MAGIC MIX

ALL GENRES

WEEK STARTING 19 Oct

79.5

Boy Don't Be Afraid/I Stay, You Stay

With the announcement of their long awaited, highly anticipated debut full length release, 79.5 drops a new and revamped version of their underground classic Boy Don’t Be Afraid. Producer Leon Michels took it back in the studio and made it into a proper two stepper, slowed it down a touch, and added percussion and Wurly. The result is another sure shot side for the dance floor from one of New York City’s most adored underground acts. Like many of the girl group classics, Boy Don't Be Afraid is a song about love. But beyond that, it is a song about being—being hopeful, being romantic, being brave.

A romantic stance and a declaration of love through melody. The B Side, I Stay, You Stay is a beautiful number about meeting in the middle and a testament to a woman’s intuition. A love song starting in hesitation, walking through admiration, and ending in certainty and gratitude. The ladies weave this tale trading leads and combining voices seamlessly over the band’s signature in the pocket drums and bass, rhodes chords, and flute flourishes. I Stay, You Stay is a perfect example of one of the defining things about 79.5 and why they are known as the “Mid Tempo Maidens”, as the lyrics reflect “they don’t have to rush, they have lots of time”. 

What do you get when you combine the best hip-hop producer in Boston with one of the best upcoming lyricists in NY? "Well Done". In the style of classic producer & MC albums, Statik & Bronson deliver intricate rhymes and head-nodding beats on this noteworthy release. Coming straight out of Flushing, Queens, NYC, Action Bronson personifies the golden era of East Coast, New York hip-hop. Repping Boston, New York & New Hampshire Statik Selektah is known as the 'east coast boom bap ambassador' and holds down weekly radio slots on Eminem's Shade 45. He has produced & worked with Nas, Joey Bada$$, 2 Chainz, Mac Miller, 50 Cent, Jadakiss, John Legend, Wale, Bun B & many more. Check out "Well Done” and get reminded of how good rap used to sound.

STAFF COMMENTS

Matt says: After working with Freddie Gibbs earlier in the year (and delivering one of my albums of the year...) I was truly excited to see what fruits a Statik Selektah and Action Bronson collaboration would yield... I wasn't disappointed: a sprawling double LP full of the wry New Yorker's wit and dry explicit humour combined with that familiar, all-important old skool BOOM BAP from one of the best beatsmiths on the planet. Essential hip-hop record!

FORMAT INFORMATION

2xColoured LP Info: Red vinyl double LP

Ador / Gerald Wilson & His Orchestra

Let It All Hang Out / California Soul

There's always a party on the cards when a new 5 Borough Breaks drops, and this latest addition is no exception. The A-side hits us with "Let It All Hang Out" from two-hit wonder A.D.O.R., who teamed up with school friend Pete Rock for this fierce 1992 hit. As infectious as it gets, the track sees Pete Rock in peerless form, slicing a classic horn loop into infinity and working the mixer into a frenzy. Stone cold classic. On the flip we get the OG sample source a smooth and summery jazz version of KFC classic "California Soul" as recorded by the Gerals Wilson Orchestra. Vibes 4 dayz!

As the frontman for the epic British drone-pop band The Verve, Richard Ashcroft proved himself the spiritual descendant of rock & roll icons like Mick Jagger and Jim Morrison - rivetingly charismatic, menacingly serpentine, and possessed of an almost shamanic intensity, he embraced and articulated the anthemic fervor of rock music with a power and eloquence unparalleled by any of his contemporaries.

Featuring ten new songs, all of which were written by Ashcroft, ‘Natural Rebel’ was produced by the singer-songwriter alongside Jon Kelly (Paul McCartney, Kate Bush) and Emre Ramazanoglu, Bobby Gillespie). The majority of its recording took place at State of the Ark Studios in Richmond, with further sessions at The Bunker, Tileyard Studios and Hoxa HQ.

FORMAT INFORMATION

Coloured LP Info: RSD stores exclusive Orange vinyl edition.

Focusing on low-slung IDM, Acid and atmospheric Electro with nods to Krautrock & Ambient sounds, Steve Hyland’s ATTRAKTTA project gets an extended outing on the FILM label. Across eight beautifully produced tracks, Hyland - one of the founding members of AI Records and subsequently Concrete Plastic, explores vibrant synthesis and intricate drum programming, with the music arriving at a sweet spot between home listening material & club-ready workouts for more intelligent dance floors.

Eschewing straightforward synth sequences in favour of blissed out - almost disharmonious sonics, Hyland transmits a curious psychedelia on his debut LP. Sounds pitch and warp organically, buoyed up by saturated low end and punchy drum machine percussion. There remains a decidedly accomplished precision to the work, though - with the music bearing all the hallmarks of an artist of some considerable experience - testament to the British producer & label head’s 19 years working in the industry.

A colourful, exquisitely composed LP that riffs on a timeless production aesthetic with considerable style, Echo Principle is a fantastic entry into the FILM Records discography.


FORMAT INFORMATION

Ltd LP Info: 140g vinyl, matt uv varnish.

Ltd LP includes MP3 Download Code.

David August

D'Angelo

    Fusing laidback pop sensibility with moody cinematographic soundscapes, David’s newest album D’ANGELO is the sound of a young artist getting in touch with their roots, exploring new landscapes and freeing inhibitions. Where he channelled this journey into ambience on DCXXXIX A.C. – his debut on his own label, 99CHANTS - D’ANGELO has David deconstructing pop atmospheres while in search of his past and reforming them into something deeply moving.

    He admits that while his strongest emotions have their roots in his formative years, growing up in the picturesque mountain town of Palestrina outside Rome, he never used those emotions creatively, keeping them private until now. “I had never tried to have a dialogue with myself within the music that I was making,” he explains. “Suddenly there were all these questions about identity, my childhood, and an obsession with truth. Although I was scared to confront these questions – when in your life could you fully answer them? – I had to at least approach them to keep creating.”

    D’ANGELO’s spiritual inspiration is rooted in Italy’s rich and complex artistic history, and how certain artists broke boundaries, such as Giovanni Pierluigi da Palestrina, who mastered the art of polyphonic and counterpointed composition during the Renaissance. “I looked at the Italian culture I grew up with, that has always been present since I was a kid.” He says. “I had to start with a deeper study of these artists, composers, and writers who formed the cultural and emotional bonds I feel towards Italy.”

    Michelangelo Merisi da Caravaggio painted the realities of the streets over the ideals of the heavens, taking those who blended into the background of the streets and painting them as saints, as figures of ideation. “Caravaggio was a leading inspiration throughout this process. He was someone I looked up to all the time and had so much respect for; someone who was always trying to picture the implacable reality, and not compromising. Having his paintings on one screen – and my DAW on the other – was one part of the process. It was an attempt to soundtrack his art – his reality – in real time.”

    D’ANGELO is an impassioned, melancholic album that exists in a space that is not easy to translate into words…but do the words always matter?

    FORMAT INFORMATION

    Ltd LP includes MP3 Download Code.

    A memorably bracing, momentarily pummeling highlight of ‘Song For Alpha’, Daniel Avery perfectly bridges the light and dark contrast of his influences on standout cut, ‘Diminuendo’. Uncompromising technoid drums establish genuine frenzy, matched by a pulsating industrial drone, ultimately collapsing into ethereal feedback, before one final round of frenetic rhythm.
    On ‘Hyper Detail’, the intense acid lurking beneath the surface of ‘Song For Alpha’ is dramatically unleashed, easily matching the frantic energy of the previous track, and upping the potential for wide-eyed, rave-friendly electronic hypnosis. ‘Light Of Falling Rain’ is more severe and equally intricate, creating immediate enormous tension and re-lease with a barrage of snarling electro and expertly intertwined microrhythms.

    Finally, on ‘Time Marked Its Irregular Pulse In Her Eyes’, the disembodied elements of Avery’s studio communicate something cryptic and unnerving as a farewell. The most uncompromising and purely physical batch of material to emerge in the wake of ‘Song For Alpha’, the ‘Diminuendo’ EP finds Avery on urgent and ruthless form.


    STAFF COMMENTS

    Sil says: Wow... what a surprise. For me it is all about the behemoth 'Diminuendo', a hard techno tribal with acid flairs. A highlight on his album and now in its full glory on a 12". If you dig prolific Avery, this is a must have.

    Claremont 56 continues to champion new, previously unheard talent with “Ready To Die”, the stunningly beautiful and catchy debut from Bel AKA Charlie Bell – a young, Liverpool based singer-songwriter, musician and producer who has a huge future ahead of him. “Ready To Die” is an emotion-rich chunk of catchy, loved-up Balearic pop with heart-aching, gut-wrenching lyrics about unrequited love, Bell’s debut is as catchy, infectious and heartfelt as anything the label has released to date – as proved by Lauren Laverne’s decision to champion the record on her BBC 6 Music show.

    Such was his love for the song, Murphy decided to remix it for release, completing extended vocal and instrumental versions that enhance the track’s sun-kissed, glassy-eyed appeal. Both mixes are magical, with the vocal version in particular capable of making the hairs on the back of your neck stand to attention. Bell’s impassioned vocal and breezy acoustic guitar playing naturally takes centre stage, with the track’s sweeping synth-strings, toasty bass and a few trademark Murphy flourishes – think well placed delays and fluid electronics – on hand to amplify the song’s bittersweet mood. The beautiful and beguiling quality of Bell’s musicianship and Murphy’s subtle remix comes to the fore on the equally beautiful instrumental version.

    Dusty archives, the backrooms of record stores, private reel to reel stashes, master tapes - these are the environs of the Dynamic Range experience.
    Dynamic Range is a new label focused on unearthing deep Soul, Funk and Disco jams that continue to resonate with todays dancers and DJ's. Time spent scouring the bowels of the majors and independents has unsurprisingly resulted in numerous gems being added to the DR wants list. High quality, fully licensed reissues are the order of the day, always taken from the correct master source and re-presented to hungry record heads the world over. To repeat, this is a fully legit operation - Avoid the sharks at all costs!

    For their second release they treat us to one of the finest moments in George Benson's catalogue, the Theo-approved "The World Is A Ghetto". His 1977 version of the classic 'The World Is A Ghetto' features beautiful string-laden production and of course, Benson's languid guitar playing that graces the wonderful Claus Ogerman arrangements effortlessly. As well as being an underground disco classic, this amazing groove has been sampled by numerous contemporary producers, most notable Moodymann, Kanye West, Bob Sinclair and many more, a testament to the lush production and soul contained within the grooves of this classic. This repress is programmed exactly like the '77 disco promo 12" that record pool members and DJ's would have received and due to licensing constraints it features the same 9 minute 41 second mix on both sides.


    STAFF COMMENTS

    Patrick says: Soothing, swooning, soulful and sublime, George Benson's "The World Is A Ghetto" is arguably the finest disco soul cut around, and absolutely slays a dance floor. This 12" press is cut loud and proud folks.

    Big Black

    Songs About Fucking

      Probably the best and definitely the most well known of Big Black albums. This incredible noise trio led by Steve Albini, released this ferocious album in 1987, but it still sounds intense and fantastic to this day. In a word, ESSENTIAL!!!

      Blancmange

      Wanderlust

        Ten songs composed by Neil Arthur, and arranged, co-produced and mixed with Benge (Wrangler/Creep Show) at the latter’s Memetune Studios in Cornwall. This is the pair’s third album together following their Fader First Light album in June 2017 and they also collaborated on last year’s Blancmange opus, Unfurnished Rooms - described by Mojo as ‘detached, wistful, touched by computer-age unease.’ Wanderlust is focussed on similar themes but there’s a new energy to the approach - wistfulness turning to anger; dislocation morphing into a powerful desire to be somewhere else, and always a sense of someone fighting for forward motion, dreams, family and the joys of life while seeing, as Arthur puts it, ‘the pretence of a normal world being erased.’ This spirit is also in the music, which is vital, percussive, full of analogue machine-noise and chunky basslines. 

        Borai

        Razor / Predators

        Borai, real name Boris English has snuck out quite a prolific discography since 2011 with about fifteen different releases on a plethora of modern labels. Reluctant to contribute to just one genre, his already impressive catalogue boasts house, breakbeat, jungle and dub-techno all conjured up with an authenticity and energy that's impossible to ignore.

        Two tracks from the esteemed producer inaugurate new label Higher Level. "Razor" is an opiated old skool jungle jam that's been slowed down to a crushing weight. Brain melting amens, foundation shaking sub and demolition ball hoovers all creating a manic piece of slow-mo grindcore jungle for the heads who like it heavy!

        "Predators" also hits up a vintage jungle vibe, contrasting vicious breakbeast and rupturing basslines with angelic chord sweeps and heavenly pads.

        Across both tracks Borai displays a classy, indepth knowledge of jungle's historic idents and programming traits; meaning these could both be mistaken for golden-era tracks when in fact they're brand new. Hats off son! 


        STAFF COMMENTS

        Matt says: Top drawer 95-flavoured new jungle kicks off this new label from an artist who's frequented more dance styles than I've been to raves (Ed: That's not true, Matt's been to A LOT of raves...)

        Born Ruffians

        Red Yellow & Blue: 10th Anniversary Reissue

          10th Anniversary vinyl re-press of the acclaimed 2008 debut album by Canadian trio Born Ruffians.

          An incredible, infectious slice of indie punk from Canadian trio Born Ruffians. Produced by Rusty Santos (Animal Collective, Owen Pallett, DJ Rashad, Dawn Of Midi), ‘Red Yellow & Blue’ was described at the time by Pitchfork as “One of this new year’s most engaging and endearing indierock debuts” and “A blast of anxious, giddy energy” by Spin.

          Includes the singles ‘Hummingbird’ and ‘I Need A Life’.


          FORMAT INFORMATION

          Ltd LP Info: Comes with full colour printed lyric sheet insert and digital download card.

          Boys Noize

          Killer (Feat Steven. A Clarke)

          Vinyl Factory keep their dance floor pressure in the red here, taking a brief diversion from Roisin and Maurice's killer space funk for a rave remake by German producer Boys Noize. A big fan of Adamski and Seal's "Killer" (who isn't) from his childhood, the Boys Noize often drops the soulful and slamming bleepfest as his last track, so maybe this was just a matter of time. 
          As Boys Noize says: “Being a ’90s kid I kind of grew up with this song which later became one of these tunes I’d play out at the end of the night. When I met Steven and heard his voice for the first time I immediately thought of that track and the idea of doing a cover version was born. It was initially just for fun but it turned banging and lit the dance floors wherever I’d drop it.”
          Adamski and Seal’s original represented something of a breakthrough for both the producer and vocalist, spending four weeks at the top of the UK Singles Chart in the summer of 1990.
          Speaking to journalist Dave Simpson in The Guardian in 2013 Seal explains the impact the song had on his career: “Within a week, I went from being a relative nobody – this weird guy at raves, with silver bits in my hair – to a household name.”

          Everyone's favourite French house producer takes a distinctly dark, techy and experimental route on the latest Atavisme joint - Pepe's own outlet for his productions.

          The four tracks on offer here show a man delving deep into the murk and swamp of his synthesizers, conjuring up a thoroughly alien and intoxicated collection of tracks that skirt around the 4/4 rhythms of the dancefloor whilst depositing a whole host of lysergic phlegm, refracted frequencies and cybernetic flux onto the master stems.

