Xavier Fischer Trio

Songs For You

A subtle blend of mellow jazz and nu-jazz played live by the trio, with additional vocals by Amy Antin.

Xander Harris

Cry Havoc / Heathen Birth

Mogwai's Rock Action label present a brand new 7" single and debut for the label from Austin based Xander Harris (aka Justin Sweatt).

Having previously contributed a reimagining of Mogwai's 'How To Be A Werewolf' to their 'A Wrenched Virile Lore' collection and a reworking of Errors' 'Hemlock', Rock Action is delighted to release this limited 7" of Xander Harris' own productions and with a new full length album currently in production give a preview of great things to come.

Harris is an electronic artist providing a growing balance between tense atmospherics, Italo camp and psychedelic flair.

His exploration of Giallo sounds landed his wellreceived debut ‘Urban Gothic’ on FACT’s Best 50 LPs of 2011 list.

This past year has found the native Texan equipped with a diverse discography and live performances that have taken him across the world.

Heavyweight limited edition vinyl 7” (500 copies only).

Xander Harris, former sidekick to vampire slayer (and sometime fondler) Buffy has gotten out of the stake-wielding game and brought us his 6th album, this time on Mogwai's own Rock Action records. Very much a horror/library sort of affar (no doubt inspired by his illustrious past), comprising of silky-smooth synth sweeps, heavy on the low-pass and saturated to the high heavens. Tracks like 'The Eye In The Triangle' wouldn't sound out of place on a Pye Corner Audio album, meandering but without being too wispy to really make an impact. 'Predator State' is more along the cold-wave lines, lots of delay and swirling pads, ambient and harrowing. Arpeggios swirl in the background before slowly coming to the fore before the groove kicks in, understated but ridiculously effective. 'Buckle Bunny' is probably the most obvious dance number on the LP, with Krauty sequenced synths, 1-2-1-2 percussives and majestic melody lines. The whole album is a perfect example of restraint and melody, understated enough to really shine but with a melodic sensibility that really stands out. Brilliant from beginning to end. 


Barry says: RIYL : Pye Corner Audio, Horror soundtracks, John Carpenter et al. Groovy but dusty synthetic soundscapes, grooving analogue percussives and shimmering arpeggios work together to make this a stunning and enthralling listen.

On initial listen to Magic Trix, the first album by Brooklynite Xenia Rubinos, one might feel as though one is being tased (bro). Little compares to the sharp, thick spine of keyboard sound that shoots out from the very first moments. An oblique assemblage of uncommon rhythms, forceful singing and dance-’til-you-puke styles combine to make Magic Trix one of the most exciting debuts in years. Surprisingly, the record’s aggressive sound is achieved without the use of guitars. Rubinos, with the assistance of drummer / sound magician Marco Buccelli, creates a dozen songs that bring to mind the adventurous spirit and whacked-out mentality found in the best moments of Rip, Rig and Panic, DNA and The Contortions.

Rubinos expands on her Cuban, Puerto Rican and American roots, and while the songs shoot off to new stratospheres, they never lose the sense that the music is at its core two people banging on things, making a racket. It was such a racket that their home production of the album was often interrupted by paintings falling from the walls of their apartment as they recorded. Rubinos and Buccelli can also fully replicate the record live, thanks in part to the latter’s makeshift “analogic distorted snare.” In order to alter his snare sound, he circuits the drum through an array of reverb and distortion pedals, projecting the sound through an amp at his side. Rubinos’s songs cover intimate topics of family and travel.

“Help” is based on a family legend of a woman flown to the states from Puerto Rico in order to heal a dying man with her powers. She brought over her six sons and lived under a bridge until she was able to afford a roof. “Los Mangopaunos” is a fantasy about the origin of the mice with whom Rubinos shared her Gowanus apartment; it chronicles their independent tribal lives and their lineage from Marvin the Martian. Meanwhile, “Cafe Con Leche” and “Aurora De Mayo” are original takes on traditional songs that Rubinos learned in her childhood.


Circles And Butterflies

XIIhundredarrows is a project by Liverpool / Manchester based musician Jon Lawton. Predominantly a studio based project, Jon has just released his first EP under the XIIhundredarrows banner. "Circles And Butterflies", a six track 21 minute EP, is the first in a series of releases planned in the near future. Each EP will try and create a mood throughout the tracks to give each one a different feel or theme.


CD Info: Limited edition of 100 copies in hand numbered, hand stencilled sleeve.

Xylouris White are George Xylouris - a Cretan lute player who is part of a famous Greek musical family and one of Crete’s best-loved artists - and Jim White, drummer in legendary Australian instrumental band Dirty Three.

‘Black Peak’ pays testimony to both men’s remarkable histories. One of Crete’s best-loved artists, Xylouris is a scion of Greek musical royalty, a family from a mountain village near the Cave of Zeus, while Jim White has commanded international attention for more than two decades as part of Australia’s Dirty Three. Now New Yorkbased, White is often found collaborating with alt- A-listers such as Bonnie ‘Prince’ Billy, PJ Harvey, Nina Nastasia, Cat Power and Smog.


LP includes MP3 Download Code.


Adult Books


    Formed in 1977, X quickly established themselves as one of the best bands in LA's flourishing first wave punk scene. Featuring vocalist Exene Cervenka, vocalist/bassist John Doe, guitarist Billy Zoom, and drummer DJ Bonebrake, their debut 45 was released on the seminal Dangerhouse label in 1978. While these songs were later re-recorded for their second album, the versions on Adult Books / We're Desperate reveal X's raw talent for totally sincere songwriting and stripped-down rock n' roll.

    X Is Greater Than Y


    Debut single from these new kids on the rock block! The title track is a blistering slice of catchy guitar noise, clocking in at a brusque one minute forty two seconds.


    CDS Info: The CD single includes "I Am Holocrine" and "Glycerine".

