For over a decade, Nika Roza Danilova has been recording music as Zola Jesus. She’s been on Sacred Bones Records for most of that time, and Okovi marks her reunion with the label.

Fittingly, the 11 electronics-driven songs on Okovi share musical DNA with her early work on Sacred Bones. The music was written in pure catharsis, and as a result, the sonics are heavy, dark, and exploratory. In addition to the contributions of Danilova’s longtime live bandmate Alex DeGroot, producer/musician WIFE, cellist/noise-maker Shannon Kennedy from Pedestrian Deposit, and percussionist Ted Byrnes all helped build Okovi’s textural universe.

With Okovi, Zola Jesus has crafted a profound meditation on loss and reconciliation that stands tall alongside the major works of its genre. The album peaks of tragedy with great wisdom and clarity. Its songs plumb dark depths, but they reflect light as well.


Last year, I moved back to the woods in Wisconsin where I was raised. I built a little house just steps away from where my dilapidated childhood tree fort is slowly recombining into earth. Okovi was fed by this return to roots and several very personal traumas.

While writing Okovi, I endured people very close to me trying to die, and others trying desperately not to. Meanwhile, I was fighting through a haze so thick I wasn’t sure I’d find my way to the other side. Death, in all of its masks, has been encircling everyone I love, and with it the questions of legacy, worth, and will.

Okovi is a Slavic word for shackles. We’re all shackled to something—to life, to death, to bodies, to minds, to illness, to people, to birthright, to duty. Each of us born with a unique debt, and we have until we die to pay it back. Without this cost, what gives us the right to live? And moreover, what gives us the right to die? Are we really even free to choose?

This album is a deeply personal snapshot of loss, reconciliation, and a sympathy for the chains that keep us all grounded to the unforgiving laws of nature. To bring it to life, I decided to enlist the help of Alex DeGroot, who has been the only constant in my live band and helped mix the Stridulum EP back in 2010. It will be released on Sacred Bones, the closest group of people I’ll ever have to blood-bound family.


Coloured LP Info: Rust coloured vinyl.

LP Info: Black vinyl edition.

Zola Jesus

Okovi: Additions

    Zola Jesus’ Okovi: Additions lp offers a new angle on her 2017 album, Okovi. The collection pairs four previously unreleased songs from the Okovi sessions with four remixes by a diverse cast of artists.

    Johnny Jewel turns “Ash to Bone” into a late-night cinematic torch song, Tri Angle Records composer Katie Gately’s “Siphon” is a dark choir of warping angels, black metal band Wolves in the Throne Room’s take on “Exhumed” makes the pounding industrial anthem even denser and heavier, and Toronto producer Joanne Pollock (formerly one half of Poemss with Venetian Snares’ Aaron Funk) makes “Soak” feel like an aching classical standard— until it starts warping in on itself and goes somewhere else entirely.

    The songs on Additions traverse a vast amount of sonic ground, but taken together, they cohere remarkably well as an album, all while serving to enrich the experience of Okovi.

    “These four new songs were intended to be on Okovi,” Nika Roza Danilova explains. “Each of them represents a snapshot of my journey in making the record, and are just as precious to me as the songs that made it onto the final track listing. The remixes are beloved in their own way, as most were born from organic circumstances, and have drawn the original songs into completely new atmospheres.”


    Coloured LP Info: Grey and black starburst vinyl.

    “Seven yers ago, it was winter break at university in Madison, Wisconsin. There was a snowstorm that covered the city with a still white haze. Not a single person in the streets. I was sitting on my bed with a cheap keyboard and a computer, screaming into the void. I barely remember writing the songs. It was a chaotic point in my life. I had no time to think about process or intent. It was a purge. I do remember taking a break from recording, bundling up, and walking through the barren streets while listening to the demos I’d made. The world, at once, felt clear. After writing and producing what would become the Stridulum EP, I contacted a new friend, Alex DeGroot, to come over and record my vocals. He was studying audio engineering and had more knowledge and gear than I could dream of. He helped mix Stridulum, too, because all I had was a pair of headphones. (Since then, Alex has stuck by me, as a live bandmate, technical director, co-producer, mixer, and engineer.) These songs were a huge leap of faith back then. It was my first time singing without layers of distortion, echo, and reverb. It was the first time I peeled back the layers to find out what was at the core. I’m still on that path today, seeing how far I can push myself into unknown places, whether through clarification or destruction. It’s like Stridulum’s still here with me, underneath it all. Still, it’s surreal to think that this record, made by a 19-year-old girl sitting on a bed in a freezing old house in Madison, would make its way into strangers’ ears seven years later.”

    -Nika Roza Danilova, June 2017

    Collects the early Zola Jesus EPs Stridulum and Valusia in a single volume for the first time.

    Sacred Bones present "The Spoils" from Zola Jesus. Hailing from the unsuspecting locale of Madison, WI, Zola Jesus—the alter ego of Nika Roza Danilova—occupy a sphere of sparse industrial rhythms, no-fi drones, and ethereal femme vocals. Those who have seen her handful of live shows, heard her WFMU set, or caught any of the acclaimed, sought after, and now mostly out of print releases on Die Stasi or Troubleman Unlimited already know. For those uninitiated "The Spoils" may be the most fully realized representation of her sound. Zola Jesus have two previous releases on Sacred Bones, the "Souer Sewer" single and a limited CD of a live performance from WNYU.


    Coloured LP Info: Smoke coloured vinyl.

    CD Info: The CD contains the entire "Soeur Sewer" 7" as well as the three songs from the Die Stasi single.

    Zac Keiller

    For The Soul

      Zac Keiller is an Australian musician discovering new and unique sonic textures from one of the most overused and unimaginatively approached instruments in Western music: The guitar. The majority of his previous releases saw him working with ambient textures or electroacoustic improvisation. Whilst more recent efforts have seen him limiting the use of pedals, attempting to find a kind of transcendence through stark purity of tone.

      His new album for Aurora Borealis: For The Soul has been four years in the making, and a culmination of over 18 years of guitar exploration. A work of rawness and purity. The pickups hum and the blemishes become the highlights with Keiller using the entire guitar, attempting to make it breathe with no smoothing out of the rough edges or slick over processing.

      The compositions vary and grow to tell stories and create moods, with an atmosphere in parts epic wall of sound, while at others minimal and sublime. The term “drum-less, ambient post rock” has been an occasional descriptor. This is an emotive collection, a river of sound for the soul.”


      2xLP Info: Very limited vinyl.

      Tracing the musical heritage of the Caribbean, Zara McFarlane explores her interconnected vision of the diaspora.

      On Arise , Zara McFarlane returns to a buoyant UK jazz scene with a head-turning third album. Exploring the musical possibilities of British-Jamaican identity, it’s a cultural exchange that’s born of London’s current musical climate. Released on Gilles Peterson’s Brownswood Recordings, it sees her working with much-feted drummer and producer Moses Boyd. Both rose through London’s Tomorrow’s Warriors programme, a finishing school for many young vanguards of the live, ascendant jazz scene springing up across the UK capital. Sharing Caribbean family heritages, it’s a product of their joint exploration of the meeting points between jazz and the rhythms of Jamaica; reggae, Kumina, calypso and nyabinghi, shaded with hints of the psychedelic.

      Zara’s breakthrough 2012 track, a jazz cover of Junior Murvin’s ‘Police and Thieves’, provided a jumping off point to further explore the blurred, colourful territory in between jazz and roots-reggae. Covering Nora Dean’s ‘Peace Begins Within’, she breathes a syncopated groove into a soulful, reggae classic. A beautifully poised version of the Congos’ Fisherman teases out the poignant lyrical content of the 1977 classic. Meanwhile new, original compositions from Zara, like ‘Fussin' and Fightin’’ and ‘Freedom Chain’, combine a deep, reverberating bass with a steady-stepping roots rhythm. Album opener ‘Ode To Kumina’ touches on the kumina tradition brought to Jamaica by indentured labourers from The Congo in the later part of the 19th Century. Part of Zara’s deeper research into her Caribbean heritage, it alludes to a deep-rooted culture encompassing music, dance and religion.

      Similarly, ‘Silhouette’ arose from that same research; in this case, however, it was about how records and documents often get lost in Jamaica. “It kind of came out of the idea of black history and blackness and feeling like you're trying to find yourself,” she explains. “Trying to be proud of your history and who you are. And never forgetting the things that brought you to where you are.” Alongside drummer Moses Boyd on production, the album features a stellar line up of some of the key players on the London scene Binker Golding on tenor sax, Peter Edwards on piano, Shirley Tetteh on guitar, Nathaniel Cross on Trombone and an unusually restrained turn on Clarinet from Shabaka Hutchings. Shared between all of them is a tendency to find the common points between different musical ilks: from US hard bop jazz, to dub and London-rooted hybrids and permutations, the band on Arise reflect the musical diversity of their home. Boosted by new platforms, like East London showcase Church of Sound and a newly-refreshed Jazz Café, the record surfs the momentum currently propelling jazz-influenced music in the UK.

      For Zara, Jamaica’s musical legacy is deeply intertwined with her sense of the place itself. Spending whole summers in the hills of Jamaica, it’s the sounds and smells which she most vividly associates with her stays there. In particular the local sound systems which were an everyday feature of the local area; be it in shops or bars, each of the small local shacks would have a sound system where they’d play music through the day and evening.

      “From where my nan used to live, in Cauldwell there's a sound system almost opposite her house,” she says. “So you feel this boom of the bass, and then all the smells of the hills and the greenery of Hanover. When you land in Jamaica and you go to walk off of the plane, the heat and the smells hit you and it feels like home away from home for me. When I hear Jamaican music, these are the senses that come.”

      Zara McFarlane

      Peace Begins Within

        Following the release of her much-lauded third album Arise, Zara McFarlane announces new single ‘Peace Begins Within’. Exploring the musical possibilities of her British-Jamaican identity, it’s seen her – backed by some of London’s best and brightest musicians – bridging the lines between soulful roots reggae and inclusive, open-ended UK jazz.

        The track is a cover of Nora Dean, a Jamaica-born vocalist who put her name to a spate of sweetly-sung roots and lovers rock in the ‘70s and ‘80s. With Zara putting her spin on the 1971 original, the format of the single nods to that heritage: with a dinked centre (requiring adapter), it also comes backed with a reggae version on the b-side. Tracing the musical heritage of the Caribbean, it’s another side to her interconnected vision of the diaspora.


        Millie says: Zara McFarlane’s amazing single ‘Peace Begins Within’ is a masterpiece of jazz essence matched with reggae influenced notes. Unique and soulful, it’s a beautiful song as is the rest of her full album, Arise.

        For her second album, "Melting Pot", UK jazz pianist Zoe Rahman is joined by Gene Calderazzo on drums and Oli Hayhurst on double bass. The trio bring us a fantastic set of contemporary instrumentals that showcase an upbeat, rhythmic style reminiscent of South Africa's Abdullah Ibrahim. Rahman also plays several tracks solo with inspirational ease. Described in The Observer newspaper as 'one of the finest young pianists in Europe', Rahman has firmly established herself as one of the brightest stars on contemporary jazz scene. This album has been hailed as 'one of the most distinctive piano trio albums' (Jazzwise magazine), a 'fantastic new album' (Courtney Pine, BBC Radio 2) and has also just received a nomination for the Mercury Music Prize awards. An essential album for tru jazz heads!

        You don't get much deep house coming out of Nashville. The globally accepted 'Home Of Country' hasn't produced a wealth of house producers compared to say, US states such as Detroit or Chicago. That said, just like Burnley residents have turned their hand to grime, and the Spanish have indeed made 'donk' (summat fer you to google pop pickers...), we see some lush, dreamy deep house here produced in Nashville and featuring vocalists from the locale!

        Raphael Saadiq’s classic "Skyy, Can You Feel Me", originally used in his sets as an edit, get revamped with fresh vocalists and upbeat house grooves, injecting new life into this timeless soul tune and also giving it fresh legs on the dancefloor! Top stuff...


        Screen Memories

        Psychedelic tinged, electonica / pop from this hotly tipped young Welsh band. Hints of Gorkys, Spiritualized and Super Furry Animals in their mellower moments!


        1984 Trax EP

          TRACKSIDE unearths more precious gems direct from the lost tapes of the mysterious ZAGITTARIUS. These are guaranteed authentic finds that were thought to be gone forever. One-side limited edition pressing

          Zaire Black & June 22

          Life, Work It Out

          Brighton's cool Puma Strut label brings us this mellow hip hop tune (vocal and instrumental mixes) from this Californian based crew. Fresh rhymes, fresh beats and cuts by Westafa.

          Sonor's aquatic library trilogy continues with maestro Bruno Zambrino's soundtrack for Nestore Ungaro's 1970 TV series "Racconti Di Mare". A highpoint of Italy's underwater insanity, this library gem is a total trip, boasting crazy psychedelia, killer drum breaks, oceanic bossa and huge underwater moods. The loungy atmospheres remind of sea trips nostalgia with the flowing sweet scat vocals broken by the spaced-out Underwater marine vibes. Unmissable Italian OST! 


          Ltd LP Info: Limited edition of 500 copies on 180 gram vinyl + bonus CD including the complete STEREO recording session plus the full unreleased MONO RCA version. Hard cardboard quality sleeve replica of the original.