          It's a side to Pepe we're seeing more of of late, as the producer's ditches the accessible for the head-turning - and we love it! Favourite track here is the marching tekno squelch of "Ave Psychic" which in our ears gives Chicago's supremo sound mangler, Jamal Moss, an adequate run for his money.

          Top marks Bradock! 

          Wolf Music proudly present a fantastic reissue for those in love with the dancefloor.

          If there's one thing WOLF Music know a thing or two about, it's house music. So it's no surprise then that they've decided to reissue a golden 2003 deep house nugget in the form of BRS (British Rhythm Services) - 'Spring Dom'.

          Reissued from the original DAT tapes 'Spring Dom' is one of those timeless records that even 15 years on sounds as soulful as it did when it first hit the racks. Echoed sweeping stabs, chunky drum loops and powerful synth flurries alongside those mesmerising vocal refrains, all tied together with a driving bassline - this is deep, deep goodness of the highest degree. Reworking 'Spring Dom' for the present day, WOLF mainstay Medlar provides a rave tinged remix, chopping the vocals and reworking the synth lines to give it a peak time, dancefloor demeanour.

          The flip houses the other two tracks from the original '03 release - 'Clubtronic' with it's UKG flavoured beat, M1 pads and jazzy free flowing melodies and 'Miss You' combining a bumping groove, dynamic bass melody and stirring Rhodes chords.

          A much-welcomed reissue package from the WOLF camp and a chance to own this house treasure without feeding the sharks.

          STAFF COMMENTS

          Sil says: Monster deep house tune for all of you that sounds as fresh now as it did 15 years ago. It has aged superbly. Medlar ups the game revisiting it and adding roughness to it. 'Spring Dom' and 'Miss you' are two diamonds you totally need. This is by a mile my deep house record of the month!

          Dixon Avenue Basements Jams launches its sub-label Neutralizer, a new outlet for the dirtier end of their tastes (is that possible?! - ed), with four honkin’ jam rolls from Belfast’s own Carlton Doom, purported to be the adult alias of a feral child featured in the infamous 2002 documentary: Wild Child.

          The "!Dungeon Funk" EP at once references the dirty frolic of classic Hague / Glasgow manoeuvres, upcycling all that old shite to reflect a far more harrowing take on the desolate, post-sensible future we’re wishing into existence. BenzodiAcid and the rhythm of hard industry, stitched together with a dod of good ‘old fashioned mechanical funk and strong will to fuck it all off.

          It's great to see Dixon Avenue branch into new territories, as Martin and his trusty bunch of militant sound manglers present the new sound of the dancefloor - loud, wobbly and lysergic AF but with a slow, ever-evolving menace that alligns it with the current tribal-punk obsession. Catch a slice of the now and get ready to bend minds...


          STAFF COMMENTS

          Matt says: Fresh outta Glasgow and sounding more feisty than a Jack Russell with separation anxiety, Neutralizer and Calton Doom switch the mood of the dancefloor in tune with the seasons and bring the darkness. Check dis!

          When the new Halloween movie hits theaters in October 2018, it will have the distinction of being the first film in the series with creator John Carpenter’s direct involvement since 1982’s Halloween III: Season of the Witch. Carpenter serves on the new David Gordon Green-directed installment as an executive producer, a creative consultant, and, thrillingly, as a soundtrack composer, alongside his collaborators from his three recent solo albums, Cody Carpenter and Daniel Davies.

          The new soundtrack pays homage to the classic Halloween score that Carpenter composed and recorded in 1978, when he forever changed the course of horror cinema and synthesizer music with his low-budget masterpiece. Several new versions of the iconic main theme serve as the pulse of Green’s film, its familiar 5/4 refrain stabbing through the soundtrack like the Shape’s knife. The rest of the soundtrack is just as enthralling, incorporating everything from atmospheric synth whooshes to eerie piano-driven pieces to skittering electronic percussion. While the new score was made with a few more resources than Carpenter’s famously shoestring original, its musical spirit was preserved.

          “We wanted to honor the original Halloweensoundtrack in terms of the sounds we used,” Davies explained. “We used a lot of the Dave Smith OB-6, bowed guitar, Roland Juno, Korg, Roli, Moog, Roland System 1, Roland System 8, different guitar pedals, mellotron, and piano.”

          Unlike the Lost Themes albums, where the composers wrote the soundtracks for imaginary movies, Halloween saw the Carpenters and Davies collaborating on music set to images for the first time. Though it marked a significant change from their previous creative process, the trio thrived under the constraints and tight deadlines that film scoring work demands.

          “Being limited by the length of time in scoring the sequence, we focused on the director’s tempo, timing, and vision,” Davies said. “He would tell us what he had in mind, how long the cue should be, what emotion he wanted, and we would take it from there. It’s only the three of us, there is no elaborate system. We wrote, performed, and orchestrated everything.”

          For John Carpenter, who reunited on the new film with original Halloween star Jamie Lee Curtis, composing the score felt like a homecoming. Not only had he not worked on a Halloween movie in 35 years, he hadn’t composed a soundtrack since his 2001 sci-fi thriller Ghosts of Mars.

          “It was great,” Carpenter said of the experience. “It was transforming. It was not a movie I directed, so I had a lot of freedom in creating the score and getting into the director's head. I was proud to serve David Gordon Green’s vision.”

          For Cody Carpenter, John’s son, and Davies, his godson, it was surreal to work on something that means so much to generations of fans, and that they grew up around.

          “It was an honor for us to be involved, and we are really happy to be a part of something that so many people are anticipating and excited about,” Davies said. “Working together with both the director of the new Halloween and the creator of the original Halloween was really a fantastic experience.”

          STAFF COMMENTS

          Barry says: It's hard to think of horror films without thinking of Carpenter's legendary scores, so it was exciting news that the master of soundtrackery returned with the same collaborators seen on his most recent solo efforts to produce this cinematic masterpiece. Brooding synth throbs, tense string pulls and gloomy, shadowy ambience. As expected, top stuff.

          FORMAT INFORMATION

          Dinked Edition LP Info: DINKED STORES EXCLUSIVE:
          Pumpkin Orange colour.
          With a FREE 12"x12" Art Print.

          Coloured LP Info: Blood knife coloured vinyl.

          Cave

          Allways

            CAVE are kind of beyond time. You might feel like it’s been awhile since you’ve seen or heard them but when you see or hear them again, that moment will feel like ‘Allways’.

            During the making of the last album, ‘Threace’, CAVE was in the process of becoming a quintet. They toured the world afterwards, playing on four continents and eighteen countries - as close to everywhere as they could get. Then they took a minute. They recorded it over time, in Chile and then Chicago. You can hear all of this, the energy of liveness, the reps, and consolidating expanded possibilities within their new alignment, the time away, the distance and the freshness of returning to recorded sounds, everywhere on ‘Allways’.

            In the past, much has been made of CAVE’s use of particular compelling tropes but their inspiration comes from everywhere - Miles, psych, beats, exotica, library music, rock, punk, the Germans, the New York guys too, minimalists, the Dead, music from India, everywhere. This is a bunch of guys playing rock-based music in a way that pushes them forward from everything they’ve experienced. When you listen to the new CAVE you hear guitars - lots of them - bubbling under, scratching, fanning, locking in and taking off, soaring on acid-washed wings, with keys that pump, burr and whoosh in and out of the rhythms.

            Half-speed mastering of ‘Allways’ at Abbey Road has allowed the activity at all frequencies to present with a liquid fullness and ripe detail. ‘Allways’ is a blueprint for your ears to read and a map for CAVE to follow through the world.

            Cavern Of Anti-Matter

            In Fabric

              Limited edition promo 7" for the Peter Strickland film In Fabric - 287 copies pressed. This is a one-off pressing. 

              Chaos In The CBD

              Global Erosion / Background Explorer

              South UK hotbed of dance music culture seems to nurturing a lot of talent at the moment. Fuck Berlin, if you've got an MPC and an idea head to Peckham! Yam Records are one of the increasing number of boutique labels to be emerging from the area, all with its own highly contextual sound - records informed by a multitude of cultures, influences and varieties of people. It's the 'IN' vote solidified in musical form, but let's not go there now shall we? Beans and Louis make the highest quality house music, which is perfectly demonstrated on this two¬?track EP. "Global Erosion" sees long¬?time collaborator Isaac Aesili contribute horn hooks and live percussion to this truly deep and emotional journey. On the flip, "Background Explorer" turns up the heat with an 8 minute heads¬?down transcendental percussion and drum workout, the surging chords and rainforest calls forcing the head to follow the feet.
              Being played by Benji B, Andy Blake, Bradley Zero and many more to come I'm sure! Massive! 


              STAFF COMMENTS

              Matt says: Biggest record outta Peckham for a while (well, a little bit anyway). Deep, Ron Trent inspired house vibrations on this tasty double A side.

              Charalambides

              Charalambides: Tom And Christina Carter

                Charalambides founders Tom & Christina Carter follow a vision of iconoclastic music as transformative force. Touching on the outer limits of acid folk, psych rock, and improvisation, their sound remains uniquely personal & consistent.

                Since 1991, Charalambides has released many recordings on labels like Siltbreeze, Kranky & Wholly Other. Despite Tom and Christina Carters prolific solo careers and numerous other projects, Charalambides has existed in an unbroken trajectory for over two-and-a-half decades, outlasting the genres that critics and other yardstick-makers have tried to cram them into.

                Their recent performances and recordings retain the directness and delicate menace that mark their early releases, even as they explore an interlocking musical telepathy honed by years of artistic collaboration. Aptly tilted Charalambides: Tom and Christina Carter, the newest album from Charalambides furthers the duos deep psychic understanding of music. Laid down in two sessions with no overdubs, the album entwines their best-known approaches into a raw, fragile, wordless and hypnotic whole. Its definitely the duo at their most exquisite.

                Neneh’s new record pointedly asks the question; how do we conduct ourselves in extraordinary times? In an era where the signal-to-noise ratio is more uneven than ever, what are the measures we must take to retain and remember our own personhood? It searches for answers, patiently and with great care, and with a fearlessness to acknowledge that sometimes the answers don't even exist. It’s a record that’s equal parts angry, thoughtful, melancholy, and emboldening, as Cherry and her collaborators continue to expand her ever-widening sonic palette to craft truly singular and potent music.

                Work on Broken Politics began as touring wound down behind Cherry's previous full-length, 2014's Blank Project, and she felt a drive to continue creating after collaborating on that record with Kieran Hebden (Four Tet). "That last album was much angrier and forceful, whereas this one is quieter and more reflective," she states. "I haven't always been so good at getting things out so quickly, and it still took a while—but that's okay."

                Cherry, writing partner Cameron McVey, and Hebden decamped to Woodstock, New York for a week-long recording session at the Creative Music Studio, a recording space founded by jazz pianist Karl Berger—who, in a stroke of providence, was a band member of Neneh's stepfather and Don Cherry as well as being friends with her mother Moki. "Being in a studio with them was like being in a familiar space. It was easy to reach into myself for the feelings I needed to be in tune with a song—and at night, Cameron and I would have dinner with Ingrid and Karl and they'd tell stories about my father. There were deep threads."

                "It was one of the best writing periods I've had in a really long time," Cherry continues while discussing the creative process behind Broken Politics. "I got out of the waiting room and into the inner sanctum.”

                "I'm very shy about taking on big themes with the airs that I've got a solution—who has the fucking solutions?" Cherry admits while talking about the album's title. "I like writing from a personal perspective, and the time we live in is so much about finding your own voice. People have been left feeling misheard, misunderstood, and disillusioned. What the fuck can I do? Maybe politics starts in your bedroom, or your house—a form of activism, and a responsibility. The album is about all of those things: feeling broken, disappointed, and sad, but having perseverance. It's a fight against the extinction of free thought and spirit."

                "I have a name. You have a name. We're not just these faceless mounds you can put in the ground," Cherry proclaims when talking about her worldly vision that seeped into Broken Politics. "We're human beings with lives and stories." Art can often remind us of how it feels to live in the moment, and it can also be instructive in helping understand how to preserve that moment. Broken Politics finds Cherry at her most generous and benevolent towards a world that is often anything but. She puts it best in the chorus of LP track "Fallen Leaves," in her own defiant way: "Just because I'm down/ Don't step all over me.”

                STAFF COMMENTS

                Barry says: Neneh Cherry's unmistakable vocal style and soulful leanings are harnessed here by the dreamy, otherworldly percussion and electronic momentum of Kieran Hebden (Four Tet) on production duties. His impeccable ear for sonic space only accentuates her flawless songwriting skills, making for a brilliantly listenable and absorbing outing.

                Cleveland, OH’s Cloud Nothings return with their loudest record to date. Undeniably one of the finest and most captivating live acts on the face of the planet, this record goes further towards capturing that power and intensity than any of their previous releases.

                The album was produced by legend of heavy music Randall Dunn (Sunn O))), Earth, Oren Ambarchi, Marissa Nadler, Black Mountain) at Sonic Ranch in El Paso, TX.

                Weighing in at just over thirty minutes it’s a singular listen that reflects the band’s live tenacity - one that sees them surge through the tracks at a speed hitherto unseen on previous outings - the perfect antidote to 2017’s ‘Life Without Sound’.

                STAFF COMMENTS

                Barry says: Brilliantly dynamic thrashing punky riffs, angular math-rocky riffing and snarling vox, all brought together into Cloud Nothings' newest outing. Richly melodic but filled with unexpected twists and turns, forging an interesting and rewarding listen. Definitely one for blasting out at the skate park.

                FORMAT INFORMATION

                Deluxe LP Info: Initial copies of the LP pressing will be housed in a
                mirri-board sleeve.

                Midnight Drive present a long out of print and highly sought after NYC ambient techno classic - Code 6's "Untitled" EP from 1993.

                In the early 1990's, Code 6 was a side project by Joey Beltram. A name that is extremely well known and respected in the world of dance music, a true techno stalwart with a hugely impressive catalogue of music, including more than a few classics and with a DJ and production career that spans almost 3 decades. Recorded in 1993, this 4 track EP is a departure from the style Joey was most associated with during this time period, favouring a more ambient, breakbeat driven and esoteric aesthetic. Contained within is 4 wide-screen snapshots of sci-fi drenched emotion, a raw, melodic tour de force that leaves the listener wanting more. It's easy to make lazy comparisons with other sonic emanations of the time from Sheffield, Belgium, London and Cornwall in terms of feel, but the "Untitled EP" is very much it's own planet, a truly original set of short but effective techno-vignettes that still captivate today in 2018. All of the tracks on this reissue have been remastered from Joey's DAT archive, with the exception of "Tempest" which was transferred from his mint personal copy of the record. All efforts were made to respectively maintain the sonic integrity of this fantastic, lost record.