    X Ray Pop are the synth-pop duo of Doc Pilot and Zouka Dzaza from Tours, France. They got their start in the no wave art group Bocal 5 in 1981 and split off in 1984 to focus on their own brand of quirky synthesized electronics. Influenced by Erik Satie, Brigitte Bardot, Suicide and Young Marble Giants, they call their music “minimum naive new wave.” Armed with a Casio PT-20 keyboard and a rudimentary Yamaha MR10 drum machine they recorded their demo cassette and first 7″ “Eurasienne”/ “La Machine à Rêver” in 1984. Upgrading their synthesizers and adding some saxophone and guitar, they recorded the “Alcool”/ “Amazone” 7″ in 1985 and the “DS”/” El Gato” 7″ in 1986.

    “The Dream Machine” collects X Ray Pop’s first three 7″ singles plus 8 songs from their demo cassette, never released on vinyl before. Their songs are short, concise and well structured; richly textured, moving at a quick speed with hardly a pause. The demos show a sense of humor, vitality and carefree playfulness. Zouka’s pouting, tongue-in-cheek vocals (sung in French) come together for a catchy, sensuous, danceable, eccentric psychedelic ride. Reminiscent of the Mo-dettes, early OMD or Algebra Suicide, X Ray Pop could be the missing link to Stereolab.

    28 years later, this is the first time since the original issue that the songs of X Ray Pop are reappearing on vinyl again, but is the world ready?


    LP Info: All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley directly from the original master tapes. Each LP comes in a neon yellow jacket with an 8 page booklet full of unreleased photos, original artwork and lyrics.

    X-Coast debuts on Hot Haus Recs with 3 Euro-house slammers full of his trademark joy & character - backed with a super nice Kornél Kovács Remix.

    "XTC IV" kicks us off with big M1 riffs paired with a celebratory vocal chant, demanding we get 'on the floor'. Catchy club beats propel this bad boy forward with intent whilst big swirling synths introducing some serotonin-releasing breaks n drops. Magic.

    Swedish rude boy Kornél Kovács gets in on remix duties, coating the stems in a luminous patina and adding some ear-catching electronic edits before letting THAT M1 permeate through the sweat and fog.

    "Soft Touch" ditches the M1 for chiming keys as tribal pan pipes and vocal chants take us deep into the rainforest before a big bolshy synth-sax line gives us that raw 90s flava.

    Final track "XTC II" sees X-Coast fire up the M1 for one last blast, another ode to everyone's favourite party drug and a solid way to end this clubtastic EP. 

    X-Ray Spex

    Germfree Adolescents

      The one and only LP release from X-Ray Spex and its irrepressible frontwoman Poly Styrene has been deemed by everybody from Greil Marcus to Robert Christgau to Spin to Mojo as one of the greatest punk albums ever made, yet, somehow, this is its first vinyl reissue (and you can tell because prices for the used vinyl are insane)! And we've done it right; besides the colored vinyl, we've reproduced the inner lyric sheet, where you can read Poly's brilliant observations about the plastic, corporate nature of modern society. All of which she sings in a passionate yowl all her own (with Lora Logic among others backing on saxophone); this is not only one of the most penetratingly observant punk records, it's also one of the most passionate, and, surprisingly enough, catchy.


      Coloured LP Info: Clear with blue splatter vinyl! Limited to 1000 copies.



        St. Petersburg pathfinder Vladimir Karpov coaxes hushed auras of keys, metronomes, fog, and feeling to evoke hazed and isolated realms, traced in altered states. His latest collection—and vinyl debut—maps the maze at “the bottom of self,” subterranean consciousness manifested from decaying synthesizer and shadowed pulse: music for fading torchlight. Labyrinth leads through six misty, mystic chambers of dreams, drones, delirium, and phaser’d percussion, spiraling in slow, sacred arcs, in quest of “the inner world.” Tosya Chaikina’s ghost vocals on “False Angel Lullaby” and “Shadows Of Forgotten Ancestors” bring a whispered hymnal mood, but otherwise the album is ambient and abandoned, obscure meditations along corridors of candlelit runes, “to find the right path, to find the true answer.”

        Sibusile Xaba

        Open Letter To Adoniah

          The independent, South African record label Mushroom Hour Half Hour presents "Open Letter To Adoniah" and "Unlearning", two moving albums by talented guitarist and songwriter Sibusile Xaba, who improvises the musical legacy of KwaZulu-Natal into an exciting, genreless future!

          New outfit formed by Matthew Benn of Hookworms and Christopher Duffin of Deadwall. Its six tracks of improvised ambient beauty are both meditative and peaceful, it is astral jazz with an experimental kosmische undercurrent; modular synths meet saxophones; Cluster meets Terry Riley; Laurie Spiegel meets Pharoah Sanders; Ohr meets Impulse!. A warm, immersive and downright musical record, it rewards repeat listens. XAM was originally Matthew’s solo project, the name borrowed from the closing song of latter-day Dusseldorf-via-Detroit cult classic ‘Subway II’. He recorded a number of tracks at home between Hookworms albums in 2014 which were released last year as the ‘Tone Systems’ EP on Deep Distance.

          Christopher says he approaches each song as a “mini-soundtrack to an imaginary film that doesn’t exist yet” and reveals that, while he was practising at home, he played along to clips of ‘There Will Be Blood’, ‘Mulholland Drive’ and ‘Synecdoche, New York’ to get the requisite atmosphere. Live sets are also completely improvised, meaning no two shows are ever the same. “I appreciate that improvised music isn’t for everyone, but it’s something I love doing,” Matthew concludes. “And, more often than not, Chris and I create something beautiful together


          Barry says: Otherworldly developing ambience and celestial synth swells, gradual building and eventual fragmentation turn this into a tour-de-force of Reich-esque structural integrity. Jazzy interludes give way to churning echoes, while hints of percussion give just enough purpose to direct the cloud of blissful fog.

          Xamiga are back - Legowelt & Xosar team up to deliver three tracks of deep aquatic techno and freaked out house jams for M Division Recordings! Following their debut EP on Rush Hour, this super limited edition 10" starts with the title track "Oceania". Breakbeats meets ethereal chants and hazy aquatic synths, like a lost AFX record from the early 90s. Next up, "Atlantis Force Code" - euphoric house chords submerged by a wet blanket of swirling pads. Lastly, one strictly for freaked-out late night dancefloors - "Xosheeba" - jacking beats, a tough bassline and a gnarled phantom vocal stabs.


          10" Info: Limited blue vinyl pressing.

