MAGIC MIX

ALL GENRES

WEEK STARTING 3 Jul

Floating Points

Floating Points (Love Record Stores Edition)

    Love Record Stores Edition available from 9am on Saturday June 20th.
    Limited to one per person.


    Floating Points critically acclaimed debut album ‘Elaenia’ gets a special Limited Pressing for Love Recordstores Event on 20th June 2020. A special release to support Independent Record Shops during the COVID-19 crisis.

    The album comes with 2 x New Exclusive 12”x12” Art Prints (On Matt Card) packaged in Polyprop outer bag. These Prints are strictly limited to 500 copies Worldwide.



    FORMAT INFORMATION

    Ltd LP Info: Comes with 2 x New Exclusive 12”x12” Art Prints (On Matt Card) packaged in Polyprop outer bag.

    Grey Dogs

    Outlaw King - A Netflix Original Soundtrack (Love Record Stores Edition)

      OUTLAW KING is the soundtrack album from the intense Netflix medieval action drama ‘Outlaw King’, composed and performed by Grey Dogs with a host of Scotland’s musical talent.

      Grey Dogs is acclaimed producer Tony Doogan (Belle and Sebastian, Mogwai) and the film’s director David Mackenzie (Hell or High Water, Starred Up). Mixing simple beautiful period music with moody atmospheres, plaintive soundscapes and high intensity action score, this is a journey through the misty glens, dark castles and bloody battlefields of Robert The Bruce’s Scotland (whom the film is based on) which somehow sounds both ancient and modern.

      Grey Dogs is an umbrella collective designed to pull in diverse talent for making film soundtracks and other sonic landscape work. Tony Doogan and David Mackenzie are the core and a variety of top musicians come in and out including violinist Greg Lawson (Grit Orchestra) Barry Burns (Mogwai), the Scottish Session Orchestra and sax genius Raymond MacDonald.

      For the end of the film, Tony and David decided to work with the wonderful Kathryn Joseph for her contemporary take on two folk classics - the tragic Land O’ The Leal and the rousing Scots Wha Hae (about Robert the Bruce and his army on the morning of the Battle of Bannockburn).


      King Gizzard & The Lizard Wizard

      Sketches Of Brunswick East (Love Record Stores Edition)

        Love Record Stores Edition available from 9am on Saturday June 20th.
        Limited to one per person.


        Rancid rainwater eco-wax editions. Recycled board and biodegradable packaging. This release has been carbon offset from production to your local record store.


        FORMAT INFORMATION

        Coloured LP Info: Brown Vinyl.

        Moscoman

        What We Do Care (Gerd Janson /Abel Ray Remixes) (Love Record Stores Edition)

          Love Record Stores Edition available from 9am on Saturday June 20th.
          Limited to one per person.



          Dancers can always be sure of one thing with Moscoman–a certain unpredictability and energy will always define the music he serves up. As well as having a background in indie and rock, he plays house, acid, techno, dark disco, synth, all from a more alternative angle. For that reason, he is a regular at wide-ranging but iconic places like Space in Miami, Berghain’s Panorama Bar, Glastonbury and Pacha Ibiza.

          This limited edition vinyl comes with the Original Version plus Remixes from Gerd Janson and Abel Ray and is a special release for Love Record Stores event on 20th June


          FORMAT INFORMATION

          Ltd 12" Info: Limited Edition White label pressing of 300 copies.

          Nirvana

          Bleach (Love Record Stores Edition)

            Love Record Stores Edition available from 9am on Saturday June 20th.
            Limited to one per person.


            Neon Yellow vinyl.

            FORMAT INFORMATION

            Coloured LP Info: Neon Yellow vinyl.

            Various Artists

            Kanine Records Past Present Future (Love Record Stores Edition)

              Love Record Stores Edition available from 9am on Saturday June 20th.
              Limited to one per person.


              We spent the last year working on this promotion and planning it with a local Brooklyn artist named Kelly Jelly. He has become a bit of a cult artist around Brooklyn for his FLOWER designs. Some of his work has been used in indie films, wrapping paper and clothing companies, and sold in various art shows for over $150,000 a piece. And he does them all out of his tiny studio in Brooklyn.

              When we first caught glimpse of his Flower paintings it grabbed our attention instantly as we wanted a design that captured the indie vibe from the late 80’s / early 90’s C86 indie pop / twee pop days. When indie was truly indie. And Indie Labels captured that sound perfectly. Sarah Records, Teenbeat, and Postcard Records are a huge inspiration to Kay and I, so when starting this project we wanted to try and emulate that aesthetic with the packaging design. Kanine Records has always had a strong love of that early 90’s sound, and you can still hear that long lost era of indie in each of Tallie’s songs that bring strong comparisons to The Sundays and The Smiths.

              Although Kanine Records might have a range of sound throughout its history 2003-present, one thing stands the same. Our artists all started as independent musicians and their sound from the records that we released has reflected that spirit. When listening to this compilation you will hear the beginning days of Grizzly Bear’s dreamy lo-fi pop, the hazy shoegaze pop of The Deprecation Guild, the quickness of Garden Centre’s mind twisting art pop, the sunshine indie pop of Honey Cutt, the swirling guitars of Honey Lung’s love of The Smashing Pumpkins ‘Gish era’, along with a modern take on the RIOT Girl sound via Weeping Icon. Each of these twelve bands on the compilation has created their own little sound in their own scene and universe, but what combines them all together is their love of music with putting out records with a strong independent spirit.

              These super limited edition Vinyls DO NOT have a download code, as we want them to be enjoyed on your turntables in your record store, at home, or in your office. This vinyl compilation is an one time pressing of only 1,000 copies. This is a special GIFT from Kanine Records to all of you for supporting our releases throughout all of these years. We truly would not be here if it wasn’t for all of your love in INDEPENDENT ARTISTS and LABELS. So Thank You and please enjoy this vinyl treat.

              Tons of Love,

              Lio and Kay (Kanine Records). 


