Europe at Festivals and headline shows. Tracks : Who's Been Having You Over (CT Single Mix) - 3.41 / Paradise Is Under Your Nose (Single Version) - 4.41

    Prince

    His Majesty's Pop Life / The Purple Mix Club

      THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

      Replica of 1985 Japanese Limited Edition Prince release “His Majesty’s Pop Life / The Purple Mix Club” originally limited to a run of 500, released in Japan only!  Tracklisting:Side A: Pop Life (Fresh Dance Mix), America (Album Version). Side B: Raspberry Beret (New Mix), Paisley Park (Remix). Side C: Let's Go Crazy (Special Dance Mix), Little Red Corvette (Dance Mix), 1999 (Album Version). Side D: I Would Die 4 U (Extended Version), Erotic City ("Make Love Not War Erotic City Come Alive") (Long Version), When Doves Cry (Album Version).

      P. Allen

      Fisherman

      Wicked lost Canadian business from 1984. "Fisherman" is a low-fi proto digital masterpiece which predates the release of King Jammy’s "Sleng Teng" by a full year. Hooky as a fishermans rod & equally as deadly! Peter Allen released only one tune, recorded at Aquarius Studio in Kingston, Jamaica in 1984. Allen recorded an album's worth of material with his backing band Food Clothes and Shelter before emigrating to Canada. Unfortunately Fisherman is the only track that survived after a basement flood in Toronto tragically destroyed his other master tapes. In 1986 he self-released "Fisherman" from his new home in Toronto on his Ponko Dread label, hand distributing it to local record stores and sound systems. Perhaps it was too ahead of its time, or too unusual, with its dirge-like synth and deep roots lyrics, but "Fisherman" was largely overlooked until a few copies emerged around 5 years ago, becoming coveted grails by European digi collectors with deep pockets.

      Shella Records located Peter Allen who lives east of Toronto where he drives a school bus and still loves to sing. 


      STAFF COMMENTS

      Matt says: Feel free to celebrate the accomplished vocal side if you want. That's all well and good. Me, I'll be heading straight to that intoxicating digi-dub version everytime. Bad boi!

      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.

      ‘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. 

      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.

        Pastor T.L. Barrett And The Youth For Christ Choir

        Do Not Pass Me By Vol II

        The sequel to Pastor Barrett’s landmark 1971 masterpiece "Like A Ship…", "Do Not Pass Me By" finds the young Chicago preacher and his Youth for Christ Choir continuing their genre-bending spiritual journey. Heavy drums, soaring falsettos, euphoric tambourines, sharp horns, and Barrett’s unwavering devotion dance around a 40-piece choir, working together to form sanctified slab of gospel funk. Pressed in a minuscule quantity in 1973, "Do Not Pass Me By" was sold primarily from the pulpit of Barrett’s Mt. Zion Baptist Church, disappearing into Chicago’s south side for 45 years before Numero’s excavation. The ten-song album has been remastered, it’s generic album cover updated to match Barrett’s vision. On the back of the jacket, he insisted on the following words: 'After listening to this album you will be glad that you did not pass it by!'

        STAFF COMMENTS

        Matt says: Devoit Pastor T.L Barrett made some of the finest funk and gospel to emanate from the Pentacostal church; which Numero have hadily excavated for us here... All rejoice!

        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.

        Peggi Blu / Gregg Diamond

        I Want It All Now / This Side Of Midnight - Justin Van Der Volgen Edits

        Back in 2009 My Rules label owner Justin Van Der Volgen released a mix cd done completely with his own edits titled Try To Find Me Vol 2.
        The mix was received incredibly well and had fans scrambling for years to try and spot the track list. It earned a 4.5 review on Resident Advisor, and had a certain rather known and respected DJ opening their sets with it.

        Since then the status has only grown and is now considered by some one of the best mixes of all time.

        So to mark the 10 year anniversary Justin has decided to finally release two of the most requested edits from it.
        On the A-side you get a high powered vocal cut from Peggi Blu which comes on like a lost Chaka Khan anthem.
        Flip over to the B side and you'll find Gregg Diamond's charging string-laden disco trip stripped back into a hypnotising euphoric roller.
        Two peak time cuts not to be missed.
        Fully licensed.

        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 & Friends

        Play Arthur Russell

          It all began in summer 2017 when Peter Broderick's former Efterklang bandmate Rasmus Stolberg invited him to perform at his new festival in Denmark, with the specific idea that Peter would play an entire set of Arthur Russell songs. As a long-time lover of Arthur’s work, Peter immediately accepted the invitation and began to learn a collection of Russell songs. Stolberg put together a band of Danish musicians to join Broderick on stage, and the festival performance went off without a hitch.

          Immediately after, Peter starting receiving invitations from other festivals, asking for the same thing — a full set of Arthur Russell songs. Even Arthur’s long-time partner Tom Lee took notice of these performances of Arthur’s work, and reached out to Peter personally. It wasn’t long before Broderick was invited to examine some of Russell’s archival work, and asked to do audio restoration work on the old tapes.

          Peter’s strong love for Arthur’s work grew exponentially as he dove into the psyche of his hero, listening to hours and hours of unreleased material. He discovered that some of his favorite Russell songs have yet to be heard by the masses, and felt inspired to learn some of these tunes himself.

          It was inevitable that Peter would record an album of his own renditions of Arthur’s songs. And there was no better place to do it than the state of Maine, where most of Arthur’s surviving family are based, and where Broderick himself was born back in 1987. With a large cast of friends and family, including Arthur’s niece Rachel Henry and nephew Beau Lisy, Peter set out to capture his love for Arthur’s music with a diverse collection of 10 songs, two of which have yet to be released in their original versions.

          Its cover adorned with an original painting by Tom Lee, ‘Peter Broderick & Friends Play Arthur Russell’ is a vibrant and joyful tribute to one of Broderick’s greatest heroes. Peter extends his deepest gratitude to all of Arthur’s family, friends and fans who have so warmly welcomed his own versions of these tunes. It is hoped that these recordings will serve to honor the truly staggering legacy of Arthur Russell. 

          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.”

          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 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.

            Pieta Brown

            Remember The Sun

              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.

              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.

              Patrick Conway

              Know The Future / Digital Warfare

              Double header from ESP new signing, Patrick Conway who seems to hit a delightfully melancholic sweet spot somewhere between the aftermath of M25 free parties, Rochdale's late 90's electronica and the underground spirit of UK jungle.

              Decidedly un-Balearic, both tracks celebrate beauty in the desolate; revel in grey skies and cold mornings. The warehouse has closed. It's time to pull the curtains closed and maybe, just maybe, quaff that half a gary you've got left from the club.

              Someone order some pizza... Tuesday is gonna be grim.



              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.