          Danny Zamir


          An astounding young alto saxophonist / composer from Israel who plays with a passion, command and mastery unheard of in a musician of only nineteen.

          Debut album from founder of The Books.

          Sprouting from the same mind that created the Books – one of the most acclaimed and innovative groups of the past decade – Zammuto marks a deep reinvention of the highly detailed, genre-defying spirit that made seminal albums such as 'The Lemon of Pink' and 'The Way Out' possible. Given the Books’ success as an experimental collage-pop project, founder and namesake Nick Zammuto could have comfortably extended that thread.Instead he has given us a record that is progressive and forward-looking, intense and driven, with hugely varied rhythms and melodies. The whispered, folksy vocals that became a trademark of the Books are for the most part shed in favor of an uncharacteristically confident, soaring delivery, often fueled by a wide array of vocal effects.

          The result is a man-machine sensitivity that ultimately enhances the songs’ emotional intensity. With dense and beautiful string arrangements by Gene Back (the Books) and brain-warping drum performances by Sean Dixon, the radical and varied sound of Zammuto leaps out of speakers with a searing directness.

          Nick Zammuto lives and works in the Green Mountains of Southern Vermont, where he writes, records, mixes and masters his records in a small tractor garage converted into a studio. Just yards away from his studio is his house, which he designed and built himself, and large gardens where he and his wife manage to grow most of their own food for their three sons. This self-sufficiency and constant drawing of inspiration from his surroundings is synonymous with his musical vision; a statement about returning to a life in balance, while at the same time pushing the capacity of cutting-edge music technology to extend human emotion, rather than suppress it. Making music that sounds and feels like no one else is nothing new for Zammuto, but making music that doesn’t even sound like his own past is a whole other impressive feat in itself.


          Green Ray

            Under the alias of Zanov we find the works of French electronic pioneer Pierre Salkazanov, who had started playing guitar in the 1960s in a Shadows styled band, Les Ambassadors. Instrumental rock was not enough for Salkazanov, he was always looking for evolution, so when a meeting with French synth player Serge Ramses (of "Secret" fame) got him into the world of synthesizers he just dived deep into the bourgeoning world of electronic music. He got himself his first syths and started producing works into a 4-track Teac tape machine. French music was at its best, it was the time of Jean Michel Jarre, Didier Bocquet, Richard Pinhas and Heldon, Alain Meunier... Even Gong's Tim Blake was living in France at that time. And so Zanov soon caught the attention of Polydor, who released Green Ray in 1976. It is a work made with minimal equipment if compared to other French sythetists, not to mention their German peers, he worked on the EMS VCS3 synth and used a 4-track Teac and a Revox A77 Mk IV reel to reel tape recorders obtaining huge sound results. You can appreciate an influence from the Berlin school, Green Ray walks the same path of what artists like Tangerine Dream and the likes were producing at the time, Zanov had felt under the spell of Ricochet, but his head was boiling with ideas which gave the recordings a very personal, unique touch. Zanov's three albums met with unanimous critical acclaim for the sound quality as well as for the originality of this very personal universe. We offer the first ever vinyl reissue of Zanov's Green Ray under license from Pierre Salkazanov himself and with his cooperation, in a limited edition of 500 copies that reproduce its original artwork, come with remastered sound and an 8 page insert with liner notes and photos courtesy of plus one bonus 7" with previously unreleased on vinyl format material.


            In Course Of Time

              Under the alias of Zanov we find the works of French electronic pioneer Pierre Salkazanov, who had started playing guitar in the 1960s in a Shadows styled band, Les Ambassadors. Instrumental rock was not enough for Salkazanov, he was always looking for evolution, so when a meeting with French synth player Serge Ramses (of "Secret" fame) got him into the world of synthesizers he just dived deep into the bourgeoning world of electronic music. He got himself a VCS3 and started producing works into a 4-track Teac tape machine. French music was at its best, it was the time of Jean Michel Jarre, Didier Bocquet, Richard Pinhas and Heldon, Alain Meunier... Even Gong's Tim Blake was living in France at that time. And so Zanov soon caught the attention of Polydor, who released his first two LPs Green Ray in 1976 and Moebius 256 301 in 1977. In Course Of Time, his third LP was originally issued in Canada in 1982 and in France in 1983, although it contains works that he had began working in 1979. The material was originally shelved due to legal matters, although he continued to add some changes even after that. The Canadian edition came out in Les Disques Solaris, a recently created label that wanted to specialise in "cosmic" music. Zanov used the same equipment he had used on Moebius 256 301, albeit this time he gave more use to the RMI Harmonic Synthesizer. Zanov's three albums met with unanimous critical acclaim for the sound quality as well as for the originality of this very personal universe. Zanov's third LP was released in 1982 in Canada on Les disques Solaris and in 1983 in France on Ondes. The distributor found a small stock of unplayed copies of the French Ondes release which we are now offering for a limited time while they last in a strict first come / first served orders policy. This is not a reissue, it is the original 1983 French edition on Ondes.Please note that these are MINT UNPLAYED VINYL copies, but they have been laying around in warehouses for long time so sleeves show the pass of time (some yellowing mainly, not bigger problems).



                Under the alias of Zanov we find the works of French electronic pioneer Pierre Salkazanov, who had started playing guitar in the 1960s in a Shadows styled band, Les Ambassadors. Instrumental rock was not enough for Salkazanov, he was always looking for evolution, so when a meeting with French synth player Serge Ramses (of "Secret" fame) got him into the world of synthesizers he just dived deep into the bourgeoning world of electronic music. He got himself an EMS VCS3 and started producing works into a 4-track Teac tape machine. French music was at its best, it was the time of Jean Michel Jarre, Didier Bocquet, Richard Pinhas and Heldon, Alain Meunier... Even Gong's Tim Blake was living in France at that time. By the time of his second LP, Moebius 256 301, issued also on Polydor in 1977, Zanov had already gathered a small collection of gear, including an ARP 2600 and an ARP sequencer, his old VCS3, an RMI Harmonic and a PS 3300. Again under the influence of both first and second generation of Berlin school musicians the LP will appeal to fans of Klaus Schulze or Tangerine Dream, but they will also find a big deal of Zanov's own personal sound on it, since as the musician himself reckons he had little contact with other peers of his generation, so besides a general love for the electronic gear used and the sounds you could make out of them the creative ideas behind his works were all his own. On his second album a richer sound is found, not only due to the use of the new gear, since some of its tracks where recorded using only his old EMS, but also due to his won experience after having taken his works to the life stages in the Golf Drouot boite, the Lase Olympia venue (on the basement of the famous Olympia), the Paris Planetarium or those for planned one month tour (of which in the end only four dates were accomplished). Zanov's three albums met with unanimous critical acclaim for the sound quality as well as for the originality of this very personal universe. We offer the first ever vinyl reissue of Zanov's Moebius 256 301 under license from Pierre Salkazanov himself and with his cooperation, in a limited edition of 500 copies that reproduce its original artwork, come with remastered sound and an 8 page insert with liner notes and photos courtesy of plus one bonus 7" with previously unreleased on vinyl format material.

                Zanzibar Chanel

                Big Bone Bitch - Inc. Bell Towers Remix

                Zac and Louis are back as Zanzibar Chanel, inaugurating the slightly obscene Pig Sweat imprint with the fresh dancefloor pressure of "Killer", unreleased classic "Big Bone Bitch" and a whacked out edit offered by fellow ex-Melbournite Bell Towers. After a hallucinatory snatch of Peppa Pig, our hosts get down to business, working 8-bit sequences into a basement weapon par excellence. The funk of the 'jazz club' is all but forgotton as ZC pay homage to Prescription classics on a cheap and trashy studio set up. Drifting, swelling pads almost to lift us up to the heavens, but the scuzzy aethetic keeps things down low and dirty. Switching to the flip, ZC treat us to the first vinyl outing of their slamming, stomping, voguing classic "Big Bone Bitch". Giving NYC's Ballroom scene and Chi-Town's Dance Mania catalogue a fresh and modern twist, the crew top a squelching b-line and rattling drum groove with some life affirming, sleazy and totally ridiculous lyrics - it's one hell of a party. Bell Towers drops by on the B2 to treat us to his interpretation of their Gok Wan groover, laying down a Fingers Inc-inspired backing before sending those vocals through the chopper - did I mention it was party time?

                Attempt to find a convenient musical pigeon-hole for Zapatilla and you'll find him slipping from your grasp and zig-zagging in unexpected yet compelling directions.

                His transcendent debut EP comprises two ambitious, shapeshifting tracks. Initially, opener Crumbling Down suggests a dance-floor focused blueprint, before its arrangement of percussion and classical instruments come into focus around the 3 minute mark, the result is a steadfastly organic and emotional opus.

                Its sister track Thumb Piano is a more abstract affair, with its eclectic instrumentation anchored to a palette of synths and electronica.

                Via his world travels and collaborations with numerous artists, Zapatilla has accrued a wealth of experience, influences and a stock pile of varied and unusual instruments. It's a varied CV and includes his role as bass player in the acclaimed Owiny Sigoma Band and, along with Tom Skinner, composing the score for Swedish Film 'The Real Estate' a nominee for Best Film at this year's Berlin Film Festival.

                This hybrid of influences has resulted in a spine-tingling alchemy that on paper shouldn't work. But Zapatilla's natural instinct for melody, innovative arrangements and musical ability, make this one of the most musically adept and intriguing artists set to emerge this year.

                Frank Zappa

                Joe's Garage


                  The title track from an album described by Rolling Stone as “Frank Zappa’s Apocalypse Now”, ‘Joe’s Garage’ was one of Zappa’s most popular tracks on American FM Radio. B-side and album opener ‘The Central Scrutinizer’ introduced the narrator of the rock opera storyline, while the A-side begins the epic story of ‘Joe’, who forms a garage rock band and heads off on an epic journey into the music industry as the government criminalizes music. Stripped of the special effects of the album cut, the single version here could only be found previously on the best of Zappa compilation ‘Strictly Commercial’. It’s reissued for Record Store Day 2016 in a limited green marble-effect vinyl format.

                  Frank Zappa

                  My Guitar / Dog Breath


                    What would Record Store Day be without a Frank Zappa release? The good news is that this year there are two on offer and Frank’s third Record Store Day outing in three years originally hails from 1969. Its A-side, ‘My Guitar’, is a more radio-friendly, less controversially-named version of the Mothers Of Invention’s 1970 classic ‘My Guitar Wants To Kill Your Mama” from ‘Weasels Ripped My Flesh’. Remastered from original mono mix reels, this limited, numbered Record Store Day 2016 title is available on coloured vinyl and comes in an authentic replica cover with original B-side ‘Dog Breath'. 

                    Frank Zappa

                    Absolutely Free

                      This year marks the 50th Anniversary of Frank Zappa & The Mothers Of Invention’s 1967 album ABSOLUTELY FREE. To celebrate this occasion the Zappa Family Trust will release an expanded vinyl-exclusive edition of ABSOLUTELY FREE on September 29.

                      This double 180 gram LP version will include the original record mastered by Bernie Grundman & cut directly from the original analog master tapes, plus a laser-etched additional disc including 20 minutes of bonus material from the Vault. The package features Frank Zappa’s original layout & libretto.

                      Frank Zappa

                      Cruising With Ruben & The Jets

                        "Frank Zappa loved '50s doo wop music. He grew up with it, collected it, and it was the first kind of pop music he wrote (like "Memories of El Monte," recorded by the Penguins in 1962). Cruising With Ruben & the Jets, the Mothers of Invention's fourth LP, is a collection of such music, all Zappa originals (some co-written with MOI singer Ray Collins). To the unexperienced, songs like "Cheap Thrills," "Deseri," and "Jelly Roll Gum Drop" can sound like an average doo wop song. A closer look reveals unusual chord sequences, Stravinsky quotes, and hilariously moronic lyrics -- all that wrapped in four-way harmony vocals and linear piano triplets. A handful of songs from the group's 1966 debut, Freak Out, were rearranged ("How Could I Be Such a Fool" and "Anyway the Wind Blows" give the weirdest results), old material predating the Mothers was recycled ("Fountain of Love"), "Love of My Life," and "You Didn't Try to Call Me" became live staples." - All Music.

                        FORMAT INFORMATION

                        LP Info: Repressed on 180g vinyl.

                        LP includes MP3 Download Code.

                        Frank Zappa

                        Weasels Ripped My Flesh

                          "A fascinating collection of mostly instrumental live and studio material recorded by the original Mothers of Invention, complete with horn section, from 1967-1969, Weasels Ripped My Flesh segues unpredictably between arty experimentation and traditional song structures. Highlights of the former category include the classical avant-garde elements of "Didja Get Any Onya," which blends odd rhythmic accents and time signatures with dissonance and wordless vocal noises; these pop up again in "Prelude to the Afternoon of a Sexually Aroused Gas Mask" and "Toads of the Short Forest." The latter and "The Eric Dolphy Memorial Barbecue" also show Frank Zappa's willingness to embrace the avant-garde jazz of the period. Yet, interspersed are straightforward tunes like a cover of Little Richard's "Directly From My Heart to You," with great violin from Don "Sugarcane" Harris; the stinging Zappa-sung rocker "My Guitar Wants to Kill Your Mama," and "Oh No," a familiar Broadway-esque Zappa melody (it turned up on Lumpy Gravy) fitted with lyrics and sung by Ray Collins. Thus, Weasels can make for difficult, incoherent listening, especially at first. But there is a certain logic behind the band's accomplished genre-bending and Zappa's gleefully abrupt veering between musical extremes; without pretension, Zappa blurs the normally sharp line between intellectual concept music and the visceral immediacy of rock and R&B. Zappa's anything-goes approach and the distance between his extremes are what make Weasels Ripped My Flesh ultimately invigorating; they also even make the closing title track -- a minute and a half of squalling feedback, followed by applause -- perfectly logical in the album's context." - All Music.

