Faitiche is ten years old. October 2008 saw the release of Ursula Bogner - Recordings 1969-1988, for which the label was created. While working as a scientist in the pharmaceuticals sector, Ursula Bogner experimented with electronic music, undiscovered, for over three decades. When Jan Jelinek first heard Bogner’s work in 2008, he was enthusiastic. The resulting album, compiled by Jelinek from Bogner’s extensive oeuvre, is being reissued in a remastered version (LP/digital) to mark the label’s tenth anniversary. The new version also includes four bonus tracks that were previously only available on a vinyl 7" single.
ALL GENRES
BACK CATALOGUE - U
The musicians: Ulrich Schnauss, born in Kiel in 1977, now residing in London, three solo albums released to date, Engineers keyboard player and an in-demand remixer (Mojave 3, Depeche Mode, Lunz/Roedelius, to name just a few). Mark Peters, born in Liverpool in 1975, bass player, guitarist, vocalist and songwriter in the British band Engineers, also three album releases to their name thus far.
The music: synthesizer, piano, guitar and drum computer, a reduced, yet bacchanal instrumental combination of ambient, electronica and shoegaze sounds. Transporting the sound of shoegazer aesthetics into an electronic context, this is how Ulrich Schnauss once described his artistic goal. Influenced by bands such as My Bloody Valentine, Slowdive, Cocteau Twins and Chapterhouse on the one hand, yet wholly at ease with the electronica of bands like The Orb, Bionaut, Orbital, 808 State and unequivocally appreciative of veterans of the genre, Tangerine Dream or Manuel Gottsching for example. A brother in spirit of Robin Guthrie one might say, an apposite epithet for Schnauss. His collaborative partner Mark Peters might also be considered his soul brother. Through his band, Engineers, he has similarly found success in following the footsteps of his musical paragons. Engineers have released wonderful albums of dream pop, infused with the same spirit as the solo efforts of Schnauss.
The music: synthesizer, piano, guitar and drum computer, a reduced, yet bacchanal instrumental combination of ambient, electronica and shoegaze sounds. Transporting the sound of shoegazer aesthetics into an electronic context, this is how Ulrich Schnauss once described his artistic goal. Influenced by bands such as My Bloody Valentine, Slowdive, Cocteau Twins and Chapterhouse on the one hand, yet wholly at ease with the electronica of bands like The Orb, Bionaut, Orbital, 808 State and unequivocally appreciative of veterans of the genre, Tangerine Dream or Manuel Gottsching for example. A brother in spirit of Robin Guthrie one might say, an apposite epithet for Schnauss. His collaborative partner Mark Peters might also be considered his soul brother. Through his band, Engineers, he has similarly found success in following the footsteps of his musical paragons. Engineers have released wonderful albums of dream pop, infused with the same spirit as the solo efforts of Schnauss.
Electronic duo Ulrich Schnauss (A Long Way to Fall, A Strangely Isolated Place) and Mark Peters (of the band Engineers) return with a second collaborative album titled Tomorrow is Another Day, released by Bureau B. This second project offers a sublime exploration into their signature expressionistic landscapes while exploring the potential of a collaborative model in which Schnauss's keyboards and Peters's guitar work together in juxtaposition.
Ulrich Schnauss, born in the industrial port town of Kiel in northern Germany in 1977, emerged in Berlin's drum 'n bass scene in the mid-1990s. Mark Peters was born in Liverpool in 1975 and embraced a deeply euphonic pop aesthetic that incorporated intricate formal structures. The two musicians met years ago when both were making shoegaze music and formed a close friendship. Schnauss joined Peters's band Engineers as a keyboardist in 2010. After the collapse of the second-wave shoegaze movement in the early 2000s, both musicians drifted away from the genre's dreamy, shimmering aesthetic and returned solidly to their own musical roots. Peters has subsequently explored classic, guitar-based music and Schnauss has returned to his origins as an electronica producer.
Tomorrow is Another Day represents a maturing of the pair's creative process. Following their first collaborative album titled Underrated Silence (2012), which seamlessly blends the two instrumental voices into an integrated sonic landscape that delivers surprisingly intense emotion beneath the surface of its delicate composition, Schnauss and Peters subsequently began to craft a musical exchange in which each musician's contribution was emphasized in contrast to the other's voice. The differences in Schnauss' and Peters's musical backgrounds are highlighted and embraced as their two voices emerge in dialogue. Here, the synths are drier, the guitars more discreet. The shifting tonality of the music's richly layered patterning defines its composition with punctuated gestures as melodic lines emerge in sharper relief. With neither musical style overpowering the other, the effect is that of two equally masterful voices in coherent conversation, celebrating the dynamic nature of instrumental combination and exploring a new method of creative approach - one that allows for concurrence and dissent, in turn.
Ulrich Schnauss, born in the industrial port town of Kiel in northern Germany in 1977, emerged in Berlin's drum 'n bass scene in the mid-1990s. Mark Peters was born in Liverpool in 1975 and embraced a deeply euphonic pop aesthetic that incorporated intricate formal structures. The two musicians met years ago when both were making shoegaze music and formed a close friendship. Schnauss joined Peters's band Engineers as a keyboardist in 2010. After the collapse of the second-wave shoegaze movement in the early 2000s, both musicians drifted away from the genre's dreamy, shimmering aesthetic and returned solidly to their own musical roots. Peters has subsequently explored classic, guitar-based music and Schnauss has returned to his origins as an electronica producer.
Tomorrow is Another Day represents a maturing of the pair's creative process. Following their first collaborative album titled Underrated Silence (2012), which seamlessly blends the two instrumental voices into an integrated sonic landscape that delivers surprisingly intense emotion beneath the surface of its delicate composition, Schnauss and Peters subsequently began to craft a musical exchange in which each musician's contribution was emphasized in contrast to the other's voice. The differences in Schnauss' and Peters's musical backgrounds are highlighted and embraced as their two voices emerge in dialogue. Here, the synths are drier, the guitars more discreet. The shifting tonality of the music's richly layered patterning defines its composition with punctuated gestures as melodic lines emerge in sharper relief. With neither musical style overpowering the other, the effect is that of two equally masterful voices in coherent conversation, celebrating the dynamic nature of instrumental combination and exploring a new method of creative approach - one that allows for concurrence and dissent, in turn.
“The U-Men are one of the best bands I’ve ever seen. They were hypnotic, frenetic, powerful and compelling. It was impossible to resist getting sucked into their weird, darkly absurd world. They effortlessly blended The Sonics, Link Wray, Pere Ubu, and Captain Beefheart. Their shows were loose-limbed, drunken dance parties and no two shows were alike. The U-Men were avant-garage explorers and, most importantly, they fucking rocked. I was lucky enough to live in their hometown and I saw them every chance I could.
“From 1983 to 1987, the U-Men were the undisputed kings of the Seattle Underground. No one else came close. They ruled a bleak backwater landscape populated by maybe 200 people. They were the only band that could unify the disparate sub-subcultures and get all 200 of those people to fill a room. Anglophilic, dress-dark Goths; neo-psych MDA acolytes; skate punks who shit in bathtubs at parties; Mod vigilantes who tormented the homeless with pellet guns; college kids who thought college kids were lame; Industrial Artistes; some random guy with a moustache; and eccentrics who insisted that they couldn’t be pigeonholed: all coalesced around the U-Men.
“Sub Pop co-founder, Bruce Pavitt released the first record by the U-Men, a 4-song 12” EP on Bombshelter Records. By the time they had recorded songs for another record, Bruce was too broke to release it on his proto-Sub Pop label, so he hooked them up with Gerard Cosloy at Homestead Records. This was a big deal. Homestead had a heavy rep at the time with recent releases by Foetus, Nick Cave, Sonic Youth, and Big Black. I was sure that the release of their second 12”, Stop Spinning, would propel the U-Men into the ranks of those Homestead acts and the worldwide underground would get hip to Seattle’s finest. Following the departure of bassist Jim Tillman (replaced by Tom Hazelmyer of Amphetamine Reptile Records, and then Tony Ransome), the band recorded two fantastic singles, and recorded their one full-length album, ‘Step On A Bug’, for Black Label, which was run out of Fallout Records. They became increasingly disenchanted with the direction the Seattle underground was heading and called it quits in 1989.
“The U-Men had nothing to do with Grunge. They were their own unique thing. I loved them and I still miss them. I remember thinking at the time that most of their recordings were a little soft and didn’t capture the power of the band live. Now, thirty years later, their records sound great to me and we are lucky that they exist. I’m stoked that Sub Pop complied these long out-of-print records and scrounged up some unreleased songs so that everyone has a chance to take a trip back to old weird Seattle.” - Mark Arm, Seattle, August 2017
“From 1983 to 1987, the U-Men were the undisputed kings of the Seattle Underground. No one else came close. They ruled a bleak backwater landscape populated by maybe 200 people. They were the only band that could unify the disparate sub-subcultures and get all 200 of those people to fill a room. Anglophilic, dress-dark Goths; neo-psych MDA acolytes; skate punks who shit in bathtubs at parties; Mod vigilantes who tormented the homeless with pellet guns; college kids who thought college kids were lame; Industrial Artistes; some random guy with a moustache; and eccentrics who insisted that they couldn’t be pigeonholed: all coalesced around the U-Men.
“Sub Pop co-founder, Bruce Pavitt released the first record by the U-Men, a 4-song 12” EP on Bombshelter Records. By the time they had recorded songs for another record, Bruce was too broke to release it on his proto-Sub Pop label, so he hooked them up with Gerard Cosloy at Homestead Records. This was a big deal. Homestead had a heavy rep at the time with recent releases by Foetus, Nick Cave, Sonic Youth, and Big Black. I was sure that the release of their second 12”, Stop Spinning, would propel the U-Men into the ranks of those Homestead acts and the worldwide underground would get hip to Seattle’s finest. Following the departure of bassist Jim Tillman (replaced by Tom Hazelmyer of Amphetamine Reptile Records, and then Tony Ransome), the band recorded two fantastic singles, and recorded their one full-length album, ‘Step On A Bug’, for Black Label, which was run out of Fallout Records. They became increasingly disenchanted with the direction the Seattle underground was heading and called it quits in 1989.
“The U-Men had nothing to do with Grunge. They were their own unique thing. I loved them and I still miss them. I remember thinking at the time that most of their recordings were a little soft and didn’t capture the power of the band live. Now, thirty years later, their records sound great to me and we are lucky that they exist. I’m stoked that Sub Pop complied these long out-of-print records and scrounged up some unreleased songs so that everyone has a chance to take a trip back to old weird Seattle.” - Mark Arm, Seattle, August 2017
FORMAT INFORMATION
3xLP Box Set Info: This 3xLP box set collects the entire studio-recorded output of the U-Men, remastered, plus five unreleased songs, with 16 pages of photos, liner notes and interviews with the band. Executive produced by Jack Endino.
Rebel in Styylle is one of the last four U-Roy albums and on this one, The Originator, like people call him, has decided to share each song with one artist, just to name a few: George Nooks, Anthony B, Bushman and Tony Curtis. He used some of the top musicians in Jamaica to record, such as China Smith, Obeah, Axeman and Dean Fraser. So of course, the result sounds like of the best U-Roy album and everyone who loves the king of toasters should have it!
"Duntisbourne Abbots..." is U-Ziq's first new album for four years and first new material released since 2005. It's a more reflective body of work compared to the whirlwind of chaos that was "Bilious Paths"; introspective and rather melancholic, U-Ziq revisits his roots in the early 90s ambient techno scene pioneered by, among others, The Black Dog, Aphex Twin and himself. Amongst these 17 tracks of off-key melodies, nauseous harmonies and woozy beats can be found gems such as the beautiful "Strawberry Fields Hotel" in which a lone bassline strikes out a refrain of unexpected simplicity while bees swarm overhead around a fig tree. And "Drum Light" where a five-part melody gives way to a startling noise assault. "Acid Steak Night", a collaboration with label-mate The Doubtful Guest, is a more straightforward techno number with 303 basslines warring it out with spooky melodic synth lines. A melodic tour de force.
U.V. are an electronic duo comprising singer Zandra Klievens and writer / producer Jonjo Feather. They formed in late 2012 and are based in Manchester, U.K. They spent their formative months writing and performing in Berlin and returned to the UK in June 2013. Zandra is the former lead vocalist with NME favourites The ABC Club and Jonjo has previously released two critically acclaimed solo albums under his own name. U.V. released their first single 'Wish' in June 2013. Their new single 'Receiver' is out now on limited edition audio cassette and download.
Third Man Records is proud to announce the release of "The Blackout," a limited edition U2 12" in conjunction with Island Records. The limited edition U2 12" will be available for Record Store Day Black Friday, November 24th. "The Blackout" marks the first physical release from U2's eagerly awaited new album, SONGS OF EXPERIENCE, due later this year. The 12" includes both the original album version backed by an exclusive remix by the band's longtime collaborator, Jacknife Lee. Hailed by Rolling Stone as "a dynamic new track,"
"The Blackout" was revealed this summer via a surprise live video, filmed during U2's blockbuster Joshua Tree Tour 2017. Third Man co-founder Ben Blackwell said, "The sound quality of this incredibly special record is a perfect example of the caliber of product Third Man Pressing is capable of producing. We couldn't be more proud." TMR's "The Blackout" 12" will be extremely limited, with just one single pressing at Third Man Pressing, the label's state-of-the-art vinyl production facility in Detroit. Black vinyl editions will be available at all participating Record Store Day shops.
"The Blackout" was revealed this summer via a surprise live video, filmed during U2's blockbuster Joshua Tree Tour 2017. Third Man co-founder Ben Blackwell said, "The sound quality of this incredibly special record is a perfect example of the caliber of product Third Man Pressing is capable of producing. We couldn't be more proud." TMR's "The Blackout" 12" will be extremely limited, with just one single pressing at Third Man Pressing, the label's state-of-the-art vinyl production facility in Detroit. Black vinyl editions will be available at all participating Record Store Day shops.
Reduced
"No Line On The Horizon" is U2's twelfth studio album, and follows the massive success of 2004's "How To Dismantle An Atomic Bomb". The first single from the album, "Get On Your Boots", may be an all-out rocker akin to previous successes like "Vertigo", but the remainder of the album sees the band diversifying in ways similar to their "Zooropa" days. It is inescapably a U2 album, though, so Bono's vocals still speak of injustices personal and global, and The Edge's guitar work continues to be both feathery and metallic in equal dose.
FORMAT INFORMATION
Ltd CD Info: Limited edition digipak includes 36 page colour booklet and fold out poster along with access to exclusive downloadable Anton Corbijn film.
13th studio album from the Irish stadium rocking 4piece. The latest collection of songs from Bono, Edge, Larry and Adam is 11tracks including brand new single ‘The Miracle (Of Joey Ramone) as well as potential future singles ‘Song for Someone’, ‘Every Breaking Wave’ and ‘Trouble’ ft Lykke Li. Recorded over the last 4 years, produced by Danger Mouse, Ryan Fedder and Paul Epworth.
U2's "The Joshua Tree" has been meticulously remastered from the original analogue master tapes to mark 20 years since its release. 'There has been continuous demand from U2 fans to have "The Joshua Tree" properly re-mastered', says Paul McGuinness. 'As always, the band had to make sure it was right, and now it is.' In 1987, "The Joshua Tree" reached Number 1 around the world and won a Grammy for 'Album of the Year', while U2 won the Brit Award for Best International Act and Time Magazine put the band on its cover, proclaiming them 'Rock's Hottest Ticket'. Including the singles "I Still Haven't Found What I'm Looking For", "Where The Streets Have No Name" and "With Or Without You", "The Joshua Tree" went on to sell in excess of 20 million.
FORMAT INFORMATION
2xLtd CD Info: Deluxe edition including a second CD of B-sides and demos from the original album sessions.
"Sex, Dreams and Denim Jeans" was put together over three years, recorded in various apartments around Paris whenever Uffie was able to take short-lived breaks from touring. The album has all the hallmarks of the hedonistic club kid who introduced herself with the fearless "Pop The Glock" back in 2006, while the influence of Feadz and the production hand of beat-and-synths wizard Mr Oizo are strongly felt over many of the tracks. But there is also a melodic, pop sensibility being explored for the first time. The result can be heard in the likes of title track, which samples Lou Reed but sees Uffie toying with John Hughes-esque high school heartbreak, and "Illusion Of Love", which features the dulcet tones of Matte Safer (The Rapture). Another important influence over "Sex, Dreams & Denim Jeans" happened when Uffie was introduced to Mirwais while recording the album. Having worked on Madonna albums such as "Music" and "Confessions On A DanceFloor", Mirwais was perfectly poised to helped nurture Uffie's inner pop star. Tracks like "ADD SUV" (featuring Pharrell) poke fun at the rap fraternity's obsession with possessions, but at the core of this idiosyncratic album, in which Uffie flits from rude girl to sweetheart, is fun.