                Following his three reactions – Reaction A, Reaction B, Reaction C -, three albums in which Pierre Daven-Keller explored the trails of a certain pop scene or the mysteries of a string quartet on the model of what has been called New Music, here comes Kino Music, a new instrumental project which, as its title indicates, deliberately embraces the colors of cinema and more specifically its Italian skies. Pierre Daven-Keller makes no mystery of it: the model or more precisely the horizon of this album is Ennio Morricone in its pop and hedonistic inclinations, with a touch of Bossa Nova and, by extension, a certain variety of studio sound to which another great composer of that period could be related, Burt Bacharach. However, this album is not about copying Morricone’s music is but giving it extensions or recomposing a state of mind which merges a certain idea of lightness with a touch of melancholy. Specify one must that much as the Air duet or the solitary Forever Pavot, it is through the cinema of the 1960s and 70s that Pierre Daven-Keller was initiated to music, as if Morricone along with the original soundtracks of François de Roubaix, Michel Magne, or Eric Damarsan had flown through his veins. Besides Pierre Daven-Keller has displayed many times his attraction to cinema music by practicing it very directly here or there (La Répétition by Catherine Corsini, Le Voyage aux Pyrénées by the Larrieu Brothers, I am a No Man’s Land…). However, Kino Music can by no means be reduced to a sort of imaginary movie soundtrack, or to some inspiration propeller or primary color. The music it plays is absolutely autonomous, designed to accompany preexisting images as well as create new ones. It embodies freedom in expression but also scientific mastery in instrumental mixes conceived as precision mechanics which would mutate into a ludic fabric to dress up the days of our lives and wander in the midst of our dreams. Dreaming could as well be the keyword of this concept album. Solar dreaming inspired by the sunlight of Marseille, the city where Pierre Daven-Keller created most of the record.

                Sensual dreaming that women’s voices incarnate intensely as they resound throughout the album. Helena Noguerra’s voice expands to the limits of torrid eroticism in The Atom’s Fiancé, one the of the summits of the album, as well in the very pleasant Tattoo Totem. And Arielle Dombasle’s voice too as she, for a track, Salvaje Corazon, comes to latinize the pop atmosphere which reigns over this record of pure pleasure. Precisely, the intense pleasure one feels listening to this Kino Music also lies in the science of the sound, the orchestration, the mixing skills typical of Pierre Daven-Keller. The sound texture, traversed here by a harpsichord, there by a Farfisa organ (as the title Farfisa properly indicates), elsewhere a vibraphone or a harpsichord (as in the very efficacious Corniche Kennedy, Sirrocco, or Easy Tempo) are mapping the beauty of this album inhabited by spirits of childhood, of a paradise lost and suddenly found. The arrangements make the most of the few that is to say evade overloads and allow Pierre Daven-Keller to recapture the imaginary world of his childhood and embark us with him. This produces a form of poetry which instantly makes one want to take one’s car and drive without purpose in the setting sun of a never-ending summer day. To enjoy this album one has to let go but not in the sense of a categorical imperative, rather as a slope one would slide on with a delectation that the contemporary musical landscape seldom consents to. As he comes back to his own sources, real or imaginary, which are ours too, Pierre Daven-Keller has succeeded, with Kino Music, in giving shape to a fantasy or a fancy, like an extraordinary garden, luxurious, pop and wooded, like a magnetic field (to cite the programmatic title of the song that opens the album) as a promise of infinite happiness.


                ‘Peter Doherty & The Puta Madres’ was recorded live to beautifully capture the essence and spirit of the Puta Madres at a family home overlooking a fishing village in Étretat Normandy, over 4 days last summer and mixed at Urchin Studios (East London). The album is engineered by Dan Cox (Laura Marling, Thurston Moore, Florence & The Machine)and produced by Jai Stanley (long time friend and manager).

                ‘Peter Doherty & The Puta Madres’ is a devastatingly intimate portrait of love, loss, being lost, happiness, tragedy, addiction and the power of the human soul to transcend its darker levels. All the songs from the album were road tested over the last 18 months across Europe at Festivals and headline shows.

                Songs include the reflective ‘All At Sea,’ the raw ‘Punk Buck Bonafide,’ the upbeat and playful ‘Shoreleave,’ the joyous hymn of liberation ‘Paradise Is Under Your Nose,’ ‘Someone Else To Be’ Peter’s re-imagining of the Velvet Underground’s ‘Ride Into The Sun’ and Oasis’ ‘Don’t Look Back In Anger and ‘Who’s Been Having You Over’ with dialogue from the 1948 film adaption of Graham Greene ‘Brighton Rock’ and the cheeky poke at his own notoriety,“You’re so rock’n’roll.”

                FORMAT INFORMATION

                Coloured LP Info: Deluxe clear vinyl Indies Exclusive with a Live & Demos CD and DVD film.

                Coloured LP includes MP3 Download Code.

                Pino Donaggio

                Trauma

                  Trauma is the 1993 film by Dario Argento and one of two films he directed in the USA (the other being Two Evil Eyes). It stars Asia Argento and is a typically flamboyant Giallo from Argento featuring his trademark dizzying camerawork and gruesome over the top deaths. The score is by Maestro Pino Donaggio (Carrie, Don’t Look Now & Body Double) who delivered a beautiful, nuanced & lush orchestral score which is absolutely outstanding. Now available on LP for the first time, on double red vinyl no less, this scary score is ready to meet the rest of your collection.

                  FORMAT INFORMATION

                  2xColoured LP Info: Red vinyl.

                  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

                    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.

                        Koma Saxo is a highly potent new five-piece produced by the visionary Berlin-based Swedish bassist-producer Petter Eldh. The lineup brings together five heavy jazz names on the Berlin–Nordics axis, including Eldh on bass, Christian Lillinger on drums and the frontline of three saxes: Otis Sandsjö, Jonas Kullhammar and Mikko Innanen. Despite the top-billing names, make no mistake: this is not just another "supergroup", but a real working band with their own sound and musical trajectory.

                        Eldh's vision for the Koma Saxo sound is one step ahead of what groovy avantgarde jazz could sound like in 2019, involving postproduction work with the raw material recorded in Helsinki in connection to Koma Saxo's successful debut at the We Jazz Festival. Both studio and live tapes exist side by side, and Eldh goes deep in molding the final music to be heard on the upcoming Koma Saxo releases.

                        The Koma Saxo debut LP on We Jazz Records is a revelation for anyone seeking contemporary jazz music with edge and vision. From the opener, the brief but fiery "Kali Koma", right into the pastoral finale, "Så Rinner Tiden Bort", Eldh & co are on it, like a tightly-knitted posse of jazz assassins on the run. At times, the pieces fall gloriously apart, just enough in order to be ripe to put back together again. Take "Ostron Koma" for example. From the intense opening seconds full of suspension, the track moves forward with breathtaking swing, then onto full-on free breakout, to be born anew.

                        In addition to scorching originals by all members of the band, Koma Saxo tackle a handful of carefully-picked and highly inspirational borrowed tunes from Finnish legends Matti Oiling, Edward Vesala and the Swedish composer Olle Adolphson. Even at their most freeform, Koma Saxo have an underlying "threat" of swinging hard. At their most peaceful, their hymns are full of genuine serenity and charisma, enabling them to never fall into easy sentimentality.

                        Whatever the mood, Koma Saxo are like lightning in a box, yearning to be set free.



                        STAFF COMMENTS

                        Millie says: This is not your standard jazz album, vibrant and bold five-piece jazz band Koma Saxo are exploding with energy. With elements a bit harder, verging on Hip Hop on ‘Fanfarum For Komarum II’ and a more subtle, avant-garde style of ‘Pari Koma’ and ‘Cyclops Dance’ bringing upbeat jazz! Something for everyone.

                        FORMAT INFORMATION

                        Coloured LP Info: Red vinyl edition

                        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.


                          Especial introduced the well respected Phil Gerus to its famed halls. "Still Blind" welds boogie, electro and proto-house music into a emotive, cosmic dancefloor stew that should find favour right across the board.

                          Electric enough to be nocturnal, soulful enough for the discotheque and arranged perfectly, "Still Blind" has A N T H E M subtly written into its fresh grooves. I wouldn't be surprised to hear synth-jizz extraordinaire Il Bosco reaching into his pockets and shelling out for this new explosion!