                          Malena Zavala


                            Argentinean born Malena Zavala is set to take the world by storm” Wonderland // ‘Aliso’ is the debut album from Malena Zavala, released on 12” gatefold vinyl and CD. Containing the acclaimed 2017 singles ‘Should I Try’ and ‘If It Goes’ plus new single 'Could You Stay', ‘Aliso’ was entirely written, played and produced by Zavala. Its ten tracks owe a debt to Beach House, Brian Eno, Tame Impala, Cuban folk musician Silvio Rodriguez and an addictive Argentinean tea called Yerba Mate that fuelled its recording. When Zavala sings, time seems to stand still. Her haunting voice is hypnotic, her sensual songs are as much about capturing emotions as they are about telling tales. Born in northern Argentina, Malena was brought up in Britain from the age of three thanks to her family’s Italian passports and an Argentinean economy in crisis. For ‘Aliso’ she drew inspiration from the women in her family; from the strong Latino character of her Mother honoured in ‘If It Goes’, to her maverick Grandmother who in particular encouraged her free-thinking approach.

                            Until 2016 Malena was in the band Oh So Quiet with her brother Lucas before he made a dream move to California. As an older sibling he had been a strong musical influence and, while losing her mentor was hard at first, it was a vital step for her to step out of the shadows. Visiting Lucas in California at his house in Aliso Viejo, she felt a surge of energy and desire to prove herself, writing most of her first LP in a couple of weeks. Within six months she had recorded, produced, and mixed* (*with Gareth Jones) the album, and completed all the art, visuals and videos. Set to a backdrop of liquid psych rock and dream pop, ‘Aliso’ concerns itself largely with themes of cultural identity, self-doubt, acceptance, artistic freedom, miscommunication between cultures, and relationships. The beauty of ‘Aliso’ - and the reason it sounds like no other album - is because its songs were recorded as they were written, with no boundaries, no set destination, and no rules in place to break. 'Could You Stay' is a perfect distillation of this approach. Vocally and sonically it’s pitched between Kevin Parker and Victoria Legrand, but in its bluesy guitar playing and Latin style drums we hear an artist who’s already carved a niche for herself. It’s a song about falling in love with a friend and not telling them, Zavala’s voice capturing the bittersweet sensation like a film camera captures light. 

                            Rarely heard Tanzanian gogo music meets slick electronic production, for a borderless but powerful fusion sound. Tanzania’s Msafiri Zawose has been one of the biggest slept-on musical forces from the region, but all that is about to change with the imminent arrival of a new album that will redefine the boundaries of gogo music. The Wagogo people are Msafiri’s traditionally nomadic tribe from the center of the Tanzania, known for their musicality and made famous by Hukwe Zawose - Msafiri’s father, who toured the world as a part of Peter Gabriel’s Real World roster in the 80s and 90s. The album has been produced in collaboration with Sam Jones from Sound Thread, whose recent works with Orlando Julius and remixes for Mugwisa International and Sarabi have been rapturously received.
                            The tracks remain profoundly ‘gogo’ with traditional instruments and singing, but are infused with an organic electronic aesthetic. This is an afro-futurist journey that takes in dub, Balearic, ambient and electronic vibrations alongside Zawose’s hypnotic playing and emotive, plaintive vocals.

                            STAFF COMMENTS

                            Patrick says: Hypnotic, percussive and trance inducing grooves from Msafiri Zawose here. Fusing traditional rhythms and melodies with buzzing synth bass, off kilter mallets and fx abuse, the Tanzanian musician has created a killer LP which should find favour with the more exotic fringes of the disco/Balearic communities.

                            Zaza is the musical union of Jennifer Fraser and Danny Taylor, who are both west coast transplants that connected by fate in New York. No strangers to creating great music, Jennifer is a talented multi-instrumentalist who previously played in Teepee Records’ stalwarts The Warlocks, while Danny is known for his close associations with The Pains Of Being Pure At Heart while also manning sound for various bands and venues throughout NYC.
                            Riding in on oceanic waves of drone and immense muscular drums, enter the spectral dream-pop duo Zaza. While associated with their peers in Brooklyn’s recent exploding indie-pop/shoegaze scene, Zaza sonically contrast from their guitar-pop brethren in favour of something darker, more mysterious driven by haunting, ethereal vocals and rolling, cavernous rhythms. "Cameo" is their mesmerizing debut mini album (6 tracks).
                            Zaza has already been met with praise from the NY press making favourable comparisons British dream-rock acts like Ride, Slowdive, and Cocteau Twins but to pigeonhole them as a 90s throwback would be a mistake as their debut radiates a mystical, otherworldly element that both challenges the listener, while at the same time inviting them in.

                            As featured in the Piccadilly Records End Of Year Review 2017 Top 10 Reissues/Collections. Comes with an EXCLUSIVE End Of Year CD sampler. Click HERE for more info.

                            At last, Crammed Discs reissue their holiest grail and the best Afro-cosmic LP ever made. This record is constantly being (re)discovered by generations of fans, musicians and DJs, who hail it as an unsurpassed Afro/electronic milestone. The album was recorded in 1983 and results from a studio encounter between experimental electronic music composers CY1, Congolese musician/vocalist Bony Bikaye, and French composer Hector Zazou, with involvement by sound engineer Gilles Martin, Marc Hollander (Aksak Maboul) and Vincent Kenis (the future creator/producer of the Congotronics series).
                            This reissue was remastered from original analogue tapes. It includes a booklet with new notes by the participants, as well as 5 of the recently-unearthed original demos, which have never been released previously, and 3 original remixes from 1984 which will all be available via a digital download code. 

                            STAFF COMMENTS

                            Patrick says: Boasting the oft-bootlegged, but always exceptional ‘Lamuka’ alongside eight more mind-bending body-movers, ‘Noir Et Blanc’ pits Bony Biyake’s traditional Congolese vocals against Hector Zazou’s avant-jazz arrangements and CY 1’s deranged synth grooves. The result is nothing short of breath taking and still stands up as the finest Afro-cosmic record ever released.

                            FORMAT INFORMATION

                            Ltd LP Info: Includes a free EOY 2017 CD sampler.

                            Tom Ze / Eduardo Araujo

                            Jimmy, Renda-Se / Kizumbau

                              When Greg Caz and Deano Sounds teamed up to create The Brasileiro Treasure Box Of Funk & Soul they created a collection of vintage Brazilian music that stretches across the scope of funk, soul, and psychedelic. Co-compiler and Brazilian music aficionado, Greg Caz says: “Without necessarily having a central theme other than funky nuggets from the first half of the 70s, we believe this compilation displays its own particular sense of logic, and that these songs ultimately all sound fantastic together. Regardless of one’s familiarity, or lack thereof, with artists like Antonio Carlos & Jocafi, Os Incríveis, Toni Tornado or Celia, the material on these 45s speaks its own truth and justifies their inclusion here. Many of these were originally available as singles, while others were taken from albums, but all are guaranteed to find their way into many DJ boxes and playlists.” The stunning 45s from this set will now be available for individual sale. The series continues with Tom Zé’s unstoppable riff on “Jimmy, Renda-Se” with Eduardo Araujo sounding a bit like a Brazilian Tom Jones on the B-side, “Kizumbau.”

                              Who will place the dynamite/On the head of the century?

                              “Thank God I’ve never heard of any of that!” exclaims Luaka Bop’s resident mad genius Tom Zé. Remixes, DJ culture, 16-bit sampling, ambient soundscaping, multiculti cut ’n’ paste, “Beck-ology” — you’d think the world has finally caught up with Tom Zé’s double-post-modern songcraft. After all, nearly 25 years ago, this architect in Brazil’s Tropicália movement was composing music with tape recorders triggered by doorbells. But Tom demurs. He likes to say that he never listens to music, just the work of his friends and fans who send him songs. “By not knowing,” he explains, “I have no fear of doing something similar.” And thus he remains one step ahead of the curve. On LCom Defeito De Fabricação (Fabrication Defect), his long-awaited third missive, the man from the Brazilian hinterlands once again parries every thrust of a technological society on a rampage — but doesn’t forget the groove. With determined Brazilian bounce, arid back country funk, and generous helping of the South American psychedelia he helped create, Tom Zé’s trigonometric sambas engage the heart, the mind and the gluteal regions.

                              Avant Garde
                              “Songs are inside of me, like pearls resting in oysters,” Tom says, his mouth moving back and forth as if masticating a marble. “It takes that grain of sand many years of rubbing before it becomes a pearl. That’s why it takes so long for my songs to develop.” A founding member of the Tropicália movement, Zé stepped up his country’s musical metabolism. With cohorts Caetano Veloso, Gilberto Gil, Gal Costa, and Os Mutantes, Zé siezed upon rock, psychedelia and art music, fusing it with folkloric rhythms and popular forms like samba.

                              Tropicália might be the most enduring musical movement since rock ’n’ roll. Its cannibalistic m.o. — swallowing up everything within reach and shitting out something new — goes down mighty well with today’s sonic elite. From Beck to Tortoise, Stereolab to the Beastie Boys, ’90s rock resonates with the ideals of these rebellious Brazilians.

                              Old Guard
                              Tom is the last tropicálista. The last to address “the verbiology of this polishitology” — not to mention the “cardio-philoso-circusassology.” “I’m the one you can talk to,” Tom says of his old running partners, who have elevated themselves from the fray of edgy music-making. Caetano writes dreamy movie soundtracks, Gil records Bob Marley tributes, and Tom Zé builds instruments out of household appliances. “It’s no defect to write pop music,” he concedes. But Tom Zé continues to push the musical envelope, teaching metal machine music how to dance samba, get drunk and cry.

                              Literally. By 1975, Tom had discovered the floor sander. “The sound was so beautiful,” he remembers, “it brought tears to the eye.” Eventually he constructed an instrument of triggered sanders, typewriters, blenders and radios, mounted in a wooden cabinet. “The instrument took up two Volkswagen buses,” he reminisces, and the greater part of the beach house Tom stored it in. When Tom sold the house in order to finance a concert, his neighbors dismantled the cabinet for firewood. It was an unusually cold winter.

                              Over the last five years, Tom’s tinkered with the “salad of things” that comprise his art into an “esthetic of plagiarism.” “Everything is plagiarized,” he says. Tom likes to term his borrowings in more active terms: his muse is plunder and urban theft. In the mind of Tom Zé, there are but tiny steps between Russian literature, the lullabies his mother sang, socialist economics and e.e. cummings-style word games.

                              My youth’s an incinerator, it’s later/If you are held in esteem, I scream

                              “I never thought I would get to the age of 62 years old and be so well-respected,” Tom Zé says. For a while in the late ’70s, he considered giving up on music entirely, and returning to work in his father’s feed store in Irará. “Now, I would like to live another hundred years. It has been like Ulysses’s voyage to Ithaca,” he says, describing the twists and turns of his life and career. “When I was born,” he says, “Bahia was like the Middle Ages. Now, they have telephones. I could call Irará from here,” he says, gesturing around the New York recording studio. “Imagine that!”

                              Zebra Katz

                              Ima Bitch

                              Pulling from a multimedia /performance art background, Zebra Katz brings a slo-mo dark delivery to his rhymes set over a the minimal unencumbered beat on “Ima Read”.But what does “Ima Read” even mean? Simply put, “reading” is an old voguing term describing someone verbally insulting an opponent about something not so apparent to the average viewer. A good reader could tear you apart with one simply sentence.

                              Since we last saw Zebra Katz and Njena Reddd Foxxx they have played countless shows, opening up for Azealia Banks and Lana Del Ray. They released their single “W8WTF” and have taken the fashion world by storm when Rick Owens presented his latest collection to the tune of “Ima Read”. From its humble beginning as one of the first Jeffree releases “Ima Read” has turned into a 2012 anthem. Since the release was only featured on Jeffree’s volume 2 we felt it appropriate to present a re-release single with the thumping instrumental and an acapella version.

                              FORMAT INFORMATION

                              Ltd 10" Info: Limited 10″ pressing with etched B-side.



                              Inspiring and crisply produced pop punk blitzreig bop with a clean, punchy guitar sound, driving rhythm section and uplifting, clenched fist lyrics delivered through hip hop influenced vocal harmonies. The sound is a little harder than their previous two lps and probably benefits from that.

                              First released on a 12" by Jazzman over 10 years ago, AOTN do the right thing and reissue it on every funk fans, favourite, format (awesome alliteration! Ed).
                              Huge on the early seventies deep funk scene and newly remastered this is a biggie.
                              Featuring a bass line so fat, type two diabetes has got a songwriting credit, this is funk at its most dance floor friendly, originals have gone for nearly £600 which works out at around 20 quid a minute, now that's my kind of hourly rate.
                              500 for the world folks and we all know what that means...