          Love them or hate them, you'll never forget them! Over the years Xbxrx's style of joyous musical assault has been championed by many major figures in the underground. Having opened up for Sonic Youth, Peaches, Unwound, Deerhoof and Q And Not U as well as having worked with accomplished producers such as Steve Albini, Ian Mackaye and Tim Kerr. This album shows a new found musical growth and maturity over its 18 tracks.

          Aberdeen/Exeter 3 piece THE XCERTS will finally be releasing their hugely anticipated, 3rd studio album, ‘There Is Only You’ on November 3rd through Raygun Music. The new album is the follow up to 2010’s ‘Scatterbrain’, and was produced by both Dave Eringa (Manic Street Preachers, Idlewild) and long-term band friend Paul Steel. The band will also be on tour in the US with Brand New around the album release, with a UK/European tour to be announced in the coming weeks as well.

          "The record”, explains vocalist/guitarist Murray Macleod, "is about everything I've experienced in my life so far. They are about the past and how I've made some terrible mistakes, in romantic terms anyway, and learned a lot from them, which culminates in the last song on the record, 'There Is Only You'. That's about me getting to this point of finally being comfortable enough to be with one person for the rest of my life. But halfway through recording we took a break and the night I got home was the night she decided she didn't want to be with me anymore. We got back on Friday, and I went back to the studio on the Monday for the next three weeks to finish the album. So it's a weird twist to the tale of this record and I was completely lost in the second half of making the record."

          Even though its ten songs had been written by that point, it's nevertheless a record that straddles the gulf between love and loss, the joy of feeling whole and the ache of feeling empty, with pinpoint accuracy. That complex contradiction is something the trio - completed by bassist Jordan Smith and drummer Thomas Heron - infused their first two records, 2009's 'In The Cold Wind We Smile' and hurt following year's 'Scatterbrain', with in abundance, but here it feels more poignant, more fragile, more urgent than ever before, both for the listener and, due to his personal circumstances, Macleod himself.


          The Triumph

          Ferocious, crushing SoCal hardcore maelstrom of sound that perfectly captures the spirit of their explosive live performances. Raging, committed quadruple vocal harmonies, an unrelenting guitar barrage and steamhammer rhythms combine to mercilessly bludgeon your aching synapses into a bleeding pulp...ouch...

          Xen & Yovav

          Etmol Hayom

          Xen & Yovav return to Malka Tuti in 2018 with full thrust and eyes to the future. After being responsible for the first 2 releases on the label, this time the enigmatic singer and the influential producer collaborate and deliver two original songs. "Hayom Etmol" treads an exotic, DIY, post-punk vibe with a flowing synthetic B-line, Balearic guitar riffs and dreamy foreign vocals. The B-side, "Shavit", sees the vocalist lead the track, supported by plucked bassline and trippy guitar riffs, swirling flutes and a minimalistic drum machine. Lo-fi in its production "Shavit" feels as if it has been dug out of an abandoned 80s record store in the outskirts of Glasgow or Amsterdam, with a strong cold wave feel to it.

          The first in a series of 7" dedicated to the DIY approach to electronic music, song writing and production. Some exciting names on the bill so hold on to your seat pop pickers...

          Hayom Etmol’s artwork design was made as always by Morey Talmor, with a printed inner sleeve designed by the Israeli artist Kobi Swissa and a special silkscreened outer PVC sleeve.

          Persepolis is the longest electroacoustic composition by IANNIS XENAKIS (1922-2001) who ranks among the most influential 20th century avantgarde composers. Commissioned by the Persian Shah, the piece was part of a multimedia performance – XENAKIS' so-called polytopes – which premiered in 1971 in Shiraz-Persepolis (Iran) as a performance including light-tracks, laser beams, groups of children walking around with torches and 59 loudspeakers to project the music in an open-air situation. XENAKIS had realized Persepolis on 8-track analogue tape in the Studio Acusti in Paris and released a stereo reduction on vinyl in the famous Philips series Prospective 21e Siècle in 1972, adding the new subtitle We bear the light of the earth, his most hymnal title ever.
          Out of print for decades now, the LP became – especially the Japanese edition from 1974 – one of the most expensive collector's item of electroacoustic music. There were some later CD versions with different durations – too long due to a wrong sample rate, others shortened by 3 minutes due to other reasons. The PERIHEL series now presents a new version: mixed from the original (!) master 8 track tapes by longtime zeitkratzer sound engineer MARTIN WURMNEST and mastered by RASHAD BECKER at D&M, Berlin – the same experts who had already taken care of the 2016 KARLRECORDS release of La Légende d'Eer, another milestone composition among the works of the Greek-French avant-garde composer.



            Xenoula is Romy Xeno. Romy spent her early years in South Africa where she was influenced by the elemental songs of nearby villagers and the (tranquil) rhythms of nature. Here she developed an introspective affinity with flora and fauna rather than with man and machines.

            Teaming up with producer Sam Dust aka LA Priest, whose recent work includes his own debut solo album as well as Connan Mockasin collaboration Soft Hair, Xenoula’s songs are adorned in a chameleon-like coat of shape shifting sonic textures and glide over an energetic core of ground shaking rhythm.


            LP Info: 180 gram heavyweight vinyl.


            Too Far Gone EP

            "Too Far Gone" is the second 'mood' EP by XIIhundredarrows. The feel of this EP is much darker than its predecessor "Circles and Butterflies", but still uses a lot of the trademark-layered guitar sound that we have heard in previous recordings. This is the first XIIhundredarrows EP to use vocals and showcases Jon Lawton's brutally honest lyrical content. The EP comes in a new 'ejector-case' and is completed with artwork also by Jon.