                          So good it leaves the rest of the record for remixes, Philip Lauer & Jamie Paton conjure up very contrasting versions...Lauer opts for a more Italo-tinged edge to proceedings, but keeps those classic 80s drum machines and synths firing on all cylinders. Jamie Paton meanwhile throws a digital blanket over the source material, bringing in right up to date with a minimal house / late night Balearic feel that again, should find fans in a variety of music camps.





                          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.

                          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 successful 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-age vein, with layers of circular synth arpeggios and spiraling 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 than 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!

                          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

                            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.

                            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.

                            Les Disques du Crepuscule present a remastered CD edition of Rhythm of Life by Paul Haig, the debut solo album by the enigmatic pop moodist who first made his name with Postcard label art-punk legends Josef K.

                            Rhythm of Life was originally released in November 1983 and recorded in New York and London by renowned producer Alex Sadkin. A collection of nine polished club pop tracks, the sessions featured a stellar case of guest musicians including Berni Worrell (Parliament/Funkadelic), Jack Waldman (Robert Palmer), Anton Fier (Feelies/Golden Palominos) and Tom Bailey (Thompson Twins). The album spawned no less than four singles in Heaven Sent, Justice, Never Give Up and Blue For You. Other standout tracks include Adoration, originally performed while Haig was still fronting Josef K.

                            The five bonus tracks are taken from the 1984 mini-album New York Remix. All are extended dance remixes by Big Apple deejay Bruce Forest, boosting the total playing time to 70 minutes. The booklet contains a detailed Haig biography and retains the original album artwork by Crepuscule design director Benoit Hennebert.

                            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.’

                              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.

                              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

                              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

                              All About Eve - Original Music

                                All About Eve — Original Music, composed by double Mercury Music Prize-winner PJ Harvey.

                                The 14-track album contains 10 original pieces of instrumental music, as well as two new songs written by Harvey and sung by Gillian Anderson and Lily James.

                                The physical release also includes demo versions of ‘The Sandman’ and The Moth’, performed by PJ Harvey.

                                On composing this score, Harvey says, “I have always loved stories, and so to compose music to support and enhance a story being told is a challenge I enjoy. I also love the freedom that working instrumentally can give me without the constraints of song form.”

                                “For All About Eve I chose to work with my long-time collaborator James Johnston as he has a soulfulness and sensitivity to his playing that inspires me. I also worked with Kenrick Rowe who has a versatility to his drumming I knew I could experiment with until I found what was right.”

                                All About Eve is the stage adaption directed by Ivo Van Hove.

                                STAFF COMMENTS

                                Barry says: It's become more and more clear that PJ Harvey can easily put her mind to anything she deems necessary, and with great effect. The soundtrack for this adaptation of All About Eve is even more evidence, with perfect cues and touching sentimaentality oozing through every note. A beautifully performed and perfectly written piece. In-situ or not.

                                FORMAT INFORMATION

                                LP Info: The score is pressed on 180g black vinyl, and housed in a heavyweight deluxe spined outer sleeve, with the record itself housed in a heavyweight, double sided printed inner sleeve. The vinyl release includes a digital download card.

                                CD Info: The CD is presented as a paneled fold out CD package.

                                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.

                                  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.

                                  Peter Ivers

                                  Becoming Peter Ivers

                                    Becoming Peter Ivers tells the story of the late Peter Ivers, a virtuosic songwriter and musician whose antics bridged not just 60s counterculture and New Wave music but also film, theatre, and music television.

                                    Written and recorded in Los Angeles in the mid-to-late-1970s, Becoming Peter Ivers raises the curtain on this mischievous master of ceremonies, who, harmonica in hand, rarely missed a chance to light up an audience. Since his untimely death in 1983, Ivers’ short but storied life has been the subject of much research and remembrance. Becoming Peter Ivers is the most expansive effort yet to collect his archival recordings.

                                    “Demos are often better than records,” Ivers wrote. “More energy, more soul, more guts.” The statement anticipates the appearance of Becoming Peter Ivers, which was assembled from a trove of demo cassettes and reel-to-reel tapes that Ivers recorded variously at his home in Laurel Canyon, Los Angeles, and Hollywood studios for a pair of major label albums in 1974 and 1976. While the two commercially released albums feature the resources of session musicians and state-of-the-art studio detail, Becoming Peter Ivers highlights the private moments of Ivers’ musical energy, frequently pared down to piano, drum machine, harmonica, and Peter’s ageless voice.

                                    Though technically not Ivers’ debut album (in 1969 Epic Records released Knight Of The Blue Communion, Peter’s psychedelic jazz odyssey of sorts), Terminal Love was the A&R brainchild of music legend Van Dyke Parks. Already a masterful harmonica player (respectively mentored by blues legend Little Walter and jazz bassist Buell Neidlinger while he was a student at Harvard in the late 60s), Ivers wove his harp melodies through the sensuously coloured but unconventionally arranged pop compositions of Terminal Love and its self-titled follow up, which, like the New York Dolls at the same time, explored the libidinous, ironic, and artful possibilities of the rock template.

                                    A studious artist, Ivers recorded hundreds of writing and rehearsal sessions onto reel-to reel and cassette tapes, but notes were either scarcely kept or have since been lost. RVNG Intl. collaborated with Ivers’ long-time friend and supporter Steven Martin, as well as his lifelong companion Lucy Fisher, to tell an intimate story of Peter’s creative journey through this untold music. The collection includes tracks that recurred in Ivers’ ouvre over the years; “Alpha Centauri,” “Eighteen And Dreaming,” “Miraculous Weekend.” And, of course, “In Heaven” – the song co-written with David Lynch and commissioned by the filmmaker to be featured in a now-iconic scene of Eraserhead. An accomplished Yogi by the late 70s, Ivers was as spiritual as he was playful. Accentuated by his cherubic face and compact height, Ivers’ vitality and curiosity became a part of his poetic sensibility, a quality that also characterizes his singing voice. Fisher remembers Ivers calling his days holed up in the studio as “snowy days,” as if he had been cut from school and let free to roam on his own. “No one knows what Peter Ivers does on a snowy day,” he would say.

                                    In 1980, Ivers became involved with the Los Angeles-area public access show New Wave Theatre, serving as its host and paternal misfit. Ivers would introduce a new generation of groups like Fear, Dead Kennedys, and Suburban Lawns while playing a kind-of “straight” man, deliberately baiting the punks with square questions and frocked fashion. His signature question to guests was delivered deadpan: “What is the meaning of life?” Ivers died, tragically, the victim of a violent homicide in 1983 that remains unsolved. A shock to his community, his death all but fazed the LAPD, who treated the investigation with less than minimum care. A labor of love that took RVNG Intl. over five years to complete, Becoming Peter Ivers re-frames Peter’s music as the centerpiece of his captivating story, concentrating on the work he made during his numerous retreats into art, or, as he put it, during his snowy days. 

                                    Peter Jefferies

                                    Last Ticket Home

                                      Peter Jefferies, a living legend of New Zealand underground music, from his seminal bands Nocturnal Projections and This Kind Of Punishment, to his collaborative efforts in bands such as Plagal Grind and Two Foot Flame, is perhaps best known for his solo work on masterpieces such as The Last Great Challenge In A Dull World (1990) and Electricity (1994), as well as numerous other albums of his singular songcraft.

                                      Grapefruit is proud to be releasing Jefferies’ latest, Last Ticket Home, which leaves the station early in his career when The Last Great Challenge In A Dull World left off and takes us on a guided tour of a fascinating side street via rare singles, both released and unreleased, radical live interpretations, and a wealth of never released material dating from 1991-2019. Last Ticket Home redefines Jefferies’ artistic journey, giving us a song cycle narrative which scorches, blisters and eventually heals on its relentless, ragged way home.