                              STAFF COMMENTS

                              David says: It's called Simple Song for a reason. Big bass line, fat horn stabs. It's the most obvious thing on AOTN in ages and it ROCKS.

                              2013 was a notable year for Thalia Zedek. She released her first album in five years, ‘Via’, which PopMatters called a “rumbling, sweet, muscled set of tunes, as resilient as they are beautiful,” followed by a tour across North America with Low. She also reunited with Come, the classic band she formed with Chris Brokaw in 1990, reissuing their classic debut ‘Eleven:Eleven’ and playing their first shows in over a decade across the US and Europe. Following this intense flurry of activity, Thalia regrouped with herband in Boston to record an EP, harnessing the creative energy she had accumulated during her time on the road.

                              ‘SIX’ is a brand new 29 minute mini-album following ‘Via’, which was praised by Pitchfork, Spin, PopMatters, Paste, American Songwriter, Magnet, and Under The Radar.

                              ‘SIX’ opens with a full band version of ‘Fell So Hard’, a characteristically mournful dirge that exudes a tenacious, slowmoving intensity. Zedek explores the complexities of interpersonal relationships, employing some of the most sparse arrangements of her career. The spareness of tracks like ‘Julie Said’ and ‘Afloat’ achieve incredible emotional heft, letting Thalia’s lyrics, delivered in her unmistakable voice, take centre stage.

                              FORMAT INFORMATION

                              CD Info: CD version packaged in 4 panel mini-LP style gatefold package.

                              CD includes MP3 Download Code.

                              Zeitgeist Freedom Energy Exchange

                              Zeitgeist Freedom Energy Exchange

                              Ziggy Zeitgeist has become a staple of the Australian Music scene. Touring and recording with Melbourne Nu-Soul/ future-jazz collective, ‘30/70’ has enabled Zeitgeist to forge new frontiers in improvisation and drum-set application. Zeitgeist has stepped up to the role of bandleader in the debut self-titled album Zeitgeist Freedom Energy Exchange.


                              One Way Lover

                                Hailing from Madrid, Zelators are back after their 2015 debut 7" for Rufus Recordings, and their new offering is another blast of unfiltered, unhinged sound coming at you from the meeting point of B-52's, Specials, Damned, Question Mark & The Mysterians and Devo. You can't put a label on this band, as Zelators pick and mix from all decades, genres and rhythms to shake those elements and create their own mutant sound. 

                                Chicago's Zelienople have put previous work through Time-Lag and Digitalis and now come bearing a Type catalogue number, so quality control is not an issue. Album opener "Family Beast" is a scene setting piece reminiscent of Calexico's spookier moments if they were produced by Boris, while "Moss Man" explodes with noise after a calming build-up. The central track "Parts Are Lost" shifts the focus some more with its new psyche folk collective raga. There may only five tracks on here, but a nine-minutes average ensures sufficient running time. The sticker on the sleeve name checks Low and (bizarrely) Neil Young as reference points, but we feel that while the former might be appropriate, Brightblack Morning Light, Castanets and Charalambides could also be added to that list.

                                Zen Baseball Bat

                                For Refund Insert Baby

                                Fronted by the talented and articulate "Gleavey Twins", this is motorized modern day ska with a distinctly northern flavour, drawing its influences from Two Tone, Jamaican ska, Motown and possibly even The Fall. Propelled by driving rhythms, a brilliant, exuberant brass section and a unique, ascerbic vocal style, this is a rare treat from a criminally overlooked outfit.

                                Zen Mantra

                                Zen Mantra

                                  Dreamy, psychedelic pop songs seem to be the signature of New Zealand musician Zen Mantra (Sam Perry). And this, his self-titled second album, is filled with shimmering psychedelic lo-fi rock, and reverb drenched guitar melodies. Following on from his 2013 debut album 'How Many Padmes Hum' the 10-track album sees the 21-year old bedroom producer joining the Flying Nun roster and expanding his focus to incorporate all forms of pop music from ethereal shoegaze to walls of psychedelic distortion. Taking cues from his fellow indie dreamers like DIIV and Wild Nothing, Zen Mantra has a pure pop energy, an expansive sound and plenty of hooks. Simply put Zen Mantra will make you feel warm and fuzzy.

                                  "Sam Perry brings to mind everything that made Gross Magic so exciting a few years ago, his songs are riff-laiden beats packed with asthmatic choruses" NME Magazine.

                                  "The lo-fi, kaleidoscopic scene out in Australasia is booming. Zen Mantra… the latest enrollment into the continents already stellar alumni." VICE magazine (UK).

                                  Wonky beats and woozy melodies, pitched vocal cuts and mournful strings. Rhythmic fragments of melody breathe in and out, punctuating the start-stop breaks. On the flipside, Malik Ameer features on a Thatmanmonkz remix, and turns the whole affair into a slamming rhythmic hip-hop stormer. Perfectly punctuated rhythms and rhymes float above the remixed original. Top stuff. 

                                  The Zephyrs

                                  When The Sky Comes Down It Comes Down On Your Head

                                  Second album from Scottish band The Zephyrs. Drifting atmospheric songs, with gentle guitars, occasional country twangs and more than a hint of Low and Galaxie 500. Lovely.

                                  Since they started properly working together some six years ago, Chris Vogado and Neil Combstock aka Zero dB have been concocting a provocative, innovative and addictive brew of hard jazz, electro, latin, hip hop and house, laced throughout with their now signature dirty, heavy basslines. After releasing their early records on Vogado's own Fluid Ounce label, Zero dB are now signed to Ninja Tune who bring us their debut album, "Bongos, Bleeps & Basslines". The duo's main starting point is usually jazz, but they dip into a multitude of different influences and work with talented musicians and vocalists. In contrast to the general climate of somewhat old, tired, formulaic and unmemorable dance music, Zero dB's meticulous production forces their audiences to discover previously undeveloped musical places.

                                  FORMAT INFORMATION

                                  CD Info: CD comes in a fancy fold-out box.

                                  Zero Down

                                  With A Lifetime To Pay

                                  Zero Down are a three piece punk outfit hailing from LA and are the latest additions to the Fat Wreck roster. The members possess a sterling punk rock resume, having spent time in bands like Strung Out, Down By Law and Pulley. With some slower moody pieces and the usual high standard of Fat Wreck sound this is a brilliant debut.

                                  Leo Zero is back with Trackwork EP number three which comes stampeding in with a hefty SIX track pack that bucks harder than a bronco...

                                  Lead track 'U Like It has already caused a chatroom meltdown with people scrambling to ID it from Bill Brewster's Boiler Room mix. A swinging disco / 2-step soul sample house groover, this will put a smile on everyone's faces.

                                  'Elizabethan' comes correct with a modular hardware synth line twisting into oblivion across its five minutes - if Thomas Tallis was reborn as an acid house producer, he might make a tune just like this. Already a firm favourite with a man who knows his analogue tweeking (and indeed analogue twerking): Mr Justin Robertson.

                                  'Lil ' Thing' is just that; a slapped bass filtered funkin' shortie to close side A

                                  Side B kicks of with 'Feel Reel' an upbeat groover straight out of the Detroit house box; a plethora of spiritual / jazzy percussion provides a bed for the warm pads and pitched down vocal loop and spoken studio interactions.

                                  'H Street Bop' is a hat doffed to NYC's number one disco loop label Henry Street Records... - late 90s / early 00s funky house with bump in its rump

                                  And then we're off to Detroit to round off side B with some Kevin Saunderson flavours on 'Synocopate & Elevate', which features long term Leo Zero song writing partner Marcel Myrtil on vocal duties.

                                  The Zest


                                    Featuring South Lancashire's most adept Etheric Noblemen...
                                    All compositions have been radionically tapped in real-time from the infinite sonic wisdom of the cosmos and dimensions beyond. Magnetically captured by the divine technological wonders of VHS and its equally majestic audio equivalent - the C90 Cassette Tape.
                                    For the listeners' full enjoyment, safety and peace of mind - full assurance is given that during the process of duplication any physical tape material has been shielded from rogue malicious extra-dimensional entities, and from any real-time psionic black magick interference (or any variant or overlaid magnetised psi-programming)
                                    Recorded at Cerberus Development Laboratories 2014/15

                                    Vocal appearances by:  Elizabeth Six & Don Lovedog. 

                                    Compiled and edited by Ste Spandex. Additional Musings by Anturio.

                                    Includes unlimited streaming of Shadowcasters via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

                                    STAFF COMMENTS

                                    Matt says: The Cerberus space ship rockets onwards! This stupendously good star cruiser is like Manuel Gottsching or Ash Ra beamed deep, deep into a wormhole and coming out sometime close the very end of the known current universe. You know how the new Hubble is gonna show you light from the very beginning of time, well this is the sound vibrations transmitted at the very END of time and captured now, without any red shift. Get ya head 'round that pop pickers.

                                    FORMAT INFORMATION

                                    Cassette Info: As usual - eye-bleeding wrap around tape inlay. On tape artwork on slime green C90 tapes. Comes with download to full album.

                                    Warren Zevon / The Flaming Groovies

                                    SXS - Werewolves Of London

                                      THIS IS A RECORD STORE DAY 2016 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                      Los Angeles-based bonehead savants Zig Zags are no-nonsense ’80s style thrash with a magpie eye for deepfried pop culture detritus. These guys give so few fucks while they are out ripping faces that it’s tough to say much about them that hasn’t been said before—they shred so that we may raise beers in non-ironic salute to their Voivod worship, to a world in which young heshers subscribe to New Wave of British Heavy Metal and practice early Slayer solos while watching daytime TV, to waking and baking as you watch the world burn. Running Out of Red is the soundtrack to getting high and driving around in your shitty car in your small town, occasionally getting laid…occasionally getting laid out at the local liquor store by an older dude. Gang vocals: check. 1-2 pit beat: on lock. Shredder solid state guitar heroics: ripping, and so should you, the bong is packed and I think there’s still pizza in the fridge. I can smell your pants from here, dude.

                                      Hans Zimmer And James Newton Howard

                                      Batman Begins OST - Orange Vinyl Edition

                                        A super limited coloured vinyl reissue of Batman Begins, the first film soundtrack in the batman trilogy. A first time ever coloured vinyl release for this much admired and innovative Hans Zimmer and James Newton Howard score

                                        • A limited edition of just 500 copies WORLDWIDE
                                        • Gatefold sleeve double album
                                        • Orange Vinyl

                                        The movie hit of 2014, Interstellar, chronicles the adventures of a group of explorers who make use of a newly discovered wormhole to surpass the limitations on human space travel and conquer the vast distances involved in an interstellar voyage. While the film is directed by acclaimed Christopher Nolan (Inception, Batman Begins, The Dark Knight…), the epic soundtrack score was composed by Nolan's longtime collaborator, Oscar, Grammy, and Golden Globe Award-winning composer Hans Zimmer.

                                        Zimmer and Nolan planned to move away from the Batman Trilogy's scores and to come up with a unique one. Before (re)writing a word of Interstellar, Nolan did something he had never done before, something that speaks to his desire for more emotionally potent work. He asked composer Hans Zimmer to write some music for the film, but without telling him about the genre, title, characters, or plot: "I said, 'I am going to give you an envelope with a letter in it. One page. It's going to tell you the fable at the center of the story. You work for one day, then play me what you have written.' He was up for it. And it was perfect. He gave me the heart of the movie." Zimmer says he remembers this idea from Nolan's letter: "Once we become parents, we can't help but look at ourselves through the eyes of our children."

                                        Zimmer conducted 45 scoring sessions for Interstellar, which was three times more than for Inception. Interstellar's score has been nominated for the 2015 Oscars, BAFTA Awards, Golden Globes and the Hollywood Music in Media Awards.

                                        FORMAT INFORMATION

                                        2xLP Info: 180g audiophile vinyl pressing in gatefold sleeve with 4 page booklet.

                                        Hans Zimmer & Benjamin Wallfisch

                                        Blade Runner 2049 OST

                                        Living up to the 35 year legacy of the greatest soundtrack ever written was always going to be a tall order, and director Denis Villeneuve replaced longterm collaborator and electronic genius Jóhann Jóhannsson (check out the sound design in Arrival!) with box office duo Hans Zimmer & Benjamin Wallfisch in the hopes of harnessing the heart of Vangelis’s masterpiece. A perfect marriage of melody and sound design, Zimmer & Wallfisch succeeded in creating a score which echoed the plaintive synth tones and dystopian sonics of the original, while utilising every bit of contemporary sound science to soundtrack the action with wall shaking bass and frequencies you feel rather than hear. A worthy successor to Vangelis' legendary original.

                                        STAFF COMMENTS

                                        Barry says: A superbly dystopian marriage of pulsing drone and brooding synths, slowly forming into a visceral maelstrom of atmospheric pressure. Beautifully realised, and every bit as important as Vangelis' seminal outing.

                                        FORMAT INFORMATION

                                        2xLtd LP Info: Limited double vinyl.

                                        Hanz Zimmer

                                        True Romance Original Motion Picture Score

                                          Recorded on a budget of nine musicians (after being told the plans for a full orchestra had to be scrapped due to director Tony Scott going over budget #cokebinge), Hans Zimmer's True Romance score features percussion instruments xylophones and marimbas to create innocent noise, a reflection of the lead characters - Alabama + Clarence Worley - in the violently dark comedy written by Quentin Tarantino.