            On the Magic Movements latest trick, Xique-Xique from Sao Paulo paint a psychedelic panorama of the mysterious world of Amazonia, full of waterfalls, bellicose woman, and an endless flora & fauna. By combining Brazilian rhythms with elements of techno, dubby house and plenty of bird sounds they create a unique bunch of vivid slow jams to get lost in. The set opens with the rolling rainforest rhythm of "1542", a floglicking trip complete with tumbling drums, sci-fi sine waves and buzzing synths. Ritualistic bells, spoken vocals and unnerving field recordings all combine for an out of body experience in the upper reaches of the canopy. Already a classic for those who enjoy 'romantic DJ dinners', "Xaxoeira" is finally available on vinyl for the rest of us. This vibey masterpiece is the straightest of the bunch, a proper slow-mo house tune, with a dark flute sample and a broken organ that grinds its way into the deepest corners of your brain. If you got down to the "Moon Faze Sun Gaze" series or Ruf Dug's tribal masterpiece on Balearic Blah Blah Vol. 10, you'll be all over this one! Over the corner, "Rio Negro" utilises dark sequences, chilly pads and subby bass swells to soundtrack the darkest jungle night, continuing the trip without overpowering our addled mind. Finally Nicola Cruz, fresh off the back of a stand out contribution to the aforementioned Moon Faze Sun Gaze series delivers a superb remix of 'Xaxoeira' which adds rolling percussions and delay madness to the original material. It's time to take a little trip!

            STAFF COMMENTS

            Patrick says: Trippy slo mo rainforest tackle from Zique-Xique here on Magic Movement, culminating in a killer, post minimal - future primitive take from the mighty Nicola Cruz. Everything suddenly got a whole lot wonkier folks!

            Xiu Xiu / Dirty Beaches

            Always / Tu Ne Dis Rien


              ***LIMITED TO 300 COPIES IN THE UK***

              Xiu Xiu

              There Is No Right, There Is No Wrong (The Best Of Xiu Xiu) - RSD Edition


                All tracks re-mastered on double vinyl in a handmade, individually numbered sleeve. Includes 21 track Rarities CD.

                FORMAT INFORMATION

                2xLtd LP Info: 2xLP+CD.

                Xiu Xiu Vs Grouper

                Creepshow EP

                  "Creepshow", a wisp of a collaboration between Portland phaser Liz Harris (aka Grouper) and Xiu Xiu situates itself at the core of the former's chilly drone and the windiest outskirts of the latter's saddest ballads. The EP's five tracks share similar pacing and a narrowly defined sound; subtly defined gradations emerge across the 20-some minute tapestry.

                  FORMAT INFORMATION

                  Ltd 12" Info: Limited to 500 copies.

                  Rarely is so much meaning conveyed in the space of six letters. And with regard to Xiu Xiu, its applications are infinite: always relevant, always provocative, always surprising, always evolving, always glittering.

                  It's fitting, then, that as the band (now comprised of Jamie Stewart, Angela Seo, Bettina Escauriza, Marc Riordan, and returning member Devin Hoff) marks a decade in existence, such a powerful sentiment would serve as the title of its latest album.

                  At its core, Always symbolizes the mutual camaraderie with and deep dedication to each person who has internalized Xiu Xiu’s work, tattooed its name on their skin or soul, and throughout the past ten years made the band a part of their lives.

                  The origin of these intense, everlasting bonds is Stewart. His fearless lyrics have given voice to life's most untouchable and taboo subjects, while his distinctively committed but hushed vocals crystallize and medicate their unsettling impact.

                  Those familiar with the band's work will take particular note of the times Stewart re-visits profoundly personal accounts from his own life -- most prominently on "Beauty Towne" (a not-so-uplifting postscript to the muddle of those depicted in "Clowne Towne" from 2004's Fabulous Muscles) and "Black Drum Machine" (which finishes the narrative of incest and molestation begun on "Black Keyboard" from 2008's Women as Lovers).

                  Elsewhere, Stewart's willingness to broach any subject finds him confronting both the topical and the intimate in equally meaningful ways: "Gul Mudin" seeks to bring comfort to an Afghani teenage boy murdered for sport by American soldiers; "Joey's Song" strives to do the same for Stewart's brother in the aftermath of a family tragedy.

                  "Factory Girls" chronicles the sexual objectification and desperate existence of Chinese female, migrant workers. "I Luv Abortion," featuring perhaps Stewart's most unhinged vocal ever, careens through the resolute heartache of a friend too young to be pregnant and seeks to personalize this most political issue.

                  But while such writing is worthy of reverence, Always' most arresting moments lie in its sonic innovation -- transforming avant pop elements from an undertone into a bright black focal point while adding new influences such a choral music, kraut rock and animal field recordings.

                  Produced by Deerhoof's Greg Saunier (who also contributes drums and vocals to the album) and mixed by John Congleton (Antony and the Johnsons, Marylin Manson, the Roots) the album is positively vibrant.

                  Opening track and first single, "Hi," is an immediate invitation for listeners to make their presence known, as Stewart commands you to voice the title refrain along with him: "If you are wasting your life / Say "Hi" / If you are alone tonight / Say "Hi."

                  The song's infectious, dance-worthy beat is only the first of many instances when Stewart’s unflinching lyricism is coupled with pure, singable melodies -- the kind of pairings that bring into stark relief how often life's worst moments are shouldered with a skewed, cheery grin.

                  Nowhere is this contrast more apparent than on the bittersweet duet "Honeysuckle," a pleasantly uplifting cadence undercut by feelings of utter despair and hopelessness in Seo's lyrics.

                  That such dazzling music can so seamlessly blend with such undeniably dark content is but one of the ways Always succeeds in accentuating the intent that is central to all Xiu Xiu creates.

                  During recording, Stewart saw a Bible verse spray painted on the wall of his gym. He interpreted the verse to mean, "Horror and beauty are the same; love and hate are the same, the tireless dread of our own lives and of living can be embraced with the same fervency as what we find beautiful."

                  The impulse that drove artists such as Suicide, Einstürzende Neubauten and Scott Walker to embark on extraordinary and uncompromising journeys, refusing to flinch in the face of humanity’s ugly truths and terrible beauty, also underpins the sound and vision of Xiu Xiu, aka LAbased duo Jamie Stewart and Angela Seo.

                  ‘Angel Guts: Red Classroom’ is the sound of Xiu Xiu’s descent into the deepest blackness endurable.

                  FORMAT INFORMATION

                  Vinyl comes with CD version of the album enclosed.