FORMAT INFORMATION
Ltd CD Info: Limited edition CD comes in denim pocket.
Ugly Things
Issue #50 - Spring 2019
We have some exceptional cover stories for this one, including the tragic mystery story of the Lost & Found from California, an expansive interview with writer/musician/archivist Lenny Kaye (Nuggets, Patti Smith Group), beat group maniacs the Renegades, and girl garage group the Debutantes. Other interviews include glam rock hero Alan Merrill (Vodka Collins, Arrows) and Mike Tingley, who tells the story behind his sought-after 1968 baroque pop album The Abstract Prince. Plus Bob Mosley of Moby Grape, Dutch beat punks the Selfkick and Dat En Wat, Howlin’ Wolf, the Doors’ Waiting For the Sun, the Pretty Things’ Last Stand, and Cyril Jordan explaining folk-rock in his imitable style. Not to forget our popular review sections covering the latest reissues and rock-related books.
Uji spins a hypnotic spell of sounds on his debut solo release; “Alborada”, joining the canon of recent producers re-imaging world sounds within the realms electronic music - think Auntie Flo, Nicola Cruz, Clap! Clap! and Populous. Yet his music has thoughtful nuance and textural depth, exploring a rich organic palette of sounds that will easily appeal to fans of Nicolas Jaar, Pantha Du Prince and John Talabot too.
Having been born in Buenos Aires, Argentina, and raised throughout Latin America - the album reflects his experiences in both the Latin American and Afro-Latin diasporas. On tracks like “La Descarri“ featuring Corina Lawrence and Miss Bolivia, Uji skillfully crafts scenes from the high plains of Bolivia in their yearly carnaval celebrations before transporting us to Colombia’s tropical “pueblos” (villages) - dancing into the sweaty night on his remix of Petrona Martinez’s “Mariangola/Milagros” and then to daybreak in a Berlin warehouse on “Kiok” featuring Barrio Lindo.
Most of the sounds on the album are field recordings done by Uji himself, compiling a vast sound bank over the years on his global travels, including a wide array of instruments from his collection such as; congas, cununo, marimba, balafon, charango, bombo leguero, sonajas, as well as analog drum machines, samplers, synthesizers and vocals. A multi layered assemblage with deep and rich textures from around the world.
Having been born in Buenos Aires, Argentina, and raised throughout Latin America - the album reflects his experiences in both the Latin American and Afro-Latin diasporas. On tracks like “La Descarri“ featuring Corina Lawrence and Miss Bolivia, Uji skillfully crafts scenes from the high plains of Bolivia in their yearly carnaval celebrations before transporting us to Colombia’s tropical “pueblos” (villages) - dancing into the sweaty night on his remix of Petrona Martinez’s “Mariangola/Milagros” and then to daybreak in a Berlin warehouse on “Kiok” featuring Barrio Lindo.
Most of the sounds on the album are field recordings done by Uji himself, compiling a vast sound bank over the years on his global travels, including a wide array of instruments from his collection such as; congas, cununo, marimba, balafon, charango, bombo leguero, sonajas, as well as analog drum machines, samplers, synthesizers and vocals. A multi layered assemblage with deep and rich textures from around the world.
FORMAT INFORMATION
2xLP Info: The LP comes in deluxe reverse-board sleeve with double-printed metallic gold Pantone design.
All heavy with warmth and mystery, Ulaan Khol returns with another round of vertical incantations aimed at the heavens. As Ulaan Khol, Steven R. Smith (Hala Strana, Thuja, Mirza) creates dense tapestries that revel in the eternal and infinite. The bursts of tones and grip on formal structures can compare to the best of Hototogisu or Handful of Dust, though filtered through an ample dose of Ash Ra Tempel. Supreme while discreet, these songs carry a sense of unnerving calm and optimistic gloom, often within a single composition. Swaths of heavy feedback cascade against sinister organ workouts and varied percussion that's at times pounding and at others distant.
Ulaan Markhor is the latest solo moniker for Californian Steven R. Smith's studio explorations. "Spiral Horns, Black Onions, et al." fuses recent itinerant work under the aliases Ulaan Khol (blistering basement psychedelia) and Ulaan Passerine (moody & meditative zones) abd unveils a distinctly American version of kosmische, with heavy Levon Helm/Clyde Stubblefield-indebted rhythm & groove replacing motorik pulses.
Fluid synth, bass, organ and searing guitar textures - all played by Smith - augment the beats. The result is something akin to The Meters meets Amon Duul II.
Fluid synth, bass, organ and searing guitar textures - all played by Smith - augment the beats. The result is something akin to The Meters meets Amon Duul II.
The relatively short amount of time between their first and second albums is testament to the band’s self-contained creative environment and the productivity it encourages. There’s a tendency to label this degree of self-reliant creativity ‘DIY’ - and the band do certainly feel emboldened by that ethos - yet to consider Modern English Decoration solely in these terms is a disservice. Their craft is considered and purposeful, the means of its production reflecting the band’s overall vision rather than the value system of an often haphazard and accidental DIY culture. “We enjoy listening to music through the album format and want our records to reflect that”, says Rhys Edwards (guitars, vocals, synthesiser).
Ulrika Spacek formed in Berlin in one night, when 14-year-long friends Rhys Edwards and Rhys Williams conceptualised ‘Ulrika Spacek’ and came up with The Album Paranoia as their debut album title. Moving back to London with the intention to record it, they were joined by Joseph Stone (guitars, organ, synths, violin), Ben White (bass) and Callum Brown (drums, percussion), ossifying into the five-piece they are now. The album was released soon after with little forewarning and was accompanied by a year long, near-monthly club night called Oysterland.
Given the lyrics often favour abstraction and the vocals can be more impressionistic than declarative, the album title itself offers perhaps the most telling entry point to the record. In part, it’s a self-effacing play on an interior design cliché that references the meticulous creative processes the band adheres to. There’s also a nod towards the environment in which it was created – a Victorian house turned art gallery turned home studio
Unsurprisingly given the context of its creation, Modern English Decoration might be considered a companion piece of sorts to The Album Paranoia.But there are crucial differences. Most notably, this isn’t the work of the Ulrika Spacek conceptualised by Edwards and Williams in Berlin – Modern English Decoration is the band as five rather than two people, and it shows. Those who have witnessed the intensity of their live show will instantly recognise the merits in this. The bass and drums provide a versatile anchor, at once soft, then aggressive, while the vocals drift woozily in and out, like druggy hindsight or skewed premonition. With three guitarists in the band guitars were always going to be central to the music, but what is less expected is the dynamic interplay between the trio that suggests a three-headed version of the Verlaine-Lloyd axis at the heart of Television. What’s more, the absence of reverb is integral, in part attributable to the ambience of the studio, but also a conscious decision in order to add focus. And focus is the abiding term: this is an album designed to be just so - a 45 minute commitment, a surrender.
Ulrika Spacek formed in Berlin in one night, when 14-year-long friends Rhys Edwards and Rhys Williams conceptualised ‘Ulrika Spacek’ and came up with The Album Paranoia as their debut album title. Moving back to London with the intention to record it, they were joined by Joseph Stone (guitars, organ, synths, violin), Ben White (bass) and Callum Brown (drums, percussion), ossifying into the five-piece they are now. The album was released soon after with little forewarning and was accompanied by a year long, near-monthly club night called Oysterland.
Given the lyrics often favour abstraction and the vocals can be more impressionistic than declarative, the album title itself offers perhaps the most telling entry point to the record. In part, it’s a self-effacing play on an interior design cliché that references the meticulous creative processes the band adheres to. There’s also a nod towards the environment in which it was created – a Victorian house turned art gallery turned home studio
Unsurprisingly given the context of its creation, Modern English Decoration might be considered a companion piece of sorts to The Album Paranoia.But there are crucial differences. Most notably, this isn’t the work of the Ulrika Spacek conceptualised by Edwards and Williams in Berlin – Modern English Decoration is the band as five rather than two people, and it shows. Those who have witnessed the intensity of their live show will instantly recognise the merits in this. The bass and drums provide a versatile anchor, at once soft, then aggressive, while the vocals drift woozily in and out, like druggy hindsight or skewed premonition. With three guitarists in the band guitars were always going to be central to the music, but what is less expected is the dynamic interplay between the trio that suggests a three-headed version of the Verlaine-Lloyd axis at the heart of Television. What’s more, the absence of reverb is integral, in part attributable to the ambience of the studio, but also a conscious decision in order to add focus. And focus is the abiding term: this is an album designed to be just so - a 45 minute commitment, a surrender.
RIYL: Mercury Rev, Sonic Youth, My Bloody Valentine, Radiohead, Deerhunter, Atlas Sound.
Ulrika Spacek is a British experimental rock band formed in Berlin by Rhys Edwards and Rhys Williams, relocated to Homerton, London. Work on debut album ‘The Album Paranoia’ began in the summer of 2014 in the band’s shared house KEN, and was finished there last month. In conjunction to the making of ‘The Album Paranoia’, the band has curated a number of nights under the name ‘Oysterland’ combining their first live performances with a series of exhibitions. The band's music has drawn various interpretations, a cross pollination of hypnotic fuzz, Verlain-Malkmus guitar idiosyncrasies and intertwining feelings of both angst and melancholia.
Ulrika Spacek is a British experimental rock band formed in Berlin by Rhys Edwards and Rhys Williams, relocated to Homerton, London. Work on debut album ‘The Album Paranoia’ began in the summer of 2014 in the band’s shared house KEN, and was finished there last month. In conjunction to the making of ‘The Album Paranoia’, the band has curated a number of nights under the name ‘Oysterland’ combining their first live performances with a series of exhibitions. The band's music has drawn various interpretations, a cross pollination of hypnotic fuzz, Verlain-Malkmus guitar idiosyncrasies and intertwining feelings of both angst and melancholia.
STAFF COMMENTS
Mine says: Ulrika Spacek's debut album is an addictive roller coaster of blissful psychedelia, hypnotic melancholy and raucous, repetitive kraut rock. Heavy and droning in some places, dreamy and pensive in others, its atmospheric soundscape makes it an album to get lost in.FORMAT INFORMATION
LP includes MP3 Download Code.
Warehouse find of this cult Guidance release from Ulterior Motive and Future Cut. Collaborating together, the Renegade Hardware pair and Bournemouth duo ably construct three killer DnB jams that should keep the floor moving.
"Flash Mob" let's loose some wild hoovers and lazer beam bass sounds for a re-invention of Bad Company's classic "Planet Dust" blueprint. "Bagleys" is a ridig and tectonic steppa with heavy rastaman / pirate radio shout-outs. Finally, "Second Nature" is the funkiest and most dramatic offering here, allowing devastating brass, liquid keys and expert Reeese bass programming to conjure up a supremo liquid roller.
"Flash Mob" let's loose some wild hoovers and lazer beam bass sounds for a re-invention of Bad Company's classic "Planet Dust" blueprint. "Bagleys" is a ridig and tectonic steppa with heavy rastaman / pirate radio shout-outs. Finally, "Second Nature" is the funkiest and most dramatic offering here, allowing devastating brass, liquid keys and expert Reeese bass programming to conjure up a supremo liquid roller.
Dusk is the third album from London-based duo Ultimate Painting, a ten song set that expands the group’s sound from their self-titled debut and their critically acclaimed sophomore effort Green Lanes, about whose tunes Pitchfork raved their “deceptively simple interplay slowly worms into your synapses...” Dusk heads along the same path, albeit in a slightly different direction, forging to new territory by heading inward. Most groups would kill to have one talented songwriter in their ranks, but Ultimate Painting are lucky enough to be comprised of two singular voices in Jack Cooper and James Hoare.
The pair's distinctive songwriting styles began to blur a bit with Green Lanes, but on Dusk it ’s hard to tell where Cooper ends & Hoare begins. Their tunes weave in & out of each other like the duo’s respective six-strings, spiralling around each other in a laconic dance. Album opener ‘Bills’ dives head-first into a crystalline pool of jangle, furthering the duo’s rep as purveyors of the Verlaine/Lloyd legacy, but despite the evident influence of American guitar pop both past & present, the group’s recorded an album that feels decidedly English. Cooper’s abstract poeticism balanced perfectly alongside Hoare’s alluring & universal pop leanings. The group’s discovered a simple lushness in Dusk’s arrangements, sometimes only with subtle additions like Hoare’s recently acquired Wurlitzer piano that drives tunes like ‘Lead The Way’ or washes underneath others like ‘Monday Morning, Somewhere Central’. They've tapped into the subtle grace that infects the mood and emotions experienced at times like sunrise & dusk. Hopefullness. Resignation. Ennui. A breathing in. A breathing out.
Dusk was once again recorded to tape by guitarist James Hoare in his London flat. The casual setting allowed the sessions & songs to unfold naturally, with the two of them accompanied by recent live drummer Melissa Rigby, who drums on the entirety of Dusk. Her skills lend a rhythmic elasticity to songs like ‘A Portrait of Jason’ and ‘I Can’t Run Anymore’, with jazzy undertones that break from the band’s previously unadorned 4/4 leanings. Dusk feels different and cements the group’s presence in the modern world guitar pop, finding voice in the allure of quietude.
RIYL: Nap Eyes, Luna, Yo La Tengo, Gene Clark, Grateful Dead, White Fence.
The pair's distinctive songwriting styles began to blur a bit with Green Lanes, but on Dusk it ’s hard to tell where Cooper ends & Hoare begins. Their tunes weave in & out of each other like the duo’s respective six-strings, spiralling around each other in a laconic dance. Album opener ‘Bills’ dives head-first into a crystalline pool of jangle, furthering the duo’s rep as purveyors of the Verlaine/Lloyd legacy, but despite the evident influence of American guitar pop both past & present, the group’s recorded an album that feels decidedly English. Cooper’s abstract poeticism balanced perfectly alongside Hoare’s alluring & universal pop leanings. The group’s discovered a simple lushness in Dusk’s arrangements, sometimes only with subtle additions like Hoare’s recently acquired Wurlitzer piano that drives tunes like ‘Lead The Way’ or washes underneath others like ‘Monday Morning, Somewhere Central’. They've tapped into the subtle grace that infects the mood and emotions experienced at times like sunrise & dusk. Hopefullness. Resignation. Ennui. A breathing in. A breathing out.
Dusk was once again recorded to tape by guitarist James Hoare in his London flat. The casual setting allowed the sessions & songs to unfold naturally, with the two of them accompanied by recent live drummer Melissa Rigby, who drums on the entirety of Dusk. Her skills lend a rhythmic elasticity to songs like ‘A Portrait of Jason’ and ‘I Can’t Run Anymore’, with jazzy undertones that break from the band’s previously unadorned 4/4 leanings. Dusk feels different and cements the group’s presence in the modern world guitar pop, finding voice in the allure of quietude.
RIYL: Nap Eyes, Luna, Yo La Tengo, Gene Clark, Grateful Dead, White Fence.
STAFF COMMENTS
Barry says: An equal mix of pastoral English countryside melodies and jangly San-Franciscan flower power vibes, Dusk is a meticulously crafted and impeccably accomplished slice of indie-pop. Sweet, silken vocals and woozy melodic lines are brought together gracefully, and accomplished with such confidence that they make it sound easy. At once a perfect representation of now, and a scintillating herald of days gone by.Atlanta's favourite trio of power pop vixenettes have done it again, this time delivering a refreshingly gritty sweet pop gem showcasing a musical breadth ranging from straight forward pop crunch and rock heavy
velocity to slightly twisted Psychedelia, blending the guitar attack of Cheap Trick, the vocal gymnastics of Throwing Muses and the pop sensibilities of the Bangles, Breeders, and the Beatles without running
out of breath. Britta Phillips of LUNA plays bass! Woohoo!
Ultralyd was formed in 2004 when legendary saxophonist Frode Gjerstad suggested that the trio Gjerstad/Olsen/Hana needed a distinct bass player. The very first rehearsal with Kjetil D Brandsdal (also of Noxagt) was released as the self titled album "Ultralyd" in 2004. After a UK tour the same year the band established the sound captured on the album "Chromosome Gun" which was released in 2005 on the American avant-rock label Load Records. Frode Gjerstad decided to leave later in the year and for a short while the band operated as a trio before recruiting new sax player Kjetil Møster. During two extensive European tours and several studio sessions Ultralyd's direction slowly changed from a rather chaotic free rock approach towards composition and more structured forms of improvisation, experimenting with different layers and altered roles of the instruments, integrating elements from contemporary music, electronic music, funk and doom metal and ending up with something that might be classified as chamber rock. However contradictory that might sound. Ultralyd is part of the N-Collective, an international conglomerate of musicians, composers, improvisors and artists.