                                          German film score composer and record producer Hans Zimmer has composed over 150 film scores in his vast career, some of which include Crimson Tide, The Dark Knight Trilogy, Gladiator, The Lion King, The Pirates of the Caribbean series, and True Romance. This carefully mastered score will bring you back to the innocence and the intensity of the film, which fans had only been able to experience by watching the film in the theater or in their homes.

                                          FORMAT INFORMATION

                                          Deluxe LP Info: Gunmetal Grey 12" LP and bonus Purple Cadillac 7"


                                          Every Inch A Man

                                          Although Zior sprang from the Southend's early sixties r&b scene, Kevin Bonsor and Pete Brewer soon branched out into more experimental territory. Well known for their interest in black magic and the occult, their wild live performances helped them grow a strong fanbase, especially in Germany where their second album, "Every Inch A Man", was originally released in 1972. Mixing hard rock with more acoustic songs they rock with the best of them.

                                          After a career spanning almost 40 years, Ziskakan keep their audience dancing to the rhythms of Reunion music! Since its creation in 1979, the group have worked under the direction of Gilbert Pounia, creating a beautiful and striking music inspired by the cultural diversity of Reunion. His songs are composed of Indian melodies, African percussions and Creole texts.The members of the group assimilate these diverse influnces into the traditional Maloya style to create an exciting hybrid worthy of wider appreciation.
                                          "We started around a group of poets, then incorporated music to reach people. It was and still is our creole word. We manage to create a language and live together on a small piece of pebble, only 2512 kilometers square. It is something beautiful despite the terrible history of the islands. I hope it will last a long time." Gilbert Pounia
                                          Now, thirty five years after its original release as a private press double LP, Rebirth On Wax deliver an official reissue of this hidden treasure of " Spiritual Maloya.

                                          STAFF COMMENTS

                                          Patrick says: I have to admit I'm far from an expert on the music of Reunion Island, but as far as introductions go, this has blown me away. Stunning melodies, delicate composition and so much soul. Listen to the clips and tell me I'm wrong!

                                          Ziúr is one of the most exciting producers to come out of the fringes of Berlin club music in the last few years. A new generation is breaking out of the techno mould and creating in a spirit of freedom and experimentation, taking seemingly incompatible influences and balancing them into a new and exciting sound. Ziúr is also the founder and resident DJ of 'Boo-Hoo', a night championing diverse lineups, reflecting it's creative audience, bringing through the cream of the experimental dance underground. Planet Mu are proud to release Ziúr's debut album 'U Feel Anything?'

                                          In collaboration with Objects Limited, a label run by Lara Rix-Martin which releases music by women and non-binary people. For someone who has previously released just two EPs, the vision of Ziúr's music is advanced and precise. It's music which beckons you into an alternate world; wonderfully alien pop music that eschews conventions. She creates eldrich atmospheres that balance gentle melody and warm pop, in which strange elfin voices sing from other worlds and spiralling rhythms feel like entire structures moving. In the latter half of the record these harden into a pounding, martial symphony of steel, and introduce the kind of rough electronic riffs and guitar samples that betray her background in punk.

                                          'U Feel Anything?' was written as a way to think about music as a tool of enlightenment, a de-conditioning force and the kind of yin and yang that can be summed up in the title of one of the songs 'Laughing and Crying are The Same Things', a track which features Swedish pop singer Zhala, whose vocals straddle twisting beats, space and staccato strings.

                                          Founded in West Berlin in late 1967 by German artists, The Zodiak Free Arts Lab, also known as the Zodiak Club, was a short-lived but highly influential experimental live music venue. It was a musicians' paradise since The Zodiac Free Arts Lab was filled with all kinds of instruments, amps and speakers free for everyone to play and experiment with.

                                          Four decades later Argy had the idea to revive the club's concept. After a short period of time he opened his own private space in Berlin to jam with colleagues and friends. Guests were personally invited to join in with the variety of happenings such as live music sessions, conversations and other bizarre or eccentric experiences. Argy's collaboration with Manuel Göttsching on "Sunrain" released on White Days Records in 2010 also tipped him in the direction of this new musical journey. So here he brings us the debut Zodiac Free Arts Club set, an LSD-dipped album that pays homage to the krautrock / kosmische musik innovators he admires most such as Ash Ra Tempel, Tangerine Dream, Klaus Schulze, Vangelis, Neu!, Popol Vuh and others.

                                          Mantas Stonkus aka Zoé Zoe is a 26 year old rebellious youngster, by day working at Klaipeda sea port, by night exporting his innovative sounds worldwide. Drawing influences from the past heroes like Shades Of Rhythm, LFO and Drexciya to this decades leading lights like Martyn, Joy Orbison and Objekt, Stonkus delivers a three tracker of deep and dark techno. Musically "Twista" takes the ketty fear factor of the last few years of minimal techno and updates the sound palette into something more urgent, with nods to the big rig techno of the early nineties but that'll soundtrack many a witching hour. "Org" throws some pitch shifting tones over a shuffling garage rhythm to create something that is as close to contemporary London as a Lithuanian producer is ever gonna get. Set closer "No Room" combines a relatively straightforward house rhythm with a whole load of sounds culled from the UK Funky playbook to take that sound to the next stage of its evolution. A top notch debut for Telephonplan.

                                          Supernatural Cat is the label run by Malleus Rock Art Lab, artistic collective featuring two members of the psychedelic doom trio Ufomammut. After a busy 2012, the label seems to have been laying low. However, little did we know, behind the scenes they have been busy working on the vinyl release of ORO and preparing to unleash two new musical projects – the first of which we can proudly unleash today...

                                          Enter Zolle, self-proclaimed rednecks, on the loose and ready to run amok with the release of their self-titled debut album, an ode to yokel ways of living.

                                          They might not take themselves so seriously but don't be fooled, their music is no hayseed dixie, brace yourself for a ferocious, rampant record of thunderous riffs and robust drum blasts.

                                          Zolle are - Marcello (Lan of Morkobot) playing meaty riffs and Stefano who beefs things up on drums and xylophone. The duo commenced work on their debut album throughout the summer of 2012, and in just two months they had the music ready to commit to tape.

                                          Their self-titled album was recorded in September of the same year by Michelangelo Roberti at Mizkey Studio (MoRkObOt) and mastered by Giovanni Versari (zu, Morkobot, OvO, One Dimensional Man).

                                          It was played almost live, with overdubs reduced to the bone. The drums are of considerable proportion and made of copper and the amplifier an old digital model of the '50s which makes for a mammoth sound. Urlo from Ufomammut and Roberto Rizzo of Quasiviri/Runi add a little synth seasoning to flesh out the album also.

                                          The resulting album is mightily heavy, the short songs are direct and song titles are entrenched in references to redneck living. For example 'Mayale' is a play on the Italian word for pig [Maiale] but is written like 'Maya' to reflect the sacred image of the Mayan pig face adorning the album's cover. Similarly, 'Heavy Letam' is suggestive of 'Letame' which means manure in Italian – not to mention being an anagram of 'heavy metal'.

                                          Zolle may be a no-frills band but there is much more to them than meets the eye. They are far from restrained and their debut album will definitely give you something to chew on.

                                          Versatile come in hot on a remix tip here, serving the stems of Zombie Zombie LP cut "Hippocampe" to Dusseldorf drum king Jan Schulte and French house head Gilb'R. Adopting his Wolf Müller alias, Jan delivers two different mixes of the kosmische original, both predictably heavy on the percussion. On the A1, Jan's regular remix turns out Can-style drumming, a hefty B-boy vibe, and all manner of wiggy synth fx. Somewhere under all the lysergic goo there appear to be samples of Sylvia Striplin's " You Can't Turn Me Away", alongside a ring modulated sequence and the odd blast of garbled melody - heady stuff. On the B-side, Schulte's "Healthy Mix" hits us with a less intense breakbeat, allowing the mind expanding JMJ  style synth refrain to take centre stage. Pulsating sequences wrap their way around Jan's favoured jews harp and suddenly we're at a strangely crusty rave somewhere in the outer reaches of the galaxy. Never one to be bettered, Versatile boss Gilb'R ties the game with the minimalistic "Triangle Dub", a serious blend of subwise frequencies and sonar bleeps which gradually morphs into a ketty voyage into head-shredding sound design.

                                          STAFF COMMENTS

                                          Matt says: More trypatmine-infused shamanic business from two market leaders of wacked out lysergia.

                                          A few months ago France synth obsessives Zombie Zombie put out a four track LP originally composed to score a juggling related performance art piece (bloody Frenchies eh?). To the surprise of our Zombies, "Slow Futur" sold out in a matter of days, so they decided to give it a longer lease of life via this red hot remix disc. Opening the set in total darkness is Piccadilly favourite, Kriedler mainstay and Salon Des Amateurs co-founder Tolouse Low Trax. The Dusseldorf man follows up killer releases on Themes For Great Cities and Antinote with a slowly unfolding piece of machine voodoo. Weaving black magic through bleeping keys, African rhythms and industrial toughness, Detlef does his thing, locking us into a hypnotic, glue-sniffing groove from start to finish. Over the other side, I:Cube lends "Hyperspace" a lilting dub flavour via thick bass notes, system twisting fx and lush soundscapes. Fresher than a cool summer evening, this dubby synth redux should play very nicely with anything from the Peaking Lights corner of your collection. Lastly, the legendary Gilb'r provides a percussive reprise, retaining some of that wall shaking dub bass, but adding a whole load of polyrhythmia for a humid, tropical delight.

                                          STAFF COMMENTS

                                          Patrick says: Three production heavyweights step up on a remix tip here, offering very different flips of Zombie Zombie's driving "Hyperspace". Tolouse Low Trax slows things right down for a mindbending exercise in machine voodoo, I:Cube gets deeply dubby and Gilb'r goes round the globe with a totally tropical take on matters.

                                          FORMAT INFORMATION

                                          12" Info: *one copy found!**

                                          It's already been 5 years since the last Zombie Zombie album "Rituels d’un Nouveau Monde", after which the group explored other territories by signing 2 film scores, namely "Loubia Hamra" by Narimane Mari and "Irréprochable" by Sébastien Marnier, as well as creating the music accompanying a contemporary circus show called 'Slow Futur' created by Martin Palisse and Elsa Guérin. Wouldn't these beautiful parentheses make you want to return to the sources? After 10 years at Versatile Records, 2017 also marks the decade anniversary of the release of their first album 'A Land for Renegades' in 2007. "Livity" - Zombie Zombie's latest opus seems to plunge us deep into science fiction, with a cover designed by the mythic cartoonist Philippe Druillet, who is also the founder of the cult Métal Hurlant comic series. The title of the album is somewhat misleading, as one could mistakenly think of a certain dub record made at the famous Island Records Compass Point studio in the Bahamas. For the uninitiated 'Livity' or 'Life force' is actually a Rastafarian spiritual concept based on the idea that an energy exists within, and flows through, all people and all living things. The record was recorded last winter in Paris, in a very short time frame. 7 tracks played live in 7 days, by Etienne Jaumet (synthesizers / rhythm box / metallophone / sax), Cosmic Neman (drums / vocals / sound effects), and Dr. Schonberg (percussion / electronics / trumpet), recorded at the Red Bull Studios by Thibaut Javoy and Jerome Caron, 2 very competent engineers. To keep it in the family, the album was then mixed by another member of the Versatile stable, the mysterious and legendary DJ/producer I:Cube, done in the label's Victor Studio.
                                          On this album the principles that are dear to the group rest being respected, still as far away as always from the standards of 'radio play', A living kind of music, composed of long instrumental moments recorded with analog synthesizers and drum machines, accompanied by drums and percussion. But I:Cube's touch may bring the unique energy that one may find at Zombie Zombie's concerts; on certain cuts like title track 'Livity' that the group recorded in Laos, a wild combination of 808 kick drums and bewitching jungle sounds that sound quite unlike anything else out there, and especially on 'Hippocampe', which gives the impression of hearing an old school hip hop rhythm with the power of a metal band who have replaced their guitars with an army of synthesizers: we recommend you listen to this particular track in a convertible while speeding down the highway.
                                          As with all of Zombie Zombie's music the cinematic component is still strong, on titles like 'Ils existent..' 'Acera' which was originally composed for ciné-concerts accompanying the films of Jean Painlevé et Maurice Pialat. The energy of the beginning is still very present, as is - of course - the kraut inspiration. But it's also an album that takes new directions and sonic risks, like on “Looose”, which brings to mind the Art Ensemble of Chicago, or the groove of James Chance in New York in the early 1980's, featuring the free sax solos of Etienne Jaumet and Dr. Schonberg on the trumpet. The group also offers some slower and calmer titles, like 'Heavy Meditation' as well as exploring more experimental tracks in the line of French 70's groups such as Lard Free or Richard Pinhas, for example on the bonus track 'Black Moon'.
                                          Please - Take your time, and enjoy listening!

                                          The Zombies

                                          I Want You Back Again

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

                                            The Zombies present 50 years of “I Want You Back Again”! For the 1st time ever,  enjoy the original 1965 version together with the 2015 version!

                                            The Zombies

                                            She’s Not There / You Make Me Feel Good

                                              THIS IS A RECORD STORE DAY 2015 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                              "She's Not There" is the debut single by the British rock band The Zombies. The song reached No.12 in the UK Singles Chart in September 1964 and reached No.1 on the Cashbox chart (No.2 on the Billboard Hot 100) in the United States at the beginning of December 1964.