                                      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 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.

                                      Peter King

                                      Omo Lewa - Reissue

                                        Super-funky business from Nigerian-born multi-instrumentalist, Peter King; fuses funk, jazz and highlife vibrations. ‘Omo Lewa’ follows his ‘Miliki Sound’ album, also available on Mr Bongo. Recorded in London, originally released in 1976 by Orbitone, this is one of his finest records.

                                        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.

                                        Patti LaBelle

                                        Get Ready (Looking For Loving) (Braxton Holmes Edit) / Supreme Beats

                                        Super limited white label pressing of this Braxton Holmes edit of Patti LaBelle's killer disco track "Get Ready (Looking For Loving)". Released at the turn of the 80s, it features incessant percussion lines twinned beautiful with staccato lead guitar licks and empowered vocals that loop over and over and really get stuck in your head! Anyone with a penchant for dancing and nightlife is bound to have heard this number at some point belting out the speaker stacks; but they may not have heard this amazing extended trip which somehow managed to whip the listener up into a salviating beast, awaiting each successful drop with an even more fervent energy - killer!

                                        B/W Braxton's own "Supreme Beats" which distilled the percussive black magic from the track and delivers it to us as a mainline injection. THis fiery and demonic workout should only be reserved for the real late night freaks and delivered with appropriate caution! So good. 

                                        STAFF COMMENTS

                                        Patrick says: I'm always up for a bit of Patti LaBelle, but this particular hit ranks alongside "The Spirit's In It" at the top of her tree. Here we get the extended, repeated, groove heavy recut from Braxton Holmes, which flips the OG in the time honoured Ugly / Hardy style. Class. The bounty doesn't end there though as Braxton's included the percussive voodoo of his sick DJ tool "Supreme Beats". These are currently flying off the shelves, and we can't get more, so get on it ASAP.

                                        Pokey Lafarge and his band bring a focus and energy to the American Roots genre with infectious original material that sits at the crossroads of early jazz, country blues and western swing. With his effortless charisma and distinctive charm, Pokey has crafted a genre all his own--and one that extends well beyond the music alone.

                                        Summertime is the right time for Pokey’s sun-blessed riverboat style, and this August will mark our release of his next full length LP / CD titled simply Pokey LaFarge (produced by Old Crow Medicine Show frontman Ketch Secor).

                                        • Lafarge previously released a 7-inch single on Third Man in 2011, titled “Chitlin Cookin’ Time in Cheatham County”
                                        • Critical acclaim and dedicated following in the UK where a performance on Later…with Jools Holland reached a nation-wide audience.. the Hootenanny nonetheless!
                                        • In addition to his featured vocal performance on the Jack White’s song “I Guess I Should Go To Sleep” Lafarge also opened select dates for White on his Blunderbuss tour.

                                        Peter Lemer Quintet

                                        Local Colour

                                        British pianist Peter Lemer studied with Jaki Byard, Paul Bley, and Bill Dixon, so his roots in jazz are strong. His lengthy and distinguished career has found him in a wide variety of settings. As an avant-garde jazz pianist, he recorded with Spontaneous Music Ensemble; in the jazz fusion realm, he was a member of Gilgamesh and Paraphernalia; as a progressive rock keyboardist, he played with Gong, Baker Gurvitz Army, the Mike Oldfield Group, Seventh Wave, and In Cahoots. Sideman credits include work with Annette Peacock, Harry Beckett, and more.

                                        Surprisingly, Local Colour – his debut recording – is Lemer's only album as a leader. Recorded in London in 1966, before jazz fusion or prog-rock even existed, it belongs in the collection of anyone who cares about the British jazz scene, and not only because of Lemer's talents. Everyone in this quintet went on to notable achievements. This was sax great John Surman's recording debut; he is now arguably the premiere British jazz saxophonist, with a prolific and much- praised discography. Chances to hear the also scintillating sax sound of the more obscure Nisar Ahmad Khan (AKA George Khan) in a jazz context are much rarer, though near the end of 2017 Emanem released an excellent two-disc compilation of concert recordings and prog-rock fans may remember his appearance on Robert Wyatt's Ruth Is Stranger than Richard and his work with Cream lyricist Pete Brown and The Crazy World of Arthur Brown. Drummer Jon (then going by John) Hiseman had already established himself on the British jazz scene by co-founding the New Jazz Orchestra in 1964; two years after the Local Colour session he started Colosseum, one of the most successful British jazz-rock bands, and he even collaborated with Andrew Lloyd Webber on the musical Cats. Bassist Tony Reeves had had a hit single in 1965 with Sounds Orchestral ("Cast Your Fate to the Wind"); after a brief stint with John Mayall's Bluesbreakers, Reeves joined Hiseman in Colosseum; he was also a member of Greenslade and Curved Air in addition to session work with Fairport Convention singer Sandy Denny and guitarist John Martyn. That's a whole lot of talent in the Peter Lemer Quintet! Together, they make a sort of inside/outside jazz that doesn't abandon themes and harmony but is still quite freewheeling when it wants to be.

                                        1975 Private-press LP now remastered from the original tapes. In his own words, today : I was once told that one should first write about one's own experiences, then, expand to documenting the observed experiences of those around, and, finally write about what one imagines. Am I Really Here All Alone?encompasses all of the above. Something else I realized in writing lyrics is that sometimes it is good to be transparent about the meaning and others times, not so much. "Unusual Day" is an example of me being honest struggling to develop and maintain a relationship, but ultimately realizing it was not going to succeed. "Watercolours" documents a crushing experience, but is couched in metaphor. I hope that listeners will relate through their own experiences, and because my reality is implied, not specified, will not be limited to mine. "Sweet Georgia" is an example of me, as a writer, leaving my personal space. I think of it as an attempt to clone William Faulkner to Bobbie Gentry. "The Magic Within You" is actually a commission where I was asked to write a song for a benefit to be performed by Doug Henning, the groundbreaking stage magician and friend. I once heard John Prine complain that there was no point in writing a 'train song' because Steve Goodman had already written the perfect one with "City of New Orleans". Naturally, I had to write "Back Home, To You", my idea of a train song where I tried to capture the movement of the train in the rhythm of the guitar. As for the other six songs, to me, they all reflect realities, experienced, observed and imagined. Descartes said, "I think, therefore I am." However my question is, "Am I Really Here All Alone?" -Philip Lewin, 2017 

                                        Paul Lightfoot

                                        White Warning

                                          Staytech has become an underground imprint with some of the most unique styles of techno over the last couple of years since the birth of the label in 2017. Paul Lightfoot is now announcing the second album of his career. The prolific English producer has been recognized by some of the biggest artists in the techno scene due to the prosperity of his previous releases, and here we now have ' White Warning'.

                                          A very special album designed to take the listener on a journey of many different styles of the techno genre. The album consists of ten cuts each one showing its own personality. The opening track 'Nostromo' which is gone straight in for the pounding underground warehouse rave environment, that's perfect to open a set to blow any crowd away. Then is closely followed by the second track of the album, ' Acid Man ' This is one dark acidic roller not for the faint-hearted. Mainly driven at full speed by a 303 bass line. Track three 'Your Mind' Haunting catchy vocals and a powerful kick and bassline that gives the track a repetitive almighty depth. Onto track four 'Warp' this comes with a more minimal atmospheric approach with dark-themed chords and heavy strings.