Behold the debut EP of the hardcore punk band created to spread the gospel of professional wrestling champion UltraMantis Black. Having spent over a decade dominating the Chikara wrestling scene, UltraMantis teamed up with members of the beloved punk band Pissed Jeans to form a blistering political hardcore band that is equal parts The Locust, Deadguy and Melt Banana. Imagine the best parts of 90s straight-edge hardcore filtered through the bodyslamming genius of Vince McMahon and you have UltraMantis Black! Recommended if you like: Pissed Jeans, (early) Dillinger Escape Plan, Lightning Bolt, Daughters, Agoraphobic Nosebleed, Genghis Tron, Spazz.
Umberto is an artist whose work is distinctly cinematic. Composer Matt Hill’s performances and delicate compositions taken together have the cumulative ability to surprise. Hill, whose Umberto moniker is an homage to director Umberto Lenzi, is an experienced and active film composer, most recently scoring the film ‘All That We Destroy’. In addition to film and commercial work, Umberto has released a number of lauded solo recordings.
On Umberto’s Thrill Jockey debut ‘Helpless Spectator’, his haunting music is otherworldly and affecting alike, leaving the listener with an unsettling and profound air of mystery. Umberto’s early recordings harken back to classic synth- driven sci-fi and horror soundtracks. ‘Helpless Spectator’ uses synthesizers in an entirely different manner. Cold, looming monolith tones are now warm, softer pads that envelope the listener while guitar, cello, banjo and pedal steel add movement and light. Still, Hill unsettles with his arrangements and melodic phrasing. Unexpected shifts and turns in even the most tender movements of ‘Helpless Spectator’ are inflected with a contemplative melancholy and fragility.
Umberto makes masterful use of varied textures throughout the album, blending supernatural effects and grounded instruments to create distinct atmospheres. ‘Helpless Spectator’ is inquisitive and moving in equal measure, an album of sombre elegance and delicate arrangements whose cumulative effect of unease is entirely unexpected.
On Umberto’s Thrill Jockey debut ‘Helpless Spectator’, his haunting music is otherworldly and affecting alike, leaving the listener with an unsettling and profound air of mystery. Umberto’s early recordings harken back to classic synth- driven sci-fi and horror soundtracks. ‘Helpless Spectator’ uses synthesizers in an entirely different manner. Cold, looming monolith tones are now warm, softer pads that envelope the listener while guitar, cello, banjo and pedal steel add movement and light. Still, Hill unsettles with his arrangements and melodic phrasing. Unexpected shifts and turns in even the most tender movements of ‘Helpless Spectator’ are inflected with a contemplative melancholy and fragility.
Umberto makes masterful use of varied textures throughout the album, blending supernatural effects and grounded instruments to create distinct atmospheres. ‘Helpless Spectator’ is inquisitive and moving in equal measure, an album of sombre elegance and delicate arrangements whose cumulative effect of unease is entirely unexpected.
Umbra Sum is Ed Sánchez-Gómez, a Costa Rican expatriate. Following a love/hate relationship with classical guitar studies at the University of Costa Rica, Umbra Sum emerged in 2003 as a way of reconciling with the instrument. After leaving Costa Rica, Ed wandered around Europe and later Argentina, where he acquired a taste for the South American folk music that permeates his work. He left Argentina to study improvisation in Chicago, where he currently resides.
'Aún no has demostrado nada' is the first official release by Umbra Sum: an eclectic mini-album that has hints of the summertime harmonies of the Beach Boys, the psychedelic folk of Los Jaivas, the doleful spirit of Hood, and the melodious uproar of My Bloody Valentine and Dinosaur Jr.
In this debut album, harmonious noise, snaking rhythms and layered voices all serve as a chorus that creates a lyrical mural, hearkening to the heavens and earth: like a rudimentary yet well-made treehouse made of exotic woods, projecting out from within the dense Indie-Rock forest that surrounds us.
'Aún no has demostrado nada' was recorded by Ed Sánchez-Gómez in Evanston, IL; mixed by Joel Jiménez-Cabezas in Goshen, IN; and mastered by Jeff Lipton (Arcade Fire, Bon Iver, The Magnetic Fields) at Peerless Mastering in Boston, MA.
'Aún no has demostrado nada' is the first official release by Umbra Sum: an eclectic mini-album that has hints of the summertime harmonies of the Beach Boys, the psychedelic folk of Los Jaivas, the doleful spirit of Hood, and the melodious uproar of My Bloody Valentine and Dinosaur Jr.
In this debut album, harmonious noise, snaking rhythms and layered voices all serve as a chorus that creates a lyrical mural, hearkening to the heavens and earth: like a rudimentary yet well-made treehouse made of exotic woods, projecting out from within the dense Indie-Rock forest that surrounds us.
'Aún no has demostrado nada' was recorded by Ed Sánchez-Gómez in Evanston, IL; mixed by Joel Jiménez-Cabezas in Goshen, IN; and mastered by Jeff Lipton (Arcade Fire, Bon Iver, The Magnetic Fields) at Peerless Mastering in Boston, MA.
We're so glad and proud to announce the reissue of a very underrated Piero Umiliani's masterpiece. "SWITCHED ON NAPLES", originally released in 1972 on OmiCron LP 0023, is an outstanding Library with pure touch of genius: Maestro Umiliani revisits Naples popular songs in Electronic way by the use of synthesizer. The record is entirely carried out with Electronic sounds.
Zel Zele launches with a reissue of a holy grail 7” by Umit Aksu Orkestrasi - a band formed by Turkish pianist, composer and arranger Umit Aksu. Originally released in 1975, “Bermuda Seytan Ucgeni” is an outstanding experimentation of forward-thinking jazz-funk played by some of Turkey’s most talented musicians.
“Bermuda Seytan Ucgeni” is the musical adaptation of The Bermuda Triangle, also known as the Devil’s Triangle. A whirlpool leading into a jazz/funk piece with playful horn section, funky bass-line and drum breaks, almost sounding like an adventurous Blaxploitation soundtrack. A daring sax solo comes into play by the second minute that sets the ship on fire. Just when you think that must be it, starts the synthesiser havoc; chaos, alarms, whirlwind all goes off as the mystery of the triangle unfolds.
Bogaziçi Köprüsü “Bogaziçi Köprüsü” meaning Bosphorus Bridge, is the name of the first bridge in Istanbul that connects the Asian and European sides of the city. The track was released 2 years after the bridge was built. It starts with a car engine which is about to take a nostalgic and playful ride through the Bosphorus Bridge. Melodic, synth led tune that reminds us of early Italian library recordings.
“Bermuda Seytan Ucgeni” is the musical adaptation of The Bermuda Triangle, also known as the Devil’s Triangle. A whirlpool leading into a jazz/funk piece with playful horn section, funky bass-line and drum breaks, almost sounding like an adventurous Blaxploitation soundtrack. A daring sax solo comes into play by the second minute that sets the ship on fire. Just when you think that must be it, starts the synthesiser havoc; chaos, alarms, whirlwind all goes off as the mystery of the triangle unfolds.
Bogaziçi Köprüsü “Bogaziçi Köprüsü” meaning Bosphorus Bridge, is the name of the first bridge in Istanbul that connects the Asian and European sides of the city. The track was released 2 years after the bridge was built. It starts with a car engine which is about to take a nostalgic and playful ride through the Bosphorus Bridge. Melodic, synth led tune that reminds us of early Italian library recordings.
A monumental career in pop music isn't easy when the system is built against you. But South African songwriter, producer and multi-instrumentalist "Om" Alec Khaoli managed to do just that with his band Umoja. As apartheid reached its violent peak, Khaoli pursued an escapist form of dance music that resonated across his complicated country, influencing countless legends and releasing recordings across the world. Umoja, which means oneness or unity in Swahili, was clear in its message to the public. "Oriented towards society, advocating uniting of people. Race was the big thing," Khaoli says. "We wanted people to come together and unite and just form a oneness." Indeed the band's fanbase was mixed among black, colored and white fans. However, their lyrics were not overtly political. "If you wrote songs about apartheid, we would disguise them. If we used language as it was, we would get arrested." The band helped refine a commercially powerful emergent style, bubblegum, with the album 707 in 1988. "Bubblegum music was about escape," according to Khaoli. "If you had grown up in South Africa at the time, there was nothing more in your life than oppression. It was even in your dreams. Anything that was a way out was welcome... When this music was playing everyone just wanted to dance, just have a good time."
STAFF COMMENTS
Patrick says: There's a special place in my heart for Afro-synth stuff, and this set of Bubblegum business from Umoja is right up my alley. Sparkling synthwork, cheesy melodies and uplifting vocals - what more could you possibly want from life?
At long last a superb reissue from this massively influential band that featured Jay Farrar, Jeff Tweedy and Mike Heirdon.
FORMAT INFORMATION
CD Info: Digitally remastered from the original tapes, with a booklet containing many unseen photos, memorablia and new liner notes by Rolling Stone's David Fricke.
At long last a superb reissue from this massively influential band that featured Jay Farrar, Jeff Tweedy and Mike Heirdon.
FORMAT INFORMATION
CD Info: Digitally remastered from the original tapes, with a booklet containing many unseen photos, memorablia and new liner notes by Rolling Stone's David Fricke.
Debut album from Under A Dying Sun formed in the Bay area from ex-members of Three Summers Gone, Nexus Six and Living Room War. It's a highly anticipated set of high-intensity emocore tracks that have a moody reflective edge but when it gets heavy (as it does-frequently) then brother look out!
Parisian émigrés Underground Railroad return with a brand new album ‘White Night Stand’, a record that finally strikes the keynote of what the band are all about.
Across its 11 songs, produced by the band in London's Stamford Hill, guitars explore and meander, circling the biggest melodies of the band's career so far. It's intense and amped, touching and subtle at points and hugely tuneful, taking in early Radiohead and Liars as well as the beloved American alt rock bands that made the three fall in love with music in the first place.
There are moments of fitting intensity. Most notably 'Seagull Attack', the album's crescendo centrepiece, that clocks in at over nine minutes with its hypnotic repetitive guitar cascade. Then there's the distinctly Radioheadesque 'Ginkgo Biloba', another album highlight.
Further inspiration across the album came from ‘Twin Peaks’ and David Lynch, with Marion naming 'The Black Widow', 'The Orchid's Curse', and 'Traces To Nowhere' after episodes of the show, and 'Yellow Suit' in reference to his 'Blue Velvet' film.
Across its 11 songs, produced by the band in London's Stamford Hill, guitars explore and meander, circling the biggest melodies of the band's career so far. It's intense and amped, touching and subtle at points and hugely tuneful, taking in early Radiohead and Liars as well as the beloved American alt rock bands that made the three fall in love with music in the first place.
There are moments of fitting intensity. Most notably 'Seagull Attack', the album's crescendo centrepiece, that clocks in at over nine minutes with its hypnotic repetitive guitar cascade. Then there's the distinctly Radioheadesque 'Ginkgo Biloba', another album highlight.
Further inspiration across the album came from ‘Twin Peaks’ and David Lynch, with Marion naming 'The Black Widow', 'The Orchid's Curse', and 'Traces To Nowhere' after episodes of the show, and 'Yellow Suit' in reference to his 'Blue Velvet' film.
Berlin via Manchester outfit The Underground Youth present their ninth album, Montage Images of Lust & Fear, on Fuzz Club Records. In support of the new album, and keeping to their prodigious work ethic, the band have also announced details of a mammoth tour across the UK, Europe, Asia and Australia that’ll see them visit 25 different countries. In its rawest moments (‘The Death of the Author’, ‘Blind II’), The Underground Youth’s haunting post-punk melancholia recalls the abrasive banshee-like noise of The Birthday Party and Suicide; jagged, shrieking guitars twist and turn as Craig Dyer’s dour vocals jerk from morose and impassioned to macabre screams.
Though this is an album of two sides; the more intense and challenging songs punctuated by heartfelt and solemn ballads (‘Too Innocent To Be True’, ‘This Anaesthetised World’) that are aided by the additional lap steel guitar of Kristof Hahn (Swans) who plays on six of the album’s nine songs. This is The Underground Youth’s most intense and honest record yet - in the ambitious songwriting and live recording (a first for the band), as well as the lyrical subject matter. Talking about the album, Craig explains “Montage Images of Lust & Fear is inspired by the succession of experiences we are increasingly dealt by the media. Sex, violence, love, suspicion, desire, distress, etc.
The album acts as a montage itself, the subject of each song dealing with an aspect of either lust or fear. Like flicking through the channels on a television. Until the end you are overcome by white noise. Static.” Since the release of their aptly-titled eighth full-length, What Kind Of Dystopian Hellhole Is This?, in February 2017, the band have set out on four UK/European tours clocking in at over 100 shows (not including stand-alone gigs). If all that time touring has taught the band anything, it’s how to work together as a collective and Montage Images Of Lust & Fear is all the better for it - the first The Underground Youth record with all the band members involved in the writing. “Unlike previous albums in which I’ve written the tracks and taken them into the studio to record with or without the band, this record is the product of us all working on the music and arranging the songs together,” Craig explains: “We recorded the album live with the four of us playing in the same small room and with our guitarist Leo as producer, running back and forth from the mixing desk to the live room. As a result, the recording perfectly captures the raw intensity of our live performance, something we’ve never done before.
Though this is an album of two sides; the more intense and challenging songs punctuated by heartfelt and solemn ballads (‘Too Innocent To Be True’, ‘This Anaesthetised World’) that are aided by the additional lap steel guitar of Kristof Hahn (Swans) who plays on six of the album’s nine songs. This is The Underground Youth’s most intense and honest record yet - in the ambitious songwriting and live recording (a first for the band), as well as the lyrical subject matter. Talking about the album, Craig explains “Montage Images of Lust & Fear is inspired by the succession of experiences we are increasingly dealt by the media. Sex, violence, love, suspicion, desire, distress, etc.
The album acts as a montage itself, the subject of each song dealing with an aspect of either lust or fear. Like flicking through the channels on a television. Until the end you are overcome by white noise. Static.” Since the release of their aptly-titled eighth full-length, What Kind Of Dystopian Hellhole Is This?, in February 2017, the band have set out on four UK/European tours clocking in at over 100 shows (not including stand-alone gigs). If all that time touring has taught the band anything, it’s how to work together as a collective and Montage Images Of Lust & Fear is all the better for it - the first The Underground Youth record with all the band members involved in the writing. “Unlike previous albums in which I’ve written the tracks and taken them into the studio to record with or without the band, this record is the product of us all working on the music and arranging the songs together,” Craig explains: “We recorded the album live with the four of us playing in the same small room and with our guitarist Leo as producer, running back and forth from the mixing desk to the live room. As a result, the recording perfectly captures the raw intensity of our live performance, something we’ve never done before.
Lo-fi Cinematic Landscape is a collection of primarily instrumental recordings that would form the soundtrack to an unfinished short film by Craig Dyer began work on back in 2013. Although the script was never fully conceived and no footage was filmed, these recordings accompany the story as he imagined it would be told. Originally released by Fnord Tapes on tape back in 2015.
The Underground Youth have always been steeped in a romantic nostalgia, their poignant psychedelic post-punk sounding like what might happen if Rowland S. Howard, Leonard Cohen, Bauhaus and The Velvet Underground jammed in a room together, but on this new 45 the band have turned this nostalgia in on themselves. The lyrics are taken from Dyer’s old notebooks dating back nearly a decade and in its minimalistic yet impassioned instrumentation, it also feels like somewhat of a throwback to the older recordings that left them to pick up a cult following (their 2010 LP Mademoiselle 2010 picking up over six million views on Youtube.) 'Fill The Void' and 'Take Me Awry' offer a reflective journey through the band's impassioned psychedelic post-punk, with it's 80s-style percussion, funeral vocals croons and dark jangly instrumentation that occasionally breaks down into a whirlwind of fuzzed-out guitars.
This desire to strip things back to their raw fundamentals and reflect on the last decade of the project came after the two tracks were nearly shelved because they didn’t quite fit the new direction they’re set to travel down on their forthcoming album. “We’d been experimenting with a completely different sound whilst in the studio recording our ninth album. What we created with these two tracks wasn't really what I was looking for and so I almost scrapped them,” Craig continues: “I just couldn't shake the rhythm of 'Fill the Void' though, we ran through the track as a band and took it out on the road. It fast became one of the most exciting tracks of our set, with Olya's pounding drum and Leo jumping on the additional snare towards the end. When we got back from the tour we revisited the tracks in the studio and decided to use them for a special release.” As The Underground Youth set to delve into exciting new waters, on this special release they've taken us on a typically-gloomy trip down memory lane - not just in terms of post-punk and psychedelia's darker histories, but also for the band themselves.