              South African disco 12” originally released in 1983, the start of the country’s ‘bubblegum’ era. Adaye was a once-off studio project featuring members of Stimela, the SA supergroup formerly known as The Cannibals and at the time also recording under aliases like the Street Kids and Kumasi. As Adaye they roped in singer Al Etto and went into the studio with Heads Music boss Emil Zoghby, who shares songwriting credits with Ray Phiri on the only track they released: ‘Turn It Up’ - an eight-minute slice of guitar funk throbbing to a disco beat. Remastered from the original tapes and reissued on DJ Okapi’s Afrosynth Records.

              Alhousseini Anivolla & Girum Mezmur

              Afropentatonism

                A pan-African Allstar band merging two cultures. desert blues man Alhousseini Anivolla meets Ethio-jazz guitarist Girum mezmur. Their album ”Afropentatonism” features repetitive grooves, hypnotic jams and raw guitar sounds.

                Five notes per octave are all you ever need. The pentatonic scale is the foundation for almost every other one. Some call it the world's oldest scale, originating in ancient Mesopotamia circa 3000 BC, spreading east up to India, China and Japan and west to the old American nations of the Andes and the Pacific NorthEast. A scale that became essential for the creation of blues, jazz, country and rock music. The idea that pentatonic scales are indispensable for the development of African music is not new – but using it to connect cultures across the continent is still a rare feat.

                The countries of Niger and Ethiopia may be thousands of kilometres apart, yet they share many commonalities. Both have a rich musical history that is closely linked to younger genres like rock, pop and jazz.

                Niger and the Western Sahel region are the birthplace of the so called “desert blues” genre, with stars like Ali Farka Touré, “Bombino”, Mariem Hassan or Tinariwen and others, many of them connected to the culture of the Kel Tamashek people (commonly known as “Tuareg”). In Ethiopia, vibraphonist Mulatu Astatke influenced a whole generation of musicians when he infused the scene of Addis Ababa with the modern jazz styles he had picked up in New York City. Two vibrant scenes rooted in ancient musical traditions – a perfect match.

                When guitarists Alhousseini Anivolla (Niger) and Girum mezmur (Ethiopia) first met in 2005 at a festival in Europe, they were both already established professionals. Alhousseini had been part of the Tinariwen movement, and later on, gained a remarkable reputation with his band Etran Finatawa and his trio Anewal. The Sydney Morning Herald praised his ”gloriously repetitive, traditional music mixed with some of the slickest and most beautiful electric guitar imaginable.” Girum has been a mainstay in Addis Ababa’s live music scene as a guitarist and producer for decades. He is the musical director of Ethiopia’s greatest star Mahmoud Ahmed and has worked with the likes of Angelique Kidjo and Ali Keita.

                Their new collaborative project “Afropentatonism” fuses some of the most intriguing art of their respective cultures. Repetitive grooves, hypnotic jams and raw guitar sounds shape the album – all amidst the laid-back vocals of Alhousseini, who sings in his native tongue Tamashek.

                It’s an outstanding pan-African collaboration. The two leaders are joined by percussionist misale legesse and two players of traditional East African instruments: the masinko (one-stringed Ethiopian violin) played by Habtamu Yeshambel and the krar (five-stringed bass-like lyre), played by Anteneh Teklemariam. The sextet is completed by 78-year-old mandolin legend Ayele mamo from Addis. The New York Times hailed Mamo’s playing for its ”honeyed melody”.

                The album was recorded live during a concert in Nairobi and features extended versions of the original songs. The infectious “Isouwad”, almost nine minutes in length, includes a rousing finale that had every audience member dancing. Quieter songs are amongst the most political tunes on the album. In the dreamy “Algher” (“Peace”), Alhousseini sings about the conflicts in his home region, directly addressing younger generations: “Children of this country protect our peace!”. ”Raise your voice to bring people together no matter which colour and background” is the central message of the enchanting “Asmoussoudou” (“Those Who Unify”).

                In recent years, artistic exchange between West and East African countries has become increasingly difficult due to political insecurity and terrorism in the Sahelian belt. But for Alhousseini and Girum, it’s worth the struggle. “Afropentatonism” is a project that is as much about music as it is about friendship, learning and common creation. “We want people in Africa to be proud of their diverse culture and common traditions.”

                Alhousseini Anivolla and Girum Mezmur have created a glorious example of the power of nonverbal communication. Five notes per octave and six friends are all you ever need.

                Mulatu Astatke & Black Jesus Experience

                To Know Without Knowing

                  ‘To Know Without Knowing’, Mulatu Astatke and Black Jesus Experience’s 2019 album is their second together. A grooving transcontinental gem, recorded in Melbourne, Australia and Addis Ababa, Ethiopia. Filled with the warmth of the mentorship and friendship of their creative partnership honed over a decade of performing together in Africa, Australia and UK/Europe.

                  Mulatu Astatke is the Father of Ethio-Jazz and one of Africa's most influential and enduring musical figures. Black Jesus Experience is a community of artists, centred around a twelve piece global-funk-machine born of Australia's vibrant multiculturalism. Mulatu and Black Jesus Experience met in Addis Ababa in 2009, embarking on both a musical relationship and a friendship that has led Mulatu Astake to describe Black Jesus Experience as, "My favourite backing band" and, “...they’re family.”

                  Mulatu's great contribution to music has been to to combine Jazz and funk grooves with Ethiopia's distinctive pentatonic scales. His musical genius is the sensuality and sophistication with which Mulatu contrasts these minimalist scales with richly chromatic harmony. But Mulatu’s equally great contribution has been to share both his enduringly unique modernity and Ethiopia’s timelessly spiritual music with the world. Black Jesus Experience treasure the special relationship of generosity, mentorship and collaboration they have been privileged to share with this master musician. ‘To Know Without Knowing’ is the product of this gift.



                  Albert Ayler

                  New Grass

                    Albert Ayler’s 1969 album New Grass has been misunderstood from the day of its release.

                    The album finds Ayler experimenting with soul music and digging back into his R&B roots (he started his career playing saxophone with Chicago bluesman Little Walter), fusing it with the avant-garde free jazz (the one element of the record which garnered consistent praise) and adding the vocals of Rose Marie McCoy, The Soul Singers and Ayler himself. As if predicting the divisiveness of the record to follow, Ayler speaks directly to the listener and explains that New Grass is nothing like his albums before — that it is of “a different dimension of his life” — in the album opener “Message from Albert.”