                Crotocosm (Willie Burns & Jordan GCZ)

                Setting The Scene For An Island Battle

                The latest instalment of Rush Hour's spectacular 'No 'Label'' series comes from the brilliantly named Crotocosm, who you may remember from their 12" on Second Circle. The occasional live jamming collaboration from renowned hardware mentalists Jordan GCZ and Willie Burns, Crotocosm don't make it onto wax that often, so when they do, you know it's an event. Here we get the wonderfully named "Setting The Scene For An Island Battle", a title which suggests we're in the realm of the shamanic, where waterfalls flow upwards, neon smoke drifts across the plain and froglicking is an every day activity. The evocative and experimental "Krazy Kalimba" introduces the EP with distant timpani, sweeping bleeps and a string of circular mallet patterns, all working their disorienting magic. Things move a little further into the light on the A2 as "Island Life" uses synth vox, soft focus sequences and off kilter bass pulses to find a slightly opiated cross section of Laurie Anderson and Visible Cloaks. "Pitter Patter" goes deeper and darker, all crepuscular movements and stalagmite drippings, a perfect precursor to the foreboding pads and scuzzy rhythm of "Incoming Fire". "Survey The Scene For Survivors" closes the set in ambiguous fashion, never really choosing either hope or despair, as the sprawling synths and subdued rhythms echo into the distance. 


                Curtis & Dondi

                Magic From Your Love / Don't Be Afraid

                Curtis & Dondi, brothers by name & nature, epitomise the strength of musical talent that Chicago was nurturing during the late 70's & throughout 80's. The track 'Magic From Your Love' is currently getting played by DJs such as Jeremy Underground and this is the first time it has been widely available.

                Fantasy Love Records established as a label in 2018 with a focus on the obscure and danceable sounds of the 80s. The point of the label is to revive the sounds of private/small pressings as well as unreleased tracks from groups who recorded boogie/steppers/disco via carefully illustrated vinyl releases & via digital for both collectors & DJs.

                Bristol-based Dakhla Brass are delighted to announce the release of their fourth album Murmur

                Murmur follows on from their previous release Gorilla, Gorilla, Gorilla, which gained support from (among others) Jamie Cullum and Gilles Peterson as well as leading to performances at Montreal Jazz Festival, and the Royal Albert Hall

                Murmur features a newly expanded drum&brass&bass six-piece line-up (thanks to the addition of Nostalgia 77's Riaan Vosloo on double-bass) and was recorded at London's Fish Factory Studios, and produced by Nostalgia 77's Ben Lamdin.

                EP from the new blood of EU electro - Datawave. Miiiiles ahead of most other artists paying, ahem, 'tribute' to the old school electro genre - within bars of hearing Datawave's vibration you know you're dealing with an OG.

                "Hidden Outpost" harnesses a gruff low end growl and abstract, sci-fi beats to create a slice of barren, space station electro that's as cold as Neptune's moons.

                "Stellar Wind"'s drum programming is what really sets it apart as glowing pads radiate thru the highly kinetic riddims for some ratcheting, powerful electro laced with pure class.

                Not much else to say, slap it ont deck at your next robo-boogie and maximum pleasure is guaranteed! 


                FORMAT INFORMATION

                Ltd 12" Info: Limited to 200 copies. No repress.

                Wonder Stories head over the pond for their impressive 24th release probing the Aussie / UK collaboration between Dawn Again and self-confessed footy fan Rothmans. Psychedelic and transient, these non-linear tracks seem to dip and dive out of a thick celestial aural swamp - itself the product of years of decomposing dance music artifacts left to fester undisturbed in the wilderness and unperturbed by current fashion and trends.

                Hoisted in for remix duties, Timothy J. Fairplay submits a tumbling, shimmering rendition of "Timeless Odyssey" which sees hi-hat patterns smudge out of time while concentric arps and angelic keys spiral around a centre of gravity.

                Emile Strunz meanwhile tackles "Rainbow Perch", wrestling it into a floaty 4/4 techno stomper with a buoyant optimistic and slightly New Wave outlook which recalls The Field and much of Kompact's exquisite catalogue. 


                Dead Naked Hippies / No Fixed Identity

                Young Male Rage / 123 Come Play With Me

                  Dead Naked Hippies thrashed into life in late 2016. The trio, bolstered by let-loose front woman Lucy Jowett, have cemented their take-your-head-off wall of sound infused Art Rock. Since their inception, they have received love from BBC Introducing, KCRW & been featured by DIY, Clash, Metro & PRS Magazine. The band have shared stages with the likes of Dream Wife, IDLES, Queen Zee & Honeyblood as well as playing to a sold out crowd at Live at Leeds and on the Festival Republic stage at Leeds Festival 2017.

                  No Fixed Identity is in the dawn of her artistic career but has already received applause & acclaim from people including Tom Robinson who played NFI on his BBC 6Music show. NFI is an exploration of identity through sound, visual art and raw human experience. They are an engineer of perception and have often been touted (by themselves) as the uncomfortable to watch, Louis Theroux of rap. Lyrically inspired by Amy Winehouse and Nas, stylistically mentored by M.I.A. and likened to a Jazzcockling Kate Tempest with tongue in cheek tones of Lily Allen thrown in for good measure, bringing their own revolutionary perspectives. 


                  FORMAT INFORMATION

                  7" Info: Split 7".

                  Brooklyn based, DJ Monchan, steps up to perform some surgical edit wizardry on four mouth-watering tracks for the ever-dependable Razor-N-Tape.

                  ‘Reaction Control’ kicks things off with a joyous disco gem, DJ Monchan extending and echoing those killer grooves to create a whirlwind of dancefloor delight. Next up, ‘Dance It All Out’ has a touch of the exotic highlife sound to it but reworked into a DJ friendly, irresistibly bouncing jam.

                  Flip it and it’s back to the late-night NYC soirees of the 70’s with ‘Can’t Promise’ channelling that pure unadulterated fun into an ethereal edit of magnetic proportions. Taking the final slot of RNT042 ‘Get Down With Your Love’ closes out proceedings with a silky smooth soulful heater.

                  STAFF COMMENTS

                  Sil says: Top draw disco edits from the well established Razor N Tape. Prolific as they come and keeping the competition well behind. These are sure fire for the discerning disco DJ who wants that perfect mix of dancefloor friendliness and unearthed rarities! Best of both worlds, folks!

                  Bristol's Milo Johnson aka DJ Nature has long been the man for those lowdown, dusted-out late night jams that simply ooze soul and atmosphere.
                  Having released music on myriad quality labels including Jazzy Sport, Golf Channel, Future Boogie and more, he felt it was time to craft a solid platform specifically for his own sonic explorations. Well, FWD EVR is that platform, and this, the maiden voyage on the label sees us welcomed into Milo's sound-world, where we feel soul, deep house and hip-hop vibes across 4 beautifully crafted cuts. The syncopated Afrobeat of "Oyasumi" introduces the set, serving dusty samples, low slung bass and dreamy keys alongside an innovative rhythm for full scale hypno-dance. On the A2, "Bobbi" is vintage DJ Nature, all tear-stained jazz samples, thick bass and vinyl crackle, filtered into the kind of soulful club cut we fell in love with on "Return Of The Savage". Flip it for more deep and dreamy beatdown via two mixes of "Violet & Me". The original mix sees Milo's trademark drum pattern topped by tight tabla and rhythmic chants, all underpinning the gorgeous combination of strings and piano. The "Native Healing Reprise" spins those same ingredients into a cooler, calmer and more relaxed variation which should work for the warm-up / warm - down.

                  STAFF COMMENTS

                  Patrick says: I love me a bit of DJ Nature, and this four tracker of beatdown brilliance ticks all the boxes. Soulful samples, thick basslines and Milo's trademark rhythms on his new label of choice.

                  DJ Vadim returns to the Dubcatcher kitchen for another feast of reggae, dancehall and digital bass pressure. A futuristically-leaning interpretation of the JA standards, mixed with the occasional bit of UK flaver, it sees Vadim relocate from London to Barcelona and as such, is more sun-flecked, energetic and party-focused.

                  As usual, a royal guest list reading like an A-2-Z of global talent: Mr Lexx (Major Lazer), Suku from dancehall legends Ward 21, BAY-C from TOK, Red Fox & studio 1 legend Earl 16 plus UK grime champion Killa P.

                  If you've ever been lucky enough to see this multi-textured and incendiary DJ play live, then this album should take you right back to front left, twerking and jerking you're way through myriad styles of bass culture. Also sounds mega soundtracking a hot box session in a blacked out Honda Civic! Big ting!


                  Dolls

                  Pop The Bubble

                    Having spent the last year relentlessly gigging in and around the capital, packing out venues and being heavily championed by Radio X & BBC Introducing, Dolls have spent the summer working with Nick Cave And The Bad Seeds / Grinderman drummer Jim Sclavunos on their new “Pop The Bubble EP”.

                    The 2-piece, comprising Jade (guitar and vocals) and Bel (drums and vocals), can today reveal lead single “Sugar Free”. A riotous example of their infectious grunge-punk, it’s a song on the bands views about “the use-and-throwaway society around us today, how superficial people's lives can be, and how rapidly people's values and what's on-trend can change”

                    Drummer Bel goes on to further explain, “It was a spontaneous song that came out of Jade's improvised guitar riff. When we were writing lyrics I had a sugar free drink and started thinking how people can get so pissed off when they ask for diet coke and get regular. So it represents those kind of first world problems & concerns about how our worst nightmare could be something so shallow that it's just ridiculous”.


                    FORMAT INFORMATION

                    12" Info: Multi-coloured (pink, blue and purple) and etched vinyl.

                    Dreamcast

                    Outer Space / Up 2 U

                    DC's Dreamcast continues to effortlessly flow across 7" wax, following his stellar releases last Summer on PPU ("Liquid Deep") . He goes in again for Future Times, with Max D on production. "Outer Space" is a wistful electro cruiser and "Up 2 U" gives off visions of walking home really early in the morning, confused and happy. This second track in particular sees a different side of the producer - downbeat, sampled jazz licks, sincere vocal and brash breaks harking back to the crate-dug, soulful hip-hop of the late nineties. Still mega tho!

                    This is a great, long lost album from the Dub Surgeon now finally released on Ark to Ashes. Engineered by one Ricardo Villalobos (!!) and a big one for fans of Rhythm & Sound, Echospace & Seekers International, this is oceanic and thoroughly psychedelized DUB MUSIK for the deep heads and should demand your immediate attention!

                    Devoid of traditional rhythmic structures, ideas and motifs drift in on waves of white noise and electrostatic; the 'rainforest' fx and exotica idents indeed predating the SKRS INTL blueprint by some years.

                    Smothered in tape delay and aquatic reverb, the music rests below the surface of a crystalline sea, an ancient dub story lost in the vast currents of the Pacific but, like a message in a bottle, impossible the destroy and ready to be uncovered by human life once again...

                    Highly, highly recommended!


                    STAFF COMMENTS

                    Matt says: Oh my! Just when you've exhausted the SRKS catalogue, here comes these 13 blissful tracks, suspended inna dub dreamscape, ready to take you off into another world. So good.

                    The latest release from D.U.D.S. is a deepening of the sinister sonic territory they have been exploring, in various forms, since they formed. Bass lines and percussion lope through the undergrowth while jagged guitars pierce the ears. Then there’s the brass section, which works less as a means of driving home a song’s point, than as a warning that whatever comes next is unlikely to be anything you expect. Lyrics are still somewhat hard to make out, emerging from the rhythmic chaos at intervals, as though you were listening to the recording of an Old Testament prophet, preaching from the ruins of the twenty first century. I don’t know what kind of band D.U.D.S. are supposed to be. There are labels you could apply to them, terms like ‘wave’ and ‘punk’ with various prefixes designed to qualify the fact that they don’t really sound like anyone else. Immediate makes that fact all the more obvious and all the more compelling.

                    "Sometimes you catch something unexpected which resets a switch, excites and engages. I caught D.U.D.S. a couple of years ago on a whim, they were visiting Newcastle supporting their debut album. I had never heard them or of them but the moment their perfectly disjointed music hit the room, I was all smiles. Warping brass shapes through the room entwined with guitars played as percussively as they are melodically, the whole sound coalesces into a rolling ball of spiked energy.
                    Their take on punk rock welds the caustic atonality of The Fall to the coiled funk of Liquid Liquid. Both drenched in negative information and loaded with dance floor impact. Lyrically themes explore the human condition a lurching dread and this dichotomy of no-wave funk and the lyrical creep is the hook the grabs me/you/us and forces a regular return."
                    - Bish (Opal Tapes).


                    STAFF COMMENTS

                    Barry says: D.U.D.S have had their fair share of mind-blowing arty Indie and are now embracing their more esoteric jazz-fuelled desires with this rhythmic but ever-changing collection of syncopated jams and meandering weirdo funk, think Primus on valium.

                    After remixing Lord Echo’s track “The Sweetest Meditation” for Soundway Records in 2017, New Zealand’s Julien Dyne returns to the label with the full album “Teal”, a synth-heavy sonic palette of future-soul and percussive afro-house. Julien Dyne is a multi-instrumentalist with a long and impressive history of collaborative, live and solo musicianship. Best known for his solo work with BBE and having worked with the likes of Theo Parrish, Steve Spacek and Andreya Triana as well as having remixed Marcel Vogel, Ghostwave and Leroy Burgess (alongside Frank Booker) and more - Dyne has also accumulated a number of accolades over the course of a 10-year career including but not exclusive to being hotly tipped by both Moodymann and Gilles Peterson. Dyne’s new project for 2018 is an 11-track LP on Miles Cleret’s extolled Soundway label. Demonstrating a shift in gears and movement toward a more uptempo, Afro-inspired sound “Teal” melds instrumental flair with astute production and a persistent grain of impassioned, effortless soul. Including collaborations with the likes of long term band-mate Ladi6, Fat Freddy’s Drop’s trumpeter Toby Laing, vocalist and Lord Echo collaborator Mara Tk, Australian vocalist Tim Guy plus jazz luminaries Jonathan Crayford and Jon Bell - this is a body of work for the listener and the dancer alike with a mood as fitting for headphones as it is for the floor.

                    FORMAT INFORMATION

                    2xLP Info: Cut loud at DJ-friendly 45RPM.

                    Empress Of

                    Us

                      Lorely Rodriguez, the artist known as Empress Of, recorded her new album, Us, all over Southern California. Topanga Canyon. Ojai.

                      It was the first time she tried to record music this way-sequestered, for a month at a time, in between touring and performing, alone but for the company of a cricket. She would later invite collaborators-Dev Hynes (aka Blood Orange), LA production duo Sam Griesemer and Jerome Potter of DJDS, Spanish electronic producer Pional-but the resulting project remains a showcase of Rodriguez' skill both as a lyricist and a producer, though she is wont to admit it.

                      The artist is modest about her skills as a instrumentalist ("Lorely plays every instrument half-assed," she says, "Put that in the bio.") and coy about her process as a writer ("I don't write out chords for my songs. Everything is intuitive in production. I don't have one piece of sheet music for my songs.")


                      FORMAT INFORMATION

                      LP Info: Standard 12” Black Vinyl with 12” Jacket, Full Print Inner Sleeve with 2 UV spots, custom 24” x 24” Double-Sided Poster Insert & Includes Digital Download.

                      CD Info: Standard CD with digipak Insert & Custom 14” x 14” Double-Sided Poster Insert, Includes Digital Download.

                      Energize

                      Piece Of Class / Star Of The Disco

                      Rain&Shine proudly present ENERGIZE, a band out of Marin County, California in 1979. Previously unobtainable even for top DJs due to rarity, Rain&Shine gives this double A side modern soul/disco 45 an official re-issue treatment. About ENERGIZE (words by Dan Hays - Guitarist, Songwriter):

                      ENERGIZE came to age in a post-hippie era, where musicians went back to playing covers in bars. However Marin was still inexpensive and it was possible to pool money together to buy studio time.