This desire to strip things back to their raw fundamentals and reflect on the last decade of the project came after the two tracks were nearly shelved because they didn’t quite fit the new direction they’re set to travel down on their forthcoming album. “We’d been experimenting with a completely different sound whilst in the studio recording our ninth album. What we created with these two tracks wasn't really what I was looking for and so I almost scrapped them,” Craig continues: “I just couldn't shake the rhythm of 'Fill the Void' though, we ran through the track as a band and took it out on the road. It fast became one of the most exciting tracks of our set, with Olya's pounding drum and Leo jumping on the additional snare towards the end. When we got back from the tour we revisited the tracks in the studio and decided to use them for a special release.” As The Underground Youth set to delve into exciting new waters, on this special release they've taken us on a typically-gloomy trip down memory lane - not just in terms of post-punk and psychedelia's darker histories, but also for the band themselves.
Manchester's The Underground Youth is here with with yet another hauntingly beautiful record that blends shoegaze, post-punk and psychedelia. TUY is the name under which Manchester’s underground poet, Craig Dyer, has produced his records since 2009. In 2011, Fuzz Club Records started putting out his prolific catalogue, bringing to light a number of LPs and singles that had only circulated virally on the Internet. Since then, TUY, with Craig and Olya Dyer as the core of the band, have expanded to a five piece, gaining a solid international fan-base and touring all around the UK and Europe.
Drowned In Sound said of their Eindhoven set: “combining the mesmeric rhythms of The Velvet Underground - Olya Dyer's driving beats make her the new psych generation's Mo Tucker - with rippling feedback associated with Bad Moon Risingera Sonic Youth and a dash of the Mary Chain thrown in as well, they're a captivating force”.
Drowned In Sound said of their Eindhoven set: “combining the mesmeric rhythms of The Velvet Underground - Olya Dyer's driving beats make her the new psych generation's Mo Tucker - with rippling feedback associated with Bad Moon Risingera Sonic Youth and a dash of the Mary Chain thrown in as well, they're a captivating force”.
STAFF COMMENTS
Barry says: Manchester's Underground Youth return with another slice of post-everything psych-rock-tronica. Combining beautiful guitar melodies and repeated vocal refrains with overwhelming pastoral electronic washes, this is a collection founded on indie pioneers past, but expanded upon to the Nth degree and updated. 'Drown In Me' is a particularly accomplished slice of synth-heavy industrial sadness, interspersed with bursts of cautiously optimistic shoegaze-y guitars. Nothing too sunny about this, but it's nice to wallow in the bleakness of life sometimes, and there really is no better way to do it. A soundtrack to industrial ruins, and rainy evenings. Highly recommended.FORMAT INFORMATION
Ltd LP Info: Limited repress!
Manchester’s The Underground Youth have built an impressive back catalogue of seven full-length albums showcasing a hazy cocktail of neo-psych, post-punk, shoegaze and chillwave, of which every copy of each album has been long sold out. Now for the first time ever their highly sought-after album Mademoiselle is being given a physical release by Fuzz Club, alongside reissues of their sold out 2013 and 2015 albums The Perfect Enemy For God and Haunted. The story of Mademoiselle is a testament to the power of great music being able to reach an audience, regardless of the fact the artist might be unsigned, underground and almost unheard of. Originally released in 2010 and only available online, Mademoiselle has piled up millions of views on YouTube, and saw The Underground Youth acquire a cult following at a ferocious pace.
The album has continued to endear audiences with its bluesy psychedelic-leaning, based on beautifully crafted lyricism and a sculpted sound. Layers of reverb-drenched, folk-indebted guitars and forlorn vocals bleed over hypnotising, monolithic drums to create a record that is 46 minutes of lethargic, lo-fi psych mastery. To celebrate the release of the album, The Underground Youth will be headlining Fuzz Club’s new monthly London event Under The Arches on 5th March, followed by shows at Manchester’s Cosmosis Festival, Lisbon Psych Fest and the group’s fifth European tour. Since releasing Mademoiselle, The Underground Youth has experimented and evolved into deeper complexity exploring electronica, industrialism and post-punk, but always with an incredible astuteness for beautiful songwriting
The album has continued to endear audiences with its bluesy psychedelic-leaning, based on beautifully crafted lyricism and a sculpted sound. Layers of reverb-drenched, folk-indebted guitars and forlorn vocals bleed over hypnotising, monolithic drums to create a record that is 46 minutes of lethargic, lo-fi psych mastery. To celebrate the release of the album, The Underground Youth will be headlining Fuzz Club’s new monthly London event Under The Arches on 5th March, followed by shows at Manchester’s Cosmosis Festival, Lisbon Psych Fest and the group’s fifth European tour. Since releasing Mademoiselle, The Underground Youth has experimented and evolved into deeper complexity exploring electronica, industrialism and post-punk, but always with an incredible astuteness for beautiful songwriting
FORMAT INFORMATION
Coloured LP Info: Available on 180g "Milky Clear" coloured vinyl
As critically acclaimed and as commercially successful as the Undertones debut LP, Hypnotised features both the classic 3 minute pop punk of its predecessor (listen to My Perfect Cousin, There Goes Norman and Whizz Kids) whilst highlighting a new found maturity and sensitivity with tracks like the plaintive 'Wednesday Week' and stately 'The Way Girls Talk'.
2016 digital remaster from the original master tapes.
2016 digital remaster from the original master tapes.
FORMAT INFORMATION
Ltd LP Info: 180 gram heavyweight vinyl, original artwork replicated.
"A few months ago it was decided that OGen004 would be a vinyl and digital release of some poems by Jack Underwood. We had no real idea how much interest would be generated by a 7" single of poetry but everyone who had heard Jack's poetry seemed to like it and the idea was we would treat it like any other release of a song by a band - we thought that if we didn't make out we thought it was a little odd that nobody else would."
Underworld and Iggy Pop collaborate for "Teatime Dub Encounters", released via Caroline International.While overseeing the soundtrack for T2 Trainspotting, Underworld’s Rick Smith arranged a meeting with Iggy Pop in a room at the Savoy Hotel on London’s Strand to discuss working on collaborative music for the film.
Says Rick Smith 'Iggy was staying at The Savoy and graciously said 'yeah you know we we can meet and talk about something' because we both felt a strong connection to Trainspotting and to Danny. I turned up thinking I've got one chance here to convince this gentleman that we should work together. So I turned up with basically half my studio, hired a hotel room, set up and sat waiting'. Their respective tracks "Lust for Life" and "Born Slippy (Nuxx)" had perfectly bookended the first Trainspotting film two decades previously. On arrival, Iggy found a fully working studio set up and eagerness to get cracking.
Says Iggy Pop 'When you are confronted with somebody who has a whole bloody studio there in the hotel room, a Skyped director who has won the Oscar recently and a fucking microphone in front of you and 30 finished pieces of very polished music, you don't want to be the wimp that goes 'uh uhhh', so my mind was racing.'
"Teatime Dub Encounters" is the result of a few clandestine hotel room recording sessions, that began a few weeks after Underworld and Iggy Pop had each released their last albums. It is neither historical or a tribute to past work. It is the work of artists in motion, engaged in a process that both bring to all of their work - one that uses spontaneity as a spur for creativity.
The first track from "Teatime Dub Encounters", "Bells & Circles", was premiered live as part of Underworld’s recent headline performance at the BBC Biggest Weekend Belfast. A second track "I’ll See Big", is streaming everywhere now. Something of a flipside to "Bells & Circles"," I’ll See Big" is a
wash of gorgeous ambient sound that features Iggy recounting how friends – however dysfunctional – have saved him from a lifetime of bad decisions. The lyric for I’ll See Big was inspired by a conversation Iggy had with Danny Boyle about the subtext of both Trainspotting films.
Says Rick Smith 'Iggy was staying at The Savoy and graciously said 'yeah you know we we can meet and talk about something' because we both felt a strong connection to Trainspotting and to Danny. I turned up thinking I've got one chance here to convince this gentleman that we should work together. So I turned up with basically half my studio, hired a hotel room, set up and sat waiting'. Their respective tracks "Lust for Life" and "Born Slippy (Nuxx)" had perfectly bookended the first Trainspotting film two decades previously. On arrival, Iggy found a fully working studio set up and eagerness to get cracking.
Says Iggy Pop 'When you are confronted with somebody who has a whole bloody studio there in the hotel room, a Skyped director who has won the Oscar recently and a fucking microphone in front of you and 30 finished pieces of very polished music, you don't want to be the wimp that goes 'uh uhhh', so my mind was racing.'
"Teatime Dub Encounters" is the result of a few clandestine hotel room recording sessions, that began a few weeks after Underworld and Iggy Pop had each released their last albums. It is neither historical or a tribute to past work. It is the work of artists in motion, engaged in a process that both bring to all of their work - one that uses spontaneity as a spur for creativity.
The first track from "Teatime Dub Encounters", "Bells & Circles", was premiered live as part of Underworld’s recent headline performance at the BBC Biggest Weekend Belfast. A second track "I’ll See Big", is streaming everywhere now. Something of a flipside to "Bells & Circles"," I’ll See Big" is a
wash of gorgeous ambient sound that features Iggy recounting how friends – however dysfunctional – have saved him from a lifetime of bad decisions. The lyric for I’ll See Big was inspired by a conversation Iggy had with Danny Boyle about the subtext of both Trainspotting films.
"Beaucoup Fish" is the fifth album by Underworld, released in 1999. Following the huge success of the single "Born Slippy" from its use in the film Trainspotting, Beaucoup Fish was Underworld's most anticipated release. It spawned several successful singles, including "Push Upstairs", "Jumbo" and "Moaner", which was previously used in the film Batman & Robin. "Beaucoup Fish" was well-received critically (one review calling it 'electronica's "The Dark Side of the Moon"') and remains Underworld's most successful album, with over one million copies sold. It is the last studio album to feature Darren Emerson who departed in 2001 and third album by the techno / house orientated version of Underworld which became active in about 1991/1992 (tracks were being released around this time under the names Lemon Interupt and Underworld). I personally remember this being a particularly arresting album in 1999, with a rollercoaster of dynamics which took you to the dizzying heights of techno stompers "Push Upstairs" & "King Of Snake" and down to the come-down frazzled lullabies of "Skym" and "Winjer" via the Portishead-esque introspection of "Push Downstairs" and the baggy breakbeats of "Bruce Lee". A classic.
FORMAT INFORMATION
4xDeluxe CD Info: The bespoke remastered super deluxe format features 40 tracks across 4CDs with a 60 page booklet. It includes the original albums classic singles remastered for 2016 as well as unreleased tracks, alternative versions & B-sides.
Released on October 25th 2019, the new album DRIFT SONGS marks the conclusion of their hugely ambitious 52-week DRIFT Series. During that period, music, film and text pieces are created and published every Thursday as part of the band’s on-going, very public recording process; a unique and visionary space Smith and Hyde have created for themselves to exist within. By the end of the DRIFT series, more new music and film will have been released by Underworld in its one-year duration than in the last fifteen years.
DRIFT SONGS expands and enhances a selection of the recordings the duo have released since they began their audio/visual experiment in November 2018. The album will be released as a single CD, double vinyl and crucially an all-encompassing box-set featuring the music, visuals and text pieces released throughout the entire 52-week DRIFT.
DRIFT SONGS is Underworld’s first album release since 2016’s Barbara, Barbara we face a shining future (“an album full of heart, soul and brilliant noise” The Observer ) and the first physically released music since 2018’s Q award winning collaboration with Iggy Pop, Teatime Dub Encounters (“Born of the friction from a restless need to create… others of their standing may choose the wallowing legacy of safety. These guys do not.” NME ).
LP Info: Gatefold Sleeve, 180g heavyweight double vinyl.
DRIFT SONGS expands and enhances a selection of the recordings the duo have released since they began their audio/visual experiment in November 2018. The album will be released as a single CD, double vinyl and crucially an all-encompassing box-set featuring the music, visuals and text pieces released throughout the entire 52-week DRIFT.
DRIFT SONGS is Underworld’s first album release since 2016’s Barbara, Barbara we face a shining future (“an album full of heart, soul and brilliant noise” The Observer ) and the first physically released music since 2018’s Q award winning collaboration with Iggy Pop, Teatime Dub Encounters (“Born of the friction from a restless need to create… others of their standing may choose the wallowing legacy of safety. These guys do not.” NME ).
STAFF COMMENTS
Matt says: An impressively on-going, interactive, year-long project from the band culminates in the album's actual release in October. Always keen to push the envelope, the idea behind this is very satisfying.FORMAT INFORMATION
Coloured LP Info: Gatefold Sleeve, 180g heavyweight limited double coloured vinyl.LP Info: Gatefold Sleeve, 180g heavyweight double vinyl.
Two decades on from its release in 1994, this is one of the most influential British electronic records of all time. To celebrate its twentieth anniversary the album has been meticulously remastered at Abbey Road for a deluxe reissue by Underworld’s Rick Smith.
The 2LP Vinyl - pressed on 180gm - contains the original album, remastered by Rick Smith from the original MIDI.
Having seen their synth-rock band Freur grind to a halt in 1989, Karl Hyde and Rick Smith relocated to Romford, hooked up with DJ Darren Emerson and became the art-rock reinvented as techno outfit Underworld. Featuring Smith's stream of consciousness vocals (created by taking a pen an paper with him and “mapping out journeys across cities at night”) and Smith, Emerson and Hyde's immense electronica / techno cuts (equally inspired by early influences like Kraftwerk, Steve Reich, Hawkwind and Tangerine Dream as the early 90s Romford rave scene) 'Dubnobasswithmyheadman' is a landmark 1990s techno album. With Emerson on hand to road test tracks in his DJ sets, the album has key dancefloor winners, but also works a home-listening full length LP.
The 2LP Vinyl - pressed on 180gm - contains the original album, remastered by Rick Smith from the original MIDI.
Having seen their synth-rock band Freur grind to a halt in 1989, Karl Hyde and Rick Smith relocated to Romford, hooked up with DJ Darren Emerson and became the art-rock reinvented as techno outfit Underworld. Featuring Smith's stream of consciousness vocals (created by taking a pen an paper with him and “mapping out journeys across cities at night”) and Smith, Emerson and Hyde's immense electronica / techno cuts (equally inspired by early influences like Kraftwerk, Steve Reich, Hawkwind and Tangerine Dream as the early 90s Romford rave scene) 'Dubnobasswithmyheadman' is a landmark 1990s techno album. With Emerson on hand to road test tracks in his DJ sets, the album has key dancefloor winners, but also works a home-listening full length LP.
FORMAT INFORMATION
2xLP includes MP3 Download Code.
Two decades on from its release in 1994, this is one of the most influential British electronic records of all time. To celebrate its twentieth anniversary the album has been meticulously remastered at Abbey Road for a deluxe reissue by Underworld’s Rick Smith. Revisiting the original MIDI files, Rick uncovered a wealth of previously unreleased material and rare alternate mixes that sit alongside the record’s original companion singles and remixes and offer a fascinating insight into the creation of the record. The resultant release is the definitive version of one of those rare records that truly deserves its iconic status.
This LP-sized 5-CD Super Deluxe Box Set contain the original remastered album, associated singles and remixes, previously unreleased bonus tracks and an entire 7-song live jam. Box Set contains a book containing memorabilia from the period and new artworks by design collective tomato.
Having seen their synth-rock band Freur grind to a halt in 1989, Karl Hyde and Rick Smith relocated to Romford, hooked up with DJ Darren Emerson and became the art-rock reinvented as techno outfit Underworld. Featuring Smith's stream of consciousness vocals (created by taking a pen an paper with him and “mapping out journeys across cities at night”) and Smith, Emerson and Hyde's immense electronica / techno cuts (equally inspired by early influences like Kraftwerk, Steve Reich, Hawkwind and Tangerine Dream as the early 90s Romford rave scene) 'Dubnobasswithmyheadman' is a landmark 1990s techno album. With Emerson on hand to road test tracks in his DJ sets, the album has key dancefloor winners, but also works a home-listening full length LP.
This LP-sized 5-CD Super Deluxe Box Set contain the original remastered album, associated singles and remixes, previously unreleased bonus tracks and an entire 7-song live jam. Box Set contains a book containing memorabilia from the period and new artworks by design collective tomato.
Having seen their synth-rock band Freur grind to a halt in 1989, Karl Hyde and Rick Smith relocated to Romford, hooked up with DJ Darren Emerson and became the art-rock reinvented as techno outfit Underworld. Featuring Smith's stream of consciousness vocals (created by taking a pen an paper with him and “mapping out journeys across cities at night”) and Smith, Emerson and Hyde's immense electronica / techno cuts (equally inspired by early influences like Kraftwerk, Steve Reich, Hawkwind and Tangerine Dream as the early 90s Romford rave scene) 'Dubnobasswithmyheadman' is a landmark 1990s techno album. With Emerson on hand to road test tracks in his DJ sets, the album has key dancefloor winners, but also works a home-listening full length LP.