                    New Grass deserves reconsideration, if not for the heavy grooves and surprising arrangements, then for its bravery in challenging norms of the time; by the ‘60s, jazz was well-accepted as a uniquely American art form, while soul as a genre was very much still seen as primitive. Ayler melds them together and creates something novel, adventurous, and completely his own. At the time of its release, despite its divisive reception, New Grass helped break down the unnecessary walls dividing genres and revealed music’s potential freedoms. The album has gone on to influence generations of Jazz, R&B, Funk, Hip Hop, Post Punk, No Wave and unshrinking artists like Pharaoh Sanders, Alice Coltrane, Funkadelic, Jungle Brothers, Red Krayola, Sonic Youth and Mark E. Smith.

                    Third Man Records can’t recommend this record highly enough. We are confi dent that it won’t take but one listen for you to understand New Grass is an undeniable healing force

                    Gary Bartz & Maisha

                    Night Dreamer Direct-to-Disc Sessions

                      The third release from Night Dreamer’s essential “Direct-to-Disc” sessions sees an incredible meeting between legendary US saxophonist Gary Bartz and leading UK spiritual jazz ensemble, Maisha, featuring two Bartz classics and three brand new joint songs written by both Bartz & Maisha in close collaboration.

                      Having cut his teeth playing with the likes of Charles Mingus, Max Roach, Art Blakey and finally in 1970, Miles Davis at the peak of his electric period, Gary Bartz became a leading figure of the early-to-mid 70s spiritual jazz movement, releasing a string of ground-breaking albums on legendary NYC jazz label Prestige Records with his NTU Troop, featuring classics such as “Celestial Blues”, “Uhuru Dance” and “I’ve Known Rivers”, before collaborating on Blue Note Records with the Mizell Brothers on the anthemic jazz funk of “Music Is My Sanctuary”. An oeuvre much loved by soul jazzers and hip hop fans alike.

                      Led by drummer Jake Long, Maisha have been central to the UK’s jazz explosion, and have fast become the UK’s most exciting and in-demand young spiritual jazz ensemble, from steller shows at Jazz re:freshed, Total Refreshment Centre & Church of Sound and supporting the Sun Ra Arkestra, to releasing their critically acclaimed debut LP, “There Is A Place” on Gilles Peterson’s Brownswood Recordings in 2018. Theirs is an organic & explosive sound that blends influences from afrobeat and broken beat to Persian music, with a deep love and understanding of jazz, particularly the heritage of spiritual jazz led by titans such as Pharoah Sanders, Alice Coltrane and of course, Gary Bartz.

                      Which makes this collaboration even more special. Bartz was first invited to share a stage with Maisha by Gilles Peterson to headline the inaugural We Out Here festival. Their chemistry was rich and instantaneous, certainly a two-way street, with the young musicians reinvigorating the legend’s performance and wowing the intergenerational festival audience. A European tour followed, including a London Jazz Festival highlight at the Royal Festival Hall, celebrating the 50th anniversary of his album “Another Earth”, originally featuring fellow legends, Pharoah Sanders, Charles Tolliver, Stanley Cowell, and John Coltrane’s own bassist, Reggie Workman. Now the relationship has evolved into a special straight-to-disc recording for Night Dreamer Records, that captures the vitality of their collaboration. Whilst Bartz and Maisha reinvent classic Bartz compositions “Uhuru Sasa” and “Dr Follows Dance”, extending the pieces into long piece improvised grooves, their recording session gave birth to three brand new joint compositions, written the very same day. These include the propulsive “Leta’s Dance” that magically combines the Bartz’ soulful musical lyricism with Maisha’s African-jazz influences, and the organic jazz funk of “Harlem to Haarlem”, featuring a hot solo from guest trumpeter Axel Kaner-Lidstrom of Cykada & Levitation Orchestra fame.

                      Like previous Night Dreamer efforts from afrobeat star Seun Kuti & Egypt 80, and the beautiful collaboration between Brazilian stars Seu Jorge & Rogê, the album was recorded in Haarlem’s Artone Studio, a stones throw from Amsterdam, in just one-take, straight-to-disc, avoiding postproduction embellishments and retaining the purity of the performance lost in modern recording techniques.

                      This record really is an event, in and of itself, a meeting of talents, minds, generations and zeitgeist moments, captured in a unique and pure manner. The music does not disappoint, as Maisha have been inspired to reach new heights whilst we find Bartz truly reinvigorated, and both artists in tune to the spirit of the other.

                      Angel Bat Dawid

                      Transistion East

                        Transition East features two new pieces of music created by Angel Bat Dawid in response to Emma Warren's 2019 book Make Some Space – i.e. the book that chronicles the history of London DIY music institution Total Refreshment Centre.

                        Angel Bat Dawid, who first met Emma Warren at Total Refreshment Centre in 2017, composed & recorded "Transition East" alone in her space on the Southside of Chicago, originally to be an accompaniment for the audiobook version of Make Some Space.

                        Angel conceptualized & named “Transition East” in commemoration of the storied Chicago community center that was a hub for the AACM and icons from the Black Arts Movement in the 1960s, and was recently revived by one of her mentors, Eliel Sherman Storey.

                        "No Space Fo Us" was composed & recorded at a space in Salvador, Bahia, Brazil, where Angel travelled with a crew of Chicago artists (including IARC label mates Ben LaMar Gay & Damon Locks) on a collaborative mission called Close to There (Perto de Lá). The track features Angel with Ben LaMar Gay and new Brazilian friends Edbrass Brasil, Romulo Alexis, Tadeu Mascarenhas, Nancy Viégas & Germano Estacio.

                        International Anthem is proud to present these two beautiful pieces of music on a deluxe 45rpm 7" vinyl inside a picture sleeve designed by Jeremiah Chiu.

                        Masaki Batoh

                        Smile Jesus Loves YOU

                          Masaki Batoh’s solo career continues to rise up with his 5th solo album, and second in the last two years, Smile Jesus Loves YOU.