                      That's how ENERGIZE formed - working musicians led by the superb producer and guitar player, Archie Williams (son of Archie Williams Sr - a passionate educator, WWII air force pilot and 1936 Olympic champion) Dan Hayes - songwriter and guitarist, and John Isabeau - lyrics and our executive producer.

                      John is now a successful Hollywood producer, Oscar documentary award winner, and resides in James Brown's former house in Las Vegas.

                      The record also features a hugely successful blues vocalist who has asks to remain uncredited. Archie, John and I now have grown children and a few grandkids as well and getting a kick that 40 years later, our self-produced record has found an audience. Far Out.

                      STAFF COMMENTS

                      Sil says: Two mega high roller disco bombs with the label 'rarity' hanging proudly on them. This is a high caliber reissue and unfortunately we are not getting many so rush in!

                      Damiano Von Erckert

                      Recklinghausen EP

                      It's the return of Damiano Von Erckert - yippee!

                      The label head's had a busy year, with an extensive touring schedule alongside the day-to-day running of Ava - who if you didn't know re-released Move D's seminal "Kunstoff" LP early this year.

                      Its back to the present on this outing here though, with four brand new tracks from the German-born, France-residing artist.

                      "Marl" deposits a solid haul of synthesized elements onto a sturdy house beat, turning up the echo and reverb settings as a cascade of niceness spills outta the speaker stacks. It's straight away undeniably DVE - rich, powerful and sonically intriguing. "Recklinghausen" is named after the producer's place of birth and is somewhat darker and more introspective than the previous piece - perhaps hinting at some deep residual melancholy or perhaps not!

                      Flip the disc and "Dortmund" should disperse any doubts about this being a geographically themed EP. It's a club-focused track with clever spoken word vocal and squishy, spongy kick drum that'll sound mint through a half decent rig - this is my jam baby!

                      One more left on the starting blocks and "Essen" ignites a full frequency frenetic banger resplendent in twangy leads, gritty reversed vox and sublime drum sequencing. DVE's ability to create techy refrains and idents out of negligible vocal snips and artifacts perfectly demonstrated as the 'bbrrrr-yeh' vocal part cuts right through the stems on this beast.

                      We heart DVE! - Totally recommended. 


                      Exit Group

                      Adverse Habitat

                        From the dank warehouse recesses that brought us Useless Eaters and Dry Erase, Castle Face introduces Exit Group—sharply futuristic post-punk with a pissed-off lean, antisocial lyrics spit over an abnormally locked-in guitar / bass / drums triangle, wound up tighter than a Swiss watch. Post-everything sample tweakery and chromedipped guitar tonality lend a darkly robotic sheen, abraded riffs pop up everywhere but where you think they should be, clanging and clanking inhumanly around elaborate Rube Goldberg patterns, tessellating under flickering municipal neon. Adverse Habitat is bone-dry furious, turning on a dime just to slap the drink out of your hand. 

                        Exit North

                        Book Of Romance And Dust

                          Exit North Announces Lush, Atmospheric and Melancholic Debut Recording Book of Romance and Dust. New quartet featuring Japan co-founder Steve Jansen, Thomas Feiner, Ulf Jansson, and Charlie Storm traces the edges of darkness and hope across a nuanced, provocative song cycle Exit North’s Book of Romance and Dust is an uncompromising and unconventional debut album that explores the collective psyches and diverse influences of its renowned members. Over a 4-year collaborative timeline, Steve Jansen, Charlie Storm and Thomas Feiner have contributed in multiinstrumentalist capacities and Ulf Jansson has focused on piano and keyboards. All the instruments one associates with the world of rock are involved, but employed within an eclectic mindset. The recording also features trumpet, harmonium and a string quintet.

                          Legendary jazz bassist Lars Danielsson contributes upright bass. Feiner’s deep, rich vocals are vivid and emotional. They pair perfectly with the recording’s spectral qualities, incorporating the ambient and orchestral, the meditative and kinetic. The album is one that rewards repeated engagement. Full of layers and complex lyrical turns of phrase, the record requires an investment to absorb. It also includes an instrumental in “North” that finds Jansson conveying melodic intrigue in the absence of a voice. “The group has a patience and attention to detail that I find rare to come across these days,” said Jansen. “Most people want to rush the process and find the nuggets as quickly as possible, but the years spent on this album have been well worth it. The recording reflects a constant pursuit for the best we can achieve without a concern for the time it takes. This type of music is timeless, so there is no bandwagon to rush towards. We each have great attention to detail and a determination to avoid superfluous musical and lyrical content. We wanted to dig deep and express our connections with music and make the type of album we felt represented a culmination of our years of experience.” A co-writing partnership first formed when Feiner worked with Jansen on his 2007 solo album Slope. Jansen sensed a kindred spirit and pursued a long-term working relationship. Feiner was already partnering with Jansson on other projects and brought him into the fold. The trio officially planted the seeds for a new group.

                          Feiner then realised the potential of inviting renowned Swedish producer and engineer Charles Storm to join the group. The two met years earlier at a Jansen performance in Stockholm, so Feiner was aware of Storm’s appreciation for Jansen’s previous output. They also had a mutual friend in Jansson. Everyone felt a sense of trust, shared experiences and camaraderie that informed their sessions. “The creative process for us is successful because we can communicate progress in composition and structure without being too precious about personal choices,” said Jansen. “The tracks have been through a number of changes and this process of raising the bar was only achieved by never resting on our laurels or believing one person’s own way is the best way. It’s truly a collaborative band in that sense. It’s why we credit all the music to the entire group.” Exit North is truly about generating an aural gravity that pulls the best out of its participants. Those who admire Jansen’s instrumental, experimental solo output, as well as his song-based work with Japan and Rain Tree Crow, will find much to enjoy on Book of Romance and Dust. Similarly, the audience Feiner has cultivated with his group Anywhen and its acclaimed recording The Opiates, will encounter a related, spacious aesthetic. Jansson and Storm have also worked on countless sessions across myriad genres that have enriched the global mindset they brought to this expansive ensemble. 

                          Mosaic is a heavy new three tracker from a band whose reputation exploded this spring with the release of debut album Murmuration.

                          Lead track Mosaic is full of the warmth of this heatwave-summer, syncopation and groove in abundance. Driving melodic lines and keyboard atmospherics suddenly give way to one of James O'Keefe's most powerful guitar solos to date, wild and psychedelic.

                          Transcoso brings the band to the downtempo magic that they have become much loved for. Heavily inspired by Azimuth, an hypnotic beat from drummer Jonny Drop eventually builds to a euphoric, almost slow disco climax for the final section.

                          'Mariposa' is a timely tribute. Debuted at their London album launch this take on the Freeez classic (although the live version in particular) explored a little more of the South London, Brit Funk influences that really drive the band.

                          Huey Morgan (BBC Radio 6 Music)- Beat of the Week, Record Of The Week and one of the records of the year so far (“All Meat" show), Tony Minvielle (Jazz FM), Shy One (Balamii) Thris Tian (Worldwide FM), Patrick Forge (NTS Radio), Dom Servini (Soho Radio/Netil Radio) Murmuration - Release of the week on Vinyl Factory,

                          It's clear, from how tight and precise tracks like 'Cannonball' sound, that this is a group of music heads doing what they love. We love it too. Lonely Table

                          STAFF COMMENTS

                          Millie says: Moody synthesisers one minute and then upbeat rapid tempos the next! Creating this alluring jazz and cold wave focused album. Original and beautifully done. Love this!

                          Farao

                          Pure-O

                            Pure-O, the new LP by Berlin-via-Norway musician Farao, is a prog-pop exposition on the curious dichotomy between beauty and destructiveness in sex and relationships. Where so much modern pop attempts to tug similar thematic threads only to succumb to naiveté and euphemism, Farao grabs these subjects and dives headlong into a neon pool of synthesizer, zither, drums, and soaring vocals without sacrificing maturity, complexity, or artistry. Musically, she references 90’s R&B, and the untapped goldmine of Soviet disco. But the most important pillar of Pure-O – its living, breathing, biological quality-- is entirely Farao’s own. To be sure, all of the electronic ingredients are in the exact right places on Pure-O.

                            Soviet-made synth tones ripple out fr om an undefined center lik e a Frank Stella painting, with sharply angled lines of color buzzing with concentric, hand-painted ecstasy. Rolling vocal melodies carry descriptive turns of phrase to gratifying heights, echoing in listeners’ minds long after their ears. In the spaces between all this electricity, there are shimmering microcosms of Alice Coltrane-esque acoustics that provide the album with an unmistakably rich, tactile marrow. Perhaps, then, we’re hearing Farao’s early youth in Norway finding perfect equilibrium with her adulthood in Berlin on Pure-O.

                            She says of the time she spent recording, “I was in the process of learning how to conduct myself while not getting sucked in to the whirlpool that is Berlin party culture,” and of her childhood “It wasn’t a place I felt stimulated creatively, and felt quite lonely there growing up, which made me turn to music as a language for a set of emotions I didn’t know how to release otherwise.” It’s precisely this relationship between quiet reflection and overstimulation that makes the album unlike anything of its genre. In an age when non-electronic pop seems like an outlier, Farao constructs a bridge of humanity from the organic to the inorganic, rounding out the hard edges and sharpening the soft ones, thereby transplanting a healthy, beating heart into modern synth-pop. 

                            FORMAT INFORMATION

                            Coloured LP Info: Limited transparent vinyl.

                            Coloured LP includes MP3 Download Code.

                            Still riding the acclaim of "Pablo" - Pitchfork's 'Best New Music' and a candidate for the song of summer 2018 - Michael Greene aka Fort Romeo drops a three tracker for Ghostly’s Spectral Sound imprint that finds him in fine form.

                            "Untitled III" pulses out from the onset, riding a serpentine melodic line into a haze of impressionistic house before its final demystified minute. The drama swells in the back half while never losing its resolute calm. “Organelle” slows the pace with twilight stabs and warm subs in check, claves echoing down the hall. “Empire” revs the tempo back up, all twinkling synths and gnarled bass, the cerebral, celestial sequence starts off as a night drive and ends well above the road. One of the most accomplished studio producers in dance music today in our opinion, and these three perfectly formed tracks should give you a taste as to why. Expert stuff. 


                            As with many of the greats before him, Amaro began playing piano in church aged 12, under the instruction of his father, leader of the church band. As his natural talents became obvious, the young prodigy quickly outgrew his father’s instruction. The transformative moment came at age 15 when Amaro stumbled across a DVD of Chick Corea concert, “he completely blew my mind, I’d never seen anything like it but I knew that’s what I wanted to do with a piano”. By the age of 22 Amaro was one of the most sought-after musicians in Recife and resident pianist at the legendary jazz bar Mingus. It was during this time he met and begun collaborating with bassist Jean Elton and the pair went in search of a drummer. Hugo Medeiros joined, and the Amaro Freitas Trio was born. Following his critically acclaimed debut album Sangue Negro (black blood), the title of his second release Rasif is a colloquial spelling of Amaro’s home town. A love letter to his native northeast, Amaro explores its traditional rhythms through the jazz idiom, employing complex mathematical patterns reminiscent of some of the most challenging works by fellow Brazilian masters Hermeto Pascoal, Egberto Gismonti and Moacir Santos.
                            Preferring to see the piano as a though it were a drum with 88 unique tones, Amaro’s intelligence and emotion intertwine on every track, from album opener ‘Dona Eni’: a scorching reconstruction of the baiao rhythmic structure, played in seven measures instead of two, to the serene homage to the coastal reef and its ecosystems on the title track ‘Rasif’. ‘Aurora’ is a suite of three parts, representing the sun’s journey from the light and soft of the rise, to the aggressive dissonance at its midday zenith and descending chromatic cadences as the sun sets. Having already made a name for himself in Brazil, Amaro and his phenomenal band will embark on their first European tour later this year.

                            Blair French returns to Rocksteady Disco after last year’s brilliant "Standing Still Is An Illusion" for another 12” of mind, body, and soul music. “Public Park” starts off the release, with flutes, guitars, and African marimbas abound, presenting itself as the song of the summer. “Spirit Guides” follows, taking listeners and dancers on a spiritual Afro-jazz odyssey. The flip features two versions of “Public Beach”, a communal ritualistic dance track cum Detroit jit / footwork cut (!!!) with a massive bassline, pulsing percussion, and harmonized chanting, bringing to mind Shangaan Electro's hi-nrg tribal offerings with an added element of urban edge. Mega!

                            The Future Sound of London's long and varied history stretches back almost 25 years and as such a vast amount of unreleased material exists in the FSOL archives. "Archived 9" brings together another 12 such tracks; in some cases these are completed but unreleased songs from that time, in others the songs have been reconstructed or enhanced and then further mixed to form the journey. This album is not just a collection of random off-cuts. It is a fully realized album, worthy of sitting alongside the rest of the band's critically acclaimed work. Did you know - The Future Sound of London were the first band to distribute their music via the internet, in 1994. Did you know - The Future Sound of London were the first band to use ISDN technology to transmit their music via the internet and also to radio stations across the world - a system that has now been adopted by the radio industry worldwide. (No I did not; but as I often say, every day's a school day here at Piccadilly Records... - ed).

                            Selected by Sky Girl co-conspirer Julien Dechery, Le Raccourci culls 15 tracks from Gandera's extensive cassette discography, discarded DAT recordings, and split CD with Lyon toy music project Klimperei. ...

                            While Gandera's nostalgic melodies incidentally parallel with the piano key manoeuvres of Pascal Comelade, Robert Haigh and Dominique Lawalrée, Le Raccourci could only stem from the escapist desires of one Eric Morin.

                            The impressionist landscapes of a sensitive soul self-reflecting, these miniature compositions alternate across a rudimentary set up of piano, field recorder, sampler and four track. Melancholic utterings hastily captured some 100km east of Paris.

                            Classically trained by the same teacher as his parents, Gandera first began recording in the confines of his university dorm room, inspired by a C60 from friend and future collaborator Bernard Odot (A Gethsémani). Humbly existing without sparing a thought to music industry or career, Gandera's personal effects surfaced via the European and US cassette networks from 1988 to 1994. Impressively accomplished for the DIY scene they orbited, these tapes were issued in scant quantities, rendering his pieces as private secrets shared and duplicated in small concentric circles. Aside from a sole, avowedly traumatic performance, the material was never shared in a live context.

                            These sentiently charged compositions only hint at his larger catalogue, but act as a compelling cross section of the artist's oeuvre. The identity is further detailed by archival images, Glen Goetze penned liner notes and original artwork from Perks and Mini's Misha Hollenbach.


                            FORMAT INFORMATION

                            Ltd LP includes MP3 Download Code.

                            Garagen Uwe

                            Balayage

                            "Balayage" is Garagen Uwe’s first release on the Berlin-based label Beatbude. It’s a two-hits-single that comes with stickers and a business card and is really quite good!

                            Landing on some three dimensional, digital landscape the sounds are soothing and languid. "Balayage" sees the ancient rhythms of house music, opiated and re-delivered 66% slower than their original intention as dizzying and exotic synthwork paints a multi-coloured environment onto the sonic canvas.

                            "Ombre'" re-packages instrumental bedroom boogie into a more beguiling and coastal-leaning idea. Delicate guitar picks jostling against thick analogue synths and twinkly Casio melodies to conjure up that perfect moment of horizontal bliss. Watch you don't get yer towel wet...