                                              Zombina And The Skeletones

                                              Death Valley High

                                              After several aborted attempts at making their own horror movie (it's harder than it looks), cult Liverpool franken-popsters Zombina and the Skeletones have returned to what they do best - rocking. They've concentrated their efforts into a 13 song album version of their favourite film concept; the one where the teenage horror-addict psycho girl meets the hunky mad scientist at a Devo concert and they end up destroying the school, and the world, with lasers - welcome to "Death Valley High"! The story is now told in a killer collage of surf-to-metal guitars, tough garage punk beats, horror samples, doo wop vocal harmonies and Mr Jonny Tokyo's mutant army of pianos, organs and analogue synthz! Don't be afraid, though - this isn't Zombina and the Skeletones' foray into a new prog rock direction or anything like that. Mini genius punk-pop songs that rarely meet the three minute mark are still very much the order of the day!

                                              ZOMBY, one of the UK’s most enigmatic electronic producers, underscores his already illustrious succession of releases with his latest EP “GASP!" ZOMBY’s ability to effortlessly shift aesthetics across his career has firmly stationed him as a producer that can’t be boxed, and “GASP!" sees him altering his often jungle-driven sound yet again, furthering him as a sonic chameleon among an ever-increasing landscape of musical similitude.  In his signature spirit of cryptic variety, “GASP!" explores another tectonic revision in ZOMBY’s style. A shift forward indeed, the compact, 3-track EP is a relentless, hardware-driven behemoth of beats and breaks that fit somewhere between a chugging steel factory and a darkened dancefloor.

                                              FORMAT INFORMATION

                                              12" includes MP3 Download Code.

                                              Zomby's enjoyed an illustrious career thus far. His "Where Were U In '92" immediately saw the producer rocket into our stratosphere while collaborations with Burial have ensured his credentials and desirability throughout the underground. Last year's "Ultra" album saw him exploring new territory - stark, barren lands of low-life microcosms, radiation scorched landscapes and varying levels of gravity and pressure - making for a completely alien and otherworldly listen. Plummeting even further into said environment is "Mercury's Rainbow", an album totally befitting for interplantary exploration. Apparently created between 2008-2009, it was actually conceived more as an Eski-concept album, paying tribute to one of girme's most iconic artists and sounds. Innovating the structure with a bewildering, modal style, shimmering is a 3-dimensional world, it recalls fellow space explores Seekers International; whilst shunning said act's pursuit of interstellar dub and reggae in search of something altogether more supernova in its creation.

                                              'While it’s difficult to say with certainty, if Mercury’s Rainbow was issued at the same time it was created, it may have arguably altered the course of UK grime instrumentals in much the same way Wiley’s original template coined a whole new genre, essentially making it the last word in grime futurism, proper.' (Boomkat).

                                              STAFF COMMENTS

                                              Barry says: Stark hi-octane arpeggios and bit-crushed chugs meet street-level kick-slinging, crackling videogame refrains and icy, progressive utopian futures. Fearless, and fantastic.

                                              When first released on Actress’ Werk Discs imprint, ‘Where Were U in 92 ?’ was instantly hailed as the rave album that was never made in the early ‘90s, a tumbling anthemic barrage of lost mixtape masterpieces from an artist who was starting to take the electronic dance scene by storm. However, ‘Where Were U in 92 ?’ is not just some facsimilie-style homage to the past, taking a firm grip of the energy and sheer rushing dynamics of early hardcore breakbeat, and placing those sounds and styles smack in the centre of right now. “He’s gotten to the point where he can invoke old signifiers as something more than you-had-to-be-there nostalgia: all at once, Where Were U in '92? is a history lesson, a depiction of a musical timeline that folds in on itself, and a revival that works because it approaches its subject with the idea that it simply evolved instead of died.”Pitchfork (8.3) // “Every texture and every nuance is immediately recognisable, an instant memory rush. But, far from being a facsimile, it all ends up sounding a bit well, weird. Zomby treats rave the way early Young Gods treated metal.” Quietus


                                              The Drifters

                                                'The Drifters' is the debut album from London based French duo ZOOEY (Matthieu Beck and Marie Merlet) that takes the listener on a trip between idleness and daydream. A classy collection of eleven electronic retro futuristic pop songs, underpinned by drum machines and synth arpeggios that meld fluently with flutes, pianos and percussion, creating a laid back yet evocative noir cinematic listening experience.

                                                Recorded in their London home studio, 'The Drifters' mixes the many influences and experiences of both musicians. Marie loves experimental pop and Sixties soul, she has been a long time collaborator of Laetitia Sadier in Monade and has just released her first solo album as Iko Chérie on Elefant Records. Matthieu was at the core of disco pop Parisian band Adam Kesher and is now involved in the London based indie group Oslo House as well as curating the ambient music podcast Love In The Afternoon. He's also the mystery French voice on the opening track of this years NZCA/Lines album.

                                                The album invites the listener to action ('Realise Realise'), questions our relationship to the world ('A Good Night Sleep'), celebrates freedom and escape ('Time To Get Alone') but also acknowledges the difficulty of changing ('Marcher La Nuit'). Two instrumental tracks and one cover are at the heart of the record: 'Jóia' and 'Joya' are balearic soundtracks directly inspired by library music records. 'The Country Song' is an adaptation of 'Let's Move To The Country' by singer- songwriter Bill Callahan.

                                                Mixed mainly by producer Charlie Alex March (NZCA/Lines and Veronica Falls) and their long time friend Emmanuel Mario (Astrobal, Julien Gasc). 'The Drifters' is released on the WONDERFULSOUND label, whose chief Miles Copeland recalls how they first met:

                                                “Many years ago Matthieu and Marie cheerfully came up to me after a gig I was playing in south London with my band The Superimposers. They had emailed me out of the blue one year earlier with a remix of one of our songs. They did it without stems and without our permission and I loved it! So I released it. When they moved from Bordeaux to London we built up a true friendship, so when I heard their album ‘The Drifters’ I knew it had to come out on Wonderfulsound.”

                                                Adam Price (AKA Les Rythmes Digitales' Jacques Lu Cont) is back with brothers Adam and Johnny Blake for the second Zoot Woman LP. Totally inspired by 80s pop, especially electro-pop, this is a total electroclash throwback!

                                                Brooklyn's finest purveyors of synthetic madness, Lectric Sands drop a fresh and funky nine tracker from label mainstays Zoovox under the imaginative title "Great Cats And Weak Dogs". Syncing up the classic sounds of the ana-digi machines of yore, the duo embark on a journey deep into tropical synth territories, passing through the Norman Whitfield-in-Jamaica 3D dub psychedelia undergrowth and coming to rest in a humid jungle clearing. The Compass Point meets Miami Vice lilt of "The Turkey And The Swan" eases us in nicely before "Marinara Trench" merges menace and camp via moody 80s action film motifs and a charmingly bizarre spoken vocal. "Volcano Vic" and "World Service" see Ben and Jeremy combine the tripped out tribalism of Jan Schulte with the playful tones of Young Marco, seamlessly combining primitive electronics, cosmic funk and into one surreal, psychedelic package. Speaking of dub, A-side closer "You Jane" brings the slank with no slackness, turning the space echo up to 11 while the digi bassline dances with Sakamotan synths. "Irene" brings an upbeat mood on the B1, layering a vocoder sound and pinging synth reminiscent of Charlie's "Spacer Woman" over a galloping bass sequence a la JMJ's "Oxygene IV". Six tracks in and no boogie? Well feast your ears on "Donkey Calling", a joyful meeting of simple drum rhythms, heavy duty bass and spritely synthlines, perfect for play next to Sasac jams, Benedek cuts or future funk grooves from our pal Ruf Dug. From the sublime to the more sublime next, as Zoovox turn out a relaxed, replayed and resplendent primitive synth dub of Carly Simon's Chic assisted, Balearic co-opted pop gem "Why". Get your audials round that! The quality stays sky high to the finish as "Funky Wildlife Congress" soaks you in totally tropical dancefloor flavours, via jaunty stabs, snaking synth lines and a meaty drum riddim. Flawless from start to finish, this one's already sprung into the upper reaches of my End Of Year chart, making the perfect companion piece to Ruf Dug's "Island".

                                                "Zorch demonstrate how good 'weird' can be." SPIN.

                                                The debut full length by Austin duo Zorch is the end result of nearly 5-years worth of material similarly collected, then shredded, condensed and completely remolded into a solid whole. It sounds like two hyperactively creative minds finding ways to cleverly merge together effervescent synth blips, blue-eyed soul vocals, gang-chant backups, blurting EDM bass lines, frenetic drums, hazy psych-drone and even the proverbial kitchen sink taking leads here and there. Each song sounds like it could've been crafted out of samples from several different decades of pop culture history, though it's entirely the work of two exceptional musicians.

                                                If Zzoorrcchh sounds like a photomosaic looks, it's because there is similarly a meticulously organized logic to it all. When Zac Traeger (keyboards, omnichord, vocals) and Shmu (drums, omnichord, vocals) first started playing together in 2008 while studying music in college in Boston, the pair would improvise and record many hours worth of ideas. Some of these songs are direct descendants of those jams; the duo picking out pieces of those recordings, re-organizing and reworking them multiple times and in various studio settings while also adding on and creating new ideas. Demo versions of some of the songs on this album were previously released, only to again be redone a couple of times over for the album. And, Zorch even previously offered up all of the basic audio tracks from early EPs for fans to remix their own versions.

                                                The band are just as intensive about its live shows, often playing upwards of 20 shows during the 4 days of SXSW. Zzoorrcchh kicks off fittingly by easing listeners into their world with a slow fade-in to whirling synths, a stately piano loop and countless layers of sounds comprising "My Joy is Explosion." The minute-long tune immediately segues into the blissfully hyper celebration of life, "We All Die Young." Here, Shmu's rollicking drum pattern that might make Neil Peart's head spin drives Zac's frantic synth arpeggios while several layers of voices sing, "what a day, let's celebrate it/ I want to feel elated." Elsewhere, on "This Is The Way It Goes" neo-rave staccato chords sounding like computer error tones, marimbas and pounding toms meet cheerful vocals singing the song title's seeming lament. "Inopportune Sailing" starts off like a repetitive, perky chiptune from an imaginary 80s video game that morphs into a full-fledged living pop-soul jam. It sounds like Zorch actually beat Daft Punk to the punch at making their own organic recordings sound like vintage song samples. "Zut Alors", a longtime fan live favorite lyrically pokes fun at conspiracy theories of reptilian overlords with the refrain, "giant surprise/ We are lizards disguised/ And we're controlling your lives/ With trilateral spies."

                                                The album is a wild auditory amusement park that gets more and more exciting with each visit. Early support/features confirmed with Pitchfork, Spin, Magnet, Alarm, Consequence of Sound, MSN and much more.

                                                John Zorn

                                                Filmworks XVIII - The Treatment

                                                Rudavsky's new romantic comedy, Zorn has put together a new quartet with a fresh new sound. Drawing upon the modern tango of Piazzolla with a touch of minimalism, this dynamic quartet of violin, accordion, vibes and bass is modern instrumental music at its creative best. At times upbeat and humorous, at times dark and moody, the music combines a soaring lyricism with interlocking counterpoint and complex rhythmic tapestries. Featuring guitar genius Marc Ribot in a supportive role on several tracks.

                                                Josh Rubin, Rebekah Heller, Kyle Armbrust, Claire Chase, Sarah Brailey, Eliza Bagg, Rachel Calloway, Kirsten Sollek, Steve Gosling, Christian McBride, Tyshawn Sorey, Kevin Cobb, Louis Hanzlik, Eric Reed, Michael Powell, John Rojak, Jay Campbell, Mike Nicolas, Jeff Zeigler, Mihai Marica. Harlequin * Colombina * Scaramouche * Pulcinella * Pierrot A fabulous and multifaceted suite celebrating the vibrant Italian dramatic form Commedia dell’arte that began in the 16th century and flourishes to this day. The classic archetypical characters Harlequin, Colombina, Scaramouche, Pulcinella and Pierrot are evoked in five compositional miniatures for small chamber ensembles: brass quintet, cello quartet, piano trio, vocal quartet and woodwinds. Premiered at the Guggenheim Museum in early 2016, the music contains some of Zorn’s finest writing and is a delight from first note to last. Over twenty of New York’s greatest musicians are involved in this exciting and varied suite of miniature masterpieces. 

                                                John Zorn

                                                The Garden Of Earthly Delights

                                                  John Medeski, Matt Hollenberg, Trevor Dunn, Kenny Grohowski, Sara Serpa. Angels and Devils * The Infernal Machine * The Dragon Tree * Paean to the Prince of Hell * Music of the Flesh * Eve and Adam * Mirror Image * The Garden of Earthly Delights * The Circuit * Out of the Eternal Sphere The sixth CD by Zorn’s heaviest 21st century ensemble Simulacrum celebrates the 500th anniversary of the passing of one of the greatest painters the world has ever known—Hieronymus Bosch. A visionary of unparalleled power whose imagination and fantastical creations remain uniquely his own, Bosch is one of the most enigmatic figures in world art. Inspired by his surreal visions of Heaven and Hell, The Garden of Earthly Delights blends heavy metal, blues, funk, jazz and modern classical music together into one of the strangest amalgams you’ve ever heard. Tighter than ever and joined by bassist Trevor Dunn, Medeski, Hollenberg and Grohowski are at their manic best in this jaw-dropping visit to a wild musical world where absolutely anything is possible!

