MAGIC MIX

ALL GENRES

WEEK STARTING 3 Apr

Wilma Archer

A Western Circular

    Within A Western Circular lies an exciting and varied crew of guest artists including MF DOOM, Samuel T. Herring (Future Islands), Sudan Archives, and Laura Groves, all contributing vocals to his rich, dexterous compositions. These collaborations are the by-product of several years of writing and producing. Recently, he’s appeared extensively on the debut albums by Sudan Archives (writing the lead single, 'Confessions', no less) and Nilüfer Yanya (contributing seven songs), alongside work with Celeste, and another writer and production credit on Jessie Ware’s Devotion.

    An album that’s been in the works for the past half-decade, A Western Circular is a bold, reflective piece that directly relates to Archer’s personal experiences of life and death, centered on one particular week where they breathed with equal intensity. The record’s themes of greed, love and loyalty all relate back to that specific time. Inspired by author John Fante, A Western Circular is a spiritual voyage through life’s pushing and pulling: finding beauty in the rough, sadness in the bright. Ostensibly, it’s a poignant reflection on the duality of the human condition.

    On the record, Archer has uncovered new depths and forged an invigorating singular sound - supple and multi-layered, honouring his acoustic heritage and influence, while building a sonic universe that commands contemporary references to everything from Frank Zappa to Yasuaki Shimuzu, Robert Wyatt to Arthur Russell.

    FORMAT INFORMATION

    Coloured LP Info: Indies exclusive clear vinyl.

    Deluxe LP Info: Album on clear vinyl, comes with white label 12” of Last Sniff featuring MF Doom on black vinyl.

    Roy Ayers

    Virgin Ubiquity II: Unreleased Recordings 1976 - 1981

      BBE Music announces the first repress of the classic Roy Ayers albums ‘Virgin Ubiquity’ 1 and 2 since 2006, on luxurious 180g vinyl with brand new sleeve notes written by Sean P. The music on 'Virgin Ubiquity' was selected and mixed down from previously unreleased multi-tracks recorded between 1976 & 1981, which Roy had in storage. It's all unmistakably Ayers, but is diverse and fresh enough to be more than a mere adjunct to one of his most productive and popular periods - testament to his and his musicians' creative abilities, as much of most revered Ayers output stems from this time. These discoveries take their place beside some illustrious company in a timeline bookended by 'Everybody Loves The Sunshine' and 'Africa, Center Of The World', several solo and Ubiquity albums, collaborations with Wayne Henderson & Fela Kuti, as well as guesting on LPs by Buster Williams and Herbie Mann. Out of print on vinyl and CD for over a decade now, BBE is delighted to re- present these groundbreaking Roy Ayers titles, neatly coinciding with the 45th anniversary of his classic album ‘Mystic Voyage’.

      Roy Ayers

      Virgin Ubiquity: Unreleased Recordings 1976 - 1981

        BBE Music announces the first repress of the classic Roy Ayers albums ‘Virgin Ubiquity’ 1 and 2 since 2006, on luxurious 180g vinyl with brand new sleeve notes written by Sean P. The music on 'Virgin Ubiquity' was selected and mixed down from previously unreleased multi-tracks recorded between 1976 & 1981, which Roy had in storage. It's all unmistakably Ayers, but is diverse and fresh enough to be more than a mere adjunct to one of his most productive and popular periods - testament to his and his musicians' creative abilities, as much of most revered Ayers output stems from this time. These discoveries take their place beside some illustrious company in a timeline bookended by 'Everybody Loves The Sunshine' and 'Africa, Center Of The World', several solo and Ubiquity albums, collaborations with Wayne Henderson & Fela Kuti, as well as guesting on LPs by Buster Williams and Herbie Mann. Out of print on vinyl and CD for over a decade now, BBE is delighted to re- present these groundbreaking Roy Ayers titles, neatly coinciding with the 45th anniversary of his classic album ‘Mystic Voyage’.

        Born Ruffians

        Juice

          Critically acclaimed indie rock mainstays Born Ruffians return with their sixth studio album, Juice, which finds the band moving into a more confident and polished direction, bringing to mind 1970s songwriting prowess with layered, and mature production sensibilities. The album was produced by Graham Walsh, known for his work with Alvvays, !!! (Chk Chk Chk), and Holy Fuck.

          FORMAT INFORMATION

          Coloured LP Info: Yellow vinyl.

          Anna Burch

          If You’re Dreaming

            ‘If You’re Dreaming’ was tracked with producer Sam Evian in his home studio in the Catskill mountains of upstate New York. Where the first album had been a rush of inspired songwriting followed by a drawn-out process of arrangement and mixing, Burch and Evian worked with self-imposed time limitations to establish a sharper focus and get to the core of the new songs. The work was swift but somehow more relaxed, locking into a groove of tracking the basic elements and then expanding on the arrangements with overdubs and auxiliary instrumentation. The end goal was to present not just an assortment of new songs but craft an album that moved dynamically through an interconnected emotional arc.

            With recurring themes of isolation, weariness and longing, these songs deliver that emotional arc with a delicate but uncompromising execution. Burch’s intrinsically catchy songwriting dials down the urgency of her debut a notch, taking a turn towards airy, jazz-voiced chords, floating reverb and an expansion of the sonic palate with unexpected instrumentation. The soft-rock bass grooves and understated saxophone lines of ‘Not So Bad’ push an impressive pop structure into exciting new territory and the sweetly melancholic Tell Me What’s True centres around muted electric piano, its languid but metered vibe recalling the gentler side of Carole King.

            The nuance of arrangements that could sometimes get buried on debut ‘Quit The Curse’ rises to the surface on patient, opulent tunes like ‘Every Feeling’ and in the twelve-string guitar hooks of ‘Party’s Over’. The album drifts dreamily as much as it hones in with a sharper clarity on some of Burch’s most personal songs. Even at its most introverted, ‘If You’re Dreaming’ is always warm and present. It’s a deliberately drawn chapter of Burch’s work, trading in the wild-eyed and sometimes neurotic party hopping of ‘Quit The Curse’ for a more solitary walk after midnight. Daring and clear- headed, these songs cut deeper in their subtleties. ‘If You’re Dreaming’ moves with intention, taking its time revealing new layers of sophistication and growth in Burch’s always charming songcraft

            FORMAT INFORMATION

            Coloured LP Info: Purple vinyl.

            Coloured LP includes MP3 Download Code.

            Butzmann / Kapielski

            War Pur War

              Composer, radio dramatist and performance artist Frieder Butzmann began exploring experimental music in the late 1960s. One of the pioneers of German industrial music and a member of the Geniale Dilettanten movement, Butzmann has collaborated with artists such as Genesis P-Orridge, Blixa Bargeld, and Santrra Oxyd, as well as releasing numerous solo works. Frieder Butzmann joined forces with author and artist Thomas Kapielski in the early 1980s. Most of their compositions are minimalist tracks interspersed with everyday noises and fragments of speech, as can be heard on their WAR PUR WAR album, first released on Zensor in 1987. This utterly unique work is an idiosyncratic mix of eccentric electro-pop and bizarre sonic collages and has gone on to become a sought-after collector's item. Now lovingly remastered, with refreshed artwork and two bonus tracks, WAR PUR WAR is being reissued on LP and CD on Bureau B, complete with previously unpublished photos and liner notes by Frieder Butzmann. 

              Callisto

              Guidance Is Internal : Part 3

                Boston's Dana Kelley aka Callisto is a man whose music has long been the subject of much deserved adulation. A student of the deep and soulful, an explorer of the melodic and galactic, and an artist who manages to capture imaginations with his supremely crafted sonics. He is a much missed artist, someone who departed the physical too early, but the body of work he left behind has spoken to generations of listeners, DJ's and fans in equal measure.

                This is the third and final instalment of 3 compilations focused on Callisto's golden period of productions for the legendary Chicago label Guidance Recordings. As with the other volumes that preceded it, it's an outright and joyous celebration of his music, his vision and the forward looking nature of his music that is still intact today. It's hard to think of someone with a more unique style and with a truer idea of their own sound-world. Callisto takes us deep inside, into other worlds with his own individualistic take on house, techno, ambient and even jungle and D&B.

                These compilations celebrate one of the most idiosyncratic artists from the second wave of US house music producers, a truly essential body of work presented here respectfully, sourced from all audio sources courtesy of Above Board Projects, Guidance Recordings and Dana's family. Mastered by Curved, London and with special artwork by Atelier Superplus featuring a never before seen image of Dana from his family's photo albums.


                The Chats

                High Risk Behaviour

                  The Chats are a pub-punk shed-rock band from Queensland, Australia. They began playing together in high school, releasing their debut self titled EP a month away from graduating in 2016. Triple J described the EP as "seven joyous sky-punching tracks that combined 60s garage punk and 70s new wave punk" About nine months out of high school, The Chats went back into the studio to record their follow up EP, "Get This In Ya". The second EP sat online for half a year until the band had a viral hit with the music video for their song "Smoko", which racked in millions of views on Youtube in a couple of days, quickly becoming a viral hit and drawing attention from popular rock musicians Josh Homme, Iggy Pop, and Dave Grohl. Since then, The Chats have become notorious for their loud and chaotic live shows and their zero fucks attitude.

                  The Chats have sold out shows in Australia, New Zealand, the UK and Europe. They've toured with Australian punk legends Cosmic Psychos, US rock heavyweights Queens of the Stone Age, and fellow pisswrecks Pist Idiots. With a debut album in the works, as well as national and international tours, The Chats aren't showing any signs of slowing down soon. The Chats have coined the term "shed rock" to describe their sound. Their self-contained approach has been likened to that of King Gizzard & the Lizard Wizard. They have cited Australian bands Cosmic Psychos, Dune Rats and Eddy Current Suppression Ring as major influences The band takes its name from the phrase "that's chat" - (Australian slang to describe something terrible) and Sydney suburb of Chatswood. 

                  FORMAT INFORMATION

                  Coloured LP Info: Piss Colour Vinyl

                  Coloured LP 2 Info: Indies Exclusive Blue & Black Coloured vinyl.

                  Euros Childs

                  Gingerbread House Explosion

                    Euros Childs returns with his fifteenth album Gingerbread House Explosion released on his own label National Elf. Recorded by Stephen Black (aka Sweet Baboo) at Gus' Dungeon II studios Cardiff, it features Stuart Kidd (Kidd, The Wellgreen, Dr Cosmo's Tape Lab) on drums and Stephen Black on saxophone, clarinet and guitars.

                    Following last year's all instrumental Olion, Gingerbread House Explosion sees Euros singing once more and returning to the more familiar melodic pop songwriting that he is perhaps best known for. It's an album brimming with memorable hooks and choruses, with songs tackling subjects such as Richard Branson acquiring the moon ( Virgin Moon) somebody's bits falling off in the bath ( Bits of me (Falling off) a couple bonding over a love of bombs ( Cuddle Up to the Bomb ) a man developing an unhealthy obsession with someone else's bins( Bin Night )and screwing things up (Screw It Up ).

                    Gingerbread House Explosion is an album that will make you laugh, cry and tap your toes - possibly all at the same time. 


                    CMON

                    Confusing Mix Of Nations

                      CMON is the new recording project of Josh da Costa and Jamen Whitelock. Even as they established themselves as integral members of New York’s DIY scene with their band Regal Degal, da Costa and Whitelock were acutely aware of how closed off they had become. As Regal Degal mounted its final tour, with clubs pushing their set times earlier and earlier to make space for the DJs who followed da Costa and Whitelock took notes. “We were definitely getting swept further from where we wanted to be and the excitement we wanted to portray,” Whitelock says. “There’s such joy in going out and dancing that was completely missing in a lot of shows, especially in New York. Nobody wants to move, everyone’s too self-conscious. But when you go to the club, everyone’s in it—you just want to dance, and that’s all that matters.”

                      The community potential and the promise of physical liberation that came with dance music spoke loudly to both da Costa and Whitelock, and following the dissolution of Regal Degal, da Costa set up a new life for himself in Los Angeles—a steady relationship, a pet bird, a car —and got down to work with a copy of Ableton. Back in New York, his head spun by DJ Rashad, Whitelock was learning to program, too. They kept their line of communication open, and eventually Whitelock started making the cross-country trek to work and record with his old bandmate. They mined the sound they established with Regal Degal, applying their old band’s heavy atmospherics and melancholy soul to four-on-the-floor rhythm grids and smoothed-out guitar lines, taking production cues from EBM and AOR in equal measure. If Confusing Mix of Nations is a tour of anything, though, it’s not countries so much as psychic spaces.

                      Each of its ten tracks feels like a postcard from an aesthetic territory worth returning to. Opener “Coo” begins with locked-in grooves reminiscent of Drugdealer (for whom da Costa drums) or Mild High Club, until it suddenly gives itself over to a rhythm that’s been chattering away in the back of the track. As da Costa and Whitelock follow its hints, “Coo” suddenly inverts its priorities and sounds like Miami bass all leaned out for Halloween, then calmly returns to the opening groove, the only proof of the excursion an excess of delay on da Costa’s vocal. “Peter Pan” struts like it’s on its way to meet side two of Sandinista! in its verses, then glows with New Romantic shine in the chorus. The pop hooks on “Good to Know” feel like they could set off a festival crowd, but they’re offset by a strange hollow ache at the song’s center—a weird sadness that makes you feel a little bad for dancing to it.

                      CoFlo

                      Lux (incl. Kaidi Tatham Remix)

                        Continuing a run of highly musical releases, Local Talk is proud to present Cody Ferreira aka CoFlo to the label with 'Lux'.

                        Joining the dots between house, hi-tech soul and jazz focused synthesizer solos, CoFlo explores a wider range of influences, it's essential.
                        On the flip Kaidi Tatham delivers another flawless remix where his exquisite production abilities shine and he shows us why he remains one of our favourite producers out there.

                        Mike Cooper

                        Tropical Gothic

                          CD1 Tropical Gothic
                          Mike Cooper studies different approaches to his method of uniting guitar and field recordings into a constant stream of sound, where he delivers chaos and melody – not necessarily in that order. A series of shorter pieces open the album. Each of them offering a myriad of images and sensations, between the enigmatic and terror (“The Pit”), joy, happiness and freedom (“Running Naked”) or pure contemplation (“Onibaba”). The album closes with its 18th minute magical piece “Lelong & Gods Of Bali”. A mix of ambient exotica music, silent film soundtrack and distorted rhythms that dance around Mike’s guitar. It keeps reinventing and transforming itself throughout those eighteen minutes, summing up the dexterity and muscle of Mike Cooper’s music of the last two decades.

                          CD2 Tropical Gothic: Live at Café Oto
                          ‘Tropical Gothic - Live At Cafe Oto’ was performed as a live improvised version of Mike’s release of the same name. Joined on stage by Clive Bell and Sylvia Hallet and performed alongside three of Mike’s videos - Ko Lanta, Walking In Ubin and a mash up containing excerpts from some of Mike’s favorite ‘tropical gothic’ films ( Onibaba, Opera Jawa, Kwaidan, Tabu & White Shadows In The South Seas). Both Clive and Sylvia play an array of Asian and ‘exotic’ instruments; both are improvisers and have been playing together on and off over many years. Sylvia had collaborated with David Toop on his opera Star Shaped Biscuit, a work that might also be considered tropical gothic(?) and Clive Bell, an international traveller, writer and expert player of the Japanese Shakuhachi flute, as well as other Asian blown instruments, is very familiar with Mike Cooper’s musical excursions into Ambient/ Electronic/ Exotica.