                            Recorded at Miami Nice Studios (GER) and mastered by Kelly Hibbert (CRC) this comes fully endorsed by us here at Picc HQ. 


                            House music's currently residing chairman Gerd returns to the Aus council with "The Prophetess EP", a four tracker that harnesses a peaktime mentality with a melodic sensibility as the much lauded superstar crafts four house music cruise missiles.

                            If you're a fan of G's much loved NY Stomp & Geeeman monikers then this release should certainly be up your street. Think wild leads, slamming kicks, frenetic perc and a whole manner of darting, analogue based fx. Wunderbaa! 


                            Boom! There's summat in the water this week (probably magic mushrooms at this time of year! - ed) as we get not one but TWO totally shamanic and esoteric new releases on our shelves.

                            Alongside Andy Rantzen's LP for Ken Oath ("Blue Hour Vol. II"), Grrrr jump straight down the rabbit hole for Tax Free here, conjuring up a mini album / collection of creeping percussion rituals and spiritual rainforest excursions.

                            The perfect (imaginary) soundtrack to Terrence McKenna's 'True Hallucinations' - it's hard not to be transported into a rich and varied flora of philosopher's stones and exotic species, whilst direct contact with the spirit realm is almost guaranteed.

                            Truly out-there and magical stuff for sound shamans and aural entheogenic practicers throughout the cosmos. Recommended! 


                            Hairband

                            Hairband

                              Bursting forth in a riot of colour, Hairband are a new five piece group from Glasgow who, on their debut recordings, have distilled the joy and bittersweet trials of youth into 5 songs that bend to no rules but the ones they make up as they go along. Deeply immersed in their local DIY scene and featuring members of groups Spinning Coin, Breakfast Muff, Lush Purr and Kaputt, Hairband’s take on pop music is their own, so natural yet odd-shaped, carefree but meticulously constructed that it feels like no one has quite made music quite like this before, celebratory and joyful. Recorded in Glasgow’s famed Green Door Studios, and played in the moment, Hairband are life-giving.

                              Hairband formed in 2016, by Glasgow DIY standards that makes them veterans. Their instinctively intricate triple-guitar lines deftly weave counterpoint and melodies which interact with Sephi Lock and Emma Smith’s elastic, breathing rhythm section. The music here presents as streamlined pop but bubbling beneath the hooks is audacious instrumental work. Indeed, the tension at the heart of Hairband’s music is a group who can play without it sounding like a big deal. Is this a Glasgow thing, because Orange Juice were a bit like that, Sacred Paws too. Hairband even try on a little Marquee Moon-era Television on Sassy Moon and make it fit like the best charity shop find ever. They’re a band with five songwriters, each distinct with a uniqueness barely containable except within Hairband. The synergy of the group often means that individual personalities are immersed in the whole, so when Rachel Taylor’s voice is isolated at the end of Flying – a sweet but sure ode to gravity, about trying to stay grounded when the world is spinning - it’s all the more affecting. The play of light and shade throughout the record is deftly handled: opener Bee has an intricate rhythmic accompaniment, sounding a little like Life Without Buildings’ jittery polyrhythms married to a sweet ensemble vocal performance topped off with melodically nourishing guitar licks. It’s a formula repeated on Bubble Sword, with guitarists Rowan Wright and Simone Wilson’s twin chords criss crossing across the stereo-field before a straight down the line, loaded rock riff skewers the prettiness.

                              On the flip side, Hairband’s true instrumental prowess is on 10. Sassy Moon rolls out with the confidence of a band completely in tune with each other, Wilson’s vocal dancing across the treetops, Morricone-esque guitar slashes providing vivid colour. With Lock and Smith’s tight-but-loose rhythm loping purposefully and the group backing vocals washing over, suddenly the line “How do you feel? How do you feel… about the moon?” feels like the most important question you’ll ever be asked. White Teeth sums up every high on this epic self-titled debut. A stomping rhythm shrouded in soft melancholy emboldened by the band’s glorious sense of harmony. It could be a critique of beauty norms, a ghostly memory of an ideal unattainable but ultimately when the band are locked in like this it’s a source of pure joy, it goes beyond subject matter into wordless communication. Hairband is an ode to doing things differently, true, to standing together with your friends, to having respect for what’s gone before but also to carving your own niche. It’s simple, it’s not so simple, as Chic say, “celebrate good times”, Hairband seem to say, celebrate the times.

                              Motohiko Hamase

                              Reminiscence

                              Righteous expensive: Motohiko Hamase's 1986 album "Reminiscence" scores a decent prize at online vinyl selling platforms and it is worth every coin!

                              It's a perfect 'refuge from nasty reality', as the glorious British 20jazzfunkgreats blog once said, and it comes from a man that knows his trade: bass play - an artisan on which he also already wrote many theoretical books in his more than four decades long career.

                              In the 1970's Hamase was no stranger to Tokyo's vibrant jazz scene. Together with jazz pianist Tsuyoshi Yamamoto and jazz-rock guitar-ist Kazumi Watanabe he played in the Isao Suzuki Sextet and was part of their classic landmark jazz-funk album "Ako's Dream" from 1976.

                              In the following years he also participated on records like Mikio Masuda's latin-funk-jazz gem "Moon Stone" or Japanese female jazz singer, actress, and essayist Minami Yasuda's last album "Moritato". In the early 1980's his work shifted from pure jazz to electronic and ambient spheres and he started to compose his own music around his deeply emotional bass play.

                              From 1985 to 1993, Hamase released five solo albums. just recently Studio Mule dropped his first one, "Intaglio", in a new recording that sounds as stunning as the original release from 1986.

                              Now the previously mentioned "Reminiscence", his second work for the celebrated defunct Japanese new age record label Shi Zen, follows in a fresh shape on Studio Mule.

                              As the original, it features deeply touching moments of sheer pristine perfection and distributes Hamase's inner emotional landscape with a bewitching bass performance. a soothingly beauty of an album, that reflects Hamase's search for spaces of melancholy.

                              A rhizome of soundscapes that capture, settle and sound elusive while simultaneously being awe-inspiring. As for "Intaglio", the 66-year old artist gathered again some befriended musicians, rented a studio, staged his gear and recorded most of the original "Reminiscence" material new, while keeping the moving musical story arc of the original album alive in a fresh wrapping.

                              The result is a dazzling, blue mood seething, strongly hypnotic long-player, full of personality and hybrid ambient electronic jazz spheres that open doors to unheard sound universes and that perfectly work for all those stress-relieved souls that love the disclosure of the mind and seek for a 'refuge from nasty reality'.


                              Hashim, born Jerry Calliste Jr. got his start in the music biz by infiltrating (read: cleaning) the offices of indie hip-hop label Tommy Boy; he went on to cofound Cutting Records (later home to 2 in a Room, whose “Wiggle It” went gold). His 1983 cut “Al-Naafiysh” conquered the Danceteria club scene as an epic six-minute b-boy anthem that made kids spin smoking bald spots into their heads. New York stations like WKTU blew it up, while hip-hop DJs used its vocoded imprimatur, “It’s time,” as a scratch tool. One of the finest electro records ever produced, this is every home should have one tackle...

                              The Helio Sequence

                              Keep Your Eyes Ahead (10th Anniversary Deluxe Reissue)

                                This reissue celebrates the tenth anniversary of The Helio Sequence’s landmark album Keep Your Eyes Ahead with a full remaster of the original album, plus a second album of demos, alternate versions, and outtakes from the same era.After 3 albums and ten years of touring and recording, The Helio Sequence (Brandon Summers and Benjamin Weikel) recorded their most dynamic, extraordinary album, Keep Your Eyes Ahead. Keep Your Eyes Ahead married the Portland duo’s signature layered keyboards and impossibly big guitars with crisp songwriting and a relatively minimalist approach. The finger picking on “Shed Your Love” is backed by exquisite strings and ambient noise, but Summers’s serene, self-assured delivery remains front and center. While songs from the band’s early releases spanned up to 7 minutes, even the longest, lushest, catchiest track on Keep Your Eyes Ahead (fiery anthem “Hallelujah”) clocks in at 4 and a half minutes, evidence of just how refined their craft had become. Vocals were recorded spontaneously in bedroom closets and living rooms, which may explain the haunting urgency you hear in Brandon’s voice, especially on the driving title track.

                                Produced by the band, Keep Your Eyes Ahead confirms in The Helio Sequence an energy and a range that continues to defy narrow categorization. Unapologetic pop and folk meld seamlessly to create songs that are bigger, more epic and polished than anything they’ve ever done. Keep Your Eyes Ahead is the sound of a band and a decade-old partnership that’s been invigorated. And that’s exactly how the songs will make you feel: invigorated.
                                 


                                FORMAT INFORMATION

                                2xColoured LP Info: LOSER edition on blue vinyl.

                                2xColoured LP includes MP3 Download Code.

                                Hellions

                                Rue

                                  Generations of people have strived for harmony since those words were written, yet were at a point in history where we seem to be more divided than ever. Perhaps the question we should be asking is: how can we overcome our struggles with one another if we don't fully understand the one raging inside ourselves? There's never been a better time for an album that explores this tussling duality that Hellions guitarist and co-lyricist Matthew Gravolin describes as ͞the co-existence of a Jekyll and Hyde operating within a person at any one time." Rue is that album, and one that builds upon the marriage of theatrical dynamics and thoughtful lyricism that defined the genre-melding Australian quartets critically acclaimed previous offering, 2016͛s third collection Opera Oblivia. The resulting record is deeper and darker, with melodies that are more beautiful, and riffs, courtesy of guitarists Matt and Josh Campiao and drummer Anthony Caruso, that are more seismic. At its heart, Rue is a concept album dealing with our journey towards lasting purpose in spite of our flaws, though its authors agree it's open to interpretation. Even the title, Rue, represents multiple things, meaning both repentance and compassion. So what do Hellions rue? ͞The complexity of the human condition and, by extension, the world in its current state of affairs, they say. The tracks on Rue are divided into the pessimistic and humanitarian sides of life. 

                                  FORMAT INFORMATION

                                  Coloured LP Info: Blue and pink Splatter.

                                  'This record is the last to be written in our humble bedroom studio in Edinburgh, it deals with the usual theme of two 20-something overgrown emotional sad boys. Stress, trust issues and of course, dirt from Hawaii. Outside of this odd, brotherly-love project, we have also made music under solo pseudonyms (DJ Küsse / Ami K) so keep your ears open for that. We’re going to keep doing what we do best in the hopes that it pleases you as much as it pleases us. Right now, bye now, keep ‘er lit.' - Hi & Saberhägen.

                                  If this marks the end of chapter one for Hi & Sab (as I've been inclined to call them), then it's one hell of an outro! Four tracks of neo-tropical-house music, highly electrified and purpose built for extended outdoor play. The duo's completely unique sound palette seems to have found its unobstructed creative flow as these track's permeate a whiff of poise, flair and integrity; leaving us gasping to hear what's in store from the maveriks as they make their transition. Top stuff!



                                  Freshly excavated from the West End vaults comes Ednah Holt's 'Serious, Sirius Space Party', a thundering, slo-mo, bass-heavy slab of NYC electronic funk that will sound familiar to those who paid close attention to what the maestro Larry Levan was doing in his sacred booth at the Garage in 1981, or to those who tuned in to peep what the master Afrika Islam was doing on his now semi-religious, hip-hop blueprint 'Zulu Beat Show' on WHBI. That's right, you can guarantee if those 2 guys were playing your record in the city at the same time then you had an underground 'hit' on your hands. The fact that it crossed over from the discotheques to the streets and back again speaks of the appeal of this super heavyweight jam, the legendary team up of Kenton 'Kenix' Nix, Larry himself on the mix, and former Ritchie Family vocalist Ednah Holt makes for some heady listening. One for the after hours dancers, B-Boys and B-Girls and lovers of the downtempo workout. A true and essential NYC classic.

                                  Co-produced by Joel Ford (Ford & Lopatin, Airbird), this record plays as a single continuous piece of 21st century psychedelic music and features Krell’s most bewitching sound experimentation to date. Moreover, the stories Krell sings on this record – some biographical, many from the most knotted corners of human life – are deeply personal and human(e). The Anteroom - with its blizzardous electronic noise, fragile melodies and poignant poetry - reclaims the experimental core of the HTDW project.

                                  FORMAT INFORMATION

                                  2xColoured LP Info: Double heavyweight silver vinyl, 4-page booklet.

                                  2xColoured LP includes MP3 Download Code.

                                  CD Info: Jewel case, 12-page booklet.

                                  Igor B

                                  Aguas De Septembro

                                  Rocksteady Disco's second cut this week comes from Igor B who drops "Águas de Setembro" which apparently marks the transition from Summer to Autumn.

                                  The source material for these tracks comes from two classics of Música popular brasileirac - which Igor transforms into modern dancefloor bombs!

                                  "Ponteio" should be vaguely familiar with anyone with an interest in vibrant soundtracks and classic earworms; that fluttery, Summery flute melody capturing the soul of anyone lucky enough to hear it. Add rich strings, upright bass and a bustling percussion section and you've got yourself a slice of post-Tropicalia dancefloor fun that everyman and his dog can get down too. Surely coming to a Mr. Scruff / So Flute! / Banana Hill DJ set near you!!

                                  "Cisco Dois" is a more electronically powered upgrade; digital kicks and glassy arpeggios supplementing the organic material contained within. There's still a hefty dose of human perc and primal rhythms, but the overall feel is much more geared towards late night house music action.




                                  Insecure Men

                                  Karaoke For One: Vol 1

                                    In case you don't know by now, Insecure Menare led by Saul Adamczewski (Fat White Family) and his schoolmate Ben Romans-Hopcraft. There debut album was a glorious mess of  exotica, easy listening, lounge and timeless pop music.They now return with this 10 track covers record, feat. takes on Bruce Springsteen, The Pogues, The Carpenters, Peter Andre et al.

                                    STAFF COMMENTS

                                    Barry says: It's a completely bizarre but thoroughly brilliant re-working of some karaoke classics from Insecure Men here, including the Police, the Denny's and PETER BLOODY ANDRE. WTAF / This is brilliant. Special shout-out to the Pogues' 'A Rainy Night In Soho'.

                                    FORMAT INFORMATION

                                    Coloured LP Info: Blue Moon coloured vinyl limited to 500 copies.

                                    Coloured LP includes MP3 Download Code.

                                    Live From The Ryman was primarily recorded during the group’s six sold out nights at Nashville’s legendary Ryman Auditorium in 2017. The album features 13 live versions of songs from their last three critically acclaimed, award-winning studio albums - Southeastern (2013), Something More Than Free (2015), The Nashville Sound (2017).

                                    FORMAT INFORMATION

                                    2xColoured LP Info: Green/Gold vinyl.

                                    2xColoured LP includes MP3 Download Code.

                                    Jovonn returns to his Body N'Deep label for triple album "Timeless", his first LP since "Blaque House" was released on Code Red back in 2009 and jam packed full of hits.

                                    Focusing on the deeper side of house, Jovonn's trademark New Jersey drums, max swing, sweet piano parts and low bass characterize much of the album, with contributions by Patrick Mangan (violin on "Hesperia Soul") and Cassioware ("Turning Me Out"). Luckily for us there's no nonsense hidden amongst the three discs - Jovonn preferring to touch upon all corners of the house music playing field - soulful, deep, bumpin, frantic and jacking flavours all making their tastes known on the aural palette.