                                                  John Zorn

                                                  The Hermetic Organ:Philharmonie De Paris

                                                    John Zorn. Rituel * Une Crise de Nerfs * Prière Empoisonné * L’heure des Sorcières John Zorn returns to his original instrument with a new volume of organ improvisations recorded at his infamous Weekend in Paris in April 2017. The organ at the Grand Salle Pierre Boulez is one of the most powerful and versatile in France, and Zorn approaches it with great sensitivity and wild abandon. Includes both the full 40 minute concert recording, and over 30 additional minutes of Zorn alone at the manuals in rehearsal the same day.

                                                    John Zorn

                                                    The Urmuz Epigrams

                                                      Desperate from Having Been Left without a Bladder With The Urmuz Epigrams Zorn returns to his roots, using the recording studio as instrument to create an intensely personal suite of compositions in the style of his legendary File Card compositions and Zoetropes. Dedicated to the visionary Romanian writer Urmuz whose small, scattered body of work predated Dadaism by decades, The Urmuz Epigrams is a suite of surrealistic miniatures more akin to philosophical aphorisms than actual music. The pieces are presented here in two iterations, as a set of “rare 78rpm records” complete with surface scratches and limited dynamic range, and as a modern reconstruction of same with the full blown studio sound presented in all its perplexing glory. Some of the craziest music in the Zorn catalog!

                                                      John Zorn

                                                      There Is No More Firmament

                                                      There is No More Firmament is a remarkable collection of recent compositions from 2013–2016 that showcase the range, variety and continued creativity of Zorn as he enters his sixties. Connected together with a thread of intensity, magic and madness, the music tells a twisted and complex story of a magical descent into madness. The compositions include two works for brass ensembles, a woodwind quintet, jazz piano trio, string trio and two solo pieces for clarinet and trumpet, with the outrageous trumpet solo Merlin appearing in two realizations—one by jazz master Peter Evans and another by the European classical virtuoso Marco Blauuw from MusikFabrik.

                                                      John Zorn

                                                      Filmworks XI

                                                      Features the Masada String Trio, and their incredible rapport is at its best in this haunting score for Aviva Slesin's documentary film on Jewish children, hidden from the Nazis during the Shoah. Orchestral arrangments, intimate improvisations, lyricism and a handful of new Masada tunes make this one of Zorn's most memorable film scores.

                                                      John Zorn

                                                      James Moore Plays The Book Of Heads / CD & DVD Of A Film By Stephen Taylor

                                                      Composed 1976–8 and now studied by guitarists the world over, The Book of Heads is one of Zorn’s most popular and oft-performed compositions. Utilizing an hermetic language of meticulously notated sounds inspired by contemporary classical extended techniques, the idiosyncratic guitar languages of free improvisation, cartoons, film noir, world music, philosophy and more, they receive a virtuosic reading by James Moore, founding member of the Dither guitar quartet. This special edition contains both a CD and a beautifully produced DVD of a film by Stephen Taylor showcasing the eclectic techniques involved in all its insane glory. An essential CD/DVD release that gives an in-depth view into some of the most gonzo music ever created for solo guitar. Vexing and endlessly entertaining, you have to see it to believe it!

                                                      Zorn’s compositions for a cappella voice are some of his most sensual and sublime creations. This CD presents his two books of Madrigals scored for six female voices. Beautifully performed by his long time ensemble the “Sapphites” the music is even more varied and challenging than his previous masterpieces The Holy Visions and Shir Hashirim, touching upon minimalism, tonal and atonal counterpoint, textural experiments and more. Inspired by the visionary poetry of 19th century British Romantic Percy Blysse Shelley, a charming lyricism and subtle spirituality rides through the music from first note to last. 

                                                      John Zorn

                                                      Mount Analogue

                                                        Cyro Baptista, Shanir Ezra Blumenkranz, Tim Keiper, Brian Marsella, Kenny Wollesen. Mount Analogue Drawing inspiration from the life and work of the towering spiritual figure Georges Ivanovitch Gurdjieff, Mount Analogue is one of Zorn’s greatest creations. Taking the form of a mystical journey, the music jumps from one world to another weaving a rich tapestry that blends world music, jazz, Contemporary classical and more. Featuring Cyro Baptista’s fabulous quartet Banquet of the Spirits augmented by the brilliant Kenny Wollesen on vibes, this is the latest volume in Zorn’s mystic series, and a major new extended composition. Described as aural cinema, even after thirty years Zorn’s file card pieces have never been equalled. A masterwork!

                                                        John Zorn

                                                        Music For Children 10th Anniversary Edition

                                                          There has never been a CD quite like "Music For Children". The first installment of Zorn's challenging and controversial "Music Romance" trilogy (that includes "Taboo and Exile" and "The Gift") it is easily one of the most eclectic CDs ever made. The music includes three short Torture Garden compositions performed by Zorn with the scorching hardcore band Prelapse; a soulful piece of Masada exotica; a virtuosic classical chamber piece for violin, piano and percussion; a poly-rhythmic etude for voice and percussion and a charming nostalgic lullaby for music box. The highlight of this re-release is a revised version of Zorn's infamously epic ear-bender "Cycles du Nord", which takes on new intensity through overdubbed bass drums and a newly recorded noise guitar track by none other than the master of feedback himself—Lou Reed! Intensely intriguing, "Music For Children" is an unbelievable musical roller coast ride that takes you from the sublime to the ridiculous and back again in sixty jam-packed minutes.

                                                          FORMAT INFORMATION

                                                          CD Info: Revised and remastered for its 10th anniversary.

                                                          John Zorn

                                                          Sacred Visions

                                                          Sacred Visions presents two Zorn masterpieces touching upon the mediaeval world. The Holy Visions is a Mystery Play in eleven strophes concerning the life, work and philosophy of 12th century composer, healer and visionary mystic Hildegard von Bingen, and is one of Zorn’s most beloved and acclaimed works for voice. Here is it coupled with Zorn’s latest string quartet The Remedy of Fortune, six tableaux depicting the changing fortunes of romantic love, which was inspired by the work of 12th century troubadour Guillaume de Machaut and receives a precise and passionate reading by the brilliant JACK quartet. Two brilliant modern compositions drawing on mediaeval spirituality, both sacred and secular! 

                                                          Featuring the magical sonorities of Bill Frisell’s guitar in a heavenly tapestry of harp and vibraphone, the Gnostic Trio is one of the most sublime ensembles in Zorn’s ever-expanding universe. Their sixth CD is their best yet, and presents gorgeous and intimate chamber music touching upon themes of innocence, adventure, childhood and longing that unfold like an exotic flower. Inspired by the charming character Scout from the American classic To Kill A Mockingbird and tempered by a folk-like simplicity, Zorn and company spins an hypnotic web of melodic beauty to soothe the restless spirit. 

                                                          John Zorn

                                                          The Alchemist

                                                          Zorn’s string quartets are some of the most important modern contributions to the canon and a new Zorn quartet is truly a cause for celebration. His sixth quartet is inspired by the hermetic Angelic actions of John Dee and his mystical medium Edward Kelley and contains some of the most intense contrapuntal writing he has yet achieved. Replete with the procedures of distillation, calcination, crystallization, sublimation, purification, rotation as well numerology, prayers, canons, contrapuntal complexity and the ghost of a familiar fugue, this music is part séance, part science, and all Zorn—in short, a trip through an alchemist’s laboratory! Performed here by Zorn’s own Quartet, this is the definitive recording of this important and powerful string quartet, already considered a modern classic. Also included is Zorn’s mystical response to the ancient Newgrange sacred site in Ireland, a beautiful and evocative setting of Amergin, one of the oldest Celtic sacred texts, written for three female voices.

                                                          John Zorn

                                                          The Gift

                                                          A beautiful and lyrical exploration of surf, easy listening and world beat , this is a sincere invitation to relax, enjoy and forget.

                                                          John Zorn

                                                          The Hermetic Organ Vol. 2 - St. Paul's Chapel, NYC

                                                            Drawing upon traditions as varied as Messiaen, Xenakis, Ligeti, Bach, Tournemire,Ives, Korla Pandit and The Phantom of the Opera, Zorn’s organ improvisations are transcendent, inspiring, ecstatic experiences, offering a direct line to the workings of his rich compositional imagination. Performed at St. Paul’s Chapel at a time when the organ was undergoing extensive reconstruction, the limited number of stops available to him focused his imagination to new heights, resulting in Zorn’s most revelatory recital to date. The second volume documenting these legendary organ recitals is a transcendent experience filled with moments of passion, tenderness,
                                                            fragility and extraordinary power.


                                                            The Tables Are Turning

                                                              Somewhere in the rainy, misty forests of the Pacific Northwest of America, three ladies have the unlikely task of sewing together the packaging for a new album by :zoviet*france::zoviet*france: are releasing ‘The Tables Are Turning’ on compact disc and double LP through Soleilmoon Recordings. The music was composed as the soundtrack to ‘Designer Body’, a dance that toured England from 2008 to 2009.

                                                              The work explores the transformational relationship between humans and the clothing they wear. Seven dancers, performing on continuously rotating plinths, slowly remove layers of their costumes, revealing the sensuous nude bodies beneath. The music accompanying the dancers is by turns dense and moody, then lyrical and soaring, underlining the mounting vulnerability of the dancers as they undress. Liv Lorent, balletLORENT's artistic director and choreographer, spoke with Kelly Apter, writer for The List, saying “At the beginning, the body is the most designed it can be. They’re wearing hats, coats, heavy costumes and make-up – all the man-made and artificial things we do to disguise ourselves everyday. Then, over 50 minutes, we take it all away. And because there are several layers, there’s a real sense of metamorphosis.”

                                                              The members of :zoviet*france:, who prefer to remain annonymous, write “We've known Liv Lorent for a long time. When she started to conceive 'Designer Body', which she wanted to be a hybrid of contemporary dance and performance art, she decided that an unconventional performance needed an unconventional soundtrack. The composition of the soundtrack and the choreography evolved alongside each other so it became a dialogue between Liv and ourselves. The main inspiration that we took from the production's concept was rotation; throughout the one hour performance, the dancers are located on turntables that turn continuously, at varying speeds and changing direction. We mirrored this in much of the soundtrack, with circular and rotating sounds.”

                                                              Both formats (CD and double LP) are presented in a deluxe dual-layer green satin bag with fold-over flap. The letters ‘ZF’ are hand-stitched into the flap in white thread, and a two-sided color insert printed on sturdy cardstock completes the package. There are 400 LPs and 600 compact discs in the first edition. The LP, with music on three of the four sides of the records, will go out of print when the initial pressing sells out.

                                                              FORMAT INFORMATION

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                                                                “Digilogue” was originally issued in 1996 as a limited edition clear vinyl LP. It was followed two years later in 1998 by a CD containing three bonus tracks. The CD has been out of print for more than a year. As of today it’s the only :zoviet*france: release in circulation worldwide. The rest of their catalog is out of print! The music recorded for “Digilogue” examines the subtle and shifting nuances that contrast the Digital and Analog worlds. :zoviet*france: have always professed their fascination with the failings of the technology by which music is produced, recorded, mass-produced and played back. They have frequently adapted the faults that their own machines develop into means of reshaping raw sound, the basic material with which they work: “All audio equipment distorts sound to some degree and, eventually through mechanical and electrical failure, fucks it up. Since indeterminacy as a compositional parameter has been a constant in our work, this often produces what we regard as interesting new developments.

                                                                ‘Digilogue’ was recorded using a mixture of failing analogue equipment and high-end digital equipment, and monitored in our studio exclusively on damaged hi-fi speakers. Sound can be as dirty and as clumsy as anything else we perceive with our senses. This is just as true of sound generated in the digital domain, much as we would all like to believe the claims of near-perfection made by audio equipment manufacturers.

                                                                Zozo / Esper Scout

                                                                Split 7"

                                                                  The third release from Come Play With Me, features two brand new tracks from two ridiculously exciting bands plying their trades in Leeds – and through music collective ‘Chunk’ right now: ZoZo (‘International Waters’) and Esper Scout (‘Gaps In The Border Fence.’)

                                                                  Zuider Zee


                                                                    An early/mid-1970s group that sound like a hybrid between T-Rex and Big Star, might sound like a band that should be universally adored but Memphis’ Zuider Zee have remained something of an untapped curiosity.

                                                                    Until now. With this first time release of the album Zeenith, recorded between 1972 and ’74 and featuring all previously unheard tracks, the band should no longer be a boxed-up mystery.

                                                                    Prior to Zeenith, Zuider Zee’s 1975 self-titled LP was the only record out there that existed. Released on Columbia, it was hailed as a true great power pop record of the time by groups such as Cheap Trick. “Rick Nielsen called me one night,” Zuider Zee’s Richard Orange recalls. “He was asking about why weren’t we bigger and doing as well as they were. He said: “Man, you’re so damn good, do you know where I have your phone number? I have your number right beneath John Lennon’s number. Fuggin’ John Lennon, Richard!’