                  Two constants throughout Xiu Xiu’s catalogue are honesty and evolution. This remains true with "Dear God, I Hate Myself", as it delivers a look at responsibility, fear, healing, and societal roles wrapped in rich gothic pop music. Jamie Stewart’s vocals are finally effortless paired with vibrant melodies full of subtlety and distinct sonic accents. Production is handled by Jamie Stewart and Deerhoof’s Greg Saunier, and the result is a record that proves that art can be pop and pop can challenge you to look inside yourself.

                  FORMAT INFORMATION

                  LP Info: Each format contains a sticker featuring one of
                  twelve designs.

                  LP includes MP3 Download Code.

                  The album was produced by John Congleton (Blondie, Sigur Ros), Greg Saunier of Deerhoof and Xiu Xiu's own Angela Seo.

                  It features guest appearances by fabled minimalist composer Charlemagne Palestine, L.A. Banjee Ball superstar commentator Enyce Smith, Swans guitar virtuoso Kristof Hahn and legendary drag artist and personal hero of Xiu Xiu, Vaginal Davis.

                  FORGET was recorded during a period of epic productivity for Xiu Xiu. While writing FORGET, they released the lauded Plays the Music of Twin Peaks, collaborated with Mitski on a song for an upcoming John Cameron Mitchell film, composed music for art installations by Danh Vo, recorded an album with Merzbow and scored an experimental reworking of the Mozart opera, The Magic Flute. All of this frantic, external activity lead to a softly damaged dreaminess and broadened intent that has not been heard before in other Xiu Xiu works.

                  Standout track, “Wondering” is one of the catchiest boogie pop gems in the Xiu Xiu catalog, but like much of FORGET, it still bears an underlying tension that manifests differently in each piece. From the haunted guitar duet of "Petite", the hilariously fraught lyrics of "Get Up," the advanced industrial boxing match of "Jenny GoGo," or the experimental goth explosion of "Faith, Torn Apart", all the songs, in their own ways, build to a roiling boil of a fate in vanishing.

                  The calligraphy on the cover translates literally to "we forget." It bows to the universality of everything and everyone's inevitable decline and foggy disappearance. Regarding the album title, Xiu Xiu singer Jamie Stewart said, “To forget uncontrollably embraces the duality of human frailty. It is a rebirth in blanked out renewal but it also drowns and mutilates our attempt to hold on to what is dear.” FORGET is both the palliative fade out of a traumatic's past but also the trampling pain of a beautiful one's decay.
                  Xiu Xiu is Shayna Dunkelman, Angela Seo and Jamie "Butch Jenny" Stewart.

                  FORMAT INFORMATION

                  Ltd LP Info: 180 gram vinyl, 500 Only.

                  Xiu Xiu, now a three-piece featuring Jamie Stewart, Caralee Mcelroy, and Ches Smith, crafts a sickeningly intimate art that is equally sensual and icy. A double CD set of covers and remixes. The first disc, a batch of covers, is an exercise in sisterly fan-dom and inspired innovation. Larsen's version of "Mousey Toy" is a six-minute electro-pop build with spoken computer vocals. Oxbow's cover of "Saturn" is gothic folk, backwoodsy and death-marching. Recent Xiu Xiu tour-mates Sunset Rubdown do "Apistat Commander" as a majestic pop orchestra with drums that sound like slamming doors. Marissa Nadler covers "Clowne Towne", reworking it into stately, ornate folk. Kid 606 revamps "Fabulous Muscles" as a big, warm, clustering blossom of claustrophobic dance music. Why? plays "The Wig Master" as fractured avant-pop. The final track on the covers side is Devendra Banhart's take on "Support Our Troops", showcased originally on a split 7" with Xiu Xiu. Finishing off the record with Devendra's optimist, playful croon, Stewart's chilling mini-essay on warmongering and not thinking for yourself becomes street corner doo-wop. The remix disc has remixes by; Gold Chains, Kid606, To Live And Shave In LA, Warbucks, Xiu Xiu, Grouper, Cherry Point, Son, and This Song Is A Mess But So Am I.

                  X were one of the most important bands on the early West Coast punk scene and this their debut (produced by The Doors' Ray Manzarek) is as exciting as they came in 1980. Remastered with bonus tracks, new sleeve notes and great period photos. It's commercial, tuneful and was incredibly influential.

                  XOA / Contours

                  Too Much Talking

                  Following their massively well-received debut release with Moroccan musician Majid Bekkas, MCR's Banana Hill return with music from slightly closer to home. Drummer, DJ & producer, not to mention early Rhythm Section signing Tom Contours joins multi-instrumentalist XOA for a collaborative 12" of deep, percussive afrocentric house grooves. With a, dare-I-say-it, sophisticated range of releases that belie his youthful good looks, Contors in one of our city's celebrated new exports. "Too Much Talking" is a cosmic dancefloor heater, with dubbed-out synths, vintage guitars, fat live bass and, as the name suggests, a talking drum that underpins the whole track. Things head a little deeper on "Express" with rolling percussion, heavy sub and subtle influences of afrobeat & jazz.

                  Brand new signing XOA maintains a foundation in broken beat and house music, while drawing from classic afrobeat, funk and jazz - making this release more right-now than a fake news feed about Kim Jong Un. Headed up by multi-instrumentalist (and Gentleman’s Dub Club member) Nick Tyson, XOA fuses golden era 1970s afrobeat with deep grooves and contemporary electronic productions sizzling with analogue synths, guitars and percussive rhythms. Collaboration has always been at the heart of the project, with an emphasis on live instrumentation, crucial to transmitting a rich energy on the tracks.

                  Hailing from London, Tyson has been building a keen following with his live gigs and DJ sets, including a sell-out live show at the Jazz Cafe featuring Eva Lazarus and Dele Sosimi on vocals. The new release on Soundway reflects his steady progression towards sophisticated production and collaborative processes, as well as his ability to effortlessly cross multiple genres.

                  LTM presents the first CD by Manchester reggae band X-O-Dus, best known for their Dennis Bovell produced single ‘English Black Boys’ on Factory Records in February 1980.