                                          Meanwhile, mid creation of the Album 'This Acid' contains acidic rolling stabs and a pounding kick drum, a rave impelled techno titian. The sixth track 'Be Free' A little off the darker side of techno than the rest, this track portrays a connection between house and techno sitting somewhere in-between the genres. A simple lead line that won't be forgotten by any raver. Track Seven 'Feel Real' Similar to track six this again sits in-between the genres of house and techno. The energy is rushing throughout this track and lifts a whole rave when played, continuous piano stabs that will give you goosebumps. Defiantly one to wear out a crowd.

                                          Number Eight 'Talking to Myself' Old school rave chords bounce throughout the track with a strong underlining string. Second to last 'Travel' this will take you on a minimalistic musical journey sounding similar to Richie Hawtins productions Paul has hit the nail on the head here with travel, this will 100%% be a track to go down in history as far as techno is concerned. Last but not least onto the title track 'White warning'. This is a sweaty dancefloor nuclear weapon giving techno awakening its self one heavy finale for amazing energy-driven album.

                                          Pat Metheny

                                          One Quiet Night

                                          Pat Metheny has produced one of the greatest albums of his career by stripping bare his musical soul and performing "One Quiet Night" on solo acoustic guitar. The invention and simple joy in evidence on these recordings is apparent throughout and Metheny has never sounded more focused and involved than on these home improvisations, new songs and reinterpretations of some of Metheny's all time favourite songs which include Keith Jarrett's "My Song", Gerry Marsden's "Ferry Cross The Mersey" and a version of the Jesse Harris song "Don't Know Why", made famous by Norah Jones.

                                          Archeo are at it again, finding yet more hidden delights from Italy's bountiful musical past. Paolo Modugno's "Brise D'Automne" originally came out in 1988 and has since been highly coveted by record collectors fascinated with the new age delights contained within. Archeo have gone all out for this reissue, pressing the album on heavy vinyl to allow the music to really breathe, and adding a second disc with two tracks previously unavailable on vinyl. The curious fusion of organic and electronic elements with a daring approach to production makes for one of the most unique records you're likely to hear all year, and a welcome companion to your Finis Africae, Futuro Antico, Vangelis Katsoulis and Aeolus reissues.

                                          STAFF COMMENTS

                                          Patrick says: Archeo unearth a gorgeous new age gem from Italy's alternative past. This late 80s LP sees Signore Modugno marrying the organic and electronic into a heady blend of cosmic groove and fourth world calm.

                                          Peter Mulvey

                                          Ten Thousand Mornings

                                          Peter Mulvey has been described as a livewire on stage, his ferocious guitar playing whisks him through more tunings than he has fingers in the course of an evening, as he winds his way from full throated rockers to decptively plain-spoken musings. Mulvey has also been noted as a fine interpreter of other artist's songs and on "Ten Thousand Mornings" he has recorded a dozen covers from his favourite songwriters.

                                          Pete Namlook

                                          A View To A Chill - Namlook Compilation

                                          18 tracks compiled from his solo career 1993-2000 and an expansive and generous playing time plus some excellent segments make this an ideal way to explore the electronic world of chill-guru Pete Namlook.

                                          Pete Namlook

                                          New Organic Life

                                          Titles like "Genetic Drift", Molecular Progression" and "Giant Insects" have a vaguely conceptual sound to them but the return of Namlook's earlier synthesiser style that is the real bonus on this excellent release;as much synth prog as modern electronica, with cascades of white noise and dense electronic waves of sound.

                                          Paul Newman

                                          This Is How It Is Lost

                                          Tastefully placed parts swirl in and out of the speaker cones, weaving a nourishing basket of goodies. Though they began in 1996 as primarily an instrumental rock band, each of the masterful tracks on "This Is How It Is Lost" features vocals, adding a new dimension for those familiar with their sound. Most of these feature vocals from Eddie Robert, who also plays with I Love You But I've Chosen Darkness, whilst another features Craig McCaffrey, lately also of The American Analog Set.

                                          Pieter Nooten

                                          Surround Us

                                            Exploring the possibilities of electronica and laptop composition even further; Pieter Nooten, one of the original members of Clan of Xymox and former collaborator with Michael Brook brings us the astounding acoustic and organic sounding 'Surround Us'. The album features gorgeous guest vocalists interspersed with beautiful, classical compositions. Far beyond the clichés of contemporary electronica, Nooten squeezes heart wrenching melancholia -beautifully executed, honest and intimate- out of the 'digital box', proving how good and deeply heartfelt home recorded electronica can sound, Nooten delivers a true masterpiece of lap top composition.
                                            In collaboration with impro cellist Lucas Stam, whose sensitive and intuitive playing technique cuts right through some of the most intense instrumentals; Nooten and Stam prove to be the pioneers of a long-expected period in contemporary music. A future that is NOT turning out clinical nu jazz or industrial noise fresh from the academies, neither mind numbing corporate pop, playable in any old mp3 format. Here we experience warmth and dynamics, features that seemed so long lost in music. 'Surround Us' brims with vitality, humanity, pain, passion and sweet, sweet melancholia. Pieter is more influenced by "the depth and beauty of the simplest Bach fugue than by most modern pop".

                                            Current line-up: Pieter Nooten (laptop, keyboards, vocals), Yvette Winkler (vocals), Lucas Stam (cello).


                                            Peter Oren

                                            Anthropocene

                                              Indiana-born, everywhere-based singer-songwriter Peter Oren possesses a remarkable singing voice, low and deep and richly textured: as solid as a glacier, as big as a mountain. Similar in its baritone gravel to Bill Callahan, a hero of his, it rumbles in your conscience, a righteous sound that marks him as an artist for our tumultuous times, when sanity seems absent from popular discussions. His voice is ideally suited to confront a topic as large and as ominous as the Anthropocene Age.

                                              That term is relatively new, reportedly coined in the 1960s but popularized only in the new century to designate a new epoch in the earth’s history, when man has exerted a permanent—and, many would argue, an incredibly deleterious—change in the environment. Sea levels are rising, plants and animals facing mass extinctions; it may be humanity’s final epoch, which makes it a massive and daunting subject for a lone singer-songwriter to address, let alone a young musician making his second full-length record. But Oren has both the singing voice and the songwriting voice to put it all into perspective. The songs on Anthropocene, his first album for Western Vinyl, are direct and poetic, outraged and measured, taking in the entire fucked-up world from his fixed point of view.

                                              Oren attracted the attention of Ken Coomer, the former drummer for Wilco and a producer in Nashville. Together, the duo assembled a backing band featuring some of the city's finest session musicians, including keyboard player Michael Webb (John Fogerty), singer Maureen Murphy (Zac Brown Band), and guitarists Sam Wilson (Sons of Bill) and Laur Jaomets (Sturgill Simpson). On Anthropocene they provide stately backing for Oren's songs, with drips of pedal steel and quivers of strings subtly reinforcing his observations about the state of the world.

                                              Another record from P Relief & D - two producer so far content lurking in the shadows and away from the Dance Music™ spotlight. Their first release was killer and lucky they don't let us down on this most recent outing. D kicks things off with "Vocal Drift", a fizzy, gently saturated hardware house jam with droning synth lines and scorched perc. P Relief follows suit with "Panoramic Point" - a serene, ice cold chiller with static discharge, metallic washes and proper wigged out aesthetic. Imagine a Mood Hut record beamed straight into the furthest reaches of the cosmos and you'll get the jist. The two producers join forces for third track, "Kinker". Another out there, spacey house jam, there's definitely nods to Vakula's mainframe exploring sound alongside the various facets Firecracker's multi-dimensional output. Finally, D concludes with the tranquil shimmer of "Syrup"; gentle Rhodes fluttering across a skeleton hi-hat patterns as the synonymous sci-fi sweeps and effects hover overhead. Top stuff and another winner for the leftfield house massive. Recommended.