                          Karen Dalton

                          Recording Is The Trip - The Karen Dalton Archives

                            Including for the first-time ever on Clear vinyl ltd. edition:

                            3 LP : the 1962 double live album Cotton Eyed Joe remastered + the 1963 home recordings album Green Rocky Road remastered

                            3 CD : same albums download card of 13 unreleased home recordings including a mesmerizing take on "God Bless The Child" (writings, - 56 PAGE BOOK with scans of KAREN DALTON PERSONAL ARCHIVES photographs, music sheets, lyrics, memos) disclosed here for the first time

                            KAREN DALTON RECYCLED FABRIC T-SHIRT (featuring her own guitar tabs)
                            DIGITAL DOWNLOAD CARD

                            Press about ‘Cotton-Eyed Joe’ (1962/2007) and ‘Green Rocky Road’ (1963/2008)
                            "All the informality of someone thinking aloud, which suits her signature vocals perfectly. In overdubbing, she seems to consider tempos and time signatures almost as restricting as a real studio. A particularly personal statement, a career marker"

                            "Like a lost book of the Old Testament. Less like a folk record and more like a warp in the space-time continuum. The most beautiful and harrowing album you'll hear this year. The results are startling. Her rendering of "Katie Cruel" on In My Own Time has been hailed as definitive but she improves it here. Bewitching." "Proving her masterly command of both the material and the audience" "Using her uncluttered fingerpicking and keening phrasing to a reimagine a pair of lesser known Ray Charles numbers to devastating effect" "Sounds great. The set captures a side of Dalton that her original releases never could. Such a personal statement it's far more challenging"

                            "An invaluable treasure" Pitchfork 8/10.


                            FORMAT INFORMATION

                            Ltd Box Set Info: Packaged in Ampex studio tape style cardboard box (size: 12.8x12.8x1.1)

                            Ellis

                            Born Again

                              The full-length debut from Ellis, Born Again takes place in spaces both intimate and vast, ordinary and near-mythic: warm beds and lonely church pews, restless cities and desolate forests and the furthest reaches of the cosmos. Produced by Jake Aron (Snail Mail, Solange, Grizzly Bear) and recorded partly at Aron’s Brooklyn studio, Born Again arrives as the follow-up to Ellis’s debut EP The Fuzz—a self-released, self-produced effort that promptly led to a deal with Fat Possum Records. In a departure from the viscerally charged dream-pop of The Fuzz, Born Again unfolds with a mesmerizing subtlety, gracefully spotlighting Ellis’s unhurried melodies, starkly confessional lyrics, and the luminous vocal work she’s shown in opening for artists like Soccer Mommy and Alvvays.

                              Es

                              Less Of Everything

                                Es is Maria Cecilia Tedemalm (vocals), Katy Cotterell (bass), Tamsin M. Leach (drums) and Flora Watters (keyboards). Their 2016 debut EP, Object Relations, released on influential London punk label La Vida Es Un Mus, was described as “mutant synth-punk for our dystopian present” (Jess Skolnik, Bandcamp, Pitchfork). The band has since become a vital presence in London’s underground DIY music scene, as well as having toured the UK with the Thurston Moore Group in 2017. After a period with members split between Glasgow and London, Es recorded Less of Everything with Lindsay Corstorphine (Sauna Youth, Primitive Parts) in Tottenham in 2019. As in Object Relations, the dynamic between Cotterell’s bass and Watters’ keyboard is at the heart of Less of Everything’s sound: intertwining sub-zero melodies, gothic anarcho-punk influences (think Kukl, Malaria, X-Mal Deutschland) and some kind of entirely unlocatable aquatic component. When combined with Murray Leach’s precise drumming, the outcome is original and immediately recognisable.

                                Es are a group who know how to leave space, how to strive for minimalism without sacrificing aggression or dynamism. This dynamic provides the perfect backdrop for Tedemalm’s relentless, pointed vocal style. While comparable ‘cold’ sounding groups might affect an impersonal, safer mode of lyrical or vocal detachment, Tedemalm’s strategy is to “push the lyrics as far as I can thematically until they become absurd … overly dramatic ... while still being sincere in the feeling they’re trying to invoke. I try to apply as much emotion as I can.” The result is something intense but nuanced, confrontational but complex. 


                                FORMAT INFORMATION

                                Coloured LP Info: 180g clear/white/silver marble vinyl, limited to 500 copies.

                                Everything Is Recorded

                                Friday Forever

                                  Friday Forever is the second album from multi-artist project Everything Is Recorded, helmed by producer artist Richard Russell. This follows the critically acclaimed and Mercury Music Prize nominated debut of 2018, Everything Is Recorded by Richard Russell. Friday Forever takes on a multi-lensed perspective of a classic night out, followed closely by the sobering reflections of the next morning. The album features an array of new collaborators – in British rappers Aitch, Flohio and Berwyn, Irish singer songwriters Maria Somerville and Kean Kavanagh, the inimitable voices of A.K. Paul, James Massiah, and returning vocalist Infinite Coles – as well as established names like Ghostface Killah and Penny Rimbaud.

                                  Brian Fallon

                                  Local Honey

                                    The lead singer of beloved heartland-punk band The Gaslight Anthem, Brian Fallon steps away from that sound and into a stripped-down Americana space on his third solo album, Local Honey. Produced by Grammy-award winning producer Peter Katis (The National, Frightened Rabbit, Death Cab for Cutie), the album showcases Fallon's songwriting in small vignettes, from a loving devotional for his daughter to a vengeful murder ballad.

                                    FORMAT INFORMATION

                                    Coloured LP Info: Indies exclusive yellow vinyl.

                                    Coloured LP 2 Info: Translucent orange vinyl.

                                    Flat Worms

                                    Antarctica

                                      2020, and the scene is now: world in flames, deserts in permafrost, everyone in their own corners, looking down into their hands. Nothing in common. We can all see that the way it’s happening isn’t working, and for a lot of us, that’s okay, as long as it doesn’t rock our boat, we’ll cope. But for people who are invested in the future, any future – like Flat Worms – they’re out there, full time living, playing to change minds. And they’re not alone.

                                      Antarctica is the third Flat Worms album in the past four years. It reflects a situation that’s dire, but not hopeless. Since the release of their 2017 debut LP — even since last year’s “Into the Iris” mini-LP — the sound of the trio has hardened, with the polarities of psych and post-punk smelted into a brutal cobalt alloy. No doubt they’re aided by the Steve Albini-engineered sound rendered at Electric Audio, where the album was recorded and mixed (in collaboration with Steve Albini and Ty Segall) in six days.

                                      The rest of the evolution is down to Flat Worms, whose world view and musical viewpoint pulse with a remorseless drive and a sense of collaborative unity. Will Ivy’s cortex-scorching guitar leads are in united space with the full-body rhythm of Tim Hellman’s bass and Justin Sullivan’s drums. Their social comment, bleak, yet earnest, is leavened with bone dry humor (the title track’s isolation conundrums: “My dog is smiling as I drive her to the park / we sit together in the kitchen after dark / I ask her questions / She just barks”) and caustic pronouncements; a vision of the chaotic, dysfunctional contemporary landscape that recalls the tragicomic expressions of 100 Flowers and the indefatigable recitations of The Fall.

                                      Commitment. Intention. Collaboration. And a sense that we’re meant to enjoy what we’re doing. Even in the desert of Antarctica, Flat Worms are looking for the upside. Come join them!

                                      Forest Law

                                      Forest Law EP

                                        Rio meets Romford on Forest Law’s EP, the Essex-raised, London-based artist’s debut on Gilles Peterson’s Brownswood label. He was first discovered through Future Bubblers, Peterson’s programme for new and unsigned artists, and this release is an assured introduction to the singer and multi-instrumentalist’s tight, groove-driven sound. The EP features Esa Williams (Soundway, Rush Hour) on the berimbau on ‘Keep an Eye Out’, his mentor through Future Bubblers and bandmate in Esa’s Afro-Synth Band. A bright, Brazilian-tinted sensibility runs through every track which Forest Law creates. From Hornchurch, Essex, and now based in London, he makes warm, eclectic compositions in his garden shed. He takes groove as his driving force, building outwards in kaleidoscopic directions.


                                        Robert Forster

                                        Calling From A Country Phone

                                          2020 sees the thirtieth anniversary of the album that launched the solo career of sometime Go-Betweens frontman Robert Forster. Upon its release ‘Danger In The Past’ met with universal acclaim from critics, even drawing comparison with Bob Dylan’s ‘Blood On The Tracks’ in some quarters. To mark this milestone, Needle Mythology will be reissuing expanded versions of both Danger In The Past and its 1992 successor ‘Calling From A Country Phone’. The re-release of these albums comes on the back of an incredible 2019 for Forster, in which he released an acclaimed studio album Inferno and received unanimous five star reviews for G Is For Go-Betweens Vol. 2, the second in a trilogy of box-sets gathering Go-Betweens studio albums and previously unreleased live recordings and outtakes. Forster himself has been fully involved on this expanded reissue contributing new liner notes and newly unearthed photographs. For Danger In The Past, Robert recorded in Berlin with an illustrious ensemble that included Bad Seeds alumni Mick Harvey (producer, multi-instrumentalist), Hugo Race (guitar) and Thomas Wydler (drums). BBC 6 Music’s Gideon Coe, described the record as "a beautiful, confident solo debut.” Of these new remasters, Needle Mythology co-founder Pete Paphides says, “The remastering (from Sean Magee at Abbey Road Studios) has dramatically revealed a depth and physicality to these recordings that casts new light on Robert’s intentions for these records. 

                                          Robert Forster

                                          Danger In The Past

                                            2020 sees the thirtieth anniversary of the album that launched the solo career of sometime Go-Betweens frontman Robert Forster. Upon its release ‘Danger In The Past’ met with universal acclaim from critics, even drawing comparison with Bob Dylan’s ‘Blood On The Tracks’ in some quarters. To mark this milestone, Needle Mythology will be reissuing expanded versions of both Danger In The Past and its 1992 successor ‘Calling From A Country Phone’. The re-release of these albums comes on the back of an incredible 2019 for Forster, in which he released an acclaimed studio album Inferno and received unanimous five star reviews for G Is For Go-Betweens Vol. 2, the second in a trilogy of box-sets gathering Go-Betweens studio albums and previously unreleased live recordings and outtakes. Forster himself has been fully involved on this expanded reissue contributing new liner notes and newly unearthed photographs. For Danger In The Past, Robert recorded in Berlin with an illustrious ensemble that included Bad Seeds alumni Mick Harvey (producer, multi-instrumentalist), Hugo Race (guitar) and Thomas Wydler (drums). BBC 6 Music’s Gideon Coe, described the record as "a beautiful, confident solo debut.” Of these new remasters, Needle Mythology co-founder Pete Paphides says, “The remastering (from Sean Magee at Abbey Road Studios) has dramatically revealed a depth and physicality to these recordings that casts new light on Robert’s intentions for these records. 

                                            FORMAT INFORMATION

                                            LP Info: LP + bonus 7".

                                            Chris Forsyth With Garcia Peoples

                                            Peoples Motel Band

                                              Over the past decade or so, Chris Forsyth has produced a series of perennially year-end list haunting studio albums of expansive art-rock, from 2013’s Solar Motel to 2019’s All Time Present , in the process becoming one of the leading lights of the so-called “indie jam” scene, musicians combining omnivorous influences with post-Dead sprawl. These critically lauded albums have established Forsyth as one of today’s most unique and acclaimed guitar player/composers - a forward thinking classicist synthesizing cinematic expansiveness with a pithy lyricism and rhythmic directness that makes even his 20-minute workouts feel as clear, direct, and memorable as a 4-minute song.

                                              Pitchfork has called his music “a near-perfect balance between 70s rock tradition and present day experimentation,” NPR Music named Forsyth “one of rock’s most lyrical guitar improvisors,” and the New York Times calls him “a scrappy and mystical historian… His music humanizes the element of control in rock classicism (and) turns it into a woolly but disciplined ritual.” But the studio records are just the tip of the iceberg. You see, in a live setting Forsyth’s music is never really finished. He hasn’t had a fixed band in years and plays with a rotating cast of characters. Regulars in Forsyth’s bands have included bassists Doug McCombs (Tortoise) and Peter Kerlin (Sunwatchers), and drummer Ryan Jewell (Ryley Walker, too many others to mention), among others - basically, whoever is available for the given gig or tour.

                                              These are not groups that rehearse, exactly. Operating more like a jazz band, Forsyth and his players treat the songs as frameworks that remain identifieable but morph based on who’s playing them, like weather to a landscape. Embracing this flux has become a cornerstone of Forsyth’s live sets, rendering every performance special and thereby catching the attention of tapers from his home base in Philly to New York City, Chicago, and Minneapolis. In fact, most of his live performances over the last few years are recorded and posted on the Live Music Archive site. But the taper recordings, though many are high quality and full of character, are not professionally recorded and mixed multi-tracks.

                                              Which brings us to Peoples Motel Band , the new live LP culled from a set that Forsyth played with NY-based group Garcia Peoples as his band, and is self-releasing on his own Algorithm Free label in a limited pressing of 500 copies. Recorded September 14, 2019 before a packed and enthusiastic hometown crowd at Johnny Brenda’s in Philadelphia, Peoples Motel Band catches Forsyth and Garcia Peoples (plus ubiquitous drummer Ryan Jewell) re-imagining songs from Forsyth’s last couple studio albums with improvisatory flair.

                                              Forsyth and Garcia Peoples played a number of 2019 shows together, beginning with a semi-legendary jam set at Nublu in NYC in March, through a couple dates on Forsyth’s month-long weekly residency at Nublu in September and concluding with a five-date tour of the Northeast in December. The chemistry between the players is tangible. As is often the case with Forsyth shows, the gloves come off quickly and the players attack the material - much of it so well-manicured and cleanly produced in the studio - like a bunch of racoons let loose in a Philadelphia pretzel factory.

                                              Recorded and mixed with clarity by Forsyth’s longtime studio collaborator, engineer/producer Jeff Zeigler, the record puts the listener right in the sweaty club, highlighted by an incredible side-long take of the chooglin’ title track from 2017’s Dreaming in The Non-Dream LP (note multiple climaxes eliciting wild shouts and ecstatic screams from the assembled). This is not the new Chris Forsyth album, exactly, but then again, it kinda is because whenever he sits down to play, something new comes out.

                                              Nils Frahm

                                              All Encores

                                                The three EPs will be available as one full length release titled All Encores featuring 80 minutes of music to follow his masterful 2018 album All Melody.

                                                Whilst Encores 1 focused on an acoustic pallet of sounds with solo piano and harmonium at the core, and Encores 2 explored more ambient landscapes, now Encores 3 sees Nils expand on the percussive and electronic elements in his work.

                                                “The idea behind All Encores is one we had from before All Melody; to separate releases each with their own distinct musical style and theme, perhaps even as a triple album. But All Melody became larger than itself and took over any initial concepts. I think the idea of All Encores is like musical islands that compliment All Melody.”

                                                Moulded during All Melody but refined by his live performances, All Encores is testament to Nils’ exceptional ability to craft his art on stage. Artificially Intelligent which showcases his ‘mad professor’ organ, and All Armed which has been a live favourite for some time, appearing on set lists since 2015, are now available to hear on record for the very first time. The final track of Encores 3, as well as the whole series, Amirador, perhaps aptly nods to the Spanish word for ‘lookout’ and hints at what’s to come.