                  Formed by Moss Side teenagers Honey and Leddy Ricketts in the late 1970s, X-O-Dus elected to play a more political/progressive style of reggae, free from the religious dogma typical of other reggae bands at the time. Talent spotted by Joy Division / New Order manager Rob Gretton, the group were invited to record for fledgling indie Factory Records, with leading producer Dennis ‘Blackbeard’ Bovell (Matumbi, Slits, Pop Group) hired to mix down ‘English Black Boys’ and ‘See Them A Come’ as an extended dub single. In true Factory style the 12” was released a year late, and stands as the only reggae record sleeved by feted designer Peter Saville.

                  Though X-O-Dus performed at live events such as ‘Zoo Meets Factory Halfway’ and ‘Factory By Moonlight’, the group found it hard to make headway on an experimental art label, and disbanded in 1981 without releasing an album. Digitally remastered, this archive collection includes both sides of the lengthy Fac 11 single along with seven album demos recorded in 1980.

                  ‘Factory and Rob were always obsessed with the black music scene in Manchester,’ Tony Wilson explained later. ‘As we all know, black music is the heart of rock n’ roll. But we put out English Black Boys and X-O-Dus then broke up – typical!’

                  Take your deepest breath, you're about to do battle with a beast! With inuagural release "Show Yourself", Xosar unleashes her new Gyrocyre label on the unsuspecting world, tapping into the collective unconscious to harness immeasurable psychic power. When people on our planet hold pent up tensions under the skin, the energy gestates in a womb-like growth until it's ready to burst through the flesh manifest as a creature called a Gyrocyre. I can't think of a more appropriate name for this nasty-ass craziness. EP opener "Psychoplasmic Spawn" rips through the speakers with ear blistering power, piercing slabs of distortion and feedback with prickly sirens while bludgeoning basslines make your head pulse and pound. "Skin Hammer" drops the pace a little, choosing disquiet over destruction as it transforms you into a hollow shell from within. Submerging the whole thing in almost inpenetrable static, Xosar utilises backmasked vocals and fx soaked synths to totally disorient you. Over on the flip, "Show Yourself" sees the red hot hardware take over, crowding the soundspace before the producer flips us out with some mangled synth funk, before the grossly titled "Manmeat PCP" rounds the package off with splintered house keys and a whole host of noise.

                  Riffing on the recent house reworks of Thom Yorke, X-Press 2's 2006 single "Kill 100", with vocals courtesy of The Music's Rob Harvey, gets the Restricted Access treatment for some Shelter friendly USA mixes, significantly different from both the original and the previously available Carl Craig remix.

                  Femme fronted pocket punk and domestic-synth pop from French DIY workaholics X Ray Pop. Compiled from the mastertapes of the original 1980s privately pressed vinyl LPs and minuscule cassette runs.

                  X Ray Pop are a group of whom are easy to scratch the surface, but almost impossible to get the bottom of. With an iconic moniker, telltale graphic style and demanding ‘buy me’ Day-Glo colour coding policy the French vinyl output of X Ray Pop as a specialist subject is, at first glance, memorable and achievable. Cocksure fans of Euro wave pop often proclaim X Ray expertise from behind many a record shop counter or blog page but the truth of the matter is that no-one, not even the band members themselves, have the knowledge or mental capacity to truly understand the splatter range of the god speed anti-tactics that have turned this interchangeable, unarrangable and thirty-year sustainable auto-pop combo into one of uber-legendary status. For those that tread the chemins of 80s Gallic record racks, from agit pop to Zeuhl-school (bridging synth pop to Celluloid) these 7″ square flags reading El Gato, L’Eurasienne, Alcool and Fuzzy Christmas are merely alluring landmarks pointing to another sebaceous underground of magnetic tape that flows swiftly (like Magma) awaiting Pirates and liberators alike. X marks the spot!

                  Peeping out of a warren of unexplored passages their seminal self-distributed debut singles and appearances on the genre defining alternative funk Alternative Funk Folie Distinguée compilation in 1984 made them an omnipresent fixture for the French tape wave scene that shaped a generation and influenced many more to follow. But beneath the trademark fluo- rescent sleeves stands the highly stacked foundations of endless cassette only releases that give this pocket punk husband and wife duo one of the most impressive and elusive back catalogues of all their cut ‘n’ paste French funk contemporaries. Plundering the depths of a self-estimated 400 recorded songs, X Ray Pop founder Didier Pilot has joined up with Finders Keepers sister label Cache Cache to reassess, rescue and reissue some of the bands most underexposed sonic snapshots, many of which were distributed in issues of less than 50 up to 500 for exclusive global releases in France, Spain, Portugal, Japan and America (where bands like Brian Ladd and Julie Frith’s Psyclones and The Beastie Boys championed the band as a likeminded inspiration.

                  CD edition (available separately) is accompanied by two vinyl releases - ‘Ding Dong Disques’ and ‘Ding Dong Dubs’ - compiling the rarest vinyl (‘...Disques’) and cassette (‘...Dubs’) releases (both featuring exclusive bonus tracks).

                  Femme fronted pocket punk and domestic-synth pop from French DIY workaholics X Ray Pop. Compiled from the mastertapes of the original 1980s privately pressed vinyl LPs and minuscule cassette runs.

                  X Ray Pop are a group of whom are easy to scratch the surface, but almost impossible to get the bottom of. With an iconic moniker, telltale graphic style and demanding ‘buy me’ Day-Glo colour coding policy the French vinyl output of X Ray Pop as a specialist subject is, at first glance, memorable and achievable. Cocksure fans of Euro wave pop often proclaim X Ray expertise from behind many a record shop counter or blog page but the truth of the matter is that no-one, not even the band members themselves, have the knowledge or mental capacity to truly understand the splatter range of the god speed anti-tactics that have turned this interchangeable, unarrangable and thirty-year sustainable auto-pop combo into one of uber-legendary status. For those that tread the chemins of 80s Gallic record racks, from agit pop to Zeuhl-school (bridging synth pop to Celluloid) these 7″ square flags reading El Gato, L’Eurasienne, Alcool and Fuzzy Christmas are merely alluring landmarks pointing to another sebaceous underground of magnetic tape that flows swiftly (like Magma) awaiting Pirates and liberators alike. X marks the spot!