                                              This new album by the rap / hip-hop / nu-soul wunderkind Anderson .Paak. It features production from 9th Wonder, DJ Khalil, Madlib, Kaytranada, Pomo, Dem Jointz, Callum Conner, Hi-Tek, Anderson .Paak and The FreeNationals. Featured vocalists include ScHoolboy Q, Talib Kweli, BJ The Chicago Kid, Rhapsody and The Game.

                                              This is the second album by rap's newest sensation, who has been tipped for big things since featuring on 6 tracks on 'Compton' by Dr Dre earlier in 2015. 'Malibu' is the maturation of .Paak's journey from soul and R&B over into hip-hop and even soulful house / disco, all the while giving listeners a deep look into his personal experience.

                                              First focus song, the disco funky 'Am I Wrong', has already picked up 30+ plays on Radio 1/1Xtra since mid-November, including a Jam Hot 'Record of the Week' slot from Mistajam. 'Am In Wrong' and the soulful confessional 'The Season/Carry Me' (premiered by Dr Dre on his Beats1 show) have racked up 350K plays each on Soundcloud since mid-November.

                                              Augustus Pablo is an enigmatic presence in the history of reggae music. He was so very important and yet was almost totally unknown to most listeners excepting the committed reggae fan. His work with the late King Tubby and his unique melodica music had helped to define dub and "East Of The River Nile" is one of his undisputed classics. Since his tragically early death his work has gradually gained some of the recognition it deserves.

                                              Augustus Pablo

                                              This Is Augustus Pablo - Get On Down Edition

                                              Augustus Pablo (Horace Swaby) was born just outside of Kingston. “I am a Kingstonian,” he told the NME in 1986, “but my heart is for the hills.” This mystical connection to “the hills” is at the heart of Pablo's unique and immediately identifiable sound. By the late '60s, Swaby and his brother Dougie had founded a small sound system they called Rockers. The brothers spent a lot of time in record shops, including Aquarius, where owner Herman Chin-Loy heard Swaby experimenting on his melodica and was struck by the inspiration to record. The resulting tune was credited to Augustus Pablo, a name that Chin-Loy invented, as the story goes, to give an air of mystery to the release. Pablo recorded two more singles soon after with “Java” becoming a major hit and being voted Instrumental Song Of The Year by Jamaica's Swing Magazine. This success led to the Randy's label moving to create a full-length album from Pablo. Recording in the Randy's studio upstairs from the record shop “we weren't watching the clock...we had the studio,” Clive Chin recalled. The band included a cast of the greatest reggae musicians of all time: future Wailer Tyrone Downie on keyboards, Aston “Family Man” Barrett, “Fully” Fullwood and Lloyd Parks on the bass, Carlton Barrett, “Santa” Davis and Lloyd “Tin Leg” Adams were on drums and Earl “Chinna” Smith played guitar. In addition to these future Hall of Famers, the mixing board was helmed by Errol Thompson. Thompson and Chin would together pioneer a tough, new reggae sound that, Chin referred to as “Rockers” after the Swaby brothers' Rockers Hi-Fi sound system. 'This Is Augustus Pablo' is considered among the greatest collections of Jamaican instrumental music and is an essential part of reggae history. 

                                              Sporting a mighty fine centre label this week's Eureka! record comes courtesy of Pablo Valentino and "Space Tribe". The founder of Faces Records with MCDE, this fifth release features collaborations with Kez YM and Simbad.

                                              The A-side kicks us off with "Bananas" and it's vintage house organs riffing from the start alongside vibrant piano lines and a solid, jacking drum beat. House as pure as it gets, true to form and lively as hell.

                                              "Inspiracao" stumbles confidently into downbeat territory, lighting up a carrot for the smokers as it melds fluttery strings and keys to a head-nodding sub-90bpm snap.

                                              Side B's "Space Tribe" brings our journey into crisp, tribal-tinged house styles that bring to mind Kai Alce and the NDATL label. Featuring the beautiful echoing synth sounds of veteran London producer, Simbad this is a beautifully dreamy way to end the EP staring up at the stars.

                                              *Artwork by Kouhei Asakura (http://www.asakurakouhei.com)

                                              *Mastering by Hideo Kobayashi.


                                              STAFF COMMENTS

                                              Sil says: Downtempo vibes with heavy cut and paste ethos on the A side backed with some deep house affairs that will easily warm up the dancefloor.

                                              Augustus Pablo Meets King Tubby

                                              The Messenger

                                              “Both are legends because both innovate – and activate and motivate. King Tubby (Osbourne Ruddock) arrived on earth in 1941. As a teenager he repaired radios before moving onto repair sound system speakers. Since the mid-50s, sound systems had conquered Jamaica, replacing live bands as the people’s favoured choice of access to their music. Tubby (a very slim man) found himself much in demand. In 1968, Tubby opened his own shop, Tubby’s Home Town Hi Fi. That led him into the world of sound, led him into recording studios where first he remixed. But then he got bored and in doing so released himself by devising his own amazing aural vision. Tubby invented dub and he did so by experimenting, by creating a unique template where he stripped away certain parts of the record, replaced them with another, highlighted some instruments, dropped others, and on top of this used all kinds of studio effects.

                                              And thus King Tubby became King of Dub. In 1971, inevitably, he opened his own studio – and he took the music deeper. Many musicians loved his set up, including Augustus Pablo. Pablo (Horace Swaby) arrived on earth in 1954. He hit the musical scene playing…the melodica. No one had thought to do so previously. Again, the breaking of new ground was heard in Jamaica. The instrument was perfect for the King Tubby vision, Pablo’s playing producing a sound that was melodic, harsh, edgy, and soulful. Over Tubby’s shuffling rhythms and maelstrom of sound, Pablo improvises with huge imagination and skill. His major hit East Of the River Nile suggested and put forward a sound derived from the Far East and he was up and running. In 1975, he began a fruitful collaboration with King Tubby. Their first album together Ital Dub is a classic. The later King Tubby Meets The Rockers Uptown is more than that, it is legendary. And now The Messenger is upon us, an album cut at some point in the 70s and which remained in the vaults. Should it have stayed there? No way. This is music that upholds the very high stars of their past, music which fires itself on imagination and strength, a collusion and collaboration of immense proportions, music that provides and creates moods with such purpose and drive. Pablo’s melodica is centre stage but is counterpointed by contagious rhythms and touches of inspiration as horns and bass lines mesh in and out of view, held down by an ever steady barrage of sturdy drums and bass and a never ceasing source of imaginative and delightful sounds. The sound constantly changes and because it does the album contains a staggering array of moods, from upbeat into deep waters. The Messenger is forward music, still sounding as fresh as it did on the day of its conception. And it will do so for time eternal.” Paolo Hewitt 

                                              STAFF COMMENTS

                                              Matt says: Some classic riddims here from Tubz N Pabberz, in some cases in their original conception. Augustus' mystic melodica collides beautifully with Osbourne's magic dub techniques making for an enchanted early prototype of the genre.

                                              FORMAT INFORMATION

                                              Coloured LP Info: Indies-only clear vinyl.