                                                FORMAT INFORMATION

                                                3xLtd LP Info: In celebration of the fifth Piano Day, Nils Frahm releases his acclaimed 'All Encores' album on 3LP vinyl.

                                                Gang Starr

                                                Jazz Thing

                                                  With the original UK 7” of this release now as rare as hen’s teeth, and with the group having recently ‘reformed’ for one last album together, the Mr Bongo replica re-release of this 1990 masterpiece by Gang Starr couldn’t be more timely

                                                  The now-legendary duo of DJ Premier and Guru dropped this at the height of hip-hop’s sampling of jazz, which had led to a creative leap forward for the genre. Yet while others plundered in the dark, this instant classic wore its influences on its sleeve and paid verbal homage to the musicians they were sampling. The “melodious funk” of “Thelonious Monk” gets namechecked, while the track samples two of his records, including 1958’s Bop gem ‘Light Blue’.

                                                  While both versions presented here have common elements, the ‘Movie Mix’ - so-named for the song’s appearance on the soundtrack to Spike Lee’s mythic jazz biopic ‘Mo’ Better Blues’ - goes in a few different directions to the ‘Video Mix’. Rather than just drop in an instrumental for the B-side, DJ Premier instead shows his versatility by switching up the base track (Kool & The Gang’s 1971 ‘Dujii’) and layering in other samples. In more ways than one, his virtuosity here echoes the improvisation of a jazz musician, akin to Denzel Washington’s Bleak in the movie.

                                                  Of course, he’s not the only show in town. The late Guru’s voice is as mellifluous as an instrument itself here, his potted history of the genre and the artists of jazz delivered with his own unmistakable cadence. Without this record, would he have gone on to make his ‘Jazzmatazz’ projects.

                                                  Dana Gavanski

                                                  Yesterday Is Gone

                                                    ‘I’m learning how to say goodbye / to let you go and face the tide / to wrap my feelings in a song,’ sings Dana Gavanski on the title track of her debut LP, Yesterday Is Gone. To wrap her feelings in a song: this is the task Dana has dedicated herself to with this record. It’s a goal common to many songwriters, but few approach it with such aplomb. By turns break-up album, project of curiosity, and, as Dana puts it, ‘a reckoning with myself’, Yesterday Is Gone is her attempt to ‘learn to say what I feel and feel what I say’: an album of longing and devotion to longing, and of the uncertainty that arises from learning about oneself, of pushing boundaries, falling hard, and getting back up.

                                                    Born in Vancouver to a Serbian family, Dana has always harboured a desire to sing. In her final year of university in Montreal, she picked up the guitar left by her ex-partner and decided to re-learn. But with a father in film and a painter mother, other art-forms clamoured for her attention. She spent a summer as her producer father’s assistant in the Laurentians, in a derelict hotel-turned-office that looked like something out of The Shining. The long days behind a computer cemented her desire to make music, ‘because it was so impossible to play that I needed to, in order to feel like it was real.’ The income she saved that summer funded a year of writing religiously, leading to EP Spring Demos in September 2017, which Dana describes as ‘whatever was coming out of me. A flood.’

                                                    Following Spring Demos, Yesterday Is Gone reflects Dana’s aim ‘to make something bigger, more thought through’. Steeped in determination and uncertainty in equal measure – ‘I just wanted to write a good song’ – the album took shape after she returned from a writing residency in Banff, Alberta. She left the residency resolved not to worry about her songs being ‘too obvious’. She’d begun to learn the art of empty time, of being alone with her emotions, losing herself in a landscape. She thought of Vashti Bunyan, riding for hours and writing, writing, writing. She considered how she might use writing to make sense of her life after the tumults of a break-up and a new city. Adrift in Toronto, Dana struggled to feel at home and connected to people, but the solitude also allowed her to ground herself in writing. She kept office-style hours at her bedroom desk every day until she started to understand the writing process, to see that ‘transforming a burning desire into something clear and tangible is a vulnerable and delicate act. You have to be able to let things happen, to accept losing control.’

                                                    The record is a co-production between Dana, Toronto-based musician Sam Gleason, and Mike Lindsay of Tunng and LUMP. While Sam helped Dana bring out the tunes, Mike’s input marked ‘the beginning of developing a sound that was closer to what I had in my head’. Though excited by the other elements of a song introduced during production, Dana and Mike were keen on ‘finding essential things, not overblowing, keeping things bare and letting the elements speak for themselves’. Not that the sheer variety of sounds and instruments didn’t overwhelm. ‘But you have that feeling,’ Dana says, ‘then you just pick up an instrument. At the base, you do know what you want. It’s about how to chip away at what you don’t want.’

                                                    The album shapeshifted as it passed through the hands of Dana, Sam, and Mike, taking on different tastes, feelings, and visions. When Dana performed the songs with a band, they found new form again. She was intrigued by performers like David Bowie and Aldous Harding, who inhabit different personalities on stage, physically tuning themselves to their music. ‘Watching these kinds of performances,’ Dana says, ‘I feel my body longing to express myself in exaggerations … to leave behind self-consciousness and become this energy.’ But a three-month trip to Serbia in autumn 2018 really pushed performance to the forefront of Dana’s mind. She took singing lessons to learn how to sing with the resonance that defines traditional Serbian song. Stirred by the bombast of fifties, sixties, and seventies music, including the high-energy kafana, or café music, as rooted in expressive pouts as it is vocal resonance, the trip incited a yearning to completely inhabit herself on stage. ‘I often feel we’re all just these controlled bodies,’ she says. ‘Sometimes I just want to make a snarl with my lip and keep it there.’

                                                    Stood on a crowded train last spring, Dana sang the Macedonian song Jano Mome to an audience of cheery Scottish ladies. The moment, brief but beautiful, lays bare Dana’s craving for live spontaneity. But it also reflects her injection of stylish drama and vivid emotion into the folk landscape that inspires her, from contemporary singers H Hawkline and Julia Holter, to stalwarts Fairport Convention, Anne Briggs, Connie Converse, and Judee Sill. Expressive urges run all through Yesterday Is Gone. Moments of beguilement splinter a backdrop of tenderly picked guitar, bass, synth, and poppier elements, which commune to produce her own kind of wall of sound. Each component is meticulously placed, yielding a deeply sincere response to the chaos of human emotion. ‘Often we have to go a little far in one direction to learn something about ourselves,’ Dana says. The months of solitary writing and self-doubt testify to this, but they’ve led to Yesterday Is Gone: an optimistic, steely-eyed gaze into the future.

                                                    FORMAT INFORMATION

                                                    Coloured LP Info: Indies exclusive orange vinyl.

                                                    Marvin Gaye

                                                    More Trouble

                                                      More Trouble is a collection of bonus tracks and alternate takes from Marvin Gaye’s Trouble Man sessions taken from the Trouble Man: 40th Anniversary Expanded Edition. These track will be on vinyl for the first time. 


                                                      The Goners

                                                      Good Mourning

                                                        The Goners feature former Salem's Pot vocalist/guitarist Nate Gone and former members of Swedish rock band Yvonne. Don't make a big deal about it. This is something new:

                                                        Rock bottom. A place you have to throw yourself over the edge and burn all your bridges to reach. A place where the devil is laughing as a constant reminder of everything that went to shit. A place where you owe.
                                                        As the echoes of the past get louder and the forget-me-now's no longer work, you have to pick up the remaining pieces and try to make them fit. You can only wake up in an unknown bed with aching intestines and a throbbing noise inside your skull, still craving more, so many times until you realize that your life didn't quite turn out to be what you expected it to be. The killing floor is crowded and when the smoke starts to clear you start to notice just how bad you've been letting yourself go. It's Monday. You are on your own now.
                                                        And even as you start to do the right, start paying your dues and bills, doing the 9 to 5 and saying your sorries, you're still standing there like a sack of dead meat in a stinkin' world of decay where nobody cares. Gone but still aware. Ain't that something? Ain't that grand!

                                                        There's no remedy, no working cure but at least you got loud guitars, thumping bass and bashing cymbals to ease the pain. And as you stumble into your thirties, scorched earth policy-style, you can at least smile at the fact that you finished first. At last you succeded in something. Now you can just lay back, back where the sun doesn't shine and ask everybody else "aren't YOU gone yet?”

                                                        Don't worry, you soon will see that Gone is just a four-letter word. We're all heading south and again, no one really gives a fuck.
                                                        It's Sunday. Join us.

                                                        Marla Hansen

                                                        Dust

                                                          Having worked for years as side-woman for the likes of Sufjan Stevens, The National and My Brightest Diamond, Marla Hansen returns with her first solo album in twelve years. "Dust" has the weight and wisdom of hand-me-down folk songs, but also sparkles with the confidence and the excitement of an artist with new colours on her palette. The slow-burn of "Dust's" inception can be felt as the album plays. The tracks have weight and wisdom like hand-me-down folk songs, but also sparkle with the confidence and the excitement of an artist with new colours on her palette. Taylor Savvy (Peaches), Knox Chandler (R.E.M.) and Christian Biegai (Antony and the Johnsons) are all present at this banquet - a transatlantic tapestry sewn together by producer Robbie Moore at his Berlin studio complex Impression Recordings.

                                                          Ren Harvieu

                                                          Revel In The Drama

                                                            Harvieu’s defiance against the odds and her willingness to lay herself open to make what she believed was within her is baked into every groove of the record, across every stylistic turn: the giddy pop of ‘Strange Thing’, the gothic swoon of ‘Cruel Disguise’, the smokey seductiveness of ‘Yes Please’ through to the stirring torchsong finale ‘My Body She Is Alive’.

                                                            Harvieu has come a long way from the 17-year-old who was signed to Island Records and who had no intention of becoming a singer-songwriter. Even when she made her debut album “Through The Night”, her confidence was low. “I did help write a few of the songs on that record, which I’m still very fond of, but I felt more of a mouthpiece for someone else’s talent, which eats away at you especially because I had so much to say lyrically I just hadn’t learnt how to as yet.”

                                                            Her injury - a broken spine following “a freak accident” between recording and releasing her debut album - undermined Harvieu even further. Likewise, Island parted ways with her six months after it’s release, despite a Top 5 chart entry, making the BBC’s Sound Of 2012, a 5-star live review from The Guardian and TV exposure. What followed was what Harvieu describes as “some very dark years” which she addresses in songs like ‘Spirit Me Away’ and the 50’s ballad-evoking ‘You Don’t Know Me.’ A split with her long term partner, her manager and then her beloved Salford. “In one fell swoop everything was gone. I knew I had to get away, start again, rebuild myself.”

                                                            It wasn’t until 2015 to be exact, when she met Romeo Stodart, the Magic Numbers frontman and songwriter who had emailed after seeing her perform on Later… With Jools Holland, to ask if she’d consider writing together. “When we started, the energy was immediately different to anyone I’d worked with before, there was this insane instant musical connection” she says. “I loved that Romeo really embraced who I was and encouraged it, I was starting to realise that I didn’t have to be anything other than myself.”

                                                            The pair spent the next two years co-writing: “I wasn’t in a massive hurry, because at last I was having fun” Harvieu says. ‘We’d stay up all night drinking, dancing and playing music, I felt like I was re-discovering a girl who had been hidden, quietened. I’d tell Romeo, I don’t just want to paint pretty pictures I want to revel in the drama of my life, the good and the bad, before I was afraid to say something in my lyrics, but no longer. I felt free.”

                                                            The album was co-produced by Romeo Stodart and Dave Izumi Lynch, owner of Echo Zoo studio in Eastbourne where recording took place. “It was a truly magical experience working with Dave & Romeo, they are two absolute nurturing musical wizards.” says Harvieu.

                                                            Harvieu’s lyrical confidence is evident throughout the album and has you leaning in to absorb line after line. Her voice, soaring and caressing in equal measure, is matched in force by her flirtatious personality. From the album’s opening lyric “Let me put my paws on you, strange thing’through to the feminine bite of ‘Curves And Swerves’ “I’ve got some curves and some swerves, what you gonna do about it?” which crackles with sexual tension and an aching vulnerability.

                                                            Among Harvieu’s new songs are messages of hope to her younger, anxious self. To the teenage goth Ren in ‘Little Raven’, she says: “I want you to know, that I’m starting to feel, but its gonna take time, but I’m ready to heal”. ‘Tomorrow Girl Today’ is to the Ren “who would make bad decisions… we can all be very self-destructive, but will we make it this time?”

                                                            So what now, Ren Harvieu? “I’ve created a second chance for myself“ she says. “And I will keep creating second chances for myself, because this is my life and I’m not afraid to revel in it anymore.” Revel In the Drama of Ren Harvieu - finally we all can too.

                                                            FORMAT INFORMATION

                                                            Coloured LP Info: Indies exclusive clear vinyl.

                                                            Irma Vep

                                                            Embarrassed Landscape

                                                              Irma Vep is the on-going, evolving main vehicle for polymath musician Edwin Stevens and on Embarrassed Landscape the project has reached a zenith. Primarily recorded in Stevens’s adopted home town of Glasgow over two days with frequent collaborators Ruari Maclean and Andrew Cheetham, Embarrassed Landscape is an album that breathes in a fetid skip full of millennial dread, self-effacing anxiety and doubt before exhaling it as heartbreaking songs and ecstatic abandon. Following a series of limited releases spread out over the course of a decade, recorded in fits and starts around the United Kingdom as the protagonists wanderlust saw fit, Irma Vep’s 4th album proper presents Stevens’s vision in its fullest and most realised form.

                                                              Built around the skeleton of Stevens’s songwriting and fleshed out with loose, virtuoso playing, it’s a body of work that could have been the anxious songs of an over-thinker but rendered here Embarrassed Landscape revels in a kind of un-selfconscious confidence. Indeed, various tensions throughout the album are constantly revealing. Lyrics are riven with poetic, crushing self-analysis and absurdity only to be performed against a backdrop of trance-rock music skewered with Stevens’s own instantly recognisable guitar playing, a style free and full of fire.

                                                              Songs wring nuggets of uncanny truth out of prosaic, every day activities while sounding like Rolling Thunder Revue era-Dylan. Songs that seem hewn from some unspeakable personal pain are laced with a disarming streak of black humour, massive, world-ending psych jams that harken to Vibracathedral Orchestra’s wall of sound dissipate into tender songs that deserve to be picked apart and cried to. Tension needs release and here the release needs tension. For example, Opener King Kong is bold in several directions at once. A pummelling trance spurred on by the endlessly enjoyable interplay between drummer Andrew Cheetham’s free jazz-inflected style and Stevens’s barely contained guitar wildness, the music screes for 6 minutes of transportation on its own steam before Stevens’s vocal even comes in.

                                                              Perhaps the biggest dichotomy at the heart of Embarrassed Landscape is between the unbridled energy of the songs’ performances, their often bold arrangements and the heartbreaking, darkly funny songwriting at their heart. Closing song Canary brings most of these tensions to a sweet end. Within the alternating crescendos of violin and guitar Stevens intones about canaries brushing teeth down sinks, alcohol abuse, ghostly images half-seen through the fug of depression yet saved somehow by the social crutches friends and lovers provide. Embarrassed Landscape feels like the album Irma Vep always threatened to make, by some strange alchemy transforming the anxieties and self-criticisms inherent in the lyrics into a liberation, a letting go, a release from the tensions built up by a life lived full.

                                                              FORMAT INFORMATION

                                                              Ltd LP Info: Limited to 500 copies only.