                          As long time listeners of Ghost and The Silence are well aware, Batoh’s music is of the world and for the world . . . it exists as part of the conundrum of the world, for us to hear and form thought or feeling. We have no way of knowing it, other than to listen. The defiance of a fixed notion in Batoh’s world and music is made clear, as with the ambiguities of last year’s mortality meditation Nowhere, by the title of his new album. This shouldn’t be taken at face value. It might be a politically bitter statement. It might not be political at all, in this time of insane corrupt leaders who clearly believe in nothing except what they can use. It is a question for anyone who believes, or doesn’t believe. Listeners must come up with their own understanding, based on their own sentiment and where they find themselves in their evolving form.

                          Following the mostly solitary activity of making’ Nowhere’, Batoh has invited several guests to play with him for parts of ‘Smile Jesus Loves YOU’. Like family members, collaborators from The Silence and Ghost make guest appearances, including, for two songs, ex-Ghost and legendary percussionist Hiroyuki Usui (Fushitsusha).

                          For the journey of this new album, Batoh takes us a great distance, singing in Japanese, English, Spanish and Latin, including an amazing cover of one of his heroes, Atahualpa Yupanqui, with lyrics translated from Spanish to Japanese, giving them a haiku-like feeling.

                          Batoh plays a variety of stringed instruments throughout, as well as mellotron and shanai, supported at times by the playing of others on flute, piano, lap steel, saxophone, contra bass and drums. The songs expand amoebically, with music styles of the world shifting and merging to form their whole. Through phases of dark and light, including some new musical discoveries in Batoh’s world, we travel through the multipart epic title track to salvation.

                          This world is a difficult place, whether or not the gods will come to save us, but there is a happy ending for us if we accept and make it so. As with all of Batoh’s recent releases, Smile Jesus Loves YOU is a 100% analogue recording of absolutely human playing, with no digital copying and pasting. This allows us to hear and feel the air around the recording as if it is our own.

                          BDRMM

                          Bedroom

                            Hull/Leeds based five-piece bdrmm release their much anticipated debut Bedroom on July 3, via Sonic Cathedral. The 10-track album was recorded late last year at The Nave studio in Leeds by Alex Greaves (Working Mens Club, Bo Ningen) and mastered in Brooklyn by Heba Kadry (Slowdive, Beach House). It’s a hugely accomplished debut and a real step up both sonically and lyrically from their early singles, which were rounded up on last year’s If Not, When? EP. Musically, there are nods to The Cure’s Disintegration, Deerhunter and DIIV, while the band reference RIDE and Radiohead. There are also echoes of krautrock and post-punk, from The Chameleons to Protomartyr, plus the proto shoegaze of the Pale Saints’ The Comforts Of Madness, not least in the cross fading of some tracks, meaning the album is an almost seamless listen. As a result, Bedroom becomes an unexpected and unintentional concept album, running through the different stages of a break-up set against the backdrop of the ups and downs of your early twenties. “The subject matter spans mental health, alcohol abuse, unplanned pregnancy, drugs… basically every cliché topic that you could think of,” reveals frontman Ryan Smith. “But that doesn’t mean they ever stop being relevant. It’s a fucker growing up, but I’m lucky enough to have been able to project my feelings in the form of this band, surrounded by four of the best people I’ve ever met.”

                            And that band name, in case it needs explaining, is pronounced the same way as the album title. “I never thought I’d get to the stage where I would have to explain it so much,” says Ryan. “We have been pronounced as Boredom, Bdum and my old boss thought we were a ska band called Bad Riddim. We’re all sarcastic cunts, so Bedroom spelt correctly seemed like the perfect title.” He’s right. The perfect title for the perfect debut album.

                            FORMAT INFORMATION

                            Coloured LP Info: Exclusive red vinyl edition.

                            Birds

                            Transcendental Phases / Tunnel Vision

                              Höga Nord Rekords proudly presents Birds from London. Birds or Katie Wilkinson is relatively new as a producer but has been DJ-ing and playing in bands for the last nine years, marinating herself in interesting underground music. This 7”, Transcendental Phases/Tunnel Vision is her first release on Höga Nord Rekords.

                              Birds is a declaration of love to electronic music and psychedelia. The vocals in Tunnel Vision bares traces from the psychedelic pioneers of the 60’s – Think Roky Erikson with a Roland 303! Birds’ music is powerful and monotonous and she creates a dirty, warm and monumental soundscape. The production is airy and dynamic

                              Wilkinson mean that “we must try and find harmony in what we have and try and aim towards something positive, despite the fact that we live in a society that’s been completed fucked via the selfish behaviour of others (and most probably, ourselves at times).” With Brexit and the new wave of racism, spreading over Europe Birds makes music for a generation left with little hope but with the desire for something too long for.

                              Blazer Sound System / CS + Kreme

                              Tanka Riddim / Crushed Cream

                                Parallel pairings from NYC and Melbourne.

                                Long drip-feeding insane productions via their NTS Radio residency, Blazer Sound System materialise 'Tanka Riddim'. The slow burner menacingly slithers like a serpent coiling its prey; its victim praising the reality-dismantling guitar delay and exuberant roots of the afterlife.

                                CS + Kreme’s flipside mystics summon 'Crushed Cream' from the forest floor. Neck-snapping hypnobeat that was seeded between their dual Total Stasis initiations - the prelude to an untouchable streak on The Trilogy Tapes. 

                                FORMAT INFORMATION

                                Ltd 10" Info: White label 10".

                                Dee Dee Bridgewater

                                Afro Blue

                                  If you collect vintage 70’s soul-jazz vinyl, there is a good chance that you already own a record that features the amazing vocal talents of Dee Dee Bridgewater. Whether it be Roy Ayers, Norman Connors, Billy Parker or Carlos Garnett - Dee Dee is the glue that fuses these artists together.