                                              Following the releases of the vinyl compilation "Spring Break" and the maxi 12” compilation "Bardo for Pablo", Stroom conclude their Pablo's Eye trilogy with the typically diverse and utterly devastating "Dark Matter". "More than anything, Pablo’s Eye is a temporary atmosphere, like a taste or a dream…", well so say the sales notes, and if that's true, opener "Worship & Passion" is a Michelin starred appetizer, served at a restaraunt in purgatory. Celestial pads and poetic vocals seduce you with their heavenly charm, but that still doesn't shift the stainless steel anxiety that this could go the other way. "More Hestiant Than Before" seizes on this moment of uncertainty, applying the classic ambient combo of tremulous drone and stately strings but with an intensity far removed from your typical day spa. I'm a sucker for rhythm, and the rolling toms, propulsive bassline and ruthless breakbeat of "Different Observers" more than tickles my pickle, upping the energy before the moody and mystical ambience of "She Would Stand Alone" provides the party fear. Help arrives via the dramatic "He Closed His Eyes", an uplifting and esoteric composition adorned in hang drums and metallic textures, which strolls effortlessly into the paradisiac "When You Were Asleep", a triumphant combination of healing frequencies.
                                              On the flipside, "L.A. Desert" takes a diversion into the ethno-ambient terrain of Laurie Anderson's "Mister Hearbreak", before the rainsoaked "She Told Him The News" harnesses the noir of Blade Runner. "Tamil Nadu" is trip hop in henna, while "A Pagan Use" exploits your inherent vertigo to pull you into its tower of song. Sparse studio dubbing and cinematic tones show us out on "Out Of The Corner Of Her Eye" and "Loisada Dub", bringing this most excellent and esoteric trilogy to an end.

                                              STAFF COMMENTS

                                              Patrick says: Stroom bring their Pablo's Eye trilogy to a triumphant close this week with the deep musica of "Dark Matter". Whether exploring straight up ambience, cinematic interlude or propulsive trip hop, Axel Libeert's outfit always maintain their signature sound. Pro-Tip - save a fortune on therapy and listen to "When You Were Asleep" once a day.

                                              In the relatively short time since Stroom first appeared in the stores, the Belgian label has quickly blossomed into an essential imprint for any true heads out there. Drifting between esoteric ambience, bedroom tape manipulations, wavy torch songs and overlooked R&B, the Stroom catalogue explores the frayed edges of the musical map, always looking for something unheard and unmissable. Their latest release puts a spotlight on Pablo's Eye, a loose collective of musicians and performers centered around Brussels engineer Axel Libeert. From 1989 to 1999, the flexible ensemble created a septet of CD only releases, the highlights of which make it onto this perfectly sequenced collection.
                                              Opener "Blind And Quiet" sets the scene with backmasked guitar, tremulous bass drones and animalistic breathing, gently pulling us into the deep dreamspace which Pablo's Eye call home. "Track 2" offers a further post modern twist, turning evocative piano, otherworldly zither and choral vox into a mournful mood piece via snippets of evangelical vocals. Soon we drift from that Lynchian contradiction to the remarkably Balearic "La Pedrera", a moody midnight stroll by beachside cafe's in an ocean breeze. At the close of the A-side, the somber strings and gentle guitar of "Track 4" hold us close in suspended animation, before the flip brings the propulsive beach resort funk of "Otis". With its atmospheric electronics, steady bass and chorus guitars "El Barrio Gotico" sounds like an ambient reprise of Texan classic "Broken Wings", while the tumbling percussion, snatches of vocal and electronic textures of "Amb 7" takes us dancing into the centre of the self. Finally, the one chord suspense and delicate jangle of "A Long Standing Dream" carries us off into the warming soup of the collective consciousness. By means of depth placement, psychoacoustics and spatial fug, Pablo’s Eye is experienced in the deeper reaches of the body, bypassing the conscious part of the mind entirely. More than anything, Pablo’s Eye is a temporary atmosphere, like a taste or a dream..." 


                                              Augustus Pablo

                                              Dubbing With The Don

                                              A brilliant collection of super-rare B sides and unreleased dubplates from the mid to late '70s. Including newly discovered versions of "Cassava Piece" and "King Tubby Meets The Rockers Uptown".

                                              Augustus Pablo

                                              Earth's Rightful Ruler

                                              Augustus Pablo may not have invented dub, but he has certainly become its greatest master as this 1998 album proves. The improvisations that he created with his evocative melodies were worthy of the best jazz improvisers. An essential must-have from the vaults of Shanachie Records.

                                              Pacheko

                                              Tryouts / Bi Polar Bear - Inc. Cardopusher & Starkey Remixes

                                              Enter Pacheko, of Caracas, Venezuela. A long time producer and supporter of the breakcore sound in his homeland, his sound has slowly adapted to dubstep with exciting effects. Musically, "Tryouts" and "Bi-Polar Bear" are similarly structured to the golden era Moving Shadow (Think Hyper-On Experience's "Disturbance" applied to dubstep), with each track revealing a series of distinct movements. "Tryouts", for instance, starts out quite aggressive, yet ends dubby. Pacheko shares an office in a design firm in Caracas with Cardopusher, and once he heard what was being plotted up with Lo Dubs, he threw his hat in the ring and rapidly presented a positively scorching remix of "Tryouts" for the flipside. About the same time, Philly ruler Starkey was working on a remix for Cardopusher on Terminal Dusk, and when his dubstep-to-four-beat-bassline-eight-minute-and-change epic remix of "Bi-Polar Bear" was added to the pyre, the circle was complete.

                                              The Preservation label presents Burnt Offerings, the fourth album from Brooklyn’s Padna. As Padna, Nat Hawks initially made his name in the cassette underground on the revered Stunned label with two works of pop experimentalism displaying a bustling - often boggling - and vivid imagination. Veritable joyrides in sound and style, these releases were in line with the DIY aesthetic, primitive songcraft and eclectic sonic stew pioneered by the likes of Tall Dwarfs and forwarded by Olivia Tremor Control, though with an even more exploratory skew.

                                              Burnt Offerings is a mellower, simpler counterpart to those earlier works, but still elastic and ever expanding in its peculiar pursuit of the transcendental. Making up its sweet, song-oriented meditations through a hazy circle of intoned psychedelia, drone, bedroom folk and dub filters, these tracks roam from kaleidoscopic melody slowly loping with a whimsical way to a contrasting, shadowy elegance for murkier intent. Burnt Offerings’ oddly charming spectrum – built on acoustic guitar, vintage synths, electric violin, toys, objects and a dizzying array of effects - is by turns romantic, melancholic, curious and always full of heart.

                                              Burnt Offerings is the sixth and final work in Preservation’s limited edition series Preservation called Circa for 2012. Only 300 copies of each release in the series will be available and will feature a design by Mark Gowing. Each design is realised using an abstract alphabet that creates an interlocking grid, determined by artist and volume number for something both fixed, random and unified across the entire series.

                                              Paul Page-Poet, Pagan and Playboy of Polynesian Pop and Hapa Haole Exotica. The music on this unusual exotic album, takes you right to the ocean’s edge, mingles you with jungle drums and animals, the booming surf, seagulls, and ocean liners in a coral kaleidoscope of sounds. This is the real deal authentic Tiki bar soundtrack.

                                              Paul Page and his Paradise Music entertained in Polynesian themed restaurants all over Southern California from the late 30s to the mid-60s, then all the way out to the Kona Coast during the late 60s and early 70s. It is his cheerful insistence to employ every known clichE from the Polynesian pop dictionary that makes his stylings so charming to today’s Tiki lounger. Subliminal Sounds now brings you the full Paul Page saga with this comprehensive compilation. 