                                                              Clarice Jensen

                                                              The Experience Of Repetition As Death

                                                                Brooklyn-based cellist Clarice Jensen’s gorgeous sophomore album and first for FatCat’s pioneering 130701 imprint, ‘The experience of repetition as death’ was recorded and mixed by Francesco Donadello at Vox-Ton studios in Berlin in late 2018 and mastered by Rafael Anton Irisarri. Following up her hugely impressive 2018 debut, ‘For This From That Will Be Filled’, which included collaborations with Jóhann Jóhannsson and Michael Harrison, all of the material on this new album was written and performed by Clarice alone and all of the sounds on it were created with a cello through a variety of effects and effects pedals.

                                                                Clarice has recorded and performed for a host of stellar artists including Jóhann Jóhannsson, Max Richter, Björk, Arcade Fire, Nick Cave, Jónsi, Stars of the Lid, Dustin O’Halloran, Joanna Newsom, Nico Muhly, Dirty Projectors, Frightened Rabbit and Beirut. Receiving glowing critical acclaim, both her previous releases made it into Pitchfork’s End Of Year charts.

                                                                For fans of Jóhann Jóhannsson, Hildur Gudnadottir, Stars of the Lid, Max Richter, Pauline Oliveros, Harold Budd, A Winged Victory For The Sullen, Sarah Davachi, Resina, Maria W Horn, Ellen Arkbro, Kali Malone, Christina Vantzou, Abul Mogard, Galya Bisengalieva, Richard Skelton, GAS, Steve Reich.

                                                                Robert Johnson

                                                                The Rough Guide To Robert Johnson - Delta Blues Legend

                                                                  A true original with cult status, Robert Johnson was arguably the most influential bluesman of them all. Lovingly remastered to give exceptional clarity, this Rough Guide breathes new life into the work of a legend, who defined the blues and planted the seed of rock ‘n’ roll.

                                                                  Robert Johnson was artist of near-mythical standing and personification of the Delta blues Considered by Eric Clapton as “the most important blues singer that ever lived”. A towering influence on legendary bands and performers such as Led Zeppelin, the Rolling Stones and Bob Dylan

                                                                  Experience the never-before heard clarity of his mesmerizing guitar licks and gravelly voice. Johnson’s music and legend continues to attract an ever-widening audience. Following on from the success of other blues titles in the Rough Guide range. Robert Johnson was the root source for a whole generation of blues and rock and roll musicians. Ranked fifth in Rolling Stone magazine’s “100 Greatest Guitarists of All Time. An influence on just about everyone that has picked up a guitar and played blues and rock. Lovingly remastered using pioneering restoration techniques

                                                                  Basil Kirchin

                                                                  Everyday Madness

                                                                    Holy shit! If it isn’t three unheard 1960s and 1970s reels from the unreal and unreleased Basil Kirchin Tape Archive. Sublime pastoral jazz, autistic children screaming, spooky vocals, experimental tape manipulation and more from the master of such thing.

                                                                    HISTORY:
                                                                    The three parts of this new Basil Kirchin album come from three very different tapes from his archive. All parts were unreleased until now.

                                                                    “Pat’s Pigs” actually sounds to me like a Basil bird recording, slowed and treated, mixed with simple improvisation. But it could well be pigs. Pat’s pigs. This whole tape recording may have been an early experiment towards what was to become Worlds Within Worlds Parts I and II. A lot of Basil’s work was headed in that direction.

                                                                    “Electronic” – first of all this is not that electronic. There are elements of the classic Kirchin drone sound here, mixed with multiple and treated recordings of the autistic children of Schurmatt, along with Esther, his wife, singing. I remember speaking to Basil many years ago about his Schurmatt recordings. Esther worked as a nurse with the children, Basil got to know many of them, and became fascinated by the extreme musical noises they would make with their voices. This recording is not necessarily for the faint hearted, but makes for extraordinary listening, based on the fact this would have been made and mixed, simply as a classic and progressive Kirchin experiment, back in the late 1960s/ early 1970s. This also has untreated elements that would eventually contribute towards Quantum, his preferred version of the WWW concept.

                                                                    “The Suspended Fourth” comes across like a soundtrack, so it could well be part of what Basil called his “imaginary film music period”. It has a very distinctive and pastoral Kirchin style leitmotif that repeats along its glorious and slightly disturbed 21 minutes. It’s very well produced, possibly built up and improvised over a few days, could well have been an experiment, a pitch or just something that had to come out in the groovy studio. The tape itself states that this is The Suspended Forth with a subtitle: “The Musical Study Of A Mind, Part 1 Schizophrenia”. It therefore could even be something to do with a soundtrack he was asked to make for a mental heath conference for psychiatrists at Earls Court in the late 1960s (see States Of Mind, JBH005LP – the British jazz musical line seems like it could well be the very same). But who knows for sure? I shall continue looking in the archive for other possible parts.

                                                                    Before I go, the original title for this album and the artwork come from an empty tape box in the archive, which I think sums up all sorts of things about Basil, his awesome music and the tape archive all at the same time.

                                                                    More reel discoveries will follow. Thanks for listening as always. 


                                                                    Yazmin Lacey

                                                                    Morning Matters

                                                                      This EP pairs candid songwriting with a laid-back, graceful delivery and is, as Lacey explains; “dedicated to anyone that’s ever struggled with getting up and out in the morning, for everyone doing work on themselves and trying to live better.” Contributors include Femi Koleoso and Ife Ogunjobi of Ezra Collective, plus jazz protege Moses Boyd. Yazmin Lacey didn’t set out to be a singer, however a chance encounter lead to her earning a place on Future Bubblers - Gilles Peterson’s development programme devoted to discovering and nurturing UK talent. Enthused by the experience, Lacey recorded some songs in her living room and in 2017 self-released debut EP, Black Moon. The more polished When The Sun Dips 90 Degrees EP followed in 2018 and includes standout single Something My Heart Trusts.

                                                                      Limit Eccitation

                                                                      In The Dark

                                                                        Italo disco rarity from 1987 with two new remixes by Longdrink and Also Playable Mono.

                                                                        Loose Fit

                                                                        Loose Fit

                                                                          Loose Fit began when fashion school friends Kaylene Milner and Anna Langdon bonded over their mutual love of experimental music. After toying with low-fi bedroom recordings, the pair recruited Max Edgar on guitar and Richard Martin on bass and started making some actual noise. With Kaylene behind the kit and Anna on sax and vocal duties, Loose Fit’s unique and focussed sound began to take shape.

                                                                          The band’s rhythm-heavy sound contains echoes of UK post-punk titans such as Public Image Ltd, Maximum Joy and A Certain Ratio. They’re also fans of the US No Wave scene, especially the paint-stripper guitar of James Chance and the pop exuberance of Bush Tetras. Other pop/art heroes are Talking Heads and the B-52’s, while contemporary inspirations include Exploded View, The Native Cats, Raime and Nisennenmondai. Closer to home Loose Fit are enthusiastic devotees of their local music scene, gladly sharing stages with favourites like Exek, Tropical Fuck Storm, Party Dozen, Pinch Points and Negative Gears.

                                                                          The debut self-titled EP by the Sydney based group delivers a snapshot of their signature groove driven post-punk sound in one short, sharp hit. Informed by a DIY work ethic, the group recorded the EP in one weekend, employing the help of friend and Sydney musician/producer/engineer Jonathan Boulet. Initially self released by the band as a short run of cassettes which quickly sold out, this debut effort by Loose Fit will now be getting the proper vinyl treatment it deserves.

                                                                          For fans of: Public Image Ltd, Maximum Joy, A Certain Ratio, James Chance, Bush Tetras, Talking Heads and the B-52’s, Exploded View, The Native Cats, Raime, Nisennenmondai, Dry Cleaning, Shopping, Squid, The Slits, ESG, Liquid Liquid and LCD Soundsystem.

                                                                          The Lovely Eggs

                                                                          I Am Moron

                                                                            It’s a very busy time in Eggland right now. Since the release of their last album ‘This Is Eggland’ in 2017, The Lovely Eggs have sat back and watched the world mutate and slowly eat itself. However, rather than remaining frozen in despair, they have used their relentless analysis of a modern culture that is bringing the world to its knees and poured every bit of inspired anger, contempt and hysterical laughter into new album ‘I am Moron’.

                                                                            We got to hear the first results of their observations as 2020 lurched into life from its seasonal slumber, in the seething two-minute-and-fifty-seconds of rage in ‘This Decision’ and its accompanying mind-scrambling video, signaling the return of the Lancaster psych-punk duo. The single reached number #1 in both the physical and vinyl charts and was hammered by DJs at BBC 6 Music including Iggy Pop, Marc Riley, Steve Lamacq, Chris Hawkins, Gideon Coe, Tom Robinson and John Kennedy at Radio X. Not a bad start to their year, at all.

                                                                            ‘I am Moron’ is their second album to be co-produced and mixed by Dave Fridmann (The Flaming Lips, MGMT, Tame Impala) and continues their journey through Eggland into the unknown, with artwork by genius artist and video director Casey Raymond, who has the unbridled talent to perfectly visualize The Lovely Eggs sound, spewing Eggland out in a swirling whirlpool of dayglo colours, melting faces and symbols.

                                                                            Throughout their 13-year career, The Lovely Eggs have embraced isolation. Both metaphorically and geographically the married couple have chosen to shun the social conventions of normal life and dedicated their band and their life to the pursuit of what feels right.

                                                                            Operating out of their hometown of Lancaster, The Lovely Eggs are lonely pioneers and self-confessed kings of idiocy. Working in an industry whose currency is money, success and nepotism, The Lovely Eggs want none of it. They call out everything fake and plastic about the music industry and demand you to re-evaluate on their terms.

                                                                            ‘I Am Moron’ was self recorded by the band in Lancaster (“The Twin Peaks of Northern England”) between Lancaster Musicians Co-op and their home. During the recording, Lancaster Musicians Co-op was threatened with closure, so the band put their album on hold to fight the eviction.

                                                                            While the band were writing the album, they became fascinated by the Mars One program- a global project which aims to establish a permanent human settlement on Mars. Applicants are offered a one-way ticket- never to see earth again. This fascinated Holly and David who drew parallels between this mission and their own isolation as a band.

                                                                            Continuing the heaviness of ‘This is Eggland’. ‘I am Moron’ brings more depth to their sound bringing with it a mix of heavy psych, pop and strangeness. Some songs flicker between an earthly realism and the otherworldly loneliness of a one-way space mission. While in contrast, ‘Insect Repellent’ launches a gonzo-style attack against the middle classes and Bearpit questions the essence of working-class freedom.

                                                                            With no booking agent, manager, record label or publisher The Lovely Eggs are truly independent. And this isn’t due to economics. This is by design. From day one. And support for them is snowballing. They are selling out bigger and bigger venues and more eggheads are joining them in their crusade against bullshit.

                                                                            Welcome to their world. This Is Eggland!

                                                                            FORMAT INFORMATION

                                                                            Coloured LP Info: Neon yellow vinyl in gatefold sleeve.

                                                                            The Lovely Eggs

                                                                            Still Second Rate

                                                                              “Still Second Rate” is the second single from The Lovely Eggs forthcoming album “I am Moron.” Released on limited edition 7” snot green vinyl and accompanied by mind melting artwork designed by Casey Raymond “Still Second Rate” is the latest instalment in the Lovely Eggs current catalogue of contempt for a modern culture that is bringing the world to its knees. “Still Second Rate” forces you to question the difference between value and worth. It also includes a pretty impressive re-creation by the band of the Working Tax Credit Hotline hold music! It follows on from their single “This Decision” released earlier this year which reached number #1 in both the physical and vinyl charts and was hammered by DJs at BBC 6 Music including Iggy Pop, Marc Riley, Steve Lamacq, Chris Hawkins, Gideon Coe, Tom Robinson and John Kennedy at Radio X.

                                                                              For the last two years The Lovely Eggs have sat back and watched England and the rest of the planet slowly eat itself. Their new album “I am Moron” is the result of their observations. Following up from their critically acclaimed 2017 album “This is Eggland”. It is their second album co-produced and mixed by Dave Fridmann (The Flaming Lips, MGMT, Tame Impala) and continues their journey through Eggland into the unknown. Continuing the heaviness of “ This is Eggland” “I am Moron” brings more depth to their sound bringing with it a mix of heavy psych, pop and strangeness. Some songs flicker between an earthly realism and the otherworldly loneliness of a one way space mission. With no booking agent, manager, record label or publisher The Lovely Eggs are truly independent. And this isn’t due to economics. This is by design. From day one. And support for them is snowballing. They are selling out bigger and bigger venues and more eggheads are joining them in their crusade against bullshit. Still Second Rate is a powerful harsh hit at reality. The Lovely Eggs say it how it is. They’ve never been afraid to swim against the current and now they’ve got an army of fans behind them. 

                                                                              FORMAT INFORMATION

                                                                              7" Info: Limited "snot" green vinyl.

                                                                              Mad Professor

                                                                              Ariwa Riddim & Dub 2019

                                                                                The annual Riddim and Dub series from Ariwa continues in 2019 with some hard-hitting punches.

                                                                                These tracks were recorded on the Studer A800 2-inch 24 track, via the customized SSL 4000.

                                                                                These Riddims are a mixture of steppers, some modernised Brentford Road classics, and some Philly and Al Green flavoured dubs.

                                                                                These Riddims are already in demand by many artists from the UK, Jamaica, and the USA.

                                                                                The high-end resolution of analogue sound only reinforces the fact that tape is still the superior medium for sound recording.

                                                                                Marumo

                                                                                Modiehi

                                                                                  We were first introduced to Marumo’s ‘Modiehi’ album via DJ Okapi’s amazing resource the ‘Afrosynth’ blog, which archives South African bubblegum/ disco from the 80s & early 90s. Aside from this blog, this music would otherwise remained unknown outside of South Africa, apart from the most hardcore of digger and record collector.

                                                                                  ‘Modiehi’ was originally released on Spades Record in 1982 and was recorded by producer West Nkosi, who was a member of supergroup ‘Mahlathini & The Mahotella Queens’. He worked with the big hitters in South African music such as Ladysmith Black Mambazo, Teaspoon & The Waves, Patience Africa and many more. Marumo were made up of a group of musicians from the Athlone School for the blind in Bellville, close to Cape Town. The band members, John Mothopeng, Munich Sibiya, Simon Falatsi and Marks Mbuthuma, had previously played in the groups Batsumi, All Rounders and The Orations and came together to record this versatile album. It covers a wide number of genres from Sotho soul, Mbaqanga, disco-funk, gospel & spacey-synth slow jams.

                                                                                  Flash forward 30 or so years later and lost dead-stock copies of the album start to appear and Marumo’s music begins to be heard across the world in the DJ sets of Motor City Drum Ensemble, Invisible City Editions, Floating Points, DJ Okapi and others.

                                                                                  We included the afro-disco-funk beauty of ‘Khomo Tsaka Deile Kae?’ on our Mr Bongo Record Club Volume Three compilation, but felt ‘Modiehi’ needed to be available and heard in it’s entirety. We hope you enjoy!

                                                                                  Metastasio

                                                                                  With You

                                                                                    Disco Segreta makes another dream for italo-disco hardcore true!

                                                                                    The first ever 12” officially licensed repress of this Yamaha DX-7 and Polysynth arpeggiated 1985 italo-disco masterpiece, previously released only as a b-side of a 45 on the tiny italian Discokkio label.

                                                                                    The 12” edition – made in collaboration with Metastasio himself – will feature the original version plus an alternate instrumental and vocal versions of “With You”, recovered from the original demo tape.

                                                                                    DS M 009 will be strictly limited to 300 copies.