Originally released in March 1996, 'Second Toughest In The Infants' is Underworld’s masterpiece. Following 1994’s groundbreaking predecessor 'Dubnobasswithmyheadman' (the record that cemented the band’s reputation as one of the UK’s most important dance acts), 'Second Toughest…' was the point they forged out alone, in turn creating some of the most forward thinking electronic music this country has ever produced. This reissue sees the album remastered for the first time for a series of special editions that collects together for the first time rare singles, remixes and unreleased studio and live tracks.
'Second Toughest…' is the perfect hybrid of man and machine. It’s a record that crackles with the frantic energy of pirate stations half tuned on FM dials; one that strolls through grimy cities at night and ducks between dog tracks and neon-lit all-night stores. Lyrically, it’s voyeurism from the molten core of the dancefloor - a place where fragments of overheard conversations are hand spliced to fizzling, sparking rhythm tracks to create a strange, dizzying, inimitable form of music.
Although informed by the nascent drum’n’bass scene, minimalist composition and the European techno underground, Second Toughest… only ends up sounding like Underworld. It’s a truly unique album – the sound of Rick Smith, Karl Hyde and Darren Emerson working at the height of their powers, utterly unaffected by the prevailing trends of the time and creating properly peerless music.
As with 'dubnobasswithmyheadman', the reissue of 'Second Toughest In The Infants' sees the original album remastered for the first time (at Abbey Road). The extra discs feature non-album singles, B-sides and remixes from the time as well as a selection of previously unreleased tracks that provide a fascinating insight into the creative process around the record. The fourth disc on the super-deluxe version features the seven unreleased recordings that map out the genesis of 'Born Slippy (Nuxx)'. They take the iconic track from earliest embryonic studio version through to a final extended mix via several previously unheard live versions from 1994
'Second Toughest…' is the perfect hybrid of man and machine. It’s a record that crackles with the frantic energy of pirate stations half tuned on FM dials; one that strolls through grimy cities at night and ducks between dog tracks and neon-lit all-night stores. Lyrically, it’s voyeurism from the molten core of the dancefloor - a place where fragments of overheard conversations are hand spliced to fizzling, sparking rhythm tracks to create a strange, dizzying, inimitable form of music.
Although informed by the nascent drum’n’bass scene, minimalist composition and the European techno underground, Second Toughest… only ends up sounding like Underworld. It’s a truly unique album – the sound of Rick Smith, Karl Hyde and Darren Emerson working at the height of their powers, utterly unaffected by the prevailing trends of the time and creating properly peerless music.
As with 'dubnobasswithmyheadman', the reissue of 'Second Toughest In The Infants' sees the original album remastered for the first time (at Abbey Road). The extra discs feature non-album singles, B-sides and remixes from the time as well as a selection of previously unreleased tracks that provide a fascinating insight into the creative process around the record. The fourth disc on the super-deluxe version features the seven unreleased recordings that map out the genesis of 'Born Slippy (Nuxx)'. They take the iconic track from earliest embryonic studio version through to a final extended mix via several previously unheard live versions from 1994
Born at Scotland's postpunk crossroads in 1979, Boots For Dancing kicked down the boundary walls of a played-out scene and introduced the UK to a more funky way of doing Punk. Hugely popular as a live act, often wiping the floor with the bands they were supporting, Boots was something genuinely ahead of the epoch's curve and played an important part in the vanguard of the burgeoning Post Punk and Punk-Funk movements. Sadly, Boots For Dancing's light shone brightly but briefly, though the band had connections with, and cross-pollinations between, better-known acts such as The Rezillos, The Human League and Josef K. Their boundless energy and undeniable talent never proved quite enough for great success. Great songs, even bolstered with good looks, are no guarantee of success in the fickle music business. Ultimately, business got in their way and the group disbanded in 1982 with just a few single releases in its canon, though a wealth of potential hits had been put to tape. Athens of the North is proud to present the band's 1982 album-that-never-was - an album that surely would have made them. It still sounds as fresh as it was when recorded.
- The holy grail lost scottlish post punk LP - Extensive Sleeve Notes by Music and Theature writer Neil Cooper'
- Additional Sleeve notes by Jo Callis (Human League /Rezillos) and Mark Hagen (BBC Radio)
- The holy grail lost scottlish post punk LP - Extensive Sleeve Notes by Music and Theature writer Neil Cooper'
- Additional Sleeve notes by Jo Callis (Human League /Rezillos) and Mark Hagen (BBC Radio)
"The Oncoming Storm", Unearth's third album and Metal Blade debut is probably their best to date, some achievement following on as it does from the critically acclaimed "Stings Of Conscience" and "Endless" LPs. This release should definitely cement their position as nu-metal/hardcore innovators, a reputation that has earned them tour slots with In Flames, Hatebreed, Lamb Of God, Killswitch Engage, Soilwork and Chimera. Vocalist Trevor Phipps gives his most powerful performance, alternating hardcore razored throat rage with a cleaner vocal style; all beautifully set against a burning double seven string guitar assault and bruising double bass, fuelling crushing breakdowns. Gorgeous, apocalyptic and articulate.
Cologne's techno powerhouse Baroc arrive at release number four with a little help from Cairo producer/producers (no info on that one!) Unfinished Portraits, who drop three deep and dope untitled cuts! Stretching over the whole of the A-side, the EP opener is a sophisticated techno cut driven into the heart of the dancefloor by a low-rolling bassline and hissing hats. The subdued pads and subtle tape hiss give the track texture, while the slinky keys and skitterish vocal samples add an air of mystery that'll keep you coming back for more. On the flipside, Unfinished Portraits take us to church with a gospel-techno bomb whose father, son and holy spirit are KDJ, Levon and Legowelt. Hard hitting percussion, impish leadlines and smoked out church samples combine perfectly into an uplifting club cut that'll make a saint out of the staunchest sinner. The B2 closes the EP out in mindboggling fashion as Egypt's finest mix a dislocated drum track with intangible pads and serve chilled with murmered vocals. Far out!
FORMAT INFORMATION
12" Info: Hand-stamped with postcard inserts
BBR#17 IS HERE!
It's by Mancunian (well, Ashton Under Lyne actually), instrumental, electronic four-piece Unhappy Shoppers, a group of youngsters who make DIY electronica in the same style as those acts who graced MORR Music / Awkward Silence Records and City Centre Offices with the likes of Solvent, Isan, Bauri etc. It's what they call domestic disco - one side is quirky pop and the otherside is downtempo'd coldwave. I love it as it reminds me of that golden age of electronica and indie-minded youths mixing styles and influences. A glorious EP of electro beats, walls of distorted battered syths, faulty radio waves, melancholic rhythms, wierd sounds and a whirr & click groove. The sound of the suburbs channelled through affordable technology! 'Horsepower And The Modern Slog' is an upbeat electro stormer with a gorgeous melody. 'Ersatz Beat' could be by Adult or LeCar or Perspects with its minimal approach. 'Every Day' is a beautiful dreamy pop tune that could be what happened if The Field Mice went electro-pop while 'Untitled 2' is a gloomy hazy blurred downtempo track with more than a hint of doom. 'Save As' concludes with dark industrious tones sunk deep in its recesses while toxic gloop seeps from knife wounds across its tattoo-covered arms.
Limited 6 track 7" & 7 track download in a doublesided sleeve with a double sided insert including 'colour your own' insert on one side (colouring pencils included). The envelope contains all the usual Box Bedroom Goodies - BBR Letter with detailed band notes, bag of confetti & download code. Beautifully presented as always. Recommended tackle from Manchester's finest 7" label!
It's by Mancunian (well, Ashton Under Lyne actually), instrumental, electronic four-piece Unhappy Shoppers, a group of youngsters who make DIY electronica in the same style as those acts who graced MORR Music / Awkward Silence Records and City Centre Offices with the likes of Solvent, Isan, Bauri etc. It's what they call domestic disco - one side is quirky pop and the otherside is downtempo'd coldwave. I love it as it reminds me of that golden age of electronica and indie-minded youths mixing styles and influences. A glorious EP of electro beats, walls of distorted battered syths, faulty radio waves, melancholic rhythms, wierd sounds and a whirr & click groove. The sound of the suburbs channelled through affordable technology! 'Horsepower And The Modern Slog' is an upbeat electro stormer with a gorgeous melody. 'Ersatz Beat' could be by Adult or LeCar or Perspects with its minimal approach. 'Every Day' is a beautiful dreamy pop tune that could be what happened if The Field Mice went electro-pop while 'Untitled 2' is a gloomy hazy blurred downtempo track with more than a hint of doom. 'Save As' concludes with dark industrious tones sunk deep in its recesses while toxic gloop seeps from knife wounds across its tattoo-covered arms.
Limited 6 track 7" & 7 track download in a doublesided sleeve with a double sided insert including 'colour your own' insert on one side (colouring pencils included). The envelope contains all the usual Box Bedroom Goodies - BBR Letter with detailed band notes, bag of confetti & download code. Beautifully presented as always. Recommended tackle from Manchester's finest 7" label!
FORMAT INFORMATION
Ltd 7" Info: Limited 6 track 7" & 7 track download in a doublesided sleeve with a double sided insert including 'colour your own' insert on one side (colouring pencils included). The envelope contains all the usual Box Bedroom Goodies - BBR Letter with detailed band notes, bag of confetti & download code.
Seven track EP of beats and breaks from The Unheard, whose previous release was on Switchflicker. On the A-side we get five cuts that range from trad jazz chop ups, via sofa-loafing downbeat and sultry hip hop-soul to uptempo b-boy throw downs. Flip over for a seriously mellow dubwise track and the epic 13 minute "Attack of the Vibrarian" cut'n'paste extravaganza.
Uniform formed in New York City in 2013 when old friends Ben Greenberg (ex-The Men, Hubble, and the producer/engineer responsible for much of the Sacred Bones catalog) and Michael Berdan (ex-Drunkdriver, York Factory Complaint) reconnected and realized that they had evolved to a similar place musically. Wanting as intimate an experience as possible, they decided to keep the project a two-man show, eschewing a live rhythm section for programmed drums and low-end synths, augmented with Greenberg playing guitar and Berdan handling vocals. The collaboration quickly yielded a raw 12", followed by a full-length, Perfect World. The Ghosthouse12", is the first Uniform release on Sacred Bones Records, and it will be followed by a full-length in early 2017.
Ghosthouse shares a basic configuration with the previous Uniform releases, but the tools have evolved far beyond their initial drum machine and bass synth setup. These songs have grown from a broader palette of sounds — shots, explosions, implosions, impacts, ricochets, collapse; the sounds of conflict, war, and destruction that we witness every day. The result is the most sonically confrontational Uniform material to date, and Berdan’s lyrics, largely inspired by his lifelong battle with insomnia and depression, match them for relentlessness.
The three songs on Ghosthouseshow the incisiveness that Greenberg and Berdan now have at their command. The title track addresses the feeling of lying awake at night and wondering if it’s still possible to make peace with an estranged friend after their death. “Waiting Period,” a riff on the Hubert Selby Jr. novel of the same name, is the internal dialogue of a man waiting for his handgun application to clear so he can kill himself. The “Symptom of the Universe” cover pays mostly faithful homage to Black Sabbath, but trades the original’s “summer skies of love” for something far bleaker. These tracks reveal the incredible range that’s possible within the Uniform musical template, and they provide a fascinating glimpse of what’s to come.
Ghosthouse shares a basic configuration with the previous Uniform releases, but the tools have evolved far beyond their initial drum machine and bass synth setup. These songs have grown from a broader palette of sounds — shots, explosions, implosions, impacts, ricochets, collapse; the sounds of conflict, war, and destruction that we witness every day. The result is the most sonically confrontational Uniform material to date, and Berdan’s lyrics, largely inspired by his lifelong battle with insomnia and depression, match them for relentlessness.
The three songs on Ghosthouseshow the incisiveness that Greenberg and Berdan now have at their command. The title track addresses the feeling of lying awake at night and wondering if it’s still possible to make peace with an estranged friend after their death. “Waiting Period,” a riff on the Hubert Selby Jr. novel of the same name, is the internal dialogue of a man waiting for his handgun application to clear so he can kill himself. The “Symptom of the Universe” cover pays mostly faithful homage to Black Sabbath, but trades the original’s “summer skies of love” for something far bleaker. These tracks reveal the incredible range that’s possible within the Uniform musical template, and they provide a fascinating glimpse of what’s to come.
Following the release of critically acclaimed LP Wake in Fright, which had two songs featured in the new season of David Lynch’s Twin Peaks, it was time for Uniform vocalist Michael Berdan and instrumentalist Ben Greenberg to return to the studio. The duo decided to up the ante and add a third member to help perfect their vicious post-industrial dystopian cyber-punk. After some deliberation, Greenberg called upon drummer Greg Fox (Liturgy, Zs) to help round out the sound they were looking for. Using a mix of triggered samples and real drums along with layered synths and good old electric guitar, the trio arrived at what would become The Long Walk after only a few short days in the studio.
From the opening whirr of the title track, it’s clear that the band is onto something special. Recorded in Strange Weather studios in the first part of 2018, The Long Walk is eight new tracks by the duo of Greenberg and Berdan, incorporating Fox’s skills behind the drum kit to add an entirely new dimension to the signature Uniform sound. Ditching sequenced tracks, Greenberg opted for single takes to highlight the Frankenstein-like guitar-bass-synth hybrid that oozes throughout the recording. Meanwhile, crushing guitar thunder is punched up by Fox’s masterful drumming while Berdan’s cries from the nether feel more desperate and morose than ever. This is Uniform at its most bleak, emotional, and powerful.
Lyrically, The Long Walk deals with paradoxes in spirituality and organized religion. Berdan went to Catholic school for most of his primary education. Fear of Biblical hell and damnation felt tangible. As Berdan grew and matured emotionally, he began to reject Catholicism bit by bit. In the recent past, Berdan found himself slowly reconnecting with his background, observing how the faith that he found so repressive served as a great source of comfort and strength for so many. Yet therein lay the contradiction that drove him from religion in the first place — many of the human traditions of the church also dealt in repression, intolerance, and bigotry. Could one observe the rituals and practice of a faith while acknowledging and rejecting its ugliest elements?
From the opening whirr of the title track, it’s clear that the band is onto something special. Recorded in Strange Weather studios in the first part of 2018, The Long Walk is eight new tracks by the duo of Greenberg and Berdan, incorporating Fox’s skills behind the drum kit to add an entirely new dimension to the signature Uniform sound. Ditching sequenced tracks, Greenberg opted for single takes to highlight the Frankenstein-like guitar-bass-synth hybrid that oozes throughout the recording. Meanwhile, crushing guitar thunder is punched up by Fox’s masterful drumming while Berdan’s cries from the nether feel more desperate and morose than ever. This is Uniform at its most bleak, emotional, and powerful.
Lyrically, The Long Walk deals with paradoxes in spirituality and organized religion. Berdan went to Catholic school for most of his primary education. Fear of Biblical hell and damnation felt tangible. As Berdan grew and matured emotionally, he began to reject Catholicism bit by bit. In the recent past, Berdan found himself slowly reconnecting with his background, observing how the faith that he found so repressive served as a great source of comfort and strength for so many. Yet therein lay the contradiction that drove him from religion in the first place — many of the human traditions of the church also dealt in repression, intolerance, and bigotry. Could one observe the rituals and practice of a faith while acknowledging and rejecting its ugliest elements?
Wake in Fright, the second full-length by the New York City duo Uniform, is a harrowing exploration of self-medication, painted in the colors of war. Following the Ghosthouse 12", whose A-side Pitchfork called “their most relentless track yet,” vocalist Michael Berdan and guitarist/producer Ben Greenberg return with a new batch of even more punishing songs that incorporate elements of industrial music, thrash metal, harsh noise, and power electronics.
“This record is primarily about psychic transition,” Berdan explained. “The distress that these songs attempt to illustrate comes from a place of stagnation and monotony. This is what happens when old ways of thinking become exhausted and old ways of coping prove ineffective. Something must change or it will break.”
The characters Berdan brings to life in his lyrics quit using but have ruinous relapses (“Habit”) or struggle as their resolve crumbles (“Bootlicker”); they use alcohol to ease their insomnia but and are helpless when they get sober and stop sleeping again (“Night of Fear”); they’re existential misanthropes trapped in dead-end lives (“The Lost”).