                                  Although best known for her jazz work, Dee Dee has had a wonderfully rich and varied career encompassing soul, musicals, gospel, and underground disco from the 70’s to the present day. She is still active as a vocalist, composer, and producer and remains one of our favourite vocalists at Mr Bongo HQ. We take things back to the early years of Dee Dee’s career with her debut album ‘Afro Blue’. Recorded in Tokyo in 1974, the album was released exclusively in Japan via two different Japanese labels (Trio Records in 1974 and All Art in 1985 respectively). Each release had unique cover art and we have opted to present the album in its original 1974 form.

                                  ‘Afro Blue’ features an exquisite collaboration of American and Japanese musicians, such as Cecil & Ron Bridgewater, Motohiko Hino and producer Takao Ishizuka. The result is a sublime deep soul-jazz masterpiece with timeless versions of ‘People Make The World Go Round’, ‘Love From The Sun’, and ‘Afro Blue’. It is arguably one of the finest albums in its genre. This record has long been a sought-after item for DJs and collectors alike, so we are delighted to finally make this wonderful music from an understated great available to all.

                                  The Charlatans

                                  Between 10th & 11th (Expanded Edition)

                                    Beggars Arkive is excited to announce the reissue of Between 10th and 11th, the second album by The Charlatans.

                                    Available on double clear vinyl and double CD, the reissue contains the original album plus remastered tracks from the oft-bootlegged live show from Chicago in 1991, known as Isolation 21.2.91, a holy grail amongst fans.

                                    Between 10th and 11th was originally released in 1992 and feature the UK Top 20 hit (and biggest US single) “Weirdo”, as well as singles “Tremolo Song” and “I Don’t Want To See The Sights”

                                    “A certifiable classic” - PopMatters.

                                    FORMAT INFORMATION

                                    2xColoured LP Info: Double clear vinyl.

                                    Clams Casino

                                    Moon Trip Radio

                                      New Jersey-native Clams Casino stands amongst the most respected hip-hop producers in the game today. After several years of underground notoriety, Clams became widely known after producing several of the standout tracks on A$AP Rocky’s monolithic debut mixtape Live. Love. ASAP and has received widespread critical acclaim for his collaborations with Lil Peep, Vince Staples, Lil B, Mac Miller, The Weeknd, Joji amongst others. Clams released his hugely anticipated instrumental album Moon Trip Radio late last year, a stunning collection of tracks that showcase his immense talent as both a composer and producer. 

                                      Contact Music

                                      Keep On Dance

                                        The third release on Tempo Dischi is 'Keep On Dance' by Contact Music, a little gem that is part of the Italo Disco history, but has characteristics of the early Proto House sound. Antonio Cucaro, the Italian musician, songwriter and producer behind this project recalls ‘I started playing guitar very early. I drew my inspirations from the echo of Woodstock that came through the ‘Bandiera Gialla’ show on Radio Rai: emotions that were equal to true revelations when listening to Jimi Hendrix, Eric Clapton, Cream, Jimmy Page, Ritchie Blackmore (Deep Purple), Joe Pass, Alvin Lee, George Benson. Stimulated by various musical contamination, which came from rock and Italian authorial music, I started immersing myself into searching new exciting sounds, applying composition to various directions while trying to produce something new without worrying about genres or people's judgements, all without a compromise. I would not have imagined that one evening in 1983, 'Keep on Dance' would be born. It was produced together with three DJs who wanted a sort of opening track for their sets, putting together some sequences recorded by myself using percussion, acoustic and electronic drums (Linn, Oberheim, Simmons). The fact that after almost forty years it has been revived and considered a Proto House pearl really honours me. Composing music is like breathing pure oxygen: you compose, record and realise that you are already thinking about the next step to keep breathing’.

                                        Joyce Cooling

                                        It's You / Dori

                                          Joyce Cooling is known for being one of the dynamic jazz guitarists in the world. She has recorded for over two decades and had No.1 radio hits in the USA where she has performed with such musical giants as Joe Henderson, Stan Getz, Charlie Byrd, Al Jarreau, and Lee Ritenour. The vocal track "It's You" comes from her debut album "Cameo" in 1988 and was adopted by the jazz dance and soul scene in the mid 90s. It has been on CD compilations since that time but never before on vinyl. "Dori" is also one of her finest works from that time, only previously a bonus track on one edition of the "Cameo" CD

                                          Dream Wife

                                          So When You Gonna....

                                            Dream Wife’s rise has been swift and steep from the start. Their self-titled debut album – an 11-track collection of heavy garage-punk riffs and dance party pop, out January 2018 – was released to widespread critical acclaim (five stars and a cover in the NME, positive coverage across BBC Radio 1, The Guardian, The Fader, Dazed, Nylon and more). They soundtracked shows like Orange is The New Black and Trinkets. Supported bands such as Garbage, The Kills and Sleigh Bells. Toured with Sunflower Bean across North America. And during all of this, took their explosive live show and pushed it out further, to an already eager, international audience.

                                            Now the band – vocalist Rakel, guitarist Alice, bassist Bella – are back with their second album, So When You Gonna… out July 3, 2020. Just like the title suggests, this is a record brimming with adrenaline and playful excitement (“It’s an invitation, a challenge, a call to action,” says Rakel). From the jagged, CSS-like guitar of “So When You Gonna…” to the hooky brightness of album opener “Sports!” and the whip-smart lyrical asides of “Validation”, these are moreish, pumped up, sparkling tracks that feel like newer, dynamic evolutions of debut standouts, like “F.U.U.” and “Hey Heartbreaker.”

                                            But they often lean into sweeter, softer, more emotional moments too. “With every loss how do you carry through / Know you’re brave to jump back into,” sings Rakel on “Temporary”, her voice floating over melodic, honey-sweet guitar like an indie lullaby. “There are so few songs about miscarriage,” Rakel says, speaking about the lyrics. “People don’t talk about this. And then to not have this as a conversational topic in our society among womxn... you realise, in your later twenties, probably every other one of your friends has experienced an abortion or miscarriage. I think that’s something that needs to be spoken about.”