                                                                                    Tom Misch

                                                                                    Beat Tape 1

                                                                                      Beat Tape 1 marks Tom Misch's first official release of his instrumental beats, which combine elements of jazz, soul and grooves all heavily inspired by Toms love for J Dilla.

                                                                                      Composed, Performed and Mixed by Tom Misch.

                                                                                      Spanning over 19 tracks, the mixtape also includes a brand new, never heard before track 'Marrakech'.

                                                                                      Mojo

                                                                                      Issue 318 - May 2020

                                                                                        COVER STORY: FOO FIGHTERS Twenty-five years on, Dave Grohl and co return to the mid-’90s’ post-Kurt crunch, when success was far from assured. Plus! US alt-rock’s broader crisis, the Foos’ new film (with Ringo!) and new album news.

                                                                                        1970: THE GREAT DIVIDE James Taylor or the MC5? Supine singer-songwriters or revolting rockers? Jon Savage relives 1970 – the first year rock seriously considered its past, and future.

                                                                                        ART GARFUNKEL The eccentric top end of the disharmonious duo rues his Bad Timing and regrets S&G’s untaken Irish direction. “I’m trying to be normal,” he insists.

                                                                                        MARGO PRICE Obscurity and family trauma were the neo-outlaw country star’s formative ordeals. But neither is success stress-free: “I still don’t know why I’m here!”

                                                                                        JARVIS COCKER Sex, cave art, Britpop: an eclectic smorgasbord of topics is served by the ex-Pulp frontman, back with his best music since the mid-’90s.

                                                                                        JOHN ENTWISTLE Fellow musicians regarded The Who’s bassist with awe; fellow carousers thought him unfellable. But the rock star life he loved had his number in the end.

                                                                                        THE JESUS & MARY CHAIN How the battling bros of ’80s UK indie survived the Psychocandy shitstorm to prove doubters wrong on Darklands: “We thought, Let’s make an album about the songs.”

                                                                                        PUNK IN LONDON Sheila Rock’s photographs of Lydon, Strummer, Siouxsie (and incinerated human remains?) recreate a scene shot through with innocence and idealism.

                                                                                        The Monochrome Set

                                                                                        Love Zombies

                                                                                          Released in February 1980, their first album Strange Boutique, featuring the band's percussion-heavy theme song (predating Adam & The Ants's "Kings of the Wild Frontier" by months) and the Johnny Marr-anticipating "Love Goes Down The Drain", caught the Monochrome Set in full flight, quickly followed by the equally taut, funny and adventurously dynamic Love Zombies. 

                                                                                          FORMAT INFORMATION

                                                                                          Coloured LP Info: Limited edition (300 only) indie Exclusive Blue Vinyl Version.

                                                                                          The Monochrome Set

                                                                                          Strange Boutique

                                                                                            The casual prose of pop history is full of backhanded compliments, and The Monochrome Set have received a few, ranging from "should have been massive" to "influential", numbering the likes of Morrissey and Marr, Blur's Graham Coxon and Franz Ferdinand's Alex Kapranos among their celebrity admirers. . Released in February 1980, their first album Strange Boutique, featuring the band's percussion-heavy theme song (predating Adam & The Ants's "Kings of the Wild Frontier" by months) and the Johnny Marr-anticipating "Love Goes Down The Drain", caught the Monochrome Set in full flight, quickly followed by the equally taut, funny and adventurously dynamic Love Zombies. 

                                                                                            FORMAT INFORMATION

                                                                                            Coloured LP Info: Limited (300 copies) indies only clear vinyl LP.

                                                                                            Ennio Morricone

                                                                                            Four Flies On Grey Velvet (4 Mosche Di Velluto Grigio) - OST

                                                                                              Manic percussion, tense staccato strings, discordant piano riffs, and jazz-rock motifs – this is Il Maestro at his finest. Death Waltz Recording Company is proud to present the definitive release of Ennio Morricone’s score to Dario Argento’s 1972 giallo classic Four Flies On Grey Velvet (a.k.a. 4 mosche di velluto grigio). Based around a psychologically embattled rock musician who finds himself in extraordinarily mysterious circumstances, Argento’s third film (as well as the last offering of his “Animal Trilogy”) is an excellent example of what the genre has to offer – a true Italian thriller/horror film that is sure to please any discerning genre film aficionado.

                                                                                              This superb offering by Maestro Morricone, with orchestration by the legendary Bruno Nicolai, features everything a fan of the weird, avant-garde, and macabre could want, including hauntingly beautiful vocals by renowned Italian singer, Edda Dell’Orso. Take heed, dear friends, for a bevy of sublime sonic sounds will undoubtedly delight your ears. Perfect for late night listening or for DJing out to an audience of (cult)ivated and dedicated cinephiles, this soundtrack is a beauty to behold. Stunningly packaged with retina pleasing artwork, see how many flies you can spot …on grey velvet.


                                                                                              FORMAT INFORMATION

                                                                                              2xColoured LP Info: Clear vinyl.

                                                                                              The Necks

                                                                                              Three

                                                                                                Previously on The NECKS:

                                                                                                'The greatest trio on Earth' (The New York Times),

                                                                                                'Among the world's greatest forces in music' (The Los Angeles Times)

                                                                                                'One of the most entrancing live acts in the world' (The Guardian).

                                                                                                On tour in March/April to synchronise neatly with this release.

                                                                                                Otherwise. This is a new Studio recording. And it's by the same band as it's been for the last 33 years 

                                                                                                Nightmares On Wax

                                                                                                Smokers Delight - 25th Anniversary Edition

                                                                                                  Reissue of the 1995 magnum opus - a defining statement of intent in the development of the Nightmares On Wax sound. Moving away from the bleeps and breaks of their first album, ‘Smokers Delight’ presents a post-club comedown journey which experiments with elements of jazz, dub, soul and hip hop.

                                                                                                  If you don't own a copy of this LP, you should get one right now because it's one of the best LPs of the 90s. Originally out in '95, it's a defining moment of the 'trip hop' genre and ranks alongside LPs by Portishead and Massive Attack from the same era. Pure schmokers downbeat sounds!

                                                                                                  FORMAT INFORMATION

                                                                                                  2xColoured LP includes MP3 Download Code.

                                                                                                  Nurse With Wound

                                                                                                  Rock 'n Roll Station

                                                                                                    A delight of hypnotic rhythms made of slow minimal beats, industrial textures, intoxicating drones and repetitive voices that seem to merge from dreams. Everything built by two of the most brilliant industrial music minds: Steven Stapleton and Colin Potter. Rock 'n Roll Station began life with Steven Stapleton asking engineer Colin Potter to remix some of the more rhythmic elements of 'Colder Still' from 1992's Thunder Perfect Mind. As Potter gradually warped these sections into weirder and weirder pieces, a new album began to emerge.

                                                                                                    Potter himself explained it to David Keenan in England’s Hidden Reverse: “What I sometimes did in the studio was to ‘over-use’ effects and processors to totally mutate a piece into something completely different” while Stapleton observed how “it was almost as though telepathic messages were sent over to Colin. [We’d] started an album [together at IC Studio] that was never finished. He [then] sent me some vague mixes, which were just what I had in mind. So, from that basis, I started putting the album together.” Potter would quickly become a key player in Nurse With Wound’s productions, a position he continues to fulfil to this day. He was first credited as a member on 1992’s Thunder Perfect Mind, a tour-de-force of cold, at times hostile, machined atmospheres, but considers Rock ‘N Roll Station from the following year to still be his favourite. Building on percussion and drone elements, Stapleton and Potter throw in a huge range of bizarre and atmospheric elements: didgeridoos, chanting voices, and their usual selection of unidentifiable sounds. Its strong focus on rhythm was erroneously surmised by some as an attempt to join the then rising electronic dance music scene. But it was Stapleton’s recent obsession with the music of ‘King of the Mambo’ Pérez Prado that was beating at the heart of Rock N’ Roll Station’s heady rhythms.

                                                                                                    The album’s title alluded to two specifically rock-related stations of influence: the song of the same name by Jac Berrocal, of which a surprisingly straight cover opens the album in homage; and the tragic life of the Sixties British R&B organist Graham Bond who influenced bands such as Deep Purple and Cream. Beset by mental health problems (at one point believing he was the son of Aleister Crowley), Bond died under a train at a Tube station in 1989 and it is this tragic scene that Rock ‘n Roll Station’s closing track, ‘Finsbury Park, May 8th, 1:35 PM (I'll See You In Another World)’, sets in sound. "This album arrived somewhere after a dream meeting of several individuals, Graham Bond, Joe Meek, Jacques Berrocal and myself. After a few beers and a heated disscussion of puncture repair we all lay down in a circle and point our penises at Venus, telepathic messages are sent out to Colin saying he can use the two golden microphones. He did, and here we are." Steven Stapleton, 17.1.94. 

                                                                                                    FORMAT INFORMATION

                                                                                                    2xLP Info: Limited one-off pressing with letter press cover and bonus track.

                                                                                                    The Orb

                                                                                                    Abolition Of The Royal Familia

                                                                                                      The Orb (Alex Paterson and Michael Rendall) return with a new album that features Youth (Killing Joke), Steve Hillage (Gong, System 7), Roger Eno (co-creator of the Apollo album with Brian Eno & Daniel Lanois) & Jah Wobble (PiL, Primal Scream Orb, Invaders of the Heart). Really The Orb should need no introduction by now, but in essence they’re a rotating cast of members helmed by Paterson that began in 1988 and still thrives to this day. They were there since UK acid house day one, providing a unique ambient take on the musical milieu and soon rising to chart-topping, huge-venue-headlining prominence. They’ve released 19 albums plus EPs, singles, compilations and live recordings, influencing countless other musicians along the way.

                                                                                                      FORMAT INFORMATION

                                                                                                      2xColoured LP Info: Indies exclusive transparent blue vinyl.

                                                                                                      Orion Sun

                                                                                                      Hold Space For Me

                                                                                                        She’s been quickly making a name for herself in her current hometown of Philly (originally from New Jersey) and beyond. She’s opened for buzzy Alt-R&B/Hip- Hop acts such as Noname, Ibeyi and Sudan Archives and was highlighted by NPR as a 2019 Artist To Watch. Her story, that of an early 20s woman of color dealing with and learning about life’s obstacles and celebrations, is understood best through her song lyrics; citing J Dilla, Nancy Wilson, Jodeci, Kirk Franklin, Hazel Scott and Digable Planets as just some of her many influences. She’s a career artist with a long road ahead and her sound defies trends; capitalizing on a velvety and familiar voice with timeless jazz / folk / R&B instrumentals.

                                                                                                        Peel Dream Magazine

                                                                                                        Agitprop Alterna

                                                                                                          After 18 months of writing and playing live with a shifting cast of supporting members, Peel Dream Magazine is back with Agitprop Alterna, their new album which pushes the group’s dreamy, motorik-heavy sound to a deeply melodic and beautifully discordant place. Their 2nd LP pays homage to the fuzzy, mod-ish twee of acts like My Bloody Valentine and early Stereolab, but it's also indebted to stateside bands like Yo La Tengo and Rocketship that were cut from a similar cloth. It's part Chickfactor, part Space Age Bachelor Pad; a shambolic, drone-heavy brand of minimalism, filtered through a cross-section of classic indie pop.

                                                                                                          Peel Dream Magazine is the musical vehicle for NYC's Joe Stevens, who launched the band in 2018 with the critically acclaimed album Modern Meta Physic. The debut was a mysterious, liminal tribute to the hazy end of ‘90s dream-pop – a masterful mix of first-class songwriting precision and train-window sonic impressionism. Stevens played all the parts on Modern Meta Physic himself, blending live and sampled sounds into uniquely identifiable and abstractly psychedelic soundscapes. The album struck a perfect balance between DIY bedroom pop auteurism and studio wizardry, and duly found its place on numerous “Best of 2018” lists. Where the creation of Modern Meta Physic was a solitary pursuit, Agitprop Alterna found Stevens channelling the collaborative spirit of the band’s ever-rotating live incarnation in the studio. He worked with close friend Kelly Winrich to develop new sounds for the project, creating musical snippets that Winrich would mix into the cohering whole.

                                                                                                          Live band members like vocalist Jo-Anne Hyun (later replaced by Isabella Mingione) and drummer Brian Alvarez would stop by and work their magic on the recordings, laying down parts with trademark exactitude. The resulting music revels in its realness: heavier, more dynamic, and truly the work of a band. Each tune’s unique character fits carefully into a broader thematic whole examining personal freedom from manipulation and misinformation. First single “Pill” examines what Stevens calls the "inundation of performances of normalcy and fulfillment that fuel our desire to consume – self-medication for the pain of doubt, want and need.” “Emotional Devotion Creator” frames advertising (and the cynical, manufactured emotional response it elicits) with a critical eye, while “It’s My Body” is an “anthem against people who want to exert power over you and make you feel small…a reminder that you don’t owe anyone anything.

                                                                                                          Agitprop Alterna is ultimately defined by the tension of difference: between itself and its predecessor; Stevens’ and Hyun’s intertwined male-female vocals; the music’s languid dreaminess and concrete sonic immediacy. Deeply rooted in the Brechtian ideas of art as a tool to spur action, Agitprop Alterna deepens the connection between the existential and the interpretive first explored on Modern Meta Physic, giving the listener space to find their own meaning in shimmering guitars, fuzzed-out synths, and buzzing organ drones.

                                                                                                          FORMAT INFORMATION

                                                                                                          LP Info: Limited edition transparent vinyl.

                                                                                                          Penya

                                                                                                          Super Liminal

                                                                                                            On The Corner deliver the long-awaited repress of sold out album Super Liminal, the debut LP by Afrolatin music collective Penya. It is released alongside their new EP ‘Penya Safari’ in collaboration with legendary gogo musician Msafiri Zawose. 'Super Liminal' is an otherworldly mix of modern, afro-motorik rhythms, chants and improvised congotronics. ‘Liminal’ – an in-between state – references the transitional process the four-piece band entered during a series of self-produced recording sessions held at Penya's multi-instrumentalist Magnus P.I's home studio between March 2016 and May 2017. Penya's percussive and futuristic Afro-Latin sound also owes its genesis to the concept of ‘liminality’: the threshold of disorientation occurring during ritual practices.

                                                                                                            FORMAT INFORMATION

                                                                                                            LP Info: Repress.

                                                                                                            Perhaps

                                                                                                            7.0

                                                                                                              There was a terrible egregious shift in vibration the day the transmission arrived. It came to me in a dream, as was natural for these particular occurrences, and left no time for preparation. The sound was unmistakable, a low baritone that echoed wildly and reeked of ancient fumes. A deeply monumental and monolithic apparition stood before what appeared to be a crowd of hexagonal beings. The vibrations worked through them in an apparent communicatory way, though would be impossible to translate in any logical linguistic fashion. I don’t know how but I knew they were aware of me, though their disposition was imminent of their consciousness as being collective, rather than individual; and were largely unbothered by my presence.

                                                                                                              Once the transmission had finished it was clear that there had been a tamper. The kind of which Id seen before, and had resulted in definite yet undefinable change in the fabric of reality. I initially stumbled upon the odd and highly dangerous musical practices of Perhaps while on an assignment in Bermuda. There had been rumors of a local tribesman partaking in occult practices, of which I knew was native strictly to the Goat Bleeding Bad Men of the Congolese jungle. These rumors intrigued my journalistic nature, so I took the afternoon off in the hopes to possibly glean something that would be an easy pitch to a tabloid back home.