Greenberg sets these stories to menacing guitar and samples of literal sounds of war — the kick drums are bombs going off, the snares are gunshots. He drew the record’s immense sample library from action movies, Foley sound packs, field recordings, and more, and the result is devastating. The guitar is also as crucial as ever, and now as indebted Slayeras it is to Big Black. Greenberg conjures up massive riffs and shredding solos, pushing the band deeper into the metal world whose borderlands they’ve long stalked.
“We are surrounded by war and the whole world is burning and it doesn’t seem like there are any appropriate reactions or responses left anymore,” Greenberg elaborated. “This music is our response to and our reflection of the overwhelming violence, chaos, hate, and destruction that confronts us and everyone else in the world every day of our lives. When we play, I don’t feel powerless anymore. I hope this record can help others transcend their anger and frustration.”
Coloured LP includes MP3 Download Code.
“This record is primarily about psychic transition,” Berdan explained. “The distress that these songs attempt to illustrate comes from a place of stagnation and monotony. This is what happens when old ways of thinking become exhausted and old ways of coping prove ineffective. Something must change or it will break.”
The characters Berdan brings to life in his lyrics quit using but have ruinous relapses (“Habit”) or struggle as their resolve crumbles (“Bootlicker”); they use alcohol to ease their insomnia but and are helpless when they get sober and stop sleeping again (“Night of Fear”); they’re existential misanthropes trapped in dead-end lives (“The Lost”).
Greenberg sets these stories to menacing guitar and samples of literal sounds of war — the kick drums are bombs going off, the snares are gunshots. He drew the record’s immense sample library from action movies, Foley sound packs, field recordings, and more, and the result is devastating. The guitar is also as crucial as ever, and now as indebted Slayeras it is to Big Black. Greenberg conjures up massive riffs and shredding solos, pushing the band deeper into the metal world whose borderlands they’ve long stalked.
“We are surrounded by war and the whole world is burning and it doesn’t seem like there are any appropriate reactions or responses left anymore,” Greenberg elaborated. “This music is our response to and our reflection of the overwhelming violence, chaos, hate, and destruction that confronts us and everyone else in the world every day of our lives. When we play, I don’t feel powerless anymore. I hope this record can help others transcend their anger and frustration.”
STAFF COMMENTS
Barry says: A visceral and brutal assault of double kick drums, pummelling grindcore guitars and low-fi gritty production aesthetic make this a force to be reckoned with. Electronic backboned brutalist sound sculptures for the enraged.FORMAT INFORMATION
Coloured LP Info: Indies exclusive white vinyl.Coloured LP includes MP3 Download Code.
Hot off collaborations with Nottz ("Titans in the Flesh EP") and Madlib ("Bad Neighbor LP"), SoCal ambassador Blu has teamed up with the Paris-based production team Union Analogtronics (OJ & Gold) to unleash a new full length album: "Cheetah in the City". Featuring Dam-Funk, Phat Kat, Frank N Dank, and more, the album signifies a stylistic sea change for Blu, best known for his dusty, soul sampling collaborations with Exile (Below the Heavens) and his own introspective opuses ("Her Favorite Colour", "Good to be Home", "York!"). Rippling with 808s and cinematic strings, "Cheetah in the City" is an organic evolution from the synth-soaked, futuristic sound of "Analogtronics", Union’s 2012 Fat Beats Records debut album featuring Talib Kweli, MF DOOM, Elzhi, Guilty Simpson, and more. After mutual friends put them in touch at a Parisian post-show after-party, Blu and Union began a musical exchange that spanned continents. Blu returned to LA with Union’s best beats, and after months of exchanging lyrical ideas, the trio regrouped for marathon recording sessions in Union’s Paris-based studio. Cloistered for weeks with nothing but drum machines, instruments, keyboards, records, and France’s best bud, Blu became obsessed with infusing his kicked back Southern California sensibilities into Union’s penchant for pushing the possibilities of technicality into multilayered, densely packed productions. A cohesive story emerged in the songwriting: a young man, raised amongst deadbeats, killers, and hard drugs, metamorphoses into the Cheetah, a money-making predator whose quick talk and cold hustle make him the king of a city that will eventually consume him, heart and soul. We’ve never heard Blu like this.
Union Of Knives – made in Glasgow: Get a map out and draw a line that joins Canada's Arcade Fire, Iceland's Sigur Ros, Norway's Royksopp and come to rest at Scotland's Union Of Knives. What do all these places have in common? Short days and long nights. Music and sound born out of extreme environments and cultural diversity. Glasgow and Union Of Knives, two rough diamonds of the north, inextricably linked. You're going to like this album very much indeed. "Violence and Birdsong" is the culmination of two years of hard graft. The balance of youth and experience, tough and melancholic, vibrant and nostalgic – there's lots going on here. On stage Craig Grant (vox/keys/guitar) and Chris Gordon (vox/guitar) play dual frontman roles, supported, like a see-saw on an axis, by Dave McClean (sounds and beats). In the studio each member is autonomous, lyrics, beats, melodies and ideas come from everywhere. Clearly standing out from the crowd, Union Of Knives make music that is an amalgamation of steely hard electronics, soaring melodies and an unexpected tenderness.
The "Overdub EP" was first conceived by DJ's Mark Summers & Ben Howard in Sudbury, Suffolk, in 1993. Hardcore and jungle were huge in the UK at that time, with Summers & Howard playing the genres out at their 'Paranoia' and 'The Ark' nights, at venues in Sudbury and Southend.
Over the course of 2 weeks they met at Mark's home basement studio, digging through their vinyl crates to find all kinds of inspirational material for their tracks. Both DJ's had eclectic tastes in music, and so the basis for "The Overdub EP" was born; with some interesting touches added along the way. Mark had sampled an entire Korg M1 Piano inside a Chelmsford music store onto DAT, and later used that same piano to create the huge hook he played on "Takes 1". While Ben had sourced an obscure reggae break used as the basis for 'Skunk Massive'. Later when DJing at 'The Ark',with Ben Howard, the final master mixes of "The Overdub EP" were heard by DJ Rush Puppy - a nephew of one of the owners of Contagious Records, based in Upminster, Essex. The label had become prominent in 1992 for releasing some of the finest hardcore & jungle, and within a few days of hearing "The Overdub EP" they were all set to make it their 11th release.
However, shortly after the first vinyl run had been pressed, Contagious Records went bankrupt; meaning the vinyl pressing plant could not be paid - which lead to the plant destroying the complete run, minus a very limited amount of copies that were sneaked out prior to the destruction of all the remaining pressings. This extremely rare EP has since become one of the most highly treasured vinyl items of the rave scene, currently fetching up to £350 per copy on discogs.
Back on fresh vinyl, and alongside "Barmy (Acid Sex Mix)", as originally release - do not miss this historic record!
Over the course of 2 weeks they met at Mark's home basement studio, digging through their vinyl crates to find all kinds of inspirational material for their tracks. Both DJ's had eclectic tastes in music, and so the basis for "The Overdub EP" was born; with some interesting touches added along the way. Mark had sampled an entire Korg M1 Piano inside a Chelmsford music store onto DAT, and later used that same piano to create the huge hook he played on "Takes 1". While Ben had sourced an obscure reggae break used as the basis for 'Skunk Massive'. Later when DJing at 'The Ark',with Ben Howard, the final master mixes of "The Overdub EP" were heard by DJ Rush Puppy - a nephew of one of the owners of Contagious Records, based in Upminster, Essex. The label had become prominent in 1992 for releasing some of the finest hardcore & jungle, and within a few days of hearing "The Overdub EP" they were all set to make it their 11th release.
However, shortly after the first vinyl run had been pressed, Contagious Records went bankrupt; meaning the vinyl pressing plant could not be paid - which lead to the plant destroying the complete run, minus a very limited amount of copies that were sneaked out prior to the destruction of all the remaining pressings. This extremely rare EP has since become one of the most highly treasured vinyl items of the rave scene, currently fetching up to £350 per copy on discogs.
Back on fresh vinyl, and alongside "Barmy (Acid Sex Mix)", as originally release - do not miss this historic record!
Debut album "Fault Lines" from the Glasgow four piece marks a step forward in their songwriting skills while maintaining a raw energy reminiscent of early ...And You Will Know Us By The Trail Of Dead and McClusky, balancing melody with mayhem and delivering a payload of pop sensibility within a sonic assault. Said onslaught will be unleashed across the UK in May and France in September.
United Fruit formed in Glasgow in 2008 when the founding members quickly gelled through a mutual love of discordant yet catchy noise and the band have been taking the traditional format of guitars, bass and drums in a thunderous direction ever since. Influences and comparisons range from the edgy rawness of Shellac and Mudhoney to lesser known pioneers of heavier sounds such as Oxes, Daughters, These Arms Are Snakes, That Fucking Tank and Ligament.
To date, United Fruit have also supported numerous contemporary greats on tour including Maps & Atlases, Die! Die! Die!, Future Of The Left, Monotonix and Desalvo.
United Fruit formed in Glasgow in 2008 when the founding members quickly gelled through a mutual love of discordant yet catchy noise and the band have been taking the traditional format of guitars, bass and drums in a thunderous direction ever since. Influences and comparisons range from the edgy rawness of Shellac and Mudhoney to lesser known pioneers of heavier sounds such as Oxes, Daughters, These Arms Are Snakes, That Fucking Tank and Ligament.
To date, United Fruit have also supported numerous contemporary greats on tour including Maps & Atlases, Die! Die! Die!, Future Of The Left, Monotonix and Desalvo.
United Sounds Of Joy are a new collaboration between Michael J Sheehy and former Dream City Film Club bandmate Alex Vald. Their self-titled debut album is released on Bronze Rat Records on CD / LP / digital download.
“Don’t call it a reunion,” spits Michael J Sheehy, “we’re not even a band in the traditional fashion.” Dream City Film Club were signed to Beggars Banquet within a year of forming in 1995, releasing an album and recording two Peel sessions before Vald was unceremoniously kicked out. “Alex was dismissed because he was the only decent human being in the band,” says Sheehy. “We were intent on dismantling the band from the off. Everyone was pulling in different directions, each with his own very particular variety of personality disorder, drug abuse or mental illness. And if all that stuff hadn’t got us then I’m sure we would have buckled beneath the weight of our own very lofty pretensions.”
Almost two decades removed from each other’s musical energies, Vald and Sheehy have reunited to craft some heartrending, mind-bending music. Coming on like Joe Meek and Goldfrapp entangled in some ancient machinery, the first-listen track ‘The Sun That Hides A Darker Star’ is a magnificent, shimmering sound. Amongst others, Lauren Laverne picked up on the track, with regular spins, describing it thusly; “if David Cronenberg directed a spaghetti western, we reckon it would feel a little like this.”
Featuring contributions from Fiona Brice and Gemma Ray, the album is full of alluring, devious pop noir, the songs immersed in an eerie, crepuscular pool of fuzzy, warmly welcoming psychedelics. United Sounds Of Joy traverse a road to a new and rewarding gothic chanson.
The beautiful cover is by Russian artist Aleksandra Laika.
“Don’t call it a reunion,” spits Michael J Sheehy, “we’re not even a band in the traditional fashion.” Dream City Film Club were signed to Beggars Banquet within a year of forming in 1995, releasing an album and recording two Peel sessions before Vald was unceremoniously kicked out. “Alex was dismissed because he was the only decent human being in the band,” says Sheehy. “We were intent on dismantling the band from the off. Everyone was pulling in different directions, each with his own very particular variety of personality disorder, drug abuse or mental illness. And if all that stuff hadn’t got us then I’m sure we would have buckled beneath the weight of our own very lofty pretensions.”
Almost two decades removed from each other’s musical energies, Vald and Sheehy have reunited to craft some heartrending, mind-bending music. Coming on like Joe Meek and Goldfrapp entangled in some ancient machinery, the first-listen track ‘The Sun That Hides A Darker Star’ is a magnificent, shimmering sound. Amongst others, Lauren Laverne picked up on the track, with regular spins, describing it thusly; “if David Cronenberg directed a spaghetti western, we reckon it would feel a little like this.”
Featuring contributions from Fiona Brice and Gemma Ray, the album is full of alluring, devious pop noir, the songs immersed in an eerie, crepuscular pool of fuzzy, warmly welcoming psychedelics. United Sounds Of Joy traverse a road to a new and rewarding gothic chanson.
The beautiful cover is by Russian artist Aleksandra Laika.
One of the most avant-garde pop records of the late 60s, the United States' only album spans psyche-fuzz, ambient easy-pop, big band, experimental electronics and tape cut-ups - but as ever, the sum is greater than its parts. Taken as a whole, it's one of those classic 'trip' albums whose strangeness really takes you aback! NUTS.
CD Info: Remastered with ten extra tracks.
FORMAT INFORMATION
Coloured LP Info: Pressed at R.T.I. on limited edition coloured vinyl.CD Info: Remastered with ten extra tracks.
The United States of America, led by respected modern classical avant garde musician Joseph Byrd, cut a wide swath through the 1968 world of rock, just then comfortably settling into its backwoods dreams of country-rock to find the debut U.S.A. album howling like an infant terrible on its front doorstep. At the center of the U.S.A.'s fiercely experimental universe were the icy-cool vocals of the beautiful Dorothy Moskowitz, keeping this tumultuous sound from spinning out-of-control in every direction. One of the most avant-garde pop records of the late 60s, the U.S.A.'s only album spans psyche-fuzz, ambient easy-pop, big band, experimental electronics and tape cut-ups - but as ever, the sum is greater than its parts. Taken as a whole, it's one of those classic 'trip' albums whose strangeness really takes you aback! NUTS (bit in a great way!!) Almost predictably, the U.S.A. disbanded before it could record a second album, but its brilliant, self-titled effort was certainly one for the ages.
United States Of America
United States Of America: The Columbia Recordings Remastered And Expanded
Esoteric
Perhaps one of the finest and most original of bands to emerge in the USA during the Psychedelic era, the United States of America was formed in 1967 by the avant-garde musician Joseph Byrd (an associate of Yoko Ono who had studied with composer John Cage). After studying at UCLA in California, Byrd decided to form a band that would combine performance art, radical politics and experimental rock music. Recruiting former partner Dorothy Moskowitz (Vocals), Gordon Marron (Violin, Ring Modulator, Vocals), Rand Forbes (Bass) and Craig Woodson (Electric Drums), the band signed to Columbia records and recorded their self-titled album in December 1967. The sessions produced some of the most extraordinary music of the time, with pieces such as “The American Metaphysical Circus” combining tape looped effects, electronic sounds and rock to create a stunning opening to a fine album. Such a radical approach led to the album being hailed by critics upon release but receiving a poor commercial reception. Internal friction soon took hold and the United States of America had disbanded by the end of 1968.
This Esoteric Recordings edition is newly remastered and includes ten bonus tracks recorded during the sessions for the band’s sole album and in May and July 1968. The reissue also features an illustrated booklet with new essay.
This Esoteric Recordings edition is newly remastered and includes ten bonus tracks recorded during the sessions for the band’s sole album and in May and July 1968. The reissue also features an illustrated booklet with new essay.
Futurismo have the privilege to be the first label ever to re-release one of the most sought-after post-punk electronic albums of the early 1980s - 'Digital Stimulation' by Units.
Inspired by punk in ideology, though not necessarily in sound, San Francisco’s Units were a young breed of dystopic visionaries, art space prodigies and trash culture futurists set on reshaping sound for a new age. Leading the charge, along with only a couple of others such as Screamers and Chrome, they lit the touch-paper for a new sound, a new scene. Equally as influenced by experimental cinema, performance art and Brechtian street theatre as they were the music of Suicide and Devo, Units offered a glorious glimpse into how and what pop music could be.
Originally released in 1980, 'Digital Stimulation' was Units true calling card. Containing the now famous opener ‘High Pressure Days’, this is a time capsule from the minimal wave era - part of a lineage that includes Neu!, Tubeway Army, ‘Being Boiled’-era Human League and Cabaret Voltaire, making this a vital recording for anyone interested in electronic music at all - past or present. With original copies selling at extortionate prices this is a rerelease that’s long overdue.
Futurismo present a remastered redux version of this long out of print LP on 180g limited edition coloured vinyl, as well as a never before released CD. Both versions come with new stylized artwork, metallic ink sleeves, rare imagery, hidden tracks and a huge fold-out double sided poster containing brand new liner notes by Scott Ryser.
Inspired by punk in ideology, though not necessarily in sound, San Francisco’s Units were a young breed of dystopic visionaries, art space prodigies and trash culture futurists set on reshaping sound for a new age. Leading the charge, along with only a couple of others such as Screamers and Chrome, they lit the touch-paper for a new sound, a new scene. Equally as influenced by experimental cinema, performance art and Brechtian street theatre as they were the music of Suicide and Devo, Units offered a glorious glimpse into how and what pop music could be.