                                            Dream Wife have always been outspoken about holding up other womxn and non-binary people in the creative industries, but these aren’t just words or sentiments. With a gender divide in music production currently estimated at around ninety-five percent male to five percent female, the band are proud to have worked with an all-female recording team for So When You Gonna..., including producer and mixer Marta Salogni (Björk, Holly Herndon, FKA Twigs) engineer Grace Banks (David Wrench, Marika Hackman) and mastering engineer Heba Kadry (Princess Nokia, Alex G, Beach House).

                                            “It was a way of us practicing what we preach,” says Alice, “It felt like an honour to be able to deliver this baby with these three amazing midwives.” “Put your money where your mouth is!” adds Rakel, quoting the lyrics of “Sports!”

                                            FORMAT INFORMATION

                                            Coloured LP Info: Indies exclusive neon pink vinyl.

                                            Empress Of

                                            I'm Your Empress Of

                                              Under the name Empress Of, Honduran-American songwriter, musician and producer Lorely Rodriguez creates introspective, self-empowering pop music centered around her impressive, acrobatic vocals. On her 2015 debut album, Me, she established a danceable, spontaneous sound that embraced whimsicality and percussiveness. With her 2018 sophomore album, Us, Rodriguez wanted to facilitate a more equal exchange of energy between herself and her listeners, to create a community. Now she's gearing up to release her third album - I'm Your Empress Of comes on the heels of touring with Lizzo, Blood Orange, Maggie Rogers and Mura Masa and follows her collaborations with Khalid, MØ, DJDS and her song "Wild Girl" with KITO. Lorely shares, "After writing three albums, no process has been the same. This record wasn't written in a remote location. It wasn't written in a collaborative effort. It was written in my small studio in Highland Park, Los Angeles over two months in between touring the world. Music is magic. Something that possesses me, shows me things about myself that aren't easy to see. It's called I'm Your Empress Of because I've always felt that once a song is done, and the emotion is there and it's not inside me anymore, it belongs to the world."

                                              Fairuz

                                              Maarifti Feek

                                                Fairuz's ultra rare 1987 classic composed and arranged by ziad rahbani and featuring the cult arabic groove "ouverture 83" is reissued for the first time on vinyl remastered from the original tapes.

                                                Following the reissue last year of Fairuz's classic 1979 album "Wahdon", Wewantsounds pursue their exploration of great Lebanese music with the reissue of Fairuz's highly sought-after LP "Maarifti Feek," released in 1987. Recorded in Beirut around 1983-84, the album features the Diva's superb voice combined with Ziad Rahbani's jazz and funk orchestration, making it one of the most in-demand albums on the Arabic funk scene.

                                                The Fiery Furnaces

                                                Down At The So And So On Somewhere

                                                  "This is the first new music from The Fiery Furnaces in ten years," the band says. "The songs were recorded in New York City and a few hours north of New York City on February 3 and February 10 - 12, 2020. 'Down by the So and So on Somewhere' is a regretful song about having regrets. Now it seems even more sad than we thought it was back then: 'Will you meet me,' etc. Matthew was happy to use a Soviet drum machine. Eleanor was happy to play real drums. 'The Fortune Teller's Revenge' is another sad song. We cut out the lines from the first and third verse: 'with me; just kidding' and 'leave everything to me.' Matthew likes hearing Eleanor sing 'I'm sorry to say I've never made a mistake.' Eleanor likes that you can't quite tell who's singing what, when."

                                                  Eleanor and Matthew Friedberger formed The Fiery Furnaces in New York City in 2000. Their debut album Gallowsbird’s Bark (Rough Trade Records) was released to critical acclaim in 2003. In the following seven years, they released eight more albums and toured extensively throughout North America, Europe, Australia and Japan. The band’s last performance was nearly a decade ago at the Primavera Sound Festival in Barcelona.In the meantime, Eleanor and Matthew have released eight solo albums, collectively. They are very pleased to return to the stage in their hometown Chicago, at Pitchfork Music Festival.

                                                  Eleanor: Someone comes up to me at every show and asks: “How’s Matt? What’s happening with The Fiery Furnaces?” And I say, “He’s fine” and “Nothing at the moment.” I’m so happy to finally have some news: “He’s fine” and “We’re playing in July at the Pitchfork Festival.” We didn’t break up; this isn’t a reunion. We’re just playing the next show.

                                                  Matthew: For the last three and a quarter years I’ve been listening to Fiery Furnaces records every day. I think I finally get it.

                                                  Greg Foat

                                                  Symphonie Pacifique

                                                    Foat has become a versatile mainstay in UK jazz through an acclaimed series of albums on Jazzman and Athens Of The North, moving from soul-jazz workouts to library music to cinematic, haunting compositions and pastoral acid folk. ‘Symphonie Pacifique’ goes expansive and widescreen, building a lush soundscape using choral textures, harp and tubular bells on the atmospheric ‘After The Storm’ alongside sensual groove-based tracks like the undulating ‘Anticipation’, the album title track and Groove Merchant-channelling ‘Nikinakinu’, all driven by Phil Achille on bass, Eric Young on congas and Moses Boyd’s crisp, flowing breakbeats. Other tracks include a moving tribute to KPM library legend Duncan Lamont on the reflective ‘Lament For Lamont’ and the languid, simmering ‘Island Life’.

                                                    The album is a truly international collaboration, recorded analogue and produced by Greg Foat at London’s Fish Factory studios with strings recorded in Edinburgh and choir in Gothenburg. The album was mixed by Mattias Glava at Kungsten Studios in Gothenburg. Cover artwork is based on a painting by early 20th Century Algerian / Parisian artist Henry Valensi.

                                                    FORMAT INFORMATION

                                                    2xLP includes MP3 Download Code.

                                                    A O Gerber

                                                    Another Place To Need

                                                      "To me, this record is about fantasy," explains A.O. Gerber of her debut LP, Another Place To Need. "It’s about fantasy and loneliness, and about how living in the fiction of your own head can make you lonely." The Los Angeles-based artist will peak interest from fans of Angel Olsen and Big Thief thanks to her thought-provoking songwriting, as punchy and inspiring as it is intimate and deft. The A.O. Gerber story is just beginning and with Another Place To Need she is aligning herself as one of the most captivating indie newcomers to appear this year.