                                              Italian synth wizard Massimiliano Pagliara accompanies his recent LP "With One Another" on Live At Robert Johnson with this vibrant two track tribute to a couple of close friends he lost in the last year. Continuing in the fine vein of cross genre form he displayed on that long player, "Major Fun (For Joshi)" is an acid fuelled Italo-disco groover with just enough star gazing synth work and off kilter guitar to ensure the Adriatic crowds will lose their shit. From the first clatter of the reverb heavy kit you just know this one is gonna be massive. For B-side cut "Your Love Away (For Luck)" Massimiliano is joined by fellow Egyptian Nipple Jules Etienne as they take a techy journey through Italo's back streets, encountering sleazy synth washes and dubby vamps on the way. A retro futuristic paean to the darker side of dating, voiced through hushed vocals and spiralling synths, this B-side secret weapon is the bastard love child of a Balihu classic and vintage Juan Maclean. It's that good!


                                              Paid Reach

                                              Fair Trade Dark / Colddrinksnreverse

                                              The first release on Paid Reach - in collaboration with Ominira, edited and produced by Kassem Mosse. 

                                              'Fair Trade Dark' is pure minimal wave / industrial inspired electro-tech, with an insistent, elastic, siren-like analogue twang repeating over grimy synewaves, syncopated tones and machine noise. 'Colddrinksnreverse' is a minimal rhythm track... But running backwards... Not only that, but the track plays backwards as well, from the centre label to the outside edge, just to fox you...

                                              John Zorn, Bill Laswell, Yoshida Tatsuya.John Zorn and Bill Laswell are two of the downtown scene's most consistently intrepid musical explorers, and PainKiller, formed in 1991 is their longest running project together. The Prophecy, the first official PainKiller release in over ten years, was recorded live in Europe in 2004–5 and pulls together music from several con- certs into a powerful and mind blowing suite unlike anything the group has ever released before. Featuring master drummer Yoshida Tatsuya (Ruins, Korekyojin) who has worked with Zorn and Laswell off and on since the mid-’80s, the music takes on a mercurial, unpredictable edge. One epic hour long suite surrounded by two short hardcore blasts of searing intensity, The Prophecy is music of great mysti- cal power from one of the most unique sax-bass-drums trios ever assembled.

                                              The Pains Of Being Pure At Heart

                                              Simple & Sure

                                                “I didn’t want to make Belonger,” Berman says. “This album was a chance to push beyond that album’s universal style of songwriting into something that was far more personal, more in keeping with my ideals. I wanted the music to be joyful and full of light, even if the subjects were often dark.”

                                                “Simple And Sure” delivers on that goal in fine fashion, an upbeat pop gem that features a great hook, vocal accents from Jen Goma and one of the great choruses that The Pains are so well-known for. On the B-side we find the dreamy, melancholic “Impossible,”- exclusive to this single. The album and single artwork prominently feature the work of celebrated South Korean artist Lee Jinju, from her ‘The Material of Mind’ series.

                                                FORMAT INFORMATION

                                                Ltd 7" Info: JUST FOUND 1 COPY OF THIS LONG LOST GEM!
                                                Limited edition 7” Single on Olive Green vinyl includes download card.

                                                The Pains of Being Pure at Heart have long set the benchmark for bighearted, idealisti c pop songs. With The Echo of Pleasure, The Pains push beyond their many inspirati ons and embrace their role as indiepop heroes in their own right.

                                                Showcasing the deft songwriti ng of frontman Kip Berman, The Pains’ fourth album is their most confi dent and accomplished. Aft er three criti cally acclaimed records, 2009’s The Pains of Being Pure at Heart, 2011’s Belong and 2014’s Days of Abandon received praise from The New York Times, Pitchfork, The Guardian and Rolling Stone, they have put together a collecti on of songs that possess a ti meless grandeur, deeper and more sati sfying than anything the band has done since their iconic debut. The record is augmented by guest vocals featuring previous Pains collaborators: Jen Goma on “So True” (A Sunny Day in Glasgow), bass guitar by Jacob Danish Sloan (Dream Diary), and horns by Kelly Pratt (Beirut, David Byrne, St. Vincent). The Pains of Being Pure at Heart live band consists of long-ti me guitarist Christoph Hochheim (Ablebody, ex-Depreciati on Guild), bassist Jacob Danish Sloan, drummer Chris Schackerman (ex-Mercury Girls, ex-Literature) and vocalist/keyboardist Jess Rojas.

                                                STAFF COMMENTS

                                                Barry says: Thoroughly melodic songwriting, beautiful harmonies and lush, euphoric chord progressions. Outlandishly pretty but innately listenable, with hooks and jangles abound. A great leap forwards for The Pains...

                                                Paint It Black

                                                CVA

                                                Most cities have a cyclical history to their punk scenes, and Philadelphia is no exception. The duo of Dan Yemin and Dave Wagenschutz (Good Riddance) has helped lead the charge of more than one wave, first in the mid-90s in the legendary Lifetime and then again with Kid Dynamite. Now, reunited in Paint It Black, the duo is poised to kick off yet another chapter of passionate and threatening music. Paint It Black marks Yemin's vocal debut and introduces Dave Hause on guitar and Andy Nelson on bass. Paint It Black delivers unabashed, uncompromising hardcore, negating the preconceived boundaries between the personal, political, melodic and aggressive, accentuating a much-appreciated axiom: maximum intensity. CVA is highly recommended for fans of Black Flag, Seven Seconds and Faith.

                                                Paint It Black

                                                Paradise

                                                Paint It Black's follow up to the last year's "CVA" picks up it's intensity and urgency and runs with it at full tilt. It's a highly charged catharsis, very effectively expressing through poignant lyrics and a raging sound the pain surrounding such personal trauma as divorce and the generalised agony of war. This is chainsaw hardcore echoing the bruising violence of Black Flag, "Damaged" vintage - yup, it's really rather good.

                                                Paint

                                                Paint

                                                  The verb, the noun, the substance, the action, the command: make a mark! With that, PAINT (guitarist/singer Pedrum Siadatian of the Allah-Las), is making his mark too with his first, selftitled solo record.

                                                  PAINT started by four-tracking his own strange, slow-growing ideas just after Allah-Las third album Calico Review (2016) - fed or led by a certain acid-bitter poetry (Gregory Corso and John Lennon) and the murky music of Kevin Ayers and Syd Barrett. Siadatian found a producer and partner-in-grime in adept cinematic psychedelicist Frank Maston, who instinctively understood these songs would fall apart if scrubbed too roughly in the studio. Now PAINT’s self-titled debut LP has a happily paradoxical finished-but-not-finished-off feel, like Lou Reed and R. Stevie Moore and Julian Cope and Richard Hell, but just the songs that never came out.

                                                  Like “Daily Gazette”: big-city-on-the-skids mid-tempo hot-summer punk blues cool like those Richard Hell/Tom Verlaine Neon Boys tapes. Like “Splattered”: a subway-sound Velvet Underground valentine. Like “Silver Streaks”: budget-studio 1970s expression-as-obsession from the California observed and preserved by demimonde private-press psychedelicists Damon or F.J. McMahon. Like “Wash”: a last-dance cosmic waltz that could’ve been a snippet of an Angelo Badalamenti soundtrack.

                                                  Anyway, this is PAINT, the substance and the action – it drips, it runs, it changes colors. In between: not the desert but the dirt, not the night but the dark, not the sun but the heat and not the sea but the deep, and always the heartbeat blood-rush feel-it! momentum that makes all rock ‘n’ roll rock and roll.

                                                  Think of it this way: PAINT’s first album isn’t always clean, but it’s very very clear. Sometimes the mess is the message.


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