                                    Twelve tracks that radiate quality and deepness throughout - Jovonn's still at the top of his game. Recommended!


                                    “Building from understated beauty to dense guitar theatrics. It reminds me of Chicago circa ’93 as remembered in a dream — a little bit of Liz Phair 'Exile In Guyville' - rendered in soft-focus with the graceful confidence of a young master. “ STEREOGUM.

                                    In January of 2018, five months after the release of her debut album Night Night at the First Landing, Madeline Kenney traveled from Oakland, California to the woods outside of Durham, North Carolina to record her sophomore album with a new collaborator, Wye Oak’s Jenn Wasner.

                                    The choice was a conscious decision to explore new methodology in writing, recording, production and even genre. Perfect Shapes sees Kenney leaping headfirst into fresh and adventurous territory, largely eschewing conventional rock structures in favor of theme and melody. Its ten songs are full of surprises big and small - from vibrant synth lines to taut bass figures and subtly modulated vocals - that instead of feeling fussed over, reveal Kenney’s penchant for elegant and abstract composition.

                                    Kenney’s 2017 debut, Night Night at the First Landing, was a guitar-centric rock album, produced by friend and collaborator Chaz Bear of Toro Y Moi, Perfect Shapes leans on the foundational pieces of Night Night - fuzzed-out guitar tones, coy wordplay and Kenney’s notably strong voice - but with an unconventional approach that allows them to bloom, reincarnated. Perfect Shapes marks Wasner’s first foray into producing another artist’s work and is permeated by the pair’s collaborative spirit. Both Wasner and Kenney play multiple instruments on the record, and engineered the session alongside Kenney’s touring percussionist, Camille Lewis.

                                    An eagerness to explore and experiment is apparent from start to finish, as Kenney and Wasner weave endless sonic curve balls into the arrangements. From the delightfully warped percussion on opening track “Overhead” to the burbling synths on the R&B-tinted “The Flavor of the Fruit Tree” and the left-field trumpet solo in “Your Art,” these rich and inventive ideas echo Yo La Tengo’s everything-but-the-kitchen-sink mentality, as well as the surging soundscapes of Tame Impala and Wye Oak at their most impressionistic. Lead single "Cut Me Off" is a surprise of its own - the most pop-forward song Kenney has written yet. “Bad Idea,” finds her balancing fragility as foil; later, “I Went Home” manages to evoke both frustration and affection in a single breath.

                                    The complex and open-ended questions that lay at the core of Perfect Shapes mark Kenney’s arrival into a hard-hitting reflective space: How do you love another when it hurts to do so? What is the physical limit to which one can carry the emotions of others? How does a modern female artist reckon with the expectations demanded of her femininity? Yet for all the notes of doubt and fear that Kenney raises, she delivers each song with confidence and poise, grounded by the pointedly laid and surging soundscape.

                                    Kenney has always had a penchant for curiosity and experimentation. Raised in the Pacific Northwest, she began studying classical piano and dance in kindergarten, and grew to believe her future lay in modern dance choreography. Not one to be tied to a singular pursuit, however, Kenney took a hard left in college, studying Interpersonal Neurobiology and supporting herself with a career in baking. Music remained a constant however, and after moving to the Bay Area in 2013, Kenney quickly found footing in the supportive arts community in Oakland. There, she met and began collaborating with Chaz Bear (Toro Y Moi), which led to the production of her Signals EP and later her debut album, Night Night at the First Landing. Both releases were received with great critical acclaim, and saw Kenney exploring the sounds within her self-proclaimed twang-haze genre, defined by cathartic fuzz breakdowns and lyrical sensitivity.


                                    FORMAT INFORMATION

                                    Coloured LP Info: LP is on coloured coke bottle green vinyl + includes download code and 12x12” lyric sheet/ liner note insert.

                                    Coloured LP includes MP3 Download Code.

                                    Kyoto Jazz Sextet

                                    Mission - Inc. Jaxx Madicine Remix

                                    Second 10" release from Kyoto Jazz Sextet as Local Talk continue to mine the band's "Unity" LP for dancefloor hits and suitable remix fodder.

                                    "Mission" undergoes heavy treatment from Milanese trio Jaxx Madicine who roll out funky house flavours full of bolshie piano, wobbly leads and a frenetic MAW-styled drum attack. House music that's vibrant and full of life - still giving those skilled drum solos and jazz flecked passages enough space to shine through the duration.

                                    As per the previous release, "Mission" is included in its original form, spread out across side B in all its glorious detail - a focused and intense workout based around staccato piano lines, dynamic drum section and invigoration chord progressions. Top stuff!


                                    Kyoto Jazz Sextet

                                    Rising - Inc. Ron Trent Remix

                                    House music staple Local Talk present the first of two 10" releases featuring music by Kyoto Jazz Sextet.

                                    "Rising" is taken from their second album "Unity" released on Blue Note in 2017 and follows the deep rooted tradition of the label - rich in expression, improvisation and musicality as they offer sincere updates to the trad jazz cannon. Besides the accomplished original track, for the 12" release here they have included a stunning remix by the legendary Ron Trent.

                                    Delivering one of his meandering, jazz leaning, live-fuelled numbers, big Ron fills the mix with bustling brass, upright bass and a busy rhythm section to create a spiritual house masterpiece packed full of instrumentation - wonderful!


                                    Compilation of the works by MJ Lallo, weird harmonizing mantras layered with drummachine rhythms.. Very psychedelic compositions where she uses her voice to create all kinds of sound(scapes)

                                    Take Me With You is a revelatory voyage through the captivating universe of voice artist and poet MJ Lallo. The works on this 2LP compilation were all recorded in her home studio between 1982 and 1997, primarily using drum computer, synth and her own voice processed through a Yamaha SPX 90 digital effects unit. They range from wordless harmonizer mantras and primitive drum computer meditations, to psychedelic latin dance-floor anthems and synth-drenched end-of-the-nighters. Lallo has created her own inimitable galaxy of sound where the human voice, liberated from the constraints of language and abstracted using digital technology, is able to explore the outer realms of human expression, like Joan La Barbara with an Eventide and a new-age sensibility. Although Lallo’s flight path is distinctly her own, her journey converges with other travellers as diverse as Jon Hassell, Laraaji, Stereolab, William Aura, Laurie Anderson, Meredith Monk, Gertrude Stein and even Terry Gilliam (whose film Brazil was a big influence on Lallo). Like something beamed in from another planet, Lallo’s work is both fascinatingly strange and strangely familiar, and will leave a lasting impression for lightyears to come. Double gatefold LP, remastered DDM pressing.

                                    Kiran Leonard is a 22 year old musician from Saddleworth, Greater Manchester. Debut album proper Bowler Hat Soup (2014) and follow-up Grapefruit (2016) were both recorded at home, with Kiran playing virtually every instrument himself. Dervaun Seraun (2017), a concept album in five movements inspired by five pieces of literature and arranged for piano, strings and voice, was an ambitious departure from his usual sound.

                                    Western Culture now sees him return to the signature sound of his first two records, yet marks a huge sonic progression thanks to the involvement of his venerable live band on record for the first time, as well as being the first to have been made in a professional studio (Old Granada Studios in central Manchester). Please read on for Kiran's statement on the record, discussing the themes within.

                                    I like the phrase “WESTERN CULTURE” very much because it is a resounding clang from a hollow vessel, connoting so much (grandeur; authority; hostility) without possessing a concrete meaning in of itself. What does ‘western culture’ consist of? This question changes shape depending on who is speaking: e.g., ’culture’ is constantly evolving and autonomous, rapidly reacting to and altering the present in which it unfolds, but is simultaneously regarded as something static and possessed, corresponding roughly to ‘tradition’ or ‘heritage’, something people can call on when the world seems precarious and alien and antagonistic. And so very often when we talk about culture, we reveal our personal conceptions of world events and of what is to be done.

                                    "“WESTERN CULTURE” — these heavy phrases without substance are of great importance because they are easily manipulatable agents with the potential to sustain great impact on the real world. Not every issue stems from language, and sometimes we allow our discourses to replace real things, which belittles violence and misunderstands the very real violence that phrases inflict. But I wanted to write about the relationship between the two, and show how a lot of very real brutality is distorted and justified by how we choose to depict it.

                                    "In part, then, it is a response to brutality. We seem inundated by a brutality beyond our comprehension: the kind of nationalisms and capital, and the brutality of not knowing. The latter is particularly damaging because it is so difficult to oppose what you can’t understand/articulate. I wrote this record about all this not because I wanted the real world to be eclipsed (that is; I didn’t want to self-absorbedly change a problem of violence into one of self-expression) but because I don’t understand any of this, and the struggle to depict the world and lived experience in a more truthful way is waged discursively.

                                    "Process of understanding; process of recognising perspectives beyond your own, and the historical, political forces of imbalance that engender them. I am interested in where songs might fit into all this; I think that it might be a valid means of approaching an articulation of violence, but I also suspect there is something totally absurd about the whole venture."


                                    Low

                                    The Great Destroyer (2018 Reissue)

                                    “From the ominous, post-punkish pulse and clang of opener ‘Monkey’, to the decidedly punky frustration of ‘Everybody’s Song’ and the unapologetic riffing of ‘California’, ‘The Great Destroyer’ pushes the band's sound on to thrilling new vistas” - The Guardian

                                    Formed in 1993, Low are a trio from Duluth, Minnesota comprised of guitarist/vocalist Alan Sparhawk, percussionist/vocalist Mimi Parker and bassist Zak Sally.

                                    Initially garnering attention as leaders of the ‘90s slowcore movement, Low went on to develop a sonic repertoire that incorporated pop, R&B and dissonant rock ‘n’ roll. With this kind of storied history, most people thought they had Low pegged. But then they turned in ‘The Great Destroyer’.

                                    The band’s seventh full-length album, ‘The Great Destroyer’ is fascinating in that it blends the band’s austere melodies (‘On the Edge Of’, ‘Silver Rider’) with an aggressive guitar onslaught (‘Monkey’, ‘Everybody’s Song’) and even melds Low’s varied styles together into a single song (‘When I Go Deaf’).

                                    Co-produced by Low and David Fridmann (Flaming Lips, Mercury Rev), ‘The Great Destroyer’ was a welcome surprise and, in the end, a rock ‘n’ roll revelation.

                                    The Lucid Dream

                                    Actualisation

                                      Driven by fans raising £10,000 to help replace all equipment robbed after a Paris show in early 2017, a new album became the instant focus in the summer of 2017 for a rejuvenated The Lucid Dream.

                                      ‘Actualisation’ is soaked in the influence of acid house, amalgamated with dub and kosmische. It will again see them acknowledged for venturing into pastures new, setting themselves apart from ‘genres’, ‘scenes’ or what any other act are currently doing.

                                      The album was penned over the summer of 2017 by Mark Emmerson (vocals/guitar/synths), using only the classic Roland 303/808 synths, bass and vocals as tools for writing. Inspiration for the writing was formed via continuous listening to the Chicago to UK acid house works of 1986-1992, the focus predominantly on the groove.

                                      Several months on from those writing sessions and The Lucid Dream have completed their 4th album in 5 years. A record made for the dancefloor.

                                      Recorded at Whitewood Studios, Liverpool, with Rob Whiteley, the album is produced alongside long-time collaborator Ross Halden (Ghost Town Studios, Leeds), with mastering via Dean Honer (All Seeing I/I Monster/The Moonlandingz).

                                      The confrontational techno-punk of ‘Alone In Fear’ opens the album, a 9-minute attack fuelled by the frustration and anger spawned by Brexit, government and a realisation of what 2018 Britain currently is.
                                      Recent single ‘SX1000’ (the first work from the album, unveiled via 12' vinyl in April this year) is the band’s first move into pure acid house. The acid house fusion runs throughout the record, represented furthermore by ‘Ardency’, a track already praised by live critics when aired live for the first time earlier this year as ‘even on first hearing, would’ve raised the roof of The Hacienda’.

                                      The 2-part opus of ‘Zenith’ follows, commencing with a space-dub/house instrumental groove before building into a track that will go for your head as much as your hips. Only ‘Breakdown’ harks back to sounds of old for the band, a little reminder of the skull-crushing impact they can make when stripped to the bare bones. ‘No Sunlight Dub’ closes the album, a dark-dub that invites the classic acid-house tool (Roland 808) into the dub. The track makes a stop-off into drum ‘n’ bass/jungle along the way before rounding up in a manner suited to Lee Perry, King Tubby, Augustus Pablo and other Jamaican greats.

                                      The Lucid Dream formed in Carlisle, Cumbria, in 2008. A string of sold-out 7″s was followed by the debut longer player, ‘Songs Of Lies and Deceit‘, in August 2013. The initial vinyl pressing of the debut album (500 copies) sold out within 2 days, and was backed by a main stage slot at Kendal Calling, and supports to Death In Vegas and A Place To Bury Strangers (full UK tour).

                                      The bands 2nd album (‘The Lucid Dream’) was released in March 2015 to further acclaim. This included 2 BBC 6 Music sessions and plays across most shows on the station, as well as plays from BBC Radio 1 (Huw Stephens) and BBC Radio 2. Further press followed from Uncut, The Skinny, Louder Than War, and Drowned In Sound, who named the album #7 UK album of 2015. Supports to Clinic and A Place To Bury Strangers also coincided.

                                      3rd album, ‘Compulsion Songs’ was released in September 2016, on Holy Are You Recordings. The vinyl pressing of the album sold-out within a day, prompting an immediate 2nd press, with pre-sales of the album topping 1,000 before release. The album was backed by a headline UK tour, and a main slot at Liverpool International Festival of Psychedelia (for which they were singled out for major plaudits from The Quietus, The Skinny and Drowned In Sound). The album again received acclaim from the likes of Mojo, Uncut, Classic Rock Magazine, BBC Radio 2 (Huey Morgan) and across the board on BBC 6 Music (Lauren Laverne, Marc Riley, Tom Ravenscroft, Gideon Coe, Stuart Maconie).


                                      STAFF COMMENTS

                                      Barry says: Lucid dream just keep getting better. after 2016's 'Compulsions Songs', they've returned for this distorted, acidic slice of propulsive action. Half way between smooth Factory Floor-y techno and post-punky indie, these Carlisle bunch are making big waves. This one is killer.

                                      FORMAT INFORMATION

                                      Coloured LP Info: 300 copies on limited red vinyl.

                                      There are few musicians – let alone beat–makers - in the world whose output in its raw form provides his listener with a full on musical experience before anything is added. Madlib is such a talent. Hip hop is his canvas, but he creates the most wondrous things with it. Before a microphone is switched on, before a rhyme even uttered, a Madlib beat stands alone as a complete thing. Since the issue of the collaborative album with rapper Freddie Gibbs - Piñata, already being hailed as contender for rap album of the year - we’ve been asked countless times to issue the beats Madlib created for the project as instrumentals. And we've conceded. Piñata put Gibbs in the spotlight, one that a growing audience is finally acknowledging that he deserves. On Piñata Beats, though, it’s Madlib, quietly spinning on the center stage. Through seventeen cuts of arcane film snippets, dusted funk and soul, psych and prog rock musical diversions, Madlib proves to live up to what Gibbs once said of him: “Madlib quite simply, is music.” 