                  Peeping out of a warren of unexplored passages their seminal self-distributed debut singles and appearances on the genre defining alternative funk Alternative Funk Folie Distinguée compilation in 1984 made them an omnipresent fixture for the French tape wave scene that shaped a generation and influenced many more to follow. But beneath the trademark fluo- rescent sleeves stands the highly stacked foundations of endless cassette only releases that give this pocket punk husband and wife duo one of the most impressive and elusive back catalogues of all their cut ‘n’ paste French funk contemporaries. Plundering the depths of a self-estimated 400 recorded songs, X Ray Pop founder Didier Pilot has joined up with Finders Keepers sister label Cache Cache to reassess, rescue and reissue some of the bands most underexposed sonic snapshots, many of which were distributed in issues of less than 50 up to 500 for exclusive global releases in France, Spain, Portugal, Japan and America (where bands like Brian Ladd and Julie Frith’s Psyclones and The Beastie Boys championed the band as a likeminded inspiration.


                  Cities On Flame

                    A vinyl LP issue of Cities On Flame by Xwave, originally released as a limited CDr/tape by the Brisbane-based Breakdance The Dawn label. recorded in 2008. Featuring guitar heaviness that some have compared the sounds to Kray Cherubs. I think it hits on the Vermonster "spirit of yma" leanings. Either descriptions are a great place to start. A limited edition of 250 copies, housed in silk-screened album art. Little Big Chief Records.

                    The long awaited second album from The XX.

                    Three years on from their Mercury Prize winning debut, Romy Madley Croft, Oliver Sim and Jamie Smith are back with a new album, ‘Coexist’, and a new perspective.

                    Where ‘XX’ lent in close to whisper in your ear, ‘Coexist’ gazes warmly in your eyes. Much has happened to lead to this point: most pertinently, they’ve grown up.

                    STAFF COMMENTS

                    Ryan says: Even more dazzling than their last! The vocals are intimate & soulful while subtle club rhythms chug along nicely to give it all just the right amount of impact.

                    FORMAT INFORMATION

                    Vinyl comes with CD version of the album enclosed.

                    I See You marks a new era for the London trio of Romy Madley Croft, Oliver Sim and Jamie Smith, both sonically and in terms of process. For while xx and Coexist were both made in relative isolation in London, I See You was recorded between March 2014 and August 2016 in New York, Marfa TX, Reykjavik, Los Angeles and London, and is characterised by a more outward-looking, open and expansive approach. Produced by Jamie Smith and Rodaidh McDonald, I See You is The xx at their boldest yet, performing with more clarity and ambition than ever before.

                    STAFF COMMENTS

                    Andy says: After two perfect, and pretty similar albums of clipped, late-night minimalism, The XX ring the changes, tinkering with their template with a record showing some of the dynamism and richness of Jamie's smash-hit solo album of 2 years ago. It still has all their hallmarks intact, just warped and deepened to beautiful effect. Brilliant.

                    FORMAT INFORMATION

                    Coloured LP Info: 10 tracks on limited-edition Indies only clear vinyl, in a debossed mirri board sleeve with a download.

                    Vinyl comes with CD version of the album enclosed.

                    Deluxe LP Info: Silver mirri board debossed box containing the album on 180g heavyweight vinyl, with an extra 12” including 3 bonus tracks, album CD, enhanced CD featuring a live video of bonus track ‘Brave For You (Marfa Demo)’ and 3 exclusive prints by Alasdair McLellan.

                    CD Info: CD comes in a debossed mirri board sleeve.

                    What's this? New XX material?! Well, kind-of, but, kind of not. A-Side sees Jamie XX remixing "On Hold" into a loopy tech-house rumbler that's equally nostalgic and forward-focused. The flip sees Four Tet smashing out "A Violent Noise" remix which is thick with thunder storm static and crushingly epic melodies. Jamie XX and Four Tet together on one twelve inch can only mean one thing - you better get your skates on!

                    The best track on their album? Discuss......

                    STAFF COMMENTS

                    David says: If by some chance you've spent the last six months living on another planet and you don't know about The XX, this, the fourth single to be taken from their self-titled debut album is as perfect a three minutes as anyone could ask. Dark, brooding pop music at its spine tingling best.

                    Listening to “XX” is an uncomfortable, obtrusive experience, akin to eavesdropping on two lovers while they whisper and caress. So intimate are the songs contained within that at the very least, you feel you should turn away your face to hide your shame. In fact, it’s impossible to talk about The XX without talking about sex. Like so many bed sheets strewn across the floor, Romy and Oliver’s duets are littered with sexual anxiety, claustrophobia and desire and their take on romance is a particularly urban one, more council high rise and public transport than the Crystal and Gucci version favoured by the R&B they love so much. “XX” is a debut album that’s old beyond its tender years but such is its fragility, it’s only when the final note of “Stars”, the albums closing track has dissolved that we can breathe again, relieved that we’ve made it to the end, safe and in each other’s arms.

                    STAFF COMMENTS

                    Darryl says: An intimate listen, and one that makes it perfect for the winter months. Sparse to the point to the point of fragility their debut album is moody, menacing and downright brilliant.

                    FORMAT INFORMATION

                    LP Info: Includes bonus track "Hot Like Fire".

                    Ltd CD Info: Comes with die-cut slip case.

                    Really solid v/a compilation EP here outta Holland featuring four cool as fuck acts that we've supported here in Piccadilly since day one. Starting with JMII who's previously released on John Talabot's cult label Hivern. French cosmic robots Il Est Vilaine are up next with a suitably low-slung. swaggering effort which seems to combine Cure-era basslines with a suitably industrial yet disco-tinted backing groove. It's eerie and creeping but totally danceable and sure to inflict a hypnotic sway onto the floor. Two tracks in and we're already rocking as Marvin & Guy open side B with a cinematically themed, Italo-styled horror disco score. Finally SHMLSS mix percussive disco grooves and acidic 303 lines with aplomb, ramping up the vibes till we're in the middle of a full-blown psychedelic discotheque. Mega stuff.

                    STAFF COMMENTS

                    Matt says: Massive V/A EP featuring my man-crush act Il Est Vilaine (when ya gonna call me back guys..?). The rest of the offerings are top qual too making this an essential buy.