Originally released in 1980, 'Digital Stimulation' was Units true calling card. Containing the now famous opener ‘High Pressure Days’, this is a time capsule from the minimal wave era - part of a lineage that includes Neu!, Tubeway Army, ‘Being Boiled’-era Human League and Cabaret Voltaire, making this a vital recording for anyone interested in electronic music at all - past or present. With original copies selling at extortionate prices this is a rerelease that’s long overdue.
Futurismo present a remastered redux version of this long out of print LP on 180g limited edition coloured vinyl, as well as a never before released CD. Both versions come with new stylized artwork, metallic ink sleeves, rare imagery, hidden tracks and a huge fold-out double sided poster containing brand new liner notes by Scott Ryser.
FORMAT INFORMATION
2xLP Info: 'Modular Shock' deluxe vinyl edition - red & white on yellow marbled vinyl.
The precocious London-based Unitz started DJing from the age of eight and producing from the age of 13! Now a little older he brings us this double header for the Dub Police label. "The Drop" is totally off the hinges! A bit of a teasing atmospheric bell tinkling intro makes way for the mother of all electroid dubstep drops that's had crowds up and down the land shouting for the rewind. Having received massive amounts of airplay both on Rinse FM and Kiss FM as well as the live circuit this is sure to fly off the shelves. "Mornin Blues" offers something a bit more deep and a bit more subtle to mess with your head. Rinsed by Caspa, Rusko, DJ Orien, The Others, Mary Anne Hobbes, Subscape, Oris Jay and N-Type.
"Invisible Starlight" is a ripping tune by an unknown midwestern funk outfit with a driving backbeat and soaring horns. It sounds like Ohio to us, but we can't be sure. What is certain however, is that these gents rocked the local bowling alleys, social clubs and loungespots wherever they went. Label bosses Universal Cave touch down on the A-side with their primo 45 edit, hitting us with a relentless groove of fat bass, bright horns and irrepressible rhythm guitar - so damned phonky y'all. Meanwhile on the flip, The Beat Broker rounds out the original with his signature style and an impeccable ear. The Kind Dub's sun drenched delay and reinforced drums ensure that Invisible Starlight will shine over any dancefloor!
STAFF COMMENTS
Patrick says: Here we have a hot 7" of the rawest, roughest disco funk, expertly retweeked for modern jocks. There's looped licks on the A-side from the UC crew, while Beat Broker gets dubby-in-the-disco over on the flip...
Universal Colours Of House
T-Shirt
Featuring 25 classic house music records & their associated colours on one music themed paint chart including:-
Laurent Garnier – Man With The Red Face / Moby – Go / Orbital – Chime / Raze – Break 4 Love / Urban Blues Project – Love Don’t Live
Frankie Knuckles – Tears / 808 State – Pacific State / Kings of Tomorrow – Finally / River Ocean – Love & Happiness / New Order – Blue Monday
Sterling Void – It’s Alright / Afro Medusa – Pasilda / Night Writers – Let The Music Use You / Daft Punk – Burnin’ / Hanna Hais – Rosa Nova
Fish Go Deep – The Cure And The Cause / Crystal Waters – Gypsy Woman / Jungle Brothers – I’ll House You / Lil Louis – French Kiss
Stardust – Music Sounds Better With You / Inner City – Pennies From Heaven / DJ Sneak – You Can’t Hide From Your Bud
Funky Green Dogs From Outer Space – Reach For Me / Orange Lemon – Dreams Of Santa Anna / The Fog – Been A Long Time
Stylish t-shirt is made of 100 percent premium cotton for complete comfort and softness.
Regular fit, machine wash 30c, wash with similar colours. do not iron printed area.
Laurent Garnier – Man With The Red Face / Moby – Go / Orbital – Chime / Raze – Break 4 Love / Urban Blues Project – Love Don’t Live
Frankie Knuckles – Tears / 808 State – Pacific State / Kings of Tomorrow – Finally / River Ocean – Love & Happiness / New Order – Blue Monday
Sterling Void – It’s Alright / Afro Medusa – Pasilda / Night Writers – Let The Music Use You / Daft Punk – Burnin’ / Hanna Hais – Rosa Nova
Fish Go Deep – The Cure And The Cause / Crystal Waters – Gypsy Woman / Jungle Brothers – I’ll House You / Lil Louis – French Kiss
Stardust – Music Sounds Better With You / Inner City – Pennies From Heaven / DJ Sneak – You Can’t Hide From Your Bud
Funky Green Dogs From Outer Space – Reach For Me / Orange Lemon – Dreams Of Santa Anna / The Fog – Been A Long Time
Stylish t-shirt is made of 100 percent premium cotton for complete comfort and softness.
Regular fit, machine wash 30c, wash with similar colours. do not iron printed area.
Two brilliant, previously unissued modern soul discoveries from the archive of U.T.B. mastermind Andre Gibson. “My Lucky Stars” rides the 120 BPM crest, with sharp horns, handclaps, triangle, and a wild guitar solo filling out the four and a half minute ride. “Dreamality” cops a Steve Miller vibe and goes on a spaced-out future funk adventure.
Debut 1998 album from UNKLE, back then a production duo of Mo' Wax head honcho James Lavelle and beat builder extraordinaire DJ Shadow. The soundscape of sampled breaks and ominous soundscapes is pretty similar to "Endtroducing", but with one big difference; "Psyence Fiction" has a line-up of guest vocalists. These included Badly Drawn Boy, Richard Ashcroft and Thom Yorke for the indie kids and Kool G Rap, Latyrx and Beastie's Mike D for the hip hop heads, all adding their own unique edge to the tracks they appear on. Dark, moody and brooding, the album is a 90s essential. After the recent Man From Mo'Wax generated a pre-Bros buzz, this one's been on everyone's wantlist.
FORMAT INFORMATION
2xLtd LP includes MP3 Download Code.
Following on from the critically acclaimed The Road: Part I, James Lavelle's UNKLE returns with the follow up The Road: Part II / Lost Highway, split across two parts with 22 tracks, James described this journey as having "more of a mixtape aesthetic being the ultimate road trip"
FORMAT INFORMATION
3xDeluxe CD Info: Triple CD package containing the full album and a bonus disc of instrumentals, housed in a deluxe multi-panel package with 16 page booklet.
Everyone's favourite diminutive Minneapolian's recent acoustic offering was ripe for the picking. Here Zach Witness injects more than a little dancefloor serviceability into the amazing '17 Days'
Hip-shaking sacrilege of the highest order.
Hip-shaking sacrilege of the highest order.
FORMAT INFORMATION
12" Info: Hand Stamped Purple Vinyl
It's fair to say their debut caused a right stir in these parts, and now the Delicate Wash massive are back with a second instalment of soothing and grooving cuts. "#2" will take you on a 80's electronic funk adventure filled with analog drum machines and sharp synth leads, filling your ears with four tracks that are fresh, perky, futuristic, and thrilling. "Exotica" opens proceedings with dexterous coastside guitar licks, aquatic marimba patterns and lush DX7 riffs, coming across like an Amiga-era floppy disc flip on seminal 80s cut "Don't Look Any Further". After a slightly abrasive industrial intro, A2 offering "Syndrome 28" soon transforms into a technotronic take on tribal electro complete with mellow jazz funk keys and warm bass riffs - essential for Hardcastle fans everywhere. Over on the B1, "The Undertaker" romps through fist pumping 80s percussion, squelching synth riffs and 8bit sequences before arriving at the discotheque in a blaze of brass and thunder. Finally, "Stand By Me" serves up sax licks, laser fire and so much pitch bend, flipping the floor out in full synth fusion fashion. Another hit!
STAFF COMMENTS
Patrick says: Electro-funk manoeuvres on the second load of laundry from Delicate Wash. The first release brought grown men to tears, and this follow up comes Kleenex approved. Grab it before it goes...FORMAT INFORMATION
12" Info: One copy in stock
Delicate Wash is back with its third offering of classy edits built for the most discerning of dance floors. It delves deeper into the cosmic cosmos, and unveils more of the lesser known, but brightly shining disco stars you've come to expect. First up we get an ultra dramatic Italian funk smoocher in the form of "Oh, Angela", riding high on slap bass, maximum syncopation and swooning strings while those arresting vocals keep you pinned to the dancefloor. The tempo takes a bump on the A2 as the dynamic "Rhythme D'Or" blasts into space disco territories, sharing some poppers with Elon Musk, Iron Man and Mandre while the synth funk solos ride the grunting bass sequences. The B1 brings the funk for "Protracted Moment", which beguiles with whistful end of season chord progressions, loose guitar licks and trippy Moog solos, doing more than enough to make this humble reviewer go in for a second listen / new pair of underwear. Finally "Clouds" puts us horizontal on a hillside, musing on Methany and Italian library LPs. Uber funky bass underpinning synth harpsichord while you soak up the equinox? Super cosmic si?
STAFF COMMENTS
Patrick says: Delicate Wash do it again for the Balearic / cosmic crowd, serving up a quartet of sophisticated edits on a space-disco / solar funk / perrier prog tip.
Indonesia, an archipelago of more than 13,000 islands including Java, the world's most populous island, and Bali, is as diverse as it is large. Having been a crucial stop on international trade routes since as early as the 7th century the influences on Indonesian musical traditions are deep and wide. Music Of Indonesia, recorded in 1950, is one of the earliest western documents of this rich tradition. Featuring sounds ranging from beautiful Balinese gamelan orchestras and operas to the raw power of katjapi (a variety of boat-lute), and more, this is one of the best glimpses into the Indonesian musical traditions the world will ever see.
Montreal-based outdoor enthusiast Unknown Mobile offers up his debut on Normals Welcome with this 12" full of gentle hand drums and wavy melodies. Percussion guides the way through levels of airy pads and catchy synth lines on three solo cuts. His dancefloor sensibilities then interlock with Vancouver's amiable Big Zen for a spaced-out but dancefloor focused, collaborative track on the B side. If you've a penchant for the sublime and cerebral side of house music then this release is for you! Recommended.
STAFF COMMENTS
Matt says: Really strong collection of new house grooves. Rich with esoteric leanings and a rainforest friendly palette; for the dancers and dreamers alike!
While recording Unknown Mortal Orchestra’s latest release, Sex & Food, Ruban Nielson, his longtime collaborator Jacob Portrait and his brother Kody Nielson, found themselves in the Vietnamese city of Hanoi playing and recording with local musicians at Phu Sa Studios. The studio, normally used for traditional Vietnamese music, found the band jamming on sessions dubbed IC-01 Hanoi: exploring the outer edges of the band’s influences in Jazz, Fusion and the avant-garde. The musicians, along with Ruban and Kody’s father, a Jazz musician in his own right, helped lay down the unique textures heard throughout Hanoi. At its core Hanoi is a record of exploration, finding its closest antecedent in Miles Davis’ experimental On The Corner – itself a record full of nods toward avant-garde composers and Jazz outsiders alike. Hanoi finds Ruban amplifying and stretching out on lead guitar, with a blown-out and wandering fuzz tone that slinks throughout the sessions. Kody and Jacob match Ruban’s melodic diversions with aplomb, mining their talents to finding as easy a role in the fusion of funk as they do in the more ambient and abstract tangents on Hanoi.
STAFF COMMENTS
Barry says: Definitely not typical UMO this, but absolutely brimming with feeling and focused on an entirely different aspect of their sound. Though they are by no means avant-garde, the more meandering ruminations of their melodic forays are exacerbated on this release, breaking into the realms of jazzy ambience, eastern flow and hypnotic woodwind. A completely surprising but thoroughly enjoyable change. Lovely stuff.
Emerging from rampant hedonism and isolation is ‘II’, the new album from Unknown Mortal Orchestra. The musical vision of Portlander-via-New Zealand Ruban Nielson started as an anonymous home-recording project that fused psychedelia, soul, choppy percussion and funk.
Unknown Mortal Orchestra came to life in basements and bedrooms after Nielson moved from his native New Zealand to Portland, Oregon with his family. Following the recruitment of bassist Jacob Portrait, new drummer Greg Rogove and a deal with Jagjaguwar, UMO toured the US with Grizzly Bear and Liars.
‘II’ builds on the breakbeat, junk shop charm the 32-year-old multi-instrumentalist and songwriter came to be renowned for following his self-titled 2011 debut, and signals the solidification of Unknown Mortal Orchestra’s position as an endlessly intriguing, brave psychedelic band. Unknown Mortal Orchestra is unafraid to dig deeper than the rest, to lock into their intoxicating, opiate groove and bring rock ‘n’ roll’s exaggerated myths to life.
Written during a punishing, debauched touring schedule during which Nielson feared for his sanity and health, ‘II’ illustrates the emotional turmoil of life on the road, painting surrealist, cartoonish portraits of loneliness, love and despair.
These conflicting themes are evident immediately; on the album’s sleeve is an unnerving image of Janet Farrar, the famous British witch Wiccan, author and teacher of witchcraft. The chilling refrain of opener ‘Into The Sun’ sees Nielson deliver the line “Isolation can put a gun in your hand,” softly, his words starkly intelligible above a warm, slow-burning melody that quickly brands itself onto your brain. His playful imagery (“I’m so lonely I’ve gotta eat my popcorn all alone”) mirrors the melody, before a solo that borders on psychotropic ends ‘II’s introduction.
As it unfolds, ‘II’ does find Nielson reenergized. ‘One At A Time’ and ‘Faded In The Morning’ boast dizzying choruses and instrumentals - these crusty hunks could have been excavated from a lost 1960s treasure trove. ‘Monki’ unravels over seven minutes like the yarn from a stoner’s cardigan with an eye-frying pattern. ‘Dawn’ is a minute of disconcerting noise that stands out between the nooks and crannies of the choruses, guitar solos, groove-heavy bass and drums that were recorded live by newly-recruited drummer Greg Rogove and Kody Nielson in a move away from the electronic percussion employed on album one. ‘II’ closes with ‘Secret Xtians’, a tender observational puzzle that fizzes to a satisfied end.
Pulling Pink Floyd, The Family Stone, The Beatles and the Soft Machine through his warped rock ‘n’ roll filter, Nielson has created a collection of expressive psychedelia. Unknown Mortal Orchestra was once Nielson’s closeted concern. With an album that uses his singular musical imagination and extraordinary talent to parade his emotions with unyielding honesty, it is now a fully realized band operating at the peak of its powers.
‘II’ is the follow up and refinement to 2011’s self-titled, critically adored debut (released by Fat Possum and True Panther Sounds).
Unknown Mortal Orchestra came to life in basements and bedrooms after Nielson moved from his native New Zealand to Portland, Oregon with his family. Following the recruitment of bassist Jacob Portrait, new drummer Greg Rogove and a deal with Jagjaguwar, UMO toured the US with Grizzly Bear and Liars.
‘II’ builds on the breakbeat, junk shop charm the 32-year-old multi-instrumentalist and songwriter came to be renowned for following his self-titled 2011 debut, and signals the solidification of Unknown Mortal Orchestra’s position as an endlessly intriguing, brave psychedelic band. Unknown Mortal Orchestra is unafraid to dig deeper than the rest, to lock into their intoxicating, opiate groove and bring rock ‘n’ roll’s exaggerated myths to life.
Written during a punishing, debauched touring schedule during which Nielson feared for his sanity and health, ‘II’ illustrates the emotional turmoil of life on the road, painting surrealist, cartoonish portraits of loneliness, love and despair.
These conflicting themes are evident immediately; on the album’s sleeve is an unnerving image of Janet Farrar, the famous British witch Wiccan, author and teacher of witchcraft. The chilling refrain of opener ‘Into The Sun’ sees Nielson deliver the line “Isolation can put a gun in your hand,” softly, his words starkly intelligible above a warm, slow-burning melody that quickly brands itself onto your brain. His playful imagery (“I’m so lonely I’ve gotta eat my popcorn all alone”) mirrors the melody, before a solo that borders on psychotropic ends ‘II’s introduction.
As it unfolds, ‘II’ does find Nielson reenergized. ‘One At A Time’ and ‘Faded In The Morning’ boast dizzying choruses and instrumentals - these crusty hunks could have been excavated from a lost 1960s treasure trove. ‘Monki’ unravels over seven minutes like the yarn from a stoner’s cardigan with an eye-frying pattern. ‘Dawn’ is a minute of disconcerting noise that stands out between the nooks and crannies of the choruses, guitar solos, groove-heavy bass and drums that were recorded live by newly-recruited drummer Greg Rogove and Kody Nielson in a move away from the electronic percussion employed on album one. ‘II’ closes with ‘Secret Xtians’, a tender observational puzzle that fizzes to a satisfied end.
Pulling Pink Floyd, The Family Stone, The Beatles and the Soft Machine through his warped rock ‘n’ roll filter, Nielson has created a collection of expressive psychedelia. Unknown Mortal Orchestra was once Nielson’s closeted concern. With an album that uses his singular musical imagination and extraordinary talent to parade his emotions with unyielding honesty, it is now a fully realized band operating at the peak of its powers.