                                                      Matthew Halsall & The Gondwana Orchestra

                                                      Badder Weather / As I Walk (feat. Josephine Oniyama)

                                                        Gondwana Records are delighted to announce '7" Series', our first ever 7" vinyl collection series. Featuring bespoke artwork from Gondwana Records designer Daniel Halsall, cut at Calyx in Berlin, and manufactured at Optimal, each 7" is limited to strictly 300 copies and housed in a reverse board printed sleeve with classic 'dinked' centre holes.

                                                        To launch this collectable series, we are excited to share new and previously unreleased music from Mammal Hands and two catalogue favourites from Matthew Halsall. Over the next coming months, we will share series part 3 and 4 and beyond.

                                                        Manchester based composer, arranger, producer, DJ and band-leader Matthew Halsall has carved out a niche for himself as one of the UK's brightest talents. His languid, soulful, beautiful music has won international acclaim and for his first ever 7" he revisits his 2015 masterpiece, Into Forever, selecting two classic cuts, featuring the great vocalist Josephine Oniyama to create an instant, timeless, classic.

                                                        Side A Badder Weather is deep and soulful built around a groove that never quits.

                                                        Side B As I Walk is a lush, soulful affair, featuring swelling strings and deep vocals.

                                                        Manchester based composer, producer, trumpeter, DJ and founder of Gondwana Records, Matthew Halsall is one of UK's most creative talents. A gifted trumpeter with a beautiful, expressive tone, his music has explored his love of the transcendental spiritual and modal jazz of Alice Coltrane and Pharoah Sanders, as well as more contemporary dance music and electronica.


                                                        Hampshire & Foat

                                                        Galaxies Like Grains Of Sand - Reissue

                                                        Multi talented UK Jazz Pianist Greg Foat has teamed up with Mercury Award nominated "The Bees" member and multi instrumentalist Warren Hampshire to collaborate on a new LP drawing on their diverse musical influences. Classic British library music, 60s Italian soundtracks & lost Americana combined with touches of modern classical, minimalism, Jazz and Folk. Featuring many members of Greg and Warren's previous bands and one of the U.Ks finest Jazz drummers, Clark Tracy, the LP also features an Edinburgh orchestra and soloists hand picked and scored by the boys. Recorded all analogue onto 2" multitrack in Edinburgh, mixed down by Mattias Glavå at his studio in Gothenburg, Sweden then mastered and cut in Helsinki, Finland, it's truly a European affair. 


                                                        Randy Holden

                                                        Population II

                                                          “Godzilla just walked into the room. People just stood there with their eyes and mouths wide open.” To hear Randy Holden describe the audience’s reaction in 1969 to his solo debut performing with a teeth-rattling phalanx of 16 (sixteen!) 200 watt Sunn amps is about as close as many of us will get to truly experience the moment heavy metal music morphed into existence. However, at last we have unearthed the proper fossil record.

                                                          Population II, the now legendary, extremely rare album by guitarist/vocalist Holden and drummer/keyboardist Chris Lockheed is considered to be one of the earliest examples of doom metal. Though its original release was a very limited in number and distribution, like all great records, its impact over time has continued to grow. In 1969, Holden, fresh off his tenure with proto-metal pioneers Blue Cheer (appearing on one side of the New! Improved! Blue Cheer album and touring for the better part of a year in the group), aimed for more control over his band. Thus, Randy Holden - Population II was born, the duo naming itself after the astronomical term for a particular star cluster with heavy metals present.

                                                          “I wanted to do something that hadn’t been done before,” Holden explains. “I was interested in discordant sounds that could be melodic but gigantically huge. I rented an Opera house for rehearsal, set up with 16 Sunn amps. That’s what I was going for, way over the top.” And over the top it is. The 6-song album delves into leaden sludge, lumbering doom and epic soaring riffs that sound free from all constraints of the era. It’s incredibly heavy, but infused with a melodic, albeit mechanistic, sensibility.

                                                          “At the time, I was hearing these crazy melodies everywhere I went,” Holden says. “I thought I was going crazy.” For example, one day he slowly rooted out a powerful sound that had been nagging him and discovered it coming from a ceiling fan. “Machinery all around us doesn’t turn in a perfect rhythm. That’s what I was tuning into, I heard the music and the discordant sounds coming from the machinery. It was perfect for rendering the machine we built.”

                                                          Troubles with the album’s release bankrupted Holden, who subsequently left music for over two decades. It was bootlegged several times over the years, but until now hasn’t seen a proper remaster and has yet to be available on digital platforms. “The original mastering just destroyed the dynamics of it,” Holden says. “They flattened it out. Now we got a really nice remaster that should be the closest thing to the original recording.” 

                                                          FORMAT INFORMATION

                                                          Coloured LP Info: Signed copy.

                                                          Holy Wave is an experimental dream-pop band originally from El Paso, Texas. After seeing a life-altering performance by My Bloody Valentine in 2008, the band moved to Austin to pursue their own vision of Texas psych, their sweet melodies dyed in carefully constructed noise.Over the course of four albums, the band have cemented themselves as a staple force in the international indie scene, with key performances at Levitation, Desert Daze, and nearly every psych gathering on the planet. They’ve toured the world, and shared the stage with heroes such as Slowdive, Spiritualized, Hope Sandoval and The Black Angels. Their body of work has received critical acclaim from Pitchfork, Consequence of Sound, Paste Magazine and countless others, and in 2020 they are prepared to release their latest body of work.

                                                          Interloper sees the band adding new layers to their lush and mesmerizing songwriting style. Written about the duality between life at home and life on the road, it sees the band expanding on their most esoteric and thought-provoking themes. “I’m Not Living in the Past Anymore” is a mantra about breaking the cycle of the mundane, “Escapism” is a dream-like meditation. “Interloper” serves as the centerpiece for this self-expanding record, asking, what happens when the world beneath your feet changes so much that you feel like a stranger in your own shoes? The band turns inward, to blissed-out moments on album opener “Schmetterling”, the saccharine haze of “R&B”, and the freak-out catharsis of live favorite “Buddhist Pete”.