                                                                                                              Upon arrival it was clear there was a strange foreign intervention within the community of the tribe, which was largely uninhabited upon first glance. Much of the surrounding foliage had been strung with the entrails of various animals and there were several disturbing fixtures composed of bones and various organs lining the commune. I managed to track down the tribesman, who appeared to be in some deep trance and was entirely unable to communicate, though seemed to be fixated on a single task: the drawing of a peculiar symbol. My researching the symbol resulted in only one hit, a piece of musical literature by a band Perhaps, who I later found to be recording in the area just weeks before.

                                                                                                              It didn’t take long for me to become fully fixated on Perhaps, who were anything but coy about their whereabouts and metaphysical practices. Wherever they went a small commune followed, which was typically composed of deranged acid freaks, occultists, and Norweigian dairy farmers who had sold all their assets to follow the band after “hearing their music speak from the mountains”. After managing to crack into one of their camps that was stationed in an abandoned motel, I spoke with Jim Haney of Perhaps regarding their cultish practices, who gave little in way of detail but claimed to be working towards a deconstruction of reality through a linguistic utilization of vibration.

                                                                                                              My stint with the cosmic beings through the telekinetic transmission had lead to one conclusion; that Perhaps have been in the works on something new. It seems as if they may have landed on the result which Haney had mentioned years ago. Through my continued interest I’ve procured the names of other members of this current project, which include: Sean Mcdermott, Tom Weeks, Ricky Petraglia, David Khoshtinat, Ben Talmi, Makoto Kawabata, Lucas Brode, Isiah Mitchell, Olivia Kieffer, Tyler Skoglund, Chang Chang. Though I can’t say exactly what is to come, it seems as if the ideas that were proposed during my initial meet may have been surpassed. Perhaps’ plans have begun to surface, and we are all at risk, for whatever that means. The great column and the vibrational prismic beings have shifted their attention to earthly matters, it would be foolhardy to not heed their warning. Though, self-preservation may be an impossibility. - Sam Hailstone 

                                                                                                              Lee Perry & Mad Professor

                                                                                                              Super Ape Inna Jungle

                                                                                                                "I am not a human being!" confirms Mr Perry - The opening line on the most electronic experiment The Upsetter has undertaken. This is truly Black Ark in the jungle! Originally Released in 1995 this release has been off the market for 20 years.

                                                                                                                Pigs Pigs Pigs Pigs Pigs Pigs Pigs

                                                                                                                Viscerals

                                                                                                                  “I learned long ago, never to wrestle with a pig” reasoned George Bernard Shaw. “You get dirty, and besides, the pig likes it.” True to form, Pigs Pigs Pigs Pigs Pigs Pigs Pigs have left the wiser of us aware that they are no band to be messed with. This is made manifest on ‘Viscerals’, their third proper, and an enormous leap forward in confidence, adventure and sheer intensity even from their 2018 breakthrough ‘King Of Cowards’.

                                                                                                                  Incisive in its riff-driven attack, infectiously catchy in its songcraft and more intrepid than ever in its experimental approach, ‘Viscerals’ is the sound of a leaner, more vicious Pigs, and one with their controls set way beyond the pulverising one-riff workouts of their early days. Yet Pigsx7 have effortlessly broadened their horizons and dealt with all these new avenues without sacrificing one iota of their trademark eccentricity, and the personality of this band has never been stronger, whether on the Sabbathian and philosophical warcry of ‘Reducer’, the debauched, Jane’s Addiction-tinged swagger of ‘Rubbernecker’, the Melvins vs Sonic Youth demoltion derby of ‘New Body’ or even the demented MBV-meets-Twisted-Sister party-banger from hell that is ‘Crazy In Blood’.

                                                                                                                  “We’re a peculiar bunch of people - a precarious balance of passion, intensity and the absurd” notes vocalist Matt Baty. Such is the unstoppable character of this unique and ever-porcine outfit; still the hungriest animals at the rock trough.

                                                                                                                  FORMAT INFORMATION

                                                                                                                  Coloured LP Info: 'Drained Of Blood vinyl' (Blood Red vinyl).

                                                                                                                  Indies Exclusive LP Info: 'Blood And Guts vinyl' (Blood Red / Guts Yellow Swirl vinyl).

                                                                                                                  Purity Ring

                                                                                                                  Womb

                                                                                                                    After more than five years, Purity Ring have returned to announce their third album, entirely produced and recorded by the duo of Megan James and Corin Roddick. Womb chronicles a quest for comfort, the search for a resting place in a world where so much is beyond our control. The striking vulnerability of “ruby insides” - “If I could, I would let you see through me” - charts a course that’s both intensely personal and deeply connected to those close to us, our kin whether by nature or nurture. As the ground shifts beneath their feet, Womb’s characters help one another face death, despair, and world-altering discovery with resilience and grace. For all the terrain it encompasses, Womb’s quest culminates in “stardew”, a glittering, transcendent invitation to “just be where you are” - to experience the kind of powerful peace that can only be found by truly coming home.

                                                                                                                    Womb follows Purity Ring’s 2012 internationally-acclaimed and highly influential debut Shrines and 2015’s another eternity. On another eternity, The New York Times praised the songs as “only a few steps removed from radio hits by singers like Ariana Grande and Ellie Goulding” while Rolling Stone called them “lustrous synth pop plus cavernous hip hop” and The New Yorker lauded the duo for “creat[ing] electro-pop that is as warm and human as it is cold and alien, an intoxicating combination that feels boldly futuristic.”

                                                                                                                    FORMAT INFORMATION

                                                                                                                    Coloured LP Info: Indies exclusive opaque red vinyl.

                                                                                                                    In 1981, Nick Robson wrote Stars. The song can pretty much be described as a slow, cosmic disco song. It has an unusual feel, and it comes as Oslo-based Neppås third release. This 12″ holds the 12″ mix, the 7″ mix, and the original B-side Eye To Eye. The original 12″ is as rare as they come, and here you get the original material, fully licenced, and remastered. The process of recording the material back in 1981 was not an easy one, as Nick Robson recalls: “Fame by David Bowie is one of my favourite songs, period. I was 18 when i wrote Stars and i wanted to write something that was my version of Fame and quite honestly, as a tribute to the song. If you listen to the bass lines, there is a hint of similarity in the two. Even the lyric of Stars has a passing reference to Fame. Stars was one of four songs recorded at Gary’s Rock City studio to supply the first two singles and form the basis of the first album. The other three tracks were Eye To Eye, Boys and She’a Like Ice. Although all four tracks were finished, for one reason or another, Boys never made it to pressing and i walked away from the business to pursue a career in film. Stars itself, was the most ardous and problematic track that i’ve ever recorded. It took around 14 days to finally get an agreed mix when the budget probably only ran to three days. Part of the reason for this is the enormous quantity of music tracks recorded in the song. In those days, we only had 24 recordable tracks available on the Otari, so once you had recorded 23 or less actually, you had to bounce down sub-mixes to a single track to free up another batch of tracks. I think that there are around 46 tracks of instruments alone on Stars so although that kind of track usage is not uncommon now, back then it was rare.

                                                                                                                    Patrice Rushen

                                                                                                                    Posh

                                                                                                                      The landmark 1980 album, representing a period of consolidation for Patrice Rushen. Her studio reputation as a go-to pianist and arranger among other artists and musicians was well established and was growing exponentially. Although never originally planning a career as a solo artist, she had built this side of her work through three Prestige albums and two sophisticated soul and disco albums for Elektra, ‘Patrice’ and ‘Pizzazz’. “I was lucky to have a group of musicians that I knew well by the time of these recording sessions,” remembers Patrice. “I had my pick of really incredible players because of all of the studio work I was doing. I also played with Lee Ritenour, Harvey Mason and others almost on a weekly basis at The Baked Potato club in L.A.”

                                                                                                                      Tracks include the singles ‘Don’t Blame Me’, ‘Look Up!’ and ‘Never Gonna Give You Up’. “’Never Gonna Give You Up’ came out of playing ideas at home. Bassist Freddie Washington was living with my family while he tried to get a foothold in L.A.’s music scene and that groove came out of those jams. With ‘The Dream’, I had been listening to Minnie Riperton’s ‘Come To My Garden’, one of my favourite albums. With Charles Stepney’s arrangements, I saw that he didn’t have to use large instrumentation to be orchestral in his approach. So, ‘The Dream’ was a homage to that kind of writing.”

                                                                                                                      “After ‘Posh’, we had a much better idea from the performance side what was important in our music and that informed my next album, ‘Straight From The Heart’. We took a little break after ‘Posh’ was released, although I was still writing and working regularly on scores for film and TV. That had always been my main focus in my music.”


                                                                                                                      Hideto Sasaki - Toshiyuki Sekine Quartet +1

                                                                                                                      Stop Over

                                                                                                                        This is the sixth release in BBE's acclaimed J Jazz Masterclass Series. Released at the height of the electric fusion era, ‘Stop Over’ is an all-acoustic hard bop killer, sounding like the Jazz Messengers on speed. When it was originally issued on the private Smile label in 1976, only 100 copies were pressed, making ‘Stop Over’ one of the most sought after and rare LPs in the J Jazz canon. Trumpeter Hideto Sasaki tears it up as if he’s Kenny Dorham on a classic late 50s Blue Note session. He also provides the breakneck title track to the album, the one stunning original that sits next to solid covers including Bobby Hutcherson’s modal classic ‘Little B’s Poem’ and Denny Zeitlin’s ‘Carole’s Garden’. Pianist Toshiyuki Sekine is also on top form with his deft touch and fluid keyboard runs, playing Horace Silver to Sasaki’s Dorham. If you dig that late 50s/early 60s breathless hard bop sound, you’ll love this. The BBE J Jazz Masterclass Series is personally curated by Tony Higgins and Mike Peden and is dedicated to presenting the very finest in Japanese modern jazz. The series features rare material presented in the highest quality reproductions of the original releases, fully licensed and authorised.

                                                                                                                        Ulrich Schnauss

                                                                                                                        A Long Way To Fall - Rebound

                                                                                                                          Ulrich Schnauss, the highly respected German electronic music composer, has taken the opportunity to remaster his entire back catalogue having recently had all his recording rights returned to him. Reissued on his own Scripted Realities label. The fourth of five albums, ‘A Long Way To Fall - Rebound’ was originally released in 2013 and has been rerecorded and reworked as well as being remastered. It now sounds the way Ulrich had intended, hence the new additional ‘Rebound’ title.

                                                                                                                          For fans of Brian Eno, Jon Hopkins, Tycho

                                                                                                                          Ulrich Schnauss

                                                                                                                          Far Away Trains Passing By

                                                                                                                            Ulrich Schnauss, the highly respected German electronic music composer, has taken the opportunity to remaster his entire back catalogue having recently had all his recording rights returned to him. Reissued on his own Scripted Realities label. The first of five albums, ‘Far Away Trains Passing By’ was originally released in 2001 and was the album that introduced Ulrich to the world. It is generally regarded as a landmark electronic music statement and now comes with 9 bonus tracks.

                                                                                                                            For fans of Brian Eno, Jon Hopkins, Tycho.

                                                                                                                            Seazoo

                                                                                                                            Joy

                                                                                                                              Welsh noisy indie-pop maestros Seazoo are heavily influenced by the likes of Yo La Tengo, Courtney Barnett and Grandaddy. The rousing five-piece have enjoyed significant support throughout the tastemaker community (Q Magazine, NME, DIY, The Line Of Best Fit, Clash, Dork) and across the airwaves (BBC Radio 1, 6 Music), with their glowing reputation as an exceptional live act leading to appearances at SXSW, The Great Escape and Green Man and slots with IDLES, The Lovely Eggs and Circa Waves. The band’s debut album TRUNKS enjoyed critical acclaim and was shortlisted for the 2018 Welsh Music Prize alongside Boy Azooga, Gwenno, Gruff Rhys and The Manic Street Preachers. 2020 will see the band release their second album JOY via BIG TERRY. Recorded at Big Jelly Studios and produced by Ben Trow and Mike Collins (Girl Ray, Pip Blom), Seazoo’s JOY will land in all good record stores April 3rd.

                                                                                                                              “Magical indie-pop” – DIY “A delicately coiled indie pop explosion…an absolute riot” – Clash “Wobbly synths and retro-feeling guitars that sparkle with nostalgia” – The Line Of Best Fit “Mixing the ferocity of early Arctic Monkeys with vocal melodies that could have come straight off a Vaccines record…a cavorting chunk of freewheeling indie pop” 

                                                                                                                              Shindig!

                                                                                                                              Issue 102

                                                                                                                                Features

                                                                                                                                Barnabus Warwickshire ’70s heavies unearthed

                                                                                                                                The Hollies Bobby Elliott’s Californian memories

                                                                                                                                Neil Innes The remarkable career of a singular talent

                                                                                                                                Rod McKuen The many sides of a true musical maverick

                                                                                                                                Supersister Brilliantly bonkers prog, Dutch-style

                                                                                                                                Regulars

                                                                                                                                Shindiggin’ What’s hot on the turntable

                                                                                                                                Thoughts & Words Your letters, tweets and emails

                                                                                                                                It’s A Happening Thing Espers, The Sonic Dawn, Michael Rault, A Girl Called Eddy, Eyelids, elvinyl, Pink Floyd, Jack Sharp, Saba Lou, competition

                                                                                                                                Happening Right Now Brand new music from The Small Breed, Extraa and Magick Brother & Mystic Sister

                                                                                                                                Family Album The Rain Parade’s influential 1983 LP Emergency Third Rail Power Trip

                                                                                                                                Deep Cuts Sixties Cat Stevens

                                                                                                                                20 Questions Graham Day’s modest recollections of The Prisoners and beyond

                                                                                                                                Reviews The best in reissues, new releases, books and live shows

                                                                                                                                Vinyl Art Astrud Gilberto’s I Haven’t Got Anything Better To Do

                                                                                                                                Sir Richard Bishop

                                                                                                                                Oneiric Formulary

                                                                                                                                  Five years after Tangier Sessions, Sir Richard Bishop, we presume, is back from his travels around the world. With Oneiric Formulary, he’s dug deeper into his bag of extra-musical gestures from the eternal and unknowable, along with a few sounds we might recognize, all transmuted for our mortal ears’ enjoyment. The last couple of Sir Richard Bishop releases on Drag City were genre exercises of sorts — The Freak of Araby explored the musical legacy of late Egyptian guitarist Omar Khorshid while Tangier Sessions explored the sound of an obscure 19th century guitar that Rick had acquired from a mysterious Swiss luthier.

                                                                                                                                  The title Oneiric Formulary, may sit contrarily on the tongue — but we may refer to it as representing “a collection of dream states” — which means we like it! With such a lofty goal in mind and at his fingertips, Sir Rick returns to the approach of his DC debut, Polytheistic Fragments — a different sound, a different instrument, for nearly every track, drawing from the music of all nations, including and especially that infamous republic with only one person on the census roll (initials SRB). It’s got mad variety, the kind you don’t see much of anymore — an Ed Sullivan kind of evening out, with some spinning plates, dancing mice, and of course, an appearance from Zippy the Chimp.

                                                                                                                                  What it means is that when you drop the needle/raise the laser/press the head to tape/or do whatever happens when you stream it, you’ve got sounds that don’t sound at first like guitars — because they’re not! Then you’ve got sounds that sound initially like guitars — because they are! Sir Richard found joy in not only finding unlikely sounds, but also writing a fake jingle, soundtracking an unreleased film, reflecting on Southern origins, going concrète (Beatles-style!), using computers (Sir Rick, no!), and accidentally juxtaposing Frippian electric guitar drone against the grit of ol’ school acoustic guitar while thinking of sci-fi, as well as revisiting (t)rusty old forms such as Americana, classical, gypsy and raga. It’s all trotted out to phantasmic effect, as it brings to us with the freshness, the roar of the old crowd as they see, smell and hear the greatest show on earth. What a night! Thank you, Sir Richard Bishop.