                                      Cliff Martinez teams up once more with the producers of ‘Drive’ for the first time since collaborating on the now-classic soundtrack. Reminiscent of his work on ‘Drive’, Cliff Martinez’s score to ‘Hotel Artemis’ is a tense, dark synth masterpiece. The soundtrack also features brand new song ‘Gilded Cage’ by Father John Misty written exclusively for the film, plus music by The Mamas & The Papas, Buffy Sainte-Marie and Elyse Weinberg. ‘Hotel Artemis’ follows a nurse (played by Jodie Foster) who runs a secret hospital to treat criminals’ injuries. The feature debut of director Drew Pearce, the movie also stars Jeff Goldblum, Sterling K. Brown, Charlie Day, Sofia Boutella and Zachary Quinto.

                                      Medicine Boy

                                      Lower

                                        For Berlin duo Medicine Boy, their melancholic noise pop is less about all-out-noise than it is about exploring the spaces in-between. Grinding organs and soft desolate piano sink beneath waves of guitar that are at times gentle and drifting, at others feral and unforgiving. All the while, Lucy and Andre’s voices remain entwined and intimate – sometimes discordant, yet always heavenly. The result is a truly remarkable sound that sits somewhere between PJ Harvey, Mazzy Star and TJ&MC, yet exists in a sombre world of its own. Laying out their mantra, the band explain: “The joy of working with noise is that you can take something that appears to be quite sweet and simple and expose the sordid parts of it. Or celebrate the sublime in it. Ideally a bit of both.”
 Originally hailing from Cape Town, South Africa, André Leo and Lucy Kruger founded the project back in 2014, self-releasing their debut EP to international appraise. By the time their debut full-length, Kinda Like Electricity, was released into the world their ever-growing fanbase had extended far beyond the confines of Africa, solidified further with two tours around Europe and the UK in 2015 and 2016.

                                        Now residing in Berlin, Medicine Boy are gearing up for the release of their incredible second album Lower, due for release via London-based label Fuzz Club. Uncertainty, fragility and the unknown all sit at the heart of this record. Even when Medicine Boy are at their most delicate and beautiful, things constantly feel like they’re teetering on the edge, ready to collapse at any given moment. And, like the calm before the storm, often it does - veering unexpectedly into a whirlwind of buzzsaw guitars, primal percussion and snarling vocals. That same gloomy ethereality constantly floating close to the surface. The band explain that this antagonistic relationship more than likely explains the aquatic theme through the album – ‘Bottom Of The Blue’ and ‘Water Girl’ being two stand-out tracks: “I don’t quite know why but the theme of water is all over this record. Something about the tranquillity and uncertainty, perhaps. The violence just beneath the surface. The potential for a sudden shift in tide.” With the relocation to Berlin and Fuzz Club signing, Lower marks an exciting new chapter in Medicine Boy’s story. From the beginning, this attempt to deconstruct our relationship with noise has been at the heart of the band but on this new effort, we see the band sounding better than ever, exploring that relationship even further and proving beyond any reasonable doubt why the band have been picking up such a buzz. As the band themselves put it: “Lower is a myriad of introspection and interpretation. There are wider themes, stranger worlds and deeper wells than before. It is some kind of attempt to draw comfort (however twisted) and companionship (however tainted) from chaos and confusion. It's our attempt to find beauty in the underworld.” 

                                        Final Release By Minus The Bear. Cover Art Features A Painting By Bassist Cory Murchy Engraved On The A & B Sides. “Invisible” Remix By Sombear Aka Bradley Hale Of Now, Now (1,000 180g black vinyl, 2,000 Coke Bottle Green) W/ Dl Coupon. “That dichotomy between dark imagery and danceable, inventive rock has always been a hallmark of Minus The Bear's sound” - Noisey // Minus the Bear is a product of the first two decades of this century. From their first show in 2001 to their impending dissolution at the end of 2018, the Seattle band thrived on the musical awakening in the era of the mp3, the internet, poptimism, and the crosspollinations generated from an expanded consciousness of new music forms.

                                        With their final EP, Fair Enough, Minus the Bear closes the book on their hybrid of art-rock, indie pop, and warehouse party appeal. The opening track “Fair Enough” went through a variety of permutations before the band found new meaning in its lyrical lament of lost passions and finding “the exact moment we turned it off”. The other songs of Fair Enough are a continuation and culmination of Minus the Bear’s diverse sounds. The up-tempo drumbeats, lush electronics, and nimble guitar work that initially set them apart are on full display during “Viaduct”. “Dinosaur” has the groove of early hits of “Fine + 2 PTS”, but crafted with the understated Steely Dan-eque delivery of their more current slow jams. The EP closes with a nod to their ongoing remix collaborations, this time with a rave-up reinvention of “Invisible” by Sombear. 

                                        FORMAT INFORMATION

                                        Coloured LP Info: Indies-only coke bottle green LP.

                                        Coloured LP includes MP3 Download Code.

                                        MØ's New LP 'Forever Neverland' drops on October 19th, another stellar statement from the Nordic pop megastar. She explains: “Diplo and I are long time collaborators now. One of the many reasons I love working with him is because I always feel like it's a free and creative process and I always like the end product. We both loved ‘Sun In Our Eyes’ from the beginning and what makes it special to me is that It's a combination of the two ingredients I'm always craving in music: uplifting and melancholy vibes.”“It's the lead single for my new album 'Forever Neverland' and it's about imaginary love and living in a bubble which are also subjects on the album. This song feels like both a coming together of everything Wes and I have done so far but also a new beginning which is fitting with a new album.” 

                                        Jamal Moss here guesting on Seth Troxler & The Martinez Brothers’ Tuskegee Music

                                        Double pack release with one track pair side, hinting that Jamal's delivered some top drawer high grade for the label. "Salvation is the Cure" immediately sounds the alarm, gliding in at a quick tempo and with gurgling, frothy acid lines and an un-ignorable urgency, driven forward by raw piano lines and ghosted fx stabs.

                                        "The Bad Blood" is a skeletal yet majestic track featuring vacuumous toms, off kilter percussive sounds all backed by exquisite synth work that exudes a pained sense of soul. It’s loose limbed and dynamic, always evolving and featuring a deep set bass sound that should tweak the club's subwoofers wonderfully.

                                        "R-Spirits Will Not Be Broken" harks back to Afrikans With Mainframes-type techno. Knackered drum hits spitting well into the red as wooden 'donk' acid stabs ride fizzing arpeggios and biting hand claps. There's an underlying, ravey lead line too just in case you're spirits needed elevating any higher.

                                        Last of all, ‘The Low End Theories’ is six more minutes of impressively instinctive, scuffed up drums, hits and twisted cosmic melodies. It sounds like chaos at first, but over time patterns emerge and you cannot help but be consumed by the strange beauty of it all.

                                        This is a typically unique and expressive house offering from one of the most innovative names in the game - don't sleep! 


                                        Takatsugu Muramatsu

                                        Mary & The Witches Flower OST

                                        Takatsugu Muramatsu’s latest score is to the animated film Mary and The Witch’s Flower, it is all composed and produced by Muramatsu, featuring an original song by Sekai No Owari. Beautifully mellow and nostalgic, the fleeting notes of hope rise making this such a heartwarming soundtrack, so endearing and peaceful. Loose yourself in the magical shimmering notes that Muramatsu executes so well. 

                                        The songs of Will Oldham have been written most often for the aliases of Palace or Bonny. Their identities, kept necessarily separate from Will's, the songs were written to create a singular encounter, to be shared among those who choose to listen. Songs of Love and Horror is a rare entry in this ouvre: a Will Oldham album, with the writer taking a turn as singer. As befits the nature of this project, the songs are sung and played by Will alone, in a setting enjoyed by fans of his music - that of one voice and one guitar, the better to savor the spare changes and starkly-cut lyrics, operating in quiet tension and ultimate collaboration. Will brings to the songs all that he has learned from his stage-crafting fellows over the years, singing new versions that quiver like fresh young things in the air of today.

                                        Autumn 2018 sees the release of a celebrated lyrics archive that has been growing for over 25 years in the form of a book- the words to the songs sung by Bonnie 'Prince' Billy and Palace Music, written by Will Oldham. The book, to be released by W.W. Norton, is titled Songs of Love and Horror, the same as this album and can be seen as a companion piece. Both celebrate not one legacy, but rather a confluence of them, flowing in the stream towards an unknown and often unknowing future, with the hope that these notes in a bottle ever pass on through.

                                        Omar S Feat. Simon Black

                                        I'll Do It Again

                                        Omar-S introduces Detroit's newest diva on the scene, Simon Black with an X-Rated 12" for the real freaky types. In line with some of the definitive vogue house tracks of the past, "I'll Do It Again" will become a future ballroom staple. On the flipside, "Freaky Type" sees Black slows it down and steams it up with some nasty vox over a beat produced by FIT Siegel. High kicks and hand snaps all around!

                                        STAFF COMMENTS

                                        Matt says: Mental good record here from the people's favourite pinball wizard and sports car hoarder. "I'll Do It Again" shows all the signs of becoming a mini-anthem across the global dance village. Get in on the action before everyone else and get this bagged pronto!

                                        Open Mike Eagle

                                        Rappers Will Die Of Natural Causes

                                          Reissue of the long unavailable second album by highly acclaimed rapper Open Mike Eagle,soon to be seen hosting the Comedy Central TV show The New Negroes. Features several tracks that are amongst the most popular in his live set.

                                          In 2011 LA upstart rap label Hellfyre Club (Subsidiary of Alpha Pup) released Open Mike Eagle’s “Rappers Will Die of Natural Causes”. Widely considered an indie-rap watermark, the LA Times said of the album:”the Los Angeles-based Project Blowedian has carved out a singular niche. He’s analytical, sardonic, political, and he manages not to take himself seriously despite taking everything seriously.”

                                          From dark themes like morality and race relations, Mike managed to draw out some of his most imaginative and witty work. And with features like Rhymesayers Entertainment’s P.O.S. and art rap godfather MC Paul Barman, it was the release that put Open Mike Eagle into the national rap conversation.

                                          The Oscillation

                                          Wasted Space

                                            Following a recalibration and consolidation with their recent electronics-inflected album, 2018’s U.E.F., The Oscillation is back with their sixth and most ambitious album to date, Wasted Space. A meditation on the nature of existence in the face of what can be insurmountable odds, Wasted Space finds The Oscillation painting from the darker shades of the kaleidoscopic scale. “The origins of Wasted Space go back to Monographic in 2016,” muses Demian Castellanos - the mastermind behind The Oscillation. “That was a very bleak and heavy record and I really needed to move out of that mindset. Making U.E.F freed me up to write a coherent collection of narrative songs and compositions.

                                            Wasted Space is a partial continuation of a journey started with U.E.F., but one that re-incorporates more song-based ideas again.”What’s immediately apparent is that Wasted Space sets it stall well away from the prosaic third-eye tropes that have become orthodoxy. Album opener ‘Entity’ establishes the pace with a focus on the dancefloor as much as on the navigation of existence. Fusing muscular grooves with an industrial wall of sound, these are bold steps into wholly new territories. “There’s an irony at play here,” considers Castellanos. “It’s a twisted party song, albeit a party for one.” But what a party it is. The mutant disco is bolstered by the rhythmic call-and-response of ‘Drop’, a track that eschews conventional methods of dance sensibility for more instinctive and primal urges. This is music that calls out to the suitably attuned. “We’re reaching out on an innate level,” says Castellanos. “It’s a form of wordless communication that transcends the limitations of verbal language and thought processes.” Wasted Space’s more somatic moments are tempered and balanced by episodes of contemplation and reflection. Fuelled by dreamy, orchestral sweeps and mournful, sustained notes.

                                            Bringing Wasted Space to an emphatic conclusion is the epic instrumental ‘Luminous Being’. Ambitious in scope and delivery, it methodically and unequivocally slow releases repressed emotions to throw the wider world into sharper focus. Hedonistic yet reflective, Wasted Space is an album that moves purposely along a high wire as it finds the perfect balance between dealing with life and escaping it. The Oscillation’s finest album yet, Wasted Space is the area to which you’ll return to again and again

                                            FORMAT INFORMATION

                                            Coloured LP Info: indies-only yellow vinyl.

                                            Papercuts

                                            Parallel Universe Blues

                                              Over the course of five stellar albums, Papercuts’ Jason Quever has shown himself to be a top-notch song-writer and producer, equally at home with lush, baroque textures and more stripped-down arrangements.

                                              His skill in the studio has helped him build-up an enviable resume recording, producing and playing with artists including Luna, Beach House, Cass McCombs, Dean Wareham/Dean & Britta and Slumberland’s own The Mantles. Papercuts’ new album “Parallel Universe Blues” reflects Quever’s recent move from long-time musical home San Francisco to Los Angeles and all of the searching and self-exploration that accompanies leaving your home, your friends and your scene.

                                              The sound is intimate and close, nicely balancing the sonic concerns of the last few Papercuts records. The opening pair of songs “Mattress On The Floor” and Laughing Man” superbly sets the table for the rest of the album: perfect Spectorian pop songs echoed down through The Velvet Underground, LA’s Paisley Underground, Spiritualized and The Jesus and Mary Chain. Never sacrificing song-writing for atmospherics, “Parallel Universe Blues” is a superb addition to the Papercuts catalogue.

                                              Its themes of self-examination are as a timeless as the tunes themselves, the dreamy autumnal mood perfectly captured in the pastoral cover art. The album is a triumph and points to more great things in the future from Quever and Papercuts.

                                              Piccadilly-approved synth-dub-psych-popsters Peaking Lights drop their first release of 2018, joining the ever expanding ranks of the Dekmantel family. As long terms fans of the Californian duo might expect, it’s a kaleidoscopic melting-pot of dainty dub, experimental and leftfield beats, with wondrous sunny soundscapes that blend together the unconventional home-fashioned electronics, and windswept vocals that have defined Peaking Lights to date. 'Sea of Sand' is the band’s first record in three years not released on their own imprint. With six tracks, exceeding 30 minutes in total, the extended EP is a prelude to a forthcoming LP. With a DIY aesthetic and approach to analogue instrumentalism, Peaking Lights retro-digital sound is one that sits perfectly with Dekmantel.
                                              The record kicks off with the quirky, upbeat pop track 'Blind Corner', followed by slower Italo-like 'Hypnotized'. There’s a wavey-krautrock sound on 'Shift Your Mind'; a glowing romanticism on 'Read your mind'; and a celestial ambience embedded through 'Noise of Life. The record concludes with the sonically divine harmonic piano track 'Sea of Sand', perfectly setting the template for the EP. 

                                              STAFF COMMENTS

                                              Patrick says: It's been a little while since we heard from Peaking Lights, and it seems they've spent their downtime refining their take on hallucinogenic synthery. Dubby, dreamy and superbly psychedelic, "Sea Of Sand" is another analogue delight from our favourite synth duo.

                                              Made for today's sound system, Lee 'Scratch' Perry revisits his classic Black Ark album that defined Jamaican dub music. 41 years after Lee Perry defined dub music with his seminal 1976 "Super Ape" album, he returns with NYC's Subatomic Sound System to conquer again, definitively reincarnating the magic of his Black Ark studio in Jamaica, heavy on Ethiopian horns & percussion, while reinvigorating it with the 21st century booming bass & beats that capture the energy of their innovative live electronic show.