                                                                    Despite love from such bands and a later line-up of Zuider Zee even supporting the Sex Pistols at the Taliesyn Ballroom in Memphis in 1978; “Sid Vicious stumbling around out of his gourd. It was very unremarkable, the whole event.” remembers Orange – and with Columbia never even releasing a single for radio, Zuider Zee never quite took off and dissolved into the ether of cult band land. However, an untold chapter of the group’s history has now been unearthed as Light In The Attic’s ability to pluck gold from seemingly nowhere continues on this release.

                                                                    Comprised entirely of previously unreleased tracks, Zeenith is an album in which sugar-coated glam stomp nestles up alongside Mersey beat and where rousing power pop, crunchy rock and a undercurrent of pop-peppered psychedelia all merge seamlessly.

                                                                    Childhood pals Richard Orange and Gary Simon Bertrand had matriculated in late ‘60s Lafayette pop-psych outfit, Thomas Edisun’s Electric Light Bulb Band, before joining forces with Kim Foreman and John Bonar. Zuider Zee’s tale wasn't always destined to be that of a mysterious cult band but they did face some difficulties in from the off, as they found when they moved from Jackson, Mississippi to their new adopted home of Memphis. “When we first rolled into town, we were completely unknown,” says Orange. “We couldn’t get a gig at any of the clubs for what seemed like at least a year or even longer. We were very different from bands in the South. We never covered any Southern rock; apart from The Allman Brothers who we all thought the world; and as we grew into ourselves we didn’t sound anything like southern rock.”

                                                                    It was Orange’s work ethic that kept the band driven and focused though through such tough times. “I can honestly say that there is one thing Zuider Zee shared with The Beatles experience,” he says. “We played for years in the crappiest most disgusting, dangerous and depressing places, and we played anywhere from 5 to 7 hours, 6 days a week for years.”

                                                                    A group led by such a hard-working and determined individual is glisteningly apparent on this release. Zeenith feels like a band at that magical juncture between a group perfecting their craft whilst still driven by wide-eyed optimism, youthful energy and a sense of fun that radiates throughout every note played. Ultimately, this was at the core of Zuider Zee’s aims. “Most important is to have fun whilst you’re up there doing it [on stage] because people will feel that joy; it’s electric and contagious and they will react to it.”

                                                                    Something that still feels pertinent over 40 years since it was created.

                                                                    FORMAT INFORMATION

                                                                    Coloured LP Info: Indies only limited gold vinyl.

                                                                    Ziúr is a female Berlin-based producer and she’s bringing some future club industrial vibes to Objects with her Deeform EP. In 2015 she started ‘BOO HOO’, a night dedicated to the queer community, along side Joey Hansom. Bookings are inclusive, having female identifying and people of colour on the bill with a core friendly and accepting space for people to party. Ziúr first made stirs when she remixed Peaches “How You Like My Cut" from the totally NSFW but incredibly fun ‘Rub’ LP. She then Exploded on to the scene with her debut club vibe Taiga EP on Infinite Machine earlier this year. Ziúr has come a long way from her experimental noisy punk band ‘Sissters’. Punk vibes still run through the dark and bass-heavy sound of Deeform EP though. Her use of environmental noises, dogs barking and the like, are evocative of cityscapes and dimming lighting when the streets meet dusk. “My testing ground [for my own music] is when I work at a venue and I do a sound check,” she explains. “If people freak out, then I know that it’s a good track.”

                                                                    STAFF COMMENTS

                                                                    Barry says: Industrial ambience, grinding NIN-style saw-waves but all wrapped up in a coat of high-tog bass. Distortion is rife but unobtrusive, used more as a aura than an effect. Is that a pitched-down dog barking? Probably. Juddering synth stabs shakily stagger over the background, permitted movement only when the drums show themselves. Skittish melodic bleeps and breathy pads coalesce into one beautifully cohesive whole. Elements of D&B, grime and techno grow and flourish together into a transcendent symphony of dystopian ill-ease. Absolute essential.

                                                                    Zulu Winter are set to release their eagerly awaited debut album on Play It Again Sam Recordings.

                                                                    'Language’ was produced by Tom Morris at 4AD’s studio in Wandsworth, and Miloco Pool Studio, South London, and was mixed by Claudius Mittendorfer (Interpol, The Vaccines, Glasvegas) in New York.

                                                                    “Music that shimmers like a sky full of fireworks” - NME
                                                                    “They shine a light on eerie, shimmering art pop” - The Fly
                                                                    “Stealth like hit of the year, their charms captivate” - Loud & Quiet

                                                                    Peter Zummo (born 1948) is an American composer and musician. He plays the trombone, valve trombone, euphonium, synthesizer, other electronic instruments, and also sings. He is associated with the postminimalist and Downtown aesthetics, and he describes his music as "minimalism plus a whole lot more." He’s well-known for his work with Arthur Russell.

                                                                    “In this project for Optimo, the listener can hear that my musical food pyramid has musicians at top, or maybe they are at the bottom. In any case, they are important. That is why, from track to track, I selected segments in which one player or another is featured in the take. Some may think that we musicians do multiple takes to get the perfect performance, but I like to find the special interactions lurking in each excursion. Different players came forward in each of the takes, which were recorded in the studios Seaside Lounge and Headroom, in Brooklyn, and live in performances at Cube Cinema, in Bristol, U.K., as well as in Long Island City and on Staten Island, New York.

                                                                    In order to escape the tyranny of the lyric, I am exploring in this release the possibilities of nonsensical and non-emotional lyrics. These kinds of lyrics bring the singing voices into the mix without an overweening message. The tracks include open-form compositions in which the duration was not specified.”

                                                                    STAFF COMMENTS

                                                                    Patrick says: Downtown legend and Arthur Russell collaborator Peter Zummo lands on Optimo Music with a sublime set of spiritual frequencies in strung out sleeping bag style. Indian percussion, loose bass and echo drenched trombone float freely on an LP perfect for horizontal journeys and sofa-based space excursions. Jazzy, Balearic and a little bit silly, this should please anyone looking to bathe in the light of the miracle...

                                                                    A few years ago, American composer and trombonist Peter Zummo discovered a 1984 recording of unreleased material from his "Six Songs" suite in his archive. "Six Songs" was the basis for "Lateral Pass" (Foom 2014), his award winning score for modern-dance choreographer Trisha Brown’s work of the same name. Material taken from Six Songs can also be heard on his seminal "Zummo With An X" (Loris Bend, 1985/Optimo 2012).
                                                                    The work is now being released as a new LP, "Frame Loop". Recorded live and in single takes, it features a stellar line-up of longtime Zummo collaborators: Arthur Russell on amplified cello, Bill Ruyle on marimba, and Mustafa Ahmed on congas. Zummo plays trombone and euphonium.
                                                                    Zummo describes the recording as ‘an exercise in spontaneous arrangement’. He mainly hews close to the score, while from time to time introducing canonic lines and variations. Arthur Russell, using his signature amplified cello sound, alternates between solos and rhythm playing. Bill Ruyle vamps on the notation, while Mustafa Ahmed’s improvised percussion drives the forward momentum. Sometimes the music takes its time traversing a sonic landscape; at other points, it jumps from one section to another. Players' decisions push and pull the downbeat; rounds emerge, then disappear.


                                                                    DJ Turntable IPod Speaker - Black

                                                                      Super-cute compact speaker in a Technics-style record deck design. Comes with a cable that connects to the headphone jack of your portable audio player - ideal for your iPod. Once connected you can play your music through the speaker AND spice things up by using three preset effects (scratch, 'Hey DJ c'mon' and siren) that are triggered by pressing a button or turning the turntable. Rechargeable via USB.

                                                                      FORMAT INFORMATION

                                                                      Misc Info: Width 65mm, depth 50mm, height 15mm.

                                                                      Zurich includes Tony Wilson (Knives ov Resistance), Neil Halstead (Slowdive/Mojave 3), & Sarah Peacock (Seefeel). All of the recordings were lost until very recently when Touch recording artist Mark Van Hoen found the two tracks on old CD-Rs and cassettes he was given by Wilson. This CD version of the original LP release includes bonus tracks. Zurich began as a 1994 musical partnership between Neil Halstead then of Slowdive and Tony F Wilson. The two recorded a handful of tracks together at a time when Wilson was co-promoting and DJing at the club/live night Quirky in South London where he booked acts including Pan Sonic, Hafler Trio and Autechre. Halstead was shortly to begin work on Slowdive's final and most experimental album Pygmalion.

                                                                      Recorded at a time when the popularity of ambient techno was at its peak, these recordings are remarkably austere by comparison. Whilst A Harsh Truth displays the Oriental gracefulness of a Sakamoto/Sylvian collaboration, Tzarist's gothic industrialism shares more in common with the early works of Coil. Following the release of Pygmalion and Creation letting go of Slowdive, Halstead would disband Slowdive and abandon sound experimentation to create more song-based material in Mojave 3. Shortly thereafter, Wilson began collaborating with drum & bass producer and engineer Joe Gray on more rhythm based, yet still atmospheric productions. Too Scared to Breath features the voice of Seefeel's Sarah Peacock and sounds not unlike prime Autechre and Aphex. Militia (Dynamic Warfare) on the other hand mirrors the post-metal Dub of Techno Animal and Scorn.


                                                                      Tapes 1

                                                                      This LP represents the first ever sound recordings from the archive of cult Dutch film director Frans Zwartjes. The sound is unlike anything you maye have heard - dream-like, disjointed, peculiar, unexpected and totally unique. Frans Zwartjes is famous for his art-house films (look him up on YouTube). A Dutch underground auteur, his prolific output dates from 1968.

                                                                      A unique talent, Zwartjes produced, directed and edited his own films (his last work was in 1991), but more importantly he created and improvised the soundtracks too. Zwartjes is still alive today and his large body of work is only now being recognised by a wider, more international crowd, with screenings at the NFT and other important art-house cinemas across the world. The recordings on Tapes 1 were mixed directly from the Zwartjes soundtrack tape archive.

                                                                      They were assembled directly and in real time by Zwartjes archivist Stanley Schtinter and were originally issued three years ago on cassette, in an edition of 50. Don’t bother trying to find one of them. The music, sound and speech have been put together as two long, seamless sequences; they are dreamlike, peculiar, plugged-in, prescient and unlike any other soundtrack we have heard.

                                                                      STAFF COMMENTS

                                                                      Patrick says: Shifting between kosmische synthscapes, abstract tape experiments and experimental jazz, this collection of self composed scores from Dutch auteur Frans Zwartjes is batshit, beautiful and brilliant all at the same time.


                                                                      Trip - Flip - Meditation

                                                                        Originally released on Philips in 1970, Zweistein's trippy kraut psych experimental masterpiece gets its first vinyl reissue ever. Even more experimental than Faust, Kraftwerk or Cluster, their only album was a triple LP housed in a marvelous double gatefold cover, all made in silver & gold cardboard, with the front embossed and featuring a small mirror on it. Electronically adventurous, the sounds give you what's promised in the title in the form of an avantgarde collage produced by Suzanne Doucet -a successful pop singer and TV guest then, and now a famous voice in New Age music- with the help of her sister Diane and sound engineer Peter Kramper, who besides his recognised work as a studio wizard starting with many German beat bands like The Rattles or The Blizzards and later remixing albums by the likes of Hawkwind a.o. He also played synthesizer in some Amon Düül albums an records by other krautrock travellers like Utopia's 1973's self titled LP.

                                                                        At the time Suzanne didn't want to link the avantgarde experiments collected here with her succesful pop career, so she used a pseudonym and signed the production as Jacques Dorian, while the recordings were issued as being made by a whole band named Zweistein. The photo you see on the cover of their only 45, here included as a bonus, show the Doucet sisters surrounded by friends who where ask to play any instrument they could, be a tambourine, a flute or simply stomp their feet on the ground, on the sessions.

                                                                        "My sister and myself were huge fans of Einstein (of course) therefore the ZWEISTEIN pseudonym."

                                                                        "I was always into recording technology - starting when I was 14 to record songs with my first tape recorder... so I took all the recordings of ZWEISTEIN and transferred and edited them into a "piece" and it became 3 album length pieces. We took those to the studio to my favorite recording engineer Peter Kramper (who was also a producer and recording engineer for Liberty Records, I was signed to until 1970) and added effects and magically appearing sounds that came out of nowhere (you can hear those strange tones on the 3rd album in the beginning and end...) and they did fit perfectly with our 3rd album MEDITATION."

                                                                        "The 3 albums were called TRIP, FLIP OUT and MEDITATION because that was in our opinion the logical evolution our generation was going through. We all had experimented with psychadelics and the first album is such a recorded TRIP. As a result many of us went into a psychotic state of mind, i.e. FLIP OUT (the world upside down, reverse all concepts and rules were off) and if you ever came out of that your only salvation would be spirituality MEDITATION. Maybe ZWEISTEIN became such a "cult" recording because it reflected the evolution of the mind of a whole generation. And if we accomplished that I would call that art!"

                                                                        Suzanne Doucet (from "The Making Of Zweistein",

                                                                        FORMAT INFORMATION

                                                                        3xLtd LP Info: The Wah Wah reissue has been licensed from Suzane Doucet, comes with remastered sound and will include one bonus 7" reissue of their non LP single. Like the original, it will be printed over metallic silver & gold embossed cardboard, plus comes with an insert with liners and photos. Limited edition, only 500 copies pressed!

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