                                                                                                                                  Songdog

                                                                                                                                  A Happy Ending

                                                                                                                                    This eighth album by Songdog is a collection of twelve songs by Welsh songwriter Lyndon Morgans on the subject of passing time, the damage it can inflict, and the condolences it may bestow upon a man. Songdog's 2017 album 'Joy Street' received great press from the likes of Mojo, Uncut, The Mirror, Maverick and AmericanaUK, amongst others. Tracks were featured on BBC Radio 2 and BBC 6 Music, including a session on Tom Robinson's show. In his review for The Mirror, writer Gavin Martin said: "Morgans' development as a songwriter, playwright & musical connoisseur is clear. The songs breathe in details and scenes of a lifetime." In his assessment for Uncut, Nigel Williamson said: "Dylan Thomas meets Ray Davies backed by The Waterboys? Believe it." Previous output has also attracted praise from well-known names such as Bruce Springsteen and Robert Wyatt.

                                                                                                                                    Colin Stetson

                                                                                                                                    New History Warfare Vol. 1

                                                                                                                                      No better is his virtuosic ability heard than on New History Warfare, Volume 1, Stetson‘s first full-length solo recording from Aagoo Records. On this album, the vast musical experiences that Stetson has accumulated over a short period of time have been crafted into 12 songs that defy genres, establishing a sound that is Colin Stetson in full bloom.

                                                                                                                                      Stumbleine

                                                                                                                                      Sink Into The Ether

                                                                                                                                        As the title suggests, UK producer Stumbleine’s seventh album ‘Sink Into The Ether’ offers a deep submergence within a celestial upper region somewhere beyond the clouds. Thriving on the space in between things, ‘Sink Into The Ether’ is chilled, heavenly and thought provoking. It’s another multi-faceted creation of glowing sonic vistas that are set to enrapture in 2020. The album envelops the listener from the outset with the soft, pitched sway of “Sonder”. The track ebbs through calming shadows, showcasing Stumbleine’s warm, electronic glow and gamut of influences, with hushed hypnotic delayed sounds, vocal samples and snappy beats. Stumbleine’s skill at blending an array of electronic timbres washes over the largely instrumental record, exemplified in “Supermodels”, with its lo-fi chorus-drenched haze building to an emotional, percussion-driven climax.

                                                                                                                                        Here, and scattered about the album, RnB vocals are chopped-up, but glistening a dark, dreamy hue. A cover of the Hole song, “Malibu” features Elizabeth Heaton of Midas Fall. Her delicate, dream-like vocals waft over the hazy instrumental waves like tendrils of smoke, as they both grow ever more desperate, and slowly crash. Elsewhere on the album tracks like ‘Lost To The World’ come together more immediately with flourishing synths and soaring backdrops overlaid by a heady bass and intricate beats, while ‘White Noise Therapy’ invokes a cinematic Tokyo-set film score peppered with playful soft pianos. “Lost To the World” swings in addictive pitched-vocal punches, circling itself into a spiral. “Your Angel Was Fake” has a hopeful darkness about it, recalling electronic shoegaze and witch house artists of the early 2010s. It scales and then pulls away, at once breathing and stopping, full of blanket synth pads and subtle snaps of percussion.

                                                                                                                                        Also known for his work in post-dubstep trio Swarms, Stumbleine has steadily built a cult of admirers around himself following collaborations across his varied albums and EPs with the likes of ASA, Shura, Violet Skies, Birds of Passage, Steffaloo and more. His sound, if it can be compared to anything at all, straddles post-rock shoegaze soundscapes with ambient electronica and experimental movements into something that can be both an ASMR hug to the ears yet also similarly arresting, fractured and off-kilter depending on which way things flow. As different sounds shift in and out, narratives become clear slowly and disappear quickly throughout Stumbleine’s kaleidoscopic visions. 

                                                                                                                                        FORMAT INFORMATION

                                                                                                                                        Coloured LP Info: 180g Cream vinyl.

                                                                                                                                        Sun Araw

                                                                                                                                        Rock Sutra

                                                                                                                                          ‘Rock Sutra’ is the new space rock album from Sun Araw. ‘Roomboe’, the first track, illustrates this process. Experience is elastic. Humans alive right now tend to think there is some sort of ‘baseline’ experience of a thing, a room, a person, a feeling, some version we all agree on. This isn't true at all: experience is completely dependent on the quality of attention of the experiencer. There is a granularity to experience that, when tuned up, reveals deeper and deeper space inside of things. When you zoom in (by pure observation: by not-articulating, not-thinking), you create ‘room’, you make space. Just like that. For instance, ‘Roomboe’ has an extremely limited tonal framework; about 9 notes for the main guitar melody. As the guitar pushes against these melodic limitations with continually renewed attention and energy, it begins to create space around itself. And all of the sudden (at about 4:57), out of this constriction, space balloons up from everywhere simultaneously. ‘Roomboe’ is a clue about how to open a portal outwards into free space.

                                                                                                                                          ‘78 Sutra’ is about orbital motion. ‘Catalina’ is about taking a walk. ‘Arrambe’ is about a peculiar feeling you can get when you zoom in far enough. The music is offered in a spirit of generosity and adventure; it doesn’t stay put and it keeps zooming in to reveal more and more. The album was recorded live-to-midi with the band and this is the first Sun Araw album recorded like that. That band is Jon Leland on drums and percussion and Marc Riordan on synthesizers and Cameron Stallones on synthesizers and guitar and vocals.

                                                                                                                                          Tamikrest

                                                                                                                                          Tamota T

                                                                                                                                            Tamikrest return with a vivid, irrepressible rock and roll statement. Their most powerful album since 2013’s wildly acclaimed Chatma, Tamota t finds the band not only turning up the volume but also sharpening their meditative atmospherics and ruminations on the state of the Sahara and the world beyond.

                                                                                                                                            Features acclaimed Moroccan singer Hindi Zahra and a track cut with Japanese traditional musicians.

                                                                                                                                            FORMAT INFORMATION

                                                                                                                                            LP includes MP3 Download Code.

                                                                                                                                            It is a cliché to describe music as a trip or an ocean or whatever, so this album, Tecwaa’s album “Beyond the Altai” released on Höga Nord Rekords, will in part be described as a snowman: the snowman has its characteristic familiar shape. He is cold yet there is something warm and cuddly about him, something that makes you feel happy and safe.

                                                                                                                                            The A side on the album goes from that warm/cold cosy feeling but elements of destruction like melodies in minor keys slowly transforms the album to become only cold and not so cosy - the snow turns grey and the snowman’s smiling mouth becomes a twisted grin. Its contours disappears and the shape dissolves as the snow melts and floats out on the ground beneath its body. As the album develops, the sound gets harder and darker and the York based DJ moves closer to his roots in electro and Roland-machine knob-turning.

                                                                                                                                            In some ways, “Beyond the Altai” is a call from the eighties and nineties dancefloors like in the tracks “Back To The Atomic Ether” and “10 Swords” on the B-side but all melts together in Tecwaa’s music to create his own obstinate and loose sound!

                                                                                                                                            Thievery Corporation

                                                                                                                                            Symphonik

                                                                                                                                              Thievery Corporation played a historic concert in 2017 at The JFK Center for the Performing Arts in Washington, D.C. The show saw their songs re-imagined with orchestral arrangements from some of today’s leading young classical composers. The show is now legendary, and those fortunate to attend heard Thievery Corporation in an entirely new way. To honour this show and inspiration it provided, Hilton and Garza have created Symphonik - recorded with Prague’s FilmHarmonic Orchestra along with Thievery Corporation’s live band and engineering and co-production by Gianmaria Conti.

                                                                                                                                              Thundercat

                                                                                                                                              It Is What It Is

                                                                                                                                                “It Is What It Is” was produced by Flying Lotus and Thundercat and features musical contributions from Ty Dolla $ign, Childish Gambino, Lil B, Kamasi Washington, Steve Lacy, Steve Arrington, BADBADNOTGOOD, Louis Cole and Zack Fox. The album follows his game-changing third album “Drunk” (2017). That record completed his transition from virtuoso bassist to bonafide star and cemented his reputation as a unique voice that transcends genre. “This album is about love, loss, life and the ups and downs that come with that,” Bruner says about “It Is What It Is”. “It’s a bit tongue-in-cheek, but at different points in life you come across places that you don’t necessarily understand… some things just aren’t meant to be understood.”

                                                                                                                                                The unruly bounce of new single ‘Black Qualls’ is classic Thundercat, teaming up with Steve Lacy (The Internet) and Funk icon Steve Arrington (Slave). It’s another example of Stephen Lee Bruner’s desire to highlight the lineage of his music and pay his respects to the musicians who inspired him. Discovering Arrington’s output in his late teens, Bruner says he fell in love with his music immediately: “The tone of the bass, the way his stuff feels and moves, it resonated through my whole body.”

                                                                                                                                                ‘Black Qualls’ emerged from writing sessions with Lacy, whom Thundercat describes as “the physical incarnate of the Ohio Players in one person - he genuinely is a funky ass dude”. It references what it means to be a black American with a young mindset: “What it feels like to be in this position right now… the weird ins and outs, we’re talking about those feelings… Part of me knew this [track] was where Steve [Arrington] left us.”

                                                                                                                                                For fans of Kendrick Lamar, Childish Gambino, Flying Lotus, Kamasi
                                                                                                                                                Washington, BADBADNOTGOOD.

                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                Coloured LP Info: 140g red vinyl, housed in a 3mm spined sleeve with OBI strip.

                                                                                                                                                Coloured LP includes MP3 Download Code.

                                                                                                                                                Deluxe LP Info: 140g transparent pink vinyl, housed in a 6mm spined gatefold sleeve with gold foil detail and OBI strip.

                                                                                                                                                Deluxe LP includes MP3 Download Code.

                                                                                                                                                Indies Exclusive LP Info: 140g cream vinyl, housed in a 3mm spined sleeve with OBI strip.

                                                                                                                                                Indies Exclusive LP includes MP3 Download Code.

                                                                                                                                                Picture Disc Info: Limited edition 140g picture disc, housed in a 6mm spined gatefold sleeve with gold foil detail and OBI strip.

                                                                                                                                                Picture Disc includes MP3 Download Code.

                                                                                                                                                CD Info: CD softpack.

                                                                                                                                                TOPS

                                                                                                                                                I Feel Alive

                                                                                                                                                  The artwork for TOPS’ fourth LP sets the tone for the music enclosed. Inspired by the work of photographer Thomas Ruff, TOPS’ vocalist Jane Penney stares bare-faced down the lens – simple and un-posed, yet striking with starkness and vulnerability. The image captures the fraught nature of being alive, which the 11 tracks on the album explore. Penny's remarkably expressive voice is front and center. On this record more than any other, she sings with passion and energy, without sacrificing the honesty and introspection that gives her voice its depth. The songs cover a range of experiences but at it's heart ‘I Feel Alive’ is a record about resilience, the ways we can grow from for our pain and the strength that comes from learning to stand on your own as an individual. ‘I Feel Alive’ is TOPS’ fourth full-length, following 2017's ‘Sugar At The Gate’ and follows singles "Echo of Dawn" and "Seven Minutes" from last year. Their trademark sound of beguiling melodies over soft-rock grooves, with touches of '80s sophisti-pop and a contemporary experimental palette is intact, but bolder and more expansive. The songs manage to be both immediately catchy and deceptively deep, with Penny's literary lyrics adding an extra dimension to the pure pop hooks. Satisfying yet far from predictable, this is a record to be savored, revealing itself slowly, gaining power and poignancy with each listen. 

                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                  Coloured LP Info: Indies exclusive 'sacred sperm' grey vinyl.

                                                                                                                                                  Yves Tumor

                                                                                                                                                  Heaven To A Tortured Mind

                                                                                                                                                    Few projects at the forefront of contemporary art truly push visceral sonic boundaries in the way that Yves Tumor does. With an arc that impartially sits between psych-rock and modern pop, comparisons only serve as limitations intended to define that which cannot be. Yves Tumor melds restraint and chaos; diluting reality by giving meaning to the abstract and allowing for dissonance to be seen and heard as harmony.

                                                                                                                                                    Heaven To A Tortured Mind - written and composed by Yves Tumor and produced by Yves Tumor and Justin Raisen (Sky Ferreira, Ariel Pink, Charli XCX) - marks the fourth official full-length release from Yves Tumor and the follow-up to 2018's critically acclaimed and era-defining Warp release, Safe In The Hands Of Love. Breakout singles "Noid", "Licking An Orchid" and "Lifetime" shifted critical perception into media such as the New York Times, Rolling Stone, Pitchfork, the Fader, NPR and more awarding the album as one of the best releases of the year.

                                                                                                                                                    Yves Tumor has steered the project into a whole new realm with Heaven To A Tortured Mind, piercing through contradiction, redefining expression through song, and catapulting Yves Tumor into the next phase of illusion and evolution. Heaven To A Tortured Mind finds its place in music history as a collection of anthems for a generation.

                                                                                                                                                    FORMAT INFORMATION

                                                                                                                                                    Coloured LP Info: Silver vinyl.

                                                                                                                                                    Coloured LP includes MP3 Download Code.

                                                                                                                                                    LP includes MP3 Download Code.

                                                                                                                                                    Marcos Valle

                                                                                                                                                    Marcos Valle - Reissue

                                                                                                                                                      Recorded in Brazil after spending the late 70s in the US, Marcos Valle brought together his innate talent and diverse influences on this irresistible record bursting with groove. Includes the Brazilian boogie anthem 'Estrelar', Marcos Valle's biggest hit from the 80s and one of the most celebrated songs in his entire career. The album is full of soaring disco tracks, killer vocal boogie numbers and blissing instrumentals over a well-balanced tracklist that satisfies both the listening pleasure and the dancefloor needs. Essential! Presented in facsimile artwork and pressed on 180g vinyl. 

                                                                                                                                                      Victories At Sea

                                                                                                                                                      Everybody's Lost And All I Want Is To Leave

                                                                                                                                                        Victories at Sea follow the release of two singles in 2019 with their second studio album Everybody’s Lost and All I Want Is to Leave on 21st February 2020. Recorded on the shores of Loch Fyne and mixed in their native Birmingham, the album refines and redefines the sound of Victories at Sea.

                                                                                                                                                        The location of recording has had a marked influence on the album. The vast landscapes of Loch Fyne are there in the grandeur and sky scraping ambition of the already heard ‘Quiet House’, the changeability of the weather mirrored in the skittering melodies, looming builds and sudden explosion of ‘Late’; the shift from calm to cloud to downpour made melody. The switch from what JP White, lead singer and lyricist describes as being, ‘far from the electric daylight of city evenings’, during recording to that very cityscape created a tension within the album that confronts this nature seeped creation with mechanics and artificiality.

                                                                                                                                                        So, the sweeping melodies and delicate piano interludes of album opener, ‘When The Dark’, are abruptly interrupted by a crescendo of closing noise that brings to mind the hectic, circular motion of rush hour traffic on Birmingham’s inner ring road. Current single, ‘Follow You’, delivers a seemingly straightforward and direct verse / chorus moment of ear worm brilliance only to abruptly skip and slide into a locked machine groove, the sound of Birmingham’s industrial past breaking through the sheen of modernity.