                                              For the past 7 years Perry has toured with NYC's Subatomic Sound System, his go-to band for recreating his Black Ark studio sound live on stage in new exciting ways as a one of a kind hybrid of beat heavy electronics and live musicians including original Black Ark studio percussionist Larry McDonald. Subatomic Sound System has been pushing the envelope of electronic music in combination with reggae since their inception in 1999 mashing up everything from dub to dancehall with hip hip, dubstep, cumbia and the like. Together with Perry they have performed as featured artists at Coachella, Red Bull Music Academy, and the keynote speakers at Ableton Live's Berlin summit meeting this year, highlighting their innovative use of music software. 







                                              At 83 years of age, Lee Scratch Perry proudly presents world his next full length solo album (complete with dub versions!), continuing his all-conquering roots & dub legacy.

                                              Re-united with producer Daniel Boyle, the album was created over 2017 & '18 and sees a continuation of the raw, analogue sound the pair had cultivated over previous releases.

                                              Using strictly vintage analogue equipment, they employed Neuman valve and RCA Ribbon microphones, and RAK’s early model vintage API desk to record. The ‘sound’ for the album was sculpted in these sessions - vintage, but punchy, which was then blended with Lee’s choice of super rare and custom analogue effects. Ursa Major Space Station and Stargate delays and reverbs, old choruses, plate and spring reverbs and tape delays were used to create a tight vintage feel but retaining the rawness of the 'Low Fi' roots sound Lee was (always) aiming for.

                                              With the music coming together, the vocal sessions were held in Abbey Road studio 3, again using vintage RCA ribbon mics, over driving their EMI TG console and Fairchild compressors to create a pleasantly distorted lo-fi vocal sound.

                                              Lee and Daniel then returned to Daniels Rolling Lion Studio to mix and dub the album live, on the mixing console - which resulted in some very authentic sounding, vintage-Perry-era dubs. A triumph for fans of that original Black Ark sound and a ridiculously strong addition to Perry's ongoing discography.



                                              STAFF COMMENTS

                                              Barry says: The undisputed (not entirely undisputed) master of reggae returns, and it really is a wonder that he can keep coming up with the goods, but the goods are here for all to see. Head-bobbing off-beat guitar strums, dubs, we get the whole lot. It's Lee Perry, what more do you need to know?

                                              Gospelhouse from heaven! Yes - this is a very special record: NYC's Phenomenal Handclap Band meets London's Ray Mang - the psychedelic soul disciples meet the disco champ by way of remix.
                                              Ray Mang is a hero to fans of underground disco: remixer, collector, producer, DJ - he is part of that magic circle of London DJ connoisseurs around DJ Harvey. He has the magic disco touch, and has applied it to great effect to PHB's "Judge Not". He did a fresh, new take on house-heavy gospel disco that is sure to fill any dancefloor. Try it!

                                              For those who don't know New York's almost legendary band: The Phenomenal Handclap Band is led by producer Daniel Collás, and consists of some of New York's finest new soul & disco musicians. Some of them used to play in the Amy Winehouse band and others can be heard on some of Mark Ronson's productions. Their biggest moment was when they released their single "15 to 20" some years ago (on Gomma Records) and Paul McCartney wrote them a letter about how much he loved that song when he heard it on BBC Radio 1.

                                              On "Judge Not" they come up with dazzling piano lines, a deep rare funk rhythm section, and a street corner gospel choir that brings you to your feet.

                                              Ray Mang heard the original version of this song and was hyped to become involved in the remix, and the pairing is complementary to say the least.
                                              Many of you know PHB from their collaborations with such luminaries as Peaches or Marcos Valle or Bryan Ferry, a prime appearance at the Glastonbury Festival, and direct support on Bryan Ferry's US tour.
                                              The group is currently finishing a new album.

                                              Esther Phillips

                                              Home Is Where The Hatred Is / I've Never Found A Man

                                              Firstly, Esther’s cover of Gil Scott-Heron’s timeless masterpiece ‘Home Is Where The Hatred Is’. A haunting tale of addiction filled with the rawest of emotions, that can only truly be covered by someone who has fought that same battle with dependency. The pain in Esther’s voice completely conveys this vulnerability and does Gill Scott Heron’s original total justice. Heart-wrenching and completely absorbing in its honesty, it’s a sincere portrayal of the demons both artist’s faced in their lives.

                                              On the B side, an adaptation of Eddie Floyd’s ‘I've Never Found A Girl (To Love Me Like You Do)’. Phillips’ trademark soulful tones suit this sweet serenade so well, with the passion oozing from every word she sings. Sit back, relax and prepare to have your heart melted all over again.

                                              STAFF COMMENTS

                                              Sil says: Two Esther Phillips grand classics. One on each side. Essential staple record for any DJ and music lover out there. I am getting one!

                                              Stamping the passport this time round we have DJ Ric Piccolo by way of Buenos Aires, who takes lost and obscure Argentinian records and injects them with a turbo shot of discoid overload. If you've just got onboard the Passport to Paradise spaceship, don't fret- PTP13 is the perfect introduction for the aspiring cosmic voyageur.

                                              Ric Piccolo kicks off with the heady throes of 'Fuck All Nite' . You've heard it before but you can't remember where. Take the advice- this is your 3am matchmaking tool. Then head onto A2, 'Passage', where the wind whistles through tropical vines and monkeys play Moogs on the rainforest floor. TIP!

                                              On the flip side we have '1, 2, 3..', sounding like the lost credit track to a 1980s Latin horror b-movie, where flare-clad zombies with glasses of fernet rock and sway with drunken senoritas. It could well be. Finally, B2, Venus rounds of the release in true cosmic disco style.

                                              STAFF COMMENTS

                                              Sil says: What's not to love with a song title like 'Fuck All Night'. Beyond the title, it is a great 12". It reminds me a bit of Serge Santiago, read that as Italo feast. Great edits all round.

                                              30th Anniversary Deluxe Edition of Pixies’ Debut EP and Album, Come On Pilgrim and Surfer Rosa, includes Bonus 1986 Radio Concert Live From The Fallout Shelter

                                              “An unparalleled example of rule-smashing innovation in independent music.” Pitchfork

                                              “Smack in between hardcore punk and alternative, their secret weapon was leaping from sweet to screaming, driving a spike into Eighties rock.” Rolling Stone

                                              “Surfer Rosa quickly cemented itself as a must-have album (and) 30 years on, its aged into timelessness rather than becoming a period piece.” The Quietus

                                              It’s been thirty years since the release of Surfer Rosa – a record made up of rage, religion, gore, incest and superheroes named Tony – a debut album so good that it’s since seen as a masterpiece. A year prior came Come On Pilgrim, an eight-track mini-album released in 1987 which contained cuts culled from their first ever studio session, where they famously recorded seventeen tracks in just three days (in full, this session makes up the band’s much bootlegged and now officially released The Purple Tape).

                                              These formative records showed the Pixies to be an alien breed; four oddball outsiders from Boston blending US underground thrash rock, indie surf pop and Spanish-language flamenco with the Biblical mythology of Frances’s childhood. They would go on to record another masterpiece in 1989’s Doolittle but it’s the gruesome glory of Surfer Rosa, and the ruined sexuality of its cover image (a topless flamenco dancer in a crumbling Mexican bar) that set a fresh blueprint for an indie rock dynamism that not only planted the seeds of grunge (Kurt Cobain would admit that he was trying to imitate the record while writing Nevermind) but of much of the best rock music made since.

                                              To celebrate this milestone, Pixies are playing fi ve sold-out intimate shows at London’s Roundhouse this October and preceding them is the release of Come On Pilgrim… It’s Surfer Rosa, the thirtieth anniversary edition which contains Come On Pilgrim, Surfer Rosa and Live From The Fallout Shelter, a concert-cum-session that first aired in late-1986 on WJUL in Lowell, MA.

                                              In addition to both a three CD and three LP edition, there’s also a super-limited and stunning deluxe clothbound hardbook three LP version, which will be a must for all fans. Like all other Pixies sleeves, Vaughan Oliver returns as designer, stunningly reinterpreting his original artwork with Simon Larbalestier’s iconic photographs remaining these record’s crowning glory.

                                              FORMAT INFORMATION

                                              3xColoured LP Info: Wide Spine Cover, Gold Vinyl, Download Card of Live From The Fallout Shelter Included.

                                              3xDeluxe LP Info: Clothbound Hardbook, Clear Vinyl, Lyric Booklet, Art Book & Download Card of Live From The Fallout Shelter
                                              Included.

                                              FREE SHIPPING This item has FREE UK shipping!

                                              3xCD Info: Hardbook Wallet Case with Lyric Booklet.

                                              R.E.M

                                              Best Of R.E.M. At The BBC

                                                R.E.M. grew up with the BBC, and this historic relationship is lovingly celebrated across an incredible collection that beautifully illustrates the career trajectory of one of modern music’s greatest bands. The collection comprises a treasure trove of rare and unreleased live and studio recordings culled from the BBC and band archives. This is a must-have collection for R.E.M. fans and an authoritative introduction for newcomers.



                                                Judy Roberts

                                                Never Was Love

                                                An outstanding Vocal Jazz fusion release for Dynamite cuts. limited edition 7” release 2 masterpieces from Judy Roberts – “Judy Roberts” LP, This was first pressed in 1979 on the Madonna label which was Judy’s own label

                                                Edizioni Mondo as a label, has the goal to produce music that is descriptive of concepts, images and environments. Inspired by library music, a genre frequently used as theme or background music in radio, film and television in that very same period, the name MONDO has its roots in “MONDO MOVIES", an Italian movie genre born in the 60’s. Mondo movies are characterized by documentary-like content that addresses several topics from around the world ("mondo"). Numero nove comes courtesy of ROTLA. Also known as Mario Pierro and Raiders of the Lost Arp, “Waves” is his third contribution to Edizioni Mondo. Downtempo, trippy, playful and pardon us, balearic, it's the soundtrack to the fading summer or the one starting somewhere else in this universe. Accompanied by remix works from label head L.U.C.A. and balearic (again!) mastermind Mark Barrott with his Sketches form an Island Healing Hands, it's the most balearic (three's a charm) record you will hear this side of the summer (wherever you are).

                                                UK dance culture veterans James Priestley & Giles Smith epitomize the hedonism still found in modern house and techno music. Through their carefully curated and brilliantly realized parties and an impeccably programmed record label, combined with marathon DJ sets that fast become the stuff of legend, the pair symbolize all that is good about electronic music in this age.

                                                Their debut release for Mule Musiq and as such an exciting prospect indeed; the Japanese label reflecting much of the duo's energy and ethos on the other edge of the globe.

                                                "Cyber (House Pass)" is unfathomably sublime. A deep, driving, smooth house groove locking us into its spell for the first 3 or 4 minutes until a velvet rich string section bursts into life and injects new vitality into this electronic house masterpiece. Meanwhile "Cyber (Cosmic Slide)" introduces side B with an equally hypnotic jam, low tuned floor toms and gentle perc fluttering with indecipherable vox and trailing arps. Both tracks show how effortless good house music should sound; natural, flowing grooves that take no work to get lost in - truly excellent stuff here from two master craftsmen. Oh, yeah, and there's a nice ambient closer in to drift off into before the disc finishes....Perfect stuff here folks don't miss out.


                                                Attempting to pigeonhole 79.5 into something as narrow as a single genre would be an ill advised, if not impossible task. The New York City band sounds like someone spinning a radio dial with such passionate intensity that all the stations blend together into a single, transcendent, almost spiritual force. It’s disco to the beat of modern house; it’s a Supremes cover of a Cardi B banger; it’s Roland Kirk playing jazz through one saxophone, funk through another, and the most earwormy pop tune the 1970’s could muster through a third.

                                                It’s an experienceone so effecting that with only a self-released 12” single in circulation, 79.5 had been written up twice in The New Yorker on the merit of their live sets alone. Their debut album Predictions is produced by Leon Michels and was recorded at The Diamond Mine in Queens the old school way, with the whole band playing the songs in one take and captured to analog tape. They released their now classic Terrorize My Heart 45 in 2016 on Big Crown Records and it solidified all the hype surrounding them. The 7” sold through the first pressing in just a few weeks and became a staple in DJ sets around the world getting spins from the likes of Gilles Peterson, Q Tip, Kenny Dope, DJ Spinna, and Just Blaze to name a few.

                                                They announced their debut album via Billboard’s premiere of their newest single "Boy Don’t Be Afraid" which was accurately described as 'energetic and infectious...a unique, yet easy to listen to experience'. Already getting heavy spins at radio and finding it’s way into the hearts of all the listeners, the instant classic "Boy Don’t Be Afraid" is as bandleader Kate Mattison describes, 'a sweet little song about being. Being hopeful, being romantic, being brave. A romantic stance and a declaration of love through melody, in honest girl-group fashion.' 

                                                Shida Shahabi

                                                Homes

                                                  The beautiful, intimate and homespun piano of 'Homes' marks Shida's debut release from this young Swedish / Iranian pianist / composer, and the fourth in a row of new albums by female-fronted artists released on 130701 this year. In terms of influences, Shida cites the lyricism and rich harmonies of 19th Century Romantic composers like Chopin, Schumann and Debussy. Other ballpark reference points might include Erik Satie, Goldmund, Nils Frahm, Dustin O'Halloran, Aphex Twin's 'Druqks' album, and Ethiopian pianist Emahoy Tsegue Maryam Guebrou. Shida signed to 130701 in February, after the label were floored by the beauty of her recordings. In the wake of the success of the likes of Max Richter, Nils Frahm, Hauschka, Johann Johannssonn , etc there has been an absolute glut of pianists emerging over the past five to ten years.When our friends at Swedish label Sing A Song Fighter sent us Shida's album demos to check out, their sense of purpose and luminous lyrical quality immediately shone out as something genuinely special. There is a palpable depth and integrity in her work. It is not showy or smart, articulates no grand concept, but flows from its creator freely and true. From start to finish, there's a sense of honesty and humble warmth seeping through every note. Revealing a wonderfully fluid sense of touch and melody, it is simply beautiful, warm, homely music with a big heart.

                                                  FORMAT INFORMATION

                                                  LP includes MP3 Download Code.

                                                  Silver Jews

                                                  American Water - Half-Speed Mastered 20th Anniversary Edition

                                                    American Water was first released two decades ago. Observing the time between then and now, the album has been half-speed mastered at Abbey Road to provide depth and nuance for all future vinyl listeners.


                                                    next 100

                                                    Latest Pre-Sales

                                                    174 NEW ITEMS

                                                    Happy New Music Friday everyone. Loads of great releases out today and we some new banners up too… https://t.co/U3FlW0AnpM
                                                    Fri 19th - 10:02
                                                    RT @TheLucidDreamUK: Thank you for the brilliant words on ‘Actualisation’, @PiccadillyRecs Fantastic store, that we love very much. They’ve…
                                                    Fri 19th - 9:58
                                                    RT @SarahCityLife: Seven years today since I saw @thestoneroses sit down together at a London conference - seems like last week it’s still…
                                                    Thu 18th - 1:24
                                                    In stock now and available to order!!!! https://t.co/fnhOUqewMg 1 per person please folks... @cavernofAM https://t.co/nkvSP6DzaS
                                                    Thu 18th - 11:29
                                                    E-newsletter —
                                                    Sign up
                                                    Back to top