‘II’ is the follow up and refinement to 2011’s self-titled, critically adored debut (released by Fat Possum and True Panther Sounds).
STAFF COMMENTS
Andy says: UMO's 2011 debut LP was a one-man, bedroom curio layering sun-kissed psych-pop over chunky break beats. Expanded to a three piece, the live drummer brings an untutored looseness to the band’s sound which perfectly suits the laid-back, mellow vibe of these tunes. Ruban Neilson has made a beautiful night time record; hazy, blurred and luminous. And it still has that home-studio charm: lo-fi, fuzzy and whimsical, but the psych is now the Beatles, the blues a freaked-out Marc Bolan and there's a soulfulness that recalls early ‘70s Curtis Mayfield; a gorgeous blend. Curtis comparisons extend to Ruban's guitar playing too; seemingly meandering, carefree explorations reveal themselves to be intricately worked out, melodic lines that spill into each other, sometimes with a whiff of prog, sometimes even jazz. Mixed with the white-soul and garage, plus (inter)stellar melodies, you have one funky little nugget, a dazed and dreamy gem of an album.FORMAT INFORMATION
LP includes MP3 Download Code.
On Multi-Love, Unknown Mortal Orchestra frontman and multi-instrumentalist Ruban Nielson reflects on relationships: airy, humid longing, loss, the geometry of desire that occurs when three people align. Where Nielson addressed the pain of being alone on II, Multi-Love takes on the complications of being together.
Multi-Love adds dimensions to the band’s already kaleidoscopic approach, with Nielson exploring a newfound appreciation for synthesizers. The new songs channel with the spirit of psych innovators without ignoring the last 40 years of music, forming a flowing, cohesive whole that reflects restless creativity. Cosmic escapes and disco rhythms speak to developing new vocabulary, while Nielson’s vocals reach powerful new heights.
“It felt good to be rebelling against the typical view of what an artists is today, a curator,” he says. “It’s more about being someone who makes things happen in concrete ways. Building old synthesizers and bringing them back to life, creating sounds that aren’t quite like anyone else’s. I think that’s much more subversive.”
Multi-Love adds dimensions to the band’s already kaleidoscopic approach, with Nielson exploring a newfound appreciation for synthesizers. The new songs channel with the spirit of psych innovators without ignoring the last 40 years of music, forming a flowing, cohesive whole that reflects restless creativity. Cosmic escapes and disco rhythms speak to developing new vocabulary, while Nielson’s vocals reach powerful new heights.
“It felt good to be rebelling against the typical view of what an artists is today, a curator,” he says. “It’s more about being someone who makes things happen in concrete ways. Building old synthesizers and bringing them back to life, creating sounds that aren’t quite like anyone else’s. I think that’s much more subversive.”
STAFF COMMENTS
Andy says: Better bottom-end for the funky psych-groovers. Their last album was well loved here, looks like this is gonna top it!
On Multi-Love, Unknown Mortal Orchestra frontman and multi-instrumentalist Ruban Nielson reflects on relationships: airy, humid longing, loss, the geometry of desire that occurs when three people align. Where Nielson addressed the pain of being alone on II, Multi-Love takes on the complications of being together.
Multi-Love adds dimensions to the band’s already kaleidoscopic approach, with Nielson exploring a newfound appreciation for synthesizers. The new songs channel with the spirit of psych innovators without ignoring the last 40 years of music, forming a flowing, cohesive whole that reflects restless creativity. Cosmic escapes and disco rhythms speak to developing new vocabulary, while Nielson’s vocals reach powerful new heights.
“It felt good to be rebelling against the typical view of what an artists is today, a curator,” he says. “It’s more about being someone who makes things happen in concrete ways. Building old synthesizers and bringing them back to life, creating sounds that aren’t quite like anyone else’s. I think that’s much more subversive.”
Multi-Love adds dimensions to the band’s already kaleidoscopic approach, with Nielson exploring a newfound appreciation for synthesizers. The new songs channel with the spirit of psych innovators without ignoring the last 40 years of music, forming a flowing, cohesive whole that reflects restless creativity. Cosmic escapes and disco rhythms speak to developing new vocabulary, while Nielson’s vocals reach powerful new heights.
“It felt good to be rebelling against the typical view of what an artists is today, a curator,” he says. “It’s more about being someone who makes things happen in concrete ways. Building old synthesizers and bringing them back to life, creating sounds that aren’t quite like anyone else’s. I think that’s much more subversive.”
FORMAT INFORMATION
2xLtd LP Info: This is the pink vinyl LP plus a 2 track exclusive 12” tracks, limited to 400 copies. 1 copy found!
Where are we headed? What are we consuming, how is it affecting us, and why does everything feel so bad and weird sometimes? These are some of the questions posed on Ruban Nielson's fourth album as Unknown Mortal Orchestra, Sex & Food-a delightfully shapeshifting album that filters these real-deal serious themes through a vibrant sonic lens that spans battered drum-machine funk, doomy and thrashing rock, and pink-hued psychedelic disco. Recorded in a variety of locales from Seoul and Hanoi to Reykjavik, Mexico City, and Auckland, Sex & Food is a practical musical travelogue, with local musicians from the countries that Nielson and his band visited pitching in throughout.
FORMAT INFORMATION
LP Info: Standard black vinyl edition.
Unknown Mortal Orchestra (U.M.O.) was conceived as a home recording project by Ruban Nielson after spending years playing and touring in an award-winning New Zealand punk band (on the legendary Flying Nun label). The band broke up after re-locating to Portland, OR and Ruban was ready to move away from his nomadic past. His recordings as U.M.O., mainly created for his personal amusement, have now taken on a life of their own.
Ruban’s vision of creating “junkshop record collector pop” culminated in the creation of sprawling Beatles-esque guitar melodies over hammered out break-beats, spliced with an individual touch of gentle weirdness. The results deliver a surprisingly unified fusion of several influential elements - classic psychedelic rock, Krautrock rhythms and proto-hip hop beats – all interacting to create a cohesive album.
Though the songs were never intended to be performed live, the last six months has seen the project gather pace behind a wave of critical acclaim. A sold-out limited edition EP lead Ruban to construct a live band consisting of skilled producer Jake Portrait on bass and a brilliant teenage drummer named Julien Ehrlich.
Ruban’s vision of creating “junkshop record collector pop” culminated in the creation of sprawling Beatles-esque guitar melodies over hammered out break-beats, spliced with an individual touch of gentle weirdness. The results deliver a surprisingly unified fusion of several influential elements - classic psychedelic rock, Krautrock rhythms and proto-hip hop beats – all interacting to create a cohesive album.
Though the songs were never intended to be performed live, the last six months has seen the project gather pace behind a wave of critical acclaim. A sold-out limited edition EP lead Ruban to construct a live band consisting of skilled producer Jake Portrait on bass and a brilliant teenage drummer named Julien Ehrlich.
FORMAT INFORMATION
Coloured LP Info: Independent record store exclusive on Sky Blue vinyl. Limited to 1,500 units worldwide.The EEE lot have remained deliciously anonymous throughout 2018. Each record's taken a twist on an established dancefloor theme, whether its tweaking Saint Germain's "Rose Rouge", stringing out a well known Depeche Mode classic, or simply conjuring up some up-all-the-next day tech-house business for the Berlin crowds, the label have given us a constant stream of interesting (and illicit) weapons.
Well, number five sees the in-house production team construct a glassy, spectral, Villalobossy groove from staccato perc hits and wobbly frequencies. But what's that? - no surely I've just had too much ket, or can I hear Destiny's Child slowly coming into focus. Yes, 'Esme! Tarqs! I can - holy shit ...' *runs up to DJ booth* ... 'mate mate, is this a reworking of Destiny's Child - aawwWW MAYTE' - **Maximum fist bumps**. Yep.
Heavy support already from the likes of Raresh, East End Dubs, Barac and Priku.
As always - one-sided, 180g, hand-stamped gear!
Well, number five sees the in-house production team construct a glassy, spectral, Villalobossy groove from staccato perc hits and wobbly frequencies. But what's that? - no surely I've just had too much ket, or can I hear Destiny's Child slowly coming into focus. Yes, 'Esme! Tarqs! I can - holy shit ...' *runs up to DJ booth* ... 'mate mate, is this a reworking of Destiny's Child - aawwWW MAYTE' - **Maximum fist bumps**. Yep.
Heavy support already from the likes of Raresh, East End Dubs, Barac and Priku.
As always - one-sided, 180g, hand-stamped gear!
Nice n naughty bootleg versions of Drake, Moby and Jill Scott that are already in heavy rotation for Mella Dee and Patrick Topping…
"Go" gets dissected and re-constructed for the ADHA-afflicted youth of today, doing away with Moby's original, long and proggy arrangement. "Nice" speeds up some classicLauren Hill vocal loops before deploying a slamming house beat. More likely to make sense when you're two pills deep in some fog filled mainroom smashing the ceiling with your fist but hey, I'm sure you could give it a swirl round the in-laws this Christmas...."Hard" sees sultry songstress Jill Scott given a typically downbeat finished that recalls the remixes / colabs she did with Matthew Herbert and Theo Parrish.
"Go" gets dissected and re-constructed for the ADHA-afflicted youth of today, doing away with Moby's original, long and proggy arrangement. "Nice" speeds up some classicLauren Hill vocal loops before deploying a slamming house beat. More likely to make sense when you're two pills deep in some fog filled mainroom smashing the ceiling with your fist but hey, I'm sure you could give it a swirl round the in-laws this Christmas...."Hard" sees sultry songstress Jill Scott given a typically downbeat finished that recalls the remixes / colabs she did with Matthew Herbert and Theo Parrish.
STAFF COMMENTS
Matt says: Ha. Bound to bring a smile to anyone's face this, mainroom twists on Moby and Lauren Hill whilst Jill Scott's included... well, 'cos it's Jill Scott - duh!
Holy mirrorballs batman! Live and direct from NYC, fresh imprint Armstrong lands on the Piccadilly shelves with a scorching inaugural release. After enduring years of substandard edits and ropey house versions, a bona fide genius from the formative era 12" remix era of NYC's Disco explosion opens up his secret vault and unleashes a pair of beauties, custom built to create mayhem wherever they go. Previously unreleased, even on acetate, these two cuts come from a true pioneer, and the quality speaks for itself.
On the A-side, TM runs the scalpel over The Temptations' 'Runaway Child, Running Wild', extending and expanding the soulful disco classic into an irresistible, unstoppable psychedelic groove laced with heady desk fx. Pushing the already spectral effects and soundscaping of Norman Whitefield (taking his first steps into psychedelia with this 1969 production) to the next level, our NYC pioneer ditches the tired doo wop of the original's first half and picks up where the groove starts to roll in the second half, making excellent use of those syncopated hats, slick bassline and wild vocals. Red hot!
Over on the flip, TM takes us deep into Paradise Garage territories with a stripped back and stomping multitrack edit of Brit Funk legends Funk Masters and their 1980 banger "Love Money". While most people duke it out between the Bo Kool rap of the A-side and heads down instrumental assault of the flip, this editor unearths an awesome female vocal, apparently rejected by the label at the time, and puts it front and centre. Energised with an infectious vocal riding that demented dubwise groove to dance floor ecstacy, this version pushes the others out of the way to gain definitive status. Amazing stuff on both sides.
On the A-side, TM runs the scalpel over The Temptations' 'Runaway Child, Running Wild', extending and expanding the soulful disco classic into an irresistible, unstoppable psychedelic groove laced with heady desk fx. Pushing the already spectral effects and soundscaping of Norman Whitefield (taking his first steps into psychedelia with this 1969 production) to the next level, our NYC pioneer ditches the tired doo wop of the original's first half and picks up where the groove starts to roll in the second half, making excellent use of those syncopated hats, slick bassline and wild vocals. Red hot!
Over on the flip, TM takes us deep into Paradise Garage territories with a stripped back and stomping multitrack edit of Brit Funk legends Funk Masters and their 1980 banger "Love Money". While most people duke it out between the Bo Kool rap of the A-side and heads down instrumental assault of the flip, this editor unearths an awesome female vocal, apparently rejected by the label at the time, and puts it front and centre. Energised with an infectious vocal riding that demented dubwise groove to dance floor ecstacy, this version pushes the others out of the way to gain definitive status. Amazing stuff on both sides.
STAFF COMMENTS
Patrick says: We only get edits this good once every few years, so make sure you snap this up. An unnamed NYC disco pioneer (he totally is, and maybe if you ask me nicely I'll tell you his name), opens his personal vaults with two scorching disco edits, old school style. The Funk Masters rerub on the flip is a thing of 3 a.m. beauty, but it's the psychedelic disco shuffle of his Temptations edit on the A-side that's currently blowing my mind. Double good.
Here’s another batch of jacked up beat traxx from Still Love's vault of lost Chicago house reel to reel tapes. You know the score, deep in a basement, sweat dripping down the walls, Rahaan beating that shit, the ghost of Ron Hardy smoking PCP somewhere in the crossover! Exciting times. The A1 kicks it old school with all those period features, flanged snare rolls, Inner City keyboard vamps, snipped vocal samples, banging drums and a Silk bassline. Onto the A2 and there's the grizzled drum box, garbled radio phone in and mighty meaty B-line, bringing us GTA radio if the next instalment was set in the Windy City 1987. Flip it and label boss Jerome D drops by with a personal addition to the collection, serving a stripped back and hypnotic jacker.
The mysterious EEE have two things to celebrate: firstly, we STILL don't know who's behind these naughty-ass terrace rollers / refixes; secondly, the content quality is still high! - yay! All rejoice...
Returning to the one-sided format again, number six in the series sees the classic Moby sample of "Honey" injected with some Loud and Wobbly™ business by whoever the fuck is at the controls?!
Classic stuff for the under-25s on party drugs... and of course, essential festival fodder. Limited quants!
Returning to the one-sided format again, number six in the series sees the classic Moby sample of "Honey" injected with some Loud and Wobbly™ business by whoever the fuck is at the controls?!
Classic stuff for the under-25s on party drugs... and of course, essential festival fodder. Limited quants!
The *wonderfully* named Rapscallion (one of my favourite words if anyone cares...- ed) brings 3 ridiculous, broken reworks that are sure to raise an eyebrow or two for its inaugural release.
We’re not being told who in particular is responsible for such goodness here but rest assured an accomplished veteran must be at the helm for sure...
Kicking things off is "A Dis Yah Secret Friend" - a brilliantly executed piece of fusion. "Find a Way" follows next, and takes two different versions of Stanley Cowell's "I’m Trying to Find a Way / Trying to Find a Way" (both as deserving of an edit as the other), adds a bus load of bottom end, beautifully layered percussion and some authentic jazz-dance infections to create a future Dingwall’s classic!
"Little Rudeboy" closes proceedings. Originally out in ’84, only 1 minute and 32 seconds in length and strewn with proto Brazilian boogie synthesizers - a rework / edit of this has been a long time coming and so fits the bill perfectly for Rapscalion's debut release! All rejoice!
We’re not being told who in particular is responsible for such goodness here but rest assured an accomplished veteran must be at the helm for sure...
Kicking things off is "A Dis Yah Secret Friend" - a brilliantly executed piece of fusion. "Find a Way" follows next, and takes two different versions of Stanley Cowell's "I’m Trying to Find a Way / Trying to Find a Way" (both as deserving of an edit as the other), adds a bus load of bottom end, beautifully layered percussion and some authentic jazz-dance infections to create a future Dingwall’s classic!
"Little Rudeboy" closes proceedings. Originally out in ’84, only 1 minute and 32 seconds in length and strewn with proto Brazilian boogie synthesizers - a rework / edit of this has been a long time coming and so fits the bill perfectly for Rapscalion's debut release! All rejoice!
next 100
Some Sunday Hip-Hop / RnB classics @Outkast @fatbellybella aka Erykah Badu @djshadow and @TheDangelo… https://t.co/AWxtjDQKTF
Sun 23rd - 11:35
Sun 23rd - 11:35
👌🏻 Top tip for anyone who walks into a record shop - always take your headphones off, you never know what you might… https://t.co/7b5eEazSe7
Sun 23rd - 5:18
Sun 23rd - 5:18
Happy #newmusicfriday here’s your first batch of banners currently gracing our walls from @Raconteursmusic… https://t.co/v4UNddzB8D
Fri 21st - 8:03
Fri 21st - 8:03
Just announced! The new @ThomYorke album on @xlrecordings. The deluxe version is super limited and looks amazing! I… https://t.co/ymQc8meox4
Thu 20th - 2:14
Thu 20th - 2:14
Sign up