                                                                                                                                                        If this sounds ambitious, maybe even a little pretentious, then that is a charge that Victories at Sea are happy to rebut. Everybody’s Lost and All I Want Is to Leave was conceived and realised as a statement. A permanent marker of the pinnacle of the trio’s possible creation, an honest and direct expression of the collective power of the three band members. This album is more than a collection of songs, it stands as a collective of artistic work designed at every point to demonstrate a belief in the power of the album, the power of music, the power of words. Something beautiful that would remain forever.

                                                                                                                                                        Victories at Sea follow the release of two singles in 2019 with their second studio album Everybody’s Lost and All I Want Is to Leave on 21st February 2020. Recorded on the shores of Loch Fyne and mixed in their native Birmingham, the album refines and redefines the sound of Victories at Sea. The location of recording has had a marked influence on the album. The vast landscapes of Loch Fyne are there in the grandeur and sky scraping ambition of the already heard ‘Quiet House’, the changeability of the weather mirrored in the skittering melodies, looming builds and sudden explosion of ‘Late’; the shift from calm to cloud to downpour made melody.

                                                                                                                                                        M. Ward

                                                                                                                                                        Migration Stories

                                                                                                                                                          A prolific writer, producer and performer, M. Ward has established himself as one of modern American music’s most unique and versatile voices. For his tenth album he journeyed to Quebec, Canada to work with Arcade Fire’s Tim Kingsbury, Richard Reed Parry, producer/mixer Craig Silvey (Arcade Fire, Arctic Monkeys, Florence and the Machine) and Teddy Impakt. Together at Arcade Fire’s Montreal studios they recorded a collection of 11 songs inspired by stories of human migration.

                                                                                                                                                          M. Ward’s music has always felt intricate, intimate and other worldly. With Migration Stories he breathes beautiful life into vignettes of human flight, blurring the lines between reality and fantasy as it reckons with a world that feels more divided than ever before, even as its inhabitants grow more inextricably linked by the day.

                                                                                                                                                          Warm Digits

                                                                                                                                                          Flight Of Ideas

                                                                                                                                                            On "Flight of Ideas", Warm Digits make a call to arms: when we all think our ideas are right, what are the costs of never believing you could be wrong? Looking back to the history of psychology to find out what happens when ideas outlive their sell-by date, with their vocal guests they set up a blistering musical exchange between fluorescent agit-funk, primary-coloured synth-bounce and fizzing sheets of guitar noise. The LP features vocal contributions from Maximo Park’s Paul Smith, The Lovely Eggs, The Orielles, Rozi Plain and the Delgados’ Emma Pollock.

                                                                                                                                                            Infused with the restive spirit of Warm Digits and their guests, these inspirations are taken as a call to arms rather than an academic panel discussion. “Fools Tomorrow” uses the language of scientific revolutions and a spiral-eyed swirl of electro shoegaze to show how being able to accept you’re wrong can change your life, while “Replication” takes the ever-circling influence of Steve Reich and cult synth-composers like Laurie Spiegel to create a luminescent sparkling throb that’s impossible to resist. The Delgados’ Emma Pollock lends her vocals to "The View From Nowhere" which concerns two people working out their closeness and distance. It could be about any relationship, but the title is a reference to the way psychoanalysts historically kept themselves a "blank screen" with their patients, as if they could take a "view from nowhere" and be wholly objective in what they saw. “Feel the Panic” sees wigout psych-merchants The Lovely Eggs take advantage of Warm Digits’ relentless momentum to enthusiastically rail against pigeonholing and outmoded systems of authority with an unruly air-punching chorus. The song was inspired by the "being sane in insane places" experiment, which argued that the power wielded by psychiatrists' diagnoses was dangerously capricious, and that in some instances the treatment induced precisely the psychic distress they sought to classify.

                                                                                                                                                            "Shake The Wheels Off" is about the moment when those subjugated by archaic systems of control take their power back: in this instance, the way research on transport safety took the male body as the norm, drastically increasing the risk that women would get injured in a car crash. The Orielles' roll-call of female engineering heroes heralds the moment when the balance starts to be redressed. Meanwhile Rozi Plain gently turns insecurity on its head over a pulsating Eurobeat-meets-MBV backing to make “Everyone Nervous” almost feel like a valedictory slogan. Celebrate Your Uncertainty!

                                                                                                                                                            In an increasingly off-kilter world where reality shifts daily, truth is merely what we decide it to be, and an avalanche of possible identities overwhelms us with possibility, it can feel like our lives are careering towards chaos down a one-way street. The question is: do we “Feel The Panic” or “Shake The Wheels Off”? With its glorious defiance and heart-bursting grooves, “Flight of Ideas” calls to our past experience for answers, and dares us to listen.

                                                                                                                                                            Warm Digits are Andrew Hodson and Steve Jefferis from Newcastle-upon-Tyne, UK. Their previous album for Memphis Industries, "Wireless World", featured guest vocals from Field Music and Sarah Cracknell, amongst others, garnered plaudits from BBC 6Music including an "Album of the Day" slot and playlists for “End Times” “Growth of Raindrops”, and boosted them on to the festival bills of Bluedot, Green Man and Festival No.6 amongst others.

                                                                                                                                                            FORMAT INFORMATION

                                                                                                                                                            Dinked Edition LP Info: • Exclusive mirror-board sleeve
                                                                                                                                                            • Exclusive 7” featuring two brand new non-album tracks
                                                                                                                                                            • Orange vinyl
                                                                                                                                                            • Signed postcard
                                                                                                                                                            • Limited to 300

                                                                                                                                                            Coloured LP Info: Indies exclusive 180g orange vinyl.

                                                                                                                                                            Johnny Guitar Watson

                                                                                                                                                            A Real Mother For Ya - Ben Liebrand Remixes

                                                                                                                                                              Ben Liebrand returns to High Fashion Music, the label where it all started decades ago. And delivered the Old-skool remix and dub-mix of Johnny Guitar Watson’s classic ‘Real Mother For Ya’. Ben highlights many great elements of the original recording and made sure that this remix is way more useful for the dance floor, adding convenient and mixable intros and breaks. Liebrand used the original multi-track, hence drum-sounds, but made sure the timing is now absolutely steady. Danceable vintage-funk, ready for 2020!

                                                                                                                                                              Waxahatchee

                                                                                                                                                              American Weekend

                                                                                                                                                                Debut album from Waxahatchee aka Katie Crutchfield. The Brooklyn via Alabama artist brings ‘just guitar, her voice, and a piano to tell stories.’ 

                                                                                                                                                                The 11 songs were recorded in a span of seven days on an 8-track recorder.

                                                                                                                                                                Waxahatchee

                                                                                                                                                                Cerulean Salt

                                                                                                                                                                  Reissue of the second Waxahatchee album.

                                                                                                                                                                  On her second full-length record as Waxahatchee, former P.S. Eliot singer Katie Crutchfield’s compelling hyper-personal poetry is continuously crushing.

                                                                                                                                                                  On this new record, Crutchfield’s songs continue to be marked by her sharp, hooky songwriting; her striking voice and lyrics that simultaneously seem hyper-personal yet relentlessly relatable, teetering between endearingly nostaglic and depressingly dark. But whereas before the thematic focus of her songcraft was on break ups and passive-aggressive crushing, this record reflects on her family and Alabama upbringing. And whereas American Weekend was mostly just Crutchfield and her guitar, Cerulean Salt is occasionally amped up, with a full band and higher-fi production. At times, Cerulean Salt creeps closer to the sound of PS Eliot: moody, 90s-inspired rock backed by Keith Spencer and Swearin’ guitarist Kyle Gilbride on drums and bass. The full band means fleshed-out fuzzy lead guitars on “Coast to Coast”, its poppy hook almost masking its dark lyrics. Big distorted guitars and deep steady drums mark songs like “Misery over Dispute” and “Waiting”. There’s plenty of American Weekend’s instrospection and minimalism to be found, though. “Blue Pt. II” is stripped down, Crutchfield and her sister Alison (of Swearin’) singing in harmony with deadpan vox. She’s still an open booking, musing on self-doubt versus self-reliance, transience versus permanence. “Peace and Quiet” ebbs and flows from moody, minimal verses to a sing-song chorus. “Swan Dive” tackles nostalgia, transience, indifference, regret over the a minimal strum of an electric-guitar, the picking at a chirpy riff and the double-time tapping of a muted drum. The album closes with a haunting acoustic-guitar reflection on “You’re Damaged,” possibly the best Waxahatchee song to date.

                                                                                                                                                                  Whitey

                                                                                                                                                                  Great Shakes Volume 1 & 2

                                                                                                                                                                    Whitey’s sophomore album is a dynamic pop-art amphetamine romp through rock and roll and dance history, brimming with energy and attitude. Swerving between glam, stoner rock, dance (and even affectionate nods towards the Charleston), it’s the sound of an artist unafraid to say what he wants, how he wants, with no regard for trends or genres. Due to a pre-release leak, this album was pulled by the artist- and is only now officially available for the first time as a Remastered Edition. This is being released by NO! Label in tandem with the rare Great Shakes Volume Two, which reached the public domain several years later and featured a variety of unreleased and session tunes from that same era.

                                                                                                                                                                    Whitey

                                                                                                                                                                    The Light At The End Of The Tunnel Is A Train - 15th Anniversary Remastered Edition

                                                                                                                                                                      Heralded by both mainstream and indie press on its release as an instant, British classic, this seminal album rocketed from the underground to fivestar acclaim right across the board. A tense yet energetic journey through the highs and lows of living in the British counterculture of the time, it effortlessly mixed the old and the new, rock and roll and electronica, the past and the future - and brought this eclectic sound to a global fanbase.

                                                                                                                                                                      Karen Young

                                                                                                                                                                      Deetour - Moplen Remixes

                                                                                                                                                                        When Italian Luca “Moplen” Locatelli asked High Fashion to feast his creativity on this one, they were rather sceptical. In fact, they preferred not. But how quick things can change! Moplen brought this nevertheless classic performance of Karen Young back to it’s basis, took as a tradition all tracks and stems apart, and reconstructed it into what it should have been back in 1982. With a flavour of 2020. Bringing the record to its original speed and key, based on the cosmic feel that comes with the lyrics of the song. And the way Karen performs it.

                                                                                                                                                                        On the B-side Moplen goes wild and makes no compromize where he brings us almost in a cosmic state of trance. But this is NO trance record. This is boogie. This is how Deetour should have basically been in 1982. But this is how Moplen and Karen Young sound in 2020!

                                                                                                                                                                        Zero 7

                                                                                                                                                                        The Garden - Special Edition

                                                                                                                                                                          The Garden is another timelessly classic album from a seminal electronic band and an essential soundtrack to any laidback listening.  Zero 7 were formed in 1997 by producers Henry Binns and Sam Hardaker. In 2001 their debut album Simple Things was released selling over a million copies to date and was nominated for the Mercury Music Prize. They released their third album The Garden in 2006 it also peak at no 4 UK album chart spending 7 weeks in total there. It has sold over 125k copies. In the USA, it entered the Billboard Dance/Electronic chart at #2 and stayed in the Top 20 of that chart for 5 weeks. Singles taken from the album include Futures featuring Jose Gonzalez, Throw It All Away and You’re My Flame both featuring Sia

                                                                                                                                                                          Various Artists

                                                                                                                                                                          Guasa, Cununo Y Marimba

                                                                                                                                                                            Subtitled '21 songs of Afro-Colombian Music from the Pacific Coast' The music of the Colombian Pacific is one of the greatest treasures of Colombia and its African past, but not many people remember the songs recorded on anthologies, which are largely a forgotten chapter of Colombia’s musical history. It comprises genres such as currulao and chirimia and many others that are yet to be discovered by most Latin music lovers. Heavy drumming combines with hypnotic vocals and the sounds of the marimba, clarinet and euphonium in this selection of Afro-Colombian music from the Pacific Coast. This compilation includes recordings by artists like: Gertrudis Bonilla, Peregoyo y su Combo Vacan, Markitos Micolta, La Sonora del Pacifico de Cachito Vidal, Julian y su Combo, Buscaj in an outstanding selection of songs that covers the early 70s through the 00s and are reissued here for the first time. Compiled by Colombian music experts Lucas Silva and Philippe Noel. 

                                                                                                                                                                            Various Artists

                                                                                                                                                                            Jamie 3:26 Presents A Taste Of Chicago

                                                                                                                                                                              Following the 2018 release of a 12" preview sampler, BBE Music is excited to present the album 'A Taste of Chicago', a compilation of classic house edits by Jamie 3:26. Hailing from Beverly on the South Side of Chicago, Jamie 3:26 is an artist driven by a deep desire to get people moving in the dance. A Chi-Town vibe is always the focus for the master selector and producer who's capable of lighting up dance-floors around the world and that ethos shines through on this compilation, featuring a collection of tracks giving listeners a true insight into the sound, culture and style of the Windy City. The compilation sees classic tracks by the likes of Chip E, Quest and more get a serious Jamie 3:26 twist, with edits that not only capture the best of celebrated eras gone by, but point to the future too. Get ready for a unique and timeless journey into Chicago's famous house music scene, courtesy of one of the city's key players.

                                                                                                                                                                              “This compilation represents the true unspoken sound of my city. While the House scene was blossoming into what would be a globally recognized phenomenon, we had this whole hidden movement going on. These personal edits that I played back then represent magical moments in time that are still being created in many of my sets today. A huge thank you to my music brothers Marshall Jefferson, Braxton Holmes, Tone B. Nimble, Chip E, Pap Spencer, Doc Brucio, Carl Bias for trusting my ears with your creations.” - Jamie 3:26

                                                                                                                                                                              Various Artists

                                                                                                                                                                              The Rough Guide To Blind, Black & Blue

                                                                                                                                                                                A unique compilation of tracks from blind blues musicians who left remarkable musical legacies in the face of incredible adversity. Featuring many legendary guitarists including Blind Blake, Reverend Gary Davis, Blind Willie McTell and Blind Willie Johnson

                                                                                                                                                                                A remarkable phenomenon in the history of the blues was the vast contribution made by blind musicians, whose legacy left a lasting impact on American music to this day. From ‘The Father Of The Texas Blues’ Blind Lemon Jefferson to slide guitar evangelist Blind Willie Johnson, this Rough Guide highlights the blind blues pioneers who, against all the odds and in the face of incredible adversity, were responsible for a musical revolution.

                                                                                                                                                                                The image of the blind bluesman is undoubtedly one of the most iconic and meaningful themes in the history of the blues. A diverse selection of tracks ranging from upbeat rags and gospel tunes to earthy blues. Highlighting the incredible contribution made by blind blues musicians that has left a lasting mark on the history of American music . Includes hidden gems by artists shrouded in mystery. Following on from the success of other blues titles in the Rough Guide range. A must-have album for blues guitar enthusiasts. Lovingly remastered using pioneering restoration techniques


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                                                                                                                                                                                92 NEW ITEMS

                                                                                                                                                                                We’re very sad to hear of the passing of Bill Withers here at Piccadilly Records. Your music and its influence will… https://t.co/KfZyoEAbEn
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                                                                                                                                                                                Well, that’s the discovery we can get behind. Thanks for sharing. Artwork is amazing isn’t it?!… https://t.co/r6u9paixOF
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                                                                                                                                                                                Even more releases here from @WilmaArchers Loose Fit, Stumbline and a reissue from Nurse With Wound. Labels… https://t.co/t7uXY0WVVc
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