                    Xxxy rolling through with a power up. Tried and tested at working men's clubs and karaoke bars the world over. Title track takes the Shir Khan blueprint and injects it with some hi-velocity carnage, recalling fellow loopers Doc Daneeka and Earl Jeffers as it powers through the mainroom. "Takin The Easy Way Out" utilizes the same formula to a more spaced out and wavy selection of sequences, sending us spiraling into the stars as the young Mancunian upstar flirts with a French touch / techno hybrid. Finally, "Get On It" keeps the fire truly burning as xxxy conjures up a smoldering house driver in similar vein to Pete Heller's iconic Subliminal anthem "Big Love". Comin' to a peaktime house set near you this summertime!

                    The second Xxxy release this week sees the producer absolutely tonking it out, launching his first self released EP on this occasion. "Sour Edits Vol. 1" sees more of that incendiary, party starting loop n filter action converge on three new fresh grooves for main rooms, terraces and beach raves across the globe - no selfie sticks allowed! "Yearning" keeps you locked into a rampaging house frenzy and just when you think it can't get any more intense we get a climaxing female vocal hook to send us on the verge of a dopamine overdose. "NYC Woman" keeps up the tempo and energy, skirting beautifully close to disco-house territory as Philly vocals get chopped up over another filtered-ta-fook hook from this new master of the stacks! Floorplan move aside! "Lights Up" closes off the adventure with a thick n chunky number with over-compressed snare snaps as a kinda nostalgic, getting towards the end of the session feel which should wind up any DJ set on a high. Stupendously strong stuff here from Xxxy, you need!

                    STAFF COMMENTS

                    Matt says: Big big biznis from Manc house

                    Xylouris White


                      A passion for exploration comes naturally to Xylouris White, the ruggedly visionary duo formed of Cretan lute player George Xylouris and revered Australian drummer Jim White. For their debut album, 2014’s Goats, Xylouris White compared themselves to the titular animals, wandering fearlessly through rough-hewn terrain. Two years later, they showed how far their horizons could reach on 2016’s majestically expansive Black Peak, named after a mountain top in Crete.

                      Just 15 well-toured months later, the duo’s exploratory instincts drive them further onwards still on their third album, Mother, named to denote “new life”. As Xylouris puts it, “Mother is the extension of Goats and Black Peak. Three things, all part of a whole. Goats are mothers, Zeus was raised on Amaltheia’s milk, Black Peak is Mother Earth… Mother Earth is the mother of everything.”

                      Across Mother’s nine tracks, Xylouris White nurture fecund growths from the spaces between their instruments. Sometimes the songs drive with an invigorating urgency; sometimes they brood, plead, yearn and lull. The duo seem to discover each other anew at every turn, teasing the songs out from their fluid chemistry with the kind of virtuosity that knows when to listen, accommodate and learn afresh. “A theme of the album is the significance of simplicity and a child-like approach,” Xylouris explains. “So, we connect mother and child and play instruments as toys. Xylouris White is still gestating.”

                      That ongoing gestation is a remarkable extension of already remarkable back-stories. Xylouris is a scion of one of Greece’s most revered musical families. His father is legendary singer / lyra player Psarantonis. A child when he began playing the lute, Xylouris would accompany his father in a backing role. Yet just as Psarantonis stretched the lyra’s range, so Xylouris elevated his eight-string laouto to the lead role in his Xylouris Ensemble.

                      Jim White has commanded international attention for more than two decades as part of Australia’s Dirty Three, storm’s-eye instrumental diviners whose emotionally choppy soundscapes brim with elemental force. Now New York-based, White has often been called on to collaborate with numerous alt-A-listers (including: Bonnie ‘Prince’ Billy, PJ Harvey, Cat Power and Smog), where he redeploys the rolling momentum of free-jazz to variously supple, sensitive and seismic ends. Most recently he can be collaborated with Kurt Vile and Courtney Barnett on their acclaimed album “Lotta Sea Lice”.

                      PJ Harvey likened White’s playing to dancing. Yet if dancers need partners, Mother also pays testimony to a friendship forged over almost three decades. Xylouris was performing with his Ensemble when he met White in Melbourne in the early 1990s; back then, the drummer was in his pre-Dirty Three avant-rock outfit Venom P Stinger. In retrospect, a cycle of influence emerges: Xylouris’s 1990s live contributions to the Dirty Three set a blueprint for Xylouris White, yet the Dirty Three were themselves inspired by Xylouris and Psarantonis.

                      That mutual exchange resonates throughout Mother. Album opener “In Medias Res” finds the duo already in motion, feeling their way around one another, seeking out ways to bring a song to full bloom. Proving they can also be thrillingly direct when the mood takes them, “Only Love” follows with a brilliantly barrelling sense of momentum, White’s powerhouse percussion urging Xylouris’s liquid-fingered lute-playing and impassioned baritone on to increasing heights of urgency.

                      From here, Xylouris White proceed as if by intuition, feeling their way around new terrain. “Motorcycle Kondilies” is muscular and epic, White’s rimshots providing on-alert accompaniment as Xylouris’s reaching vocal and dancing lute lines build in intensity. If the marching rhythm and pretty lute melody of “Spud’s Garden” highlights the duo’s occasional elegant side, “Daphne” and “Achilles Heel” showcase Xylouris White’s at their most hypnotic and brooding. “Woman from Anogeia” hosts a particularly emotive vocal from Xylouris; “Call and Response” is the duo at their freeform finest, circling each other querulously, again teasing at possibility. Finally, resolution is embraced openly on the tactile and reverberant “Lullaby”, as lovely a track as any Xylouris White have birthed.

                      As on Black Peak, Mother’s labours benefited from the midwifery of choice collaborators. Fugazi’s Guy Picciotto produced again. Also on hand this time was Anna Roberts-Gevalt of old-time folk duo Anna & Elizabeth, whose earthy violin/viola lines and exquisitely sighing vocals can be heard on the track “Lullaby”.

                      The result is an album of extraordinary accomplishment from two supremely seasoned players who’ve kept a close kinship with the richly, rewardingly inquisitive instincts of their youth. In Xylouris’s words, “It's the natural maturity of fruits as they ripen. As fruit matures by the rhythm of nature, so the music grows at its own pace. So, here are two maturing fruits giving the taste of their present maturity – and they’re still children.”

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