                                                          With Interloper Holy Wave weaves together a contemplative tapestry that can serve as a road map for the diffident, a soundtrack to self-realization, or simply an invitation to escape.

                                                          FORMAT INFORMATION

                                                          Coloured LP Info: White vinyl edition.

                                                          Coloured LP 2 Info: Indies exclusive tangerine vinyl.

                                                          I Am Kloot

                                                          Gods And Monsters - Coloured Vinyl Edition

                                                            I Am Kloot released their third album Gods And Monsters in 2005. They chose once again to stay true to themselves and to their sound, delivering this perfectly crafted album, which reached #74 in the UK Album Charts. Formed from the ashes of The Mouth, I Am Kloot stood up and released some very successful releases.

                                                            Gods and Monsters is available as a limited edition of 1000 individually numbered copies on orange marbled vinyl. The package includes an insert.

                                                            FORMAT INFORMATION

                                                            Coloured LP Info: • 180 GRAM AUDIOPHILE VINYL.
                                                            • GATEFOLD SLEEVE.
                                                            • INSERT.
                                                            • LIMITED EDITION OF 1000.
                                                            • INDIVIDUALLY NUMBERED COPIES ON ORANGE MARBLED VINYL.

                                                            Jayda G

                                                            Both Of Us / Are U Down

                                                              Canadian by birth and now London based, Jayda G releases her new EP, ‘Both Of Us / Are U Down’ on Ninja Tune. The new EP perfectly captures the energy, vitality, rhythm and boundless enthusiasm that has seen Jayda rise through the dance music underground. There will also be an official video to accompany ‘Both Of Us’ single featuring Jayda.

                                                              ‘Both Of Us / Are U Down’ was made in collaboration with Fred Gibson aka Fred again.. (2020 BRIT Awards' Producer of the Year - Stormzy, Ed Sheeran, Jamie XX, FKA Twigs, Headie One and more).

                                                              Brenda Jones

                                                              Super Stroke / Big Mistake

                                                                Big Mistake is a record with a lot of fans and as many questions! Q: Why is it the B-side? A. This is where it appeared originally. Q: Who is Brenda? A: We believe she is the late Brenda Melson aka Brenda Lee Jones from Dayton, Ohio. Q: What is the song about? A: She wrote it for her adopted son and is about the mistake his real mother made. Q: Why the fuzzy guitar? A: It was the flavour of the day and make it a Marmite record, BUT, many soul fans have waited years for a re-release as original copies are few and far between. Q: Is it a perfect recording? A: Maybe not entirely, but we have been supplied with the original tape masters used for the 1974 pressings. Q: So how many people want it? A: At least 500 on Discogs, there are no originals available and the highest paid for one was £800

                                                                Keleketla!

                                                                Keleketla!

                                                                  Keleketla! is an expansive collaborative project, reaching outward from Johannesburg to London, Lagos, L.A. and West Papua, “Keleketla!” started as a musical meeting ground between Ninja Tune cofounders Coldcut and a cadre of South African musicians (introduced by the charity In Place Of War), including the raw, South African-accented jazz styles of Sibusile Xaba, and rapper Yugen Blakrok (Black Panther OST). From those initial sessions, the record grew to encompass a wider web of musical luminaries, including Afrobeat architects Tony Allen and Dele Sosimi, legendary L.A. spoken word pioneers The Watts Prophets, and West Papuan activist Benny Wenda.

                                                                  Album collaborators include South Africa sessions with Yugen Blakrok, Nono Nkoane, Thabang Tabane, Tubatsi Moloi, Gally Ngoveni, Sibusile Xaba, Soundz of the South Collective, DJ Mabheko and London sessions with Tony Allen, Shabaka Hutchings, Dele Sosimi, Ed ‘Tenderlonious’ Cawthorne, Tamar Osborn, Miles James, Joe Armon-Jones, Afla Sackey, Wenda Family, Eska Mtungwazi, Jungle Drummer, DeeJay Random.

                                                                  Additionally, The Watts Prophets (Los Angeles) and Antibalas (New York) have contributed to the album.

                                                                  Kidbug

                                                                  Kidbug

                                                                    Kidbug is Marina Tadic (Eerie Wanda), Adam Harding (Dumb Numbers), Thor Harris (Swans) and Bobb Bruno (Best Coast), also featuring Dale Crover (Melvins) on album closing track “Dreamy”. Born from the romance of Tadic and Harding, together with Harris and Bruno they make self-described "cuddlebug sludge", the harmoniously spiky offspring of Harding's fuzzy guitar grunge-gaze and Tadic's dreamy left field pop. Kidbug's roots date back to December 2018. While at Joyful Noise Recordings' Indianapolis label headquarters for their annual holiday party, Australian transplant Adam Harding was first introduced to the Croatian-born, Netherlands-based artist Marina Tadic.

                                                                    "We all convened at Postal Recording in Indianapolis to record Christmas songs for the label, and it just sort of grew from there," Harding explains. When Tadic learned that Harding was also an accomplished video maker, she asked if he would make a video for Eerie Wanda before she was due to leave town. According to Tadic, the creative sparks started flying immediately, inspiring a series of long-distance musical love letters. The initial results were raw, personal, and naked in their emotional honesty, with a purity of expression that Tadic and Harding were eager to preserve. "We made a pact that whatever came out, we wouldn't second guess it," says Harding. Adds Tadic: "We were inspired by the honesty and purity of John and Yoko singing love songs to each other.

                                                                    We wrote these songs for each other, and there was no reason to overthink them or purposefully obscure the lyrics, which made both the writing and recording process really fun and spontaneous." To achieve full cohesion, strong rhythmic components were required: Best Coast's Bobb Bruno was recruited for bass and additional guitar, and 2019 Joyful Noise Artist in Residence Thor Harris was tapped for drums and percussion. "Thor was the glue that brought everyone together. He was our first and only choice for a drummer," Harding emphasized. The album was recorded in 3 3 days at Postal Recording in Indianapolis, with Tadic once again flying out from the Netherlands, and Thor Harris coming up from his home in Austin, Texas.

                                                                    Melvins' legend Dale Crover makes a special guest appearance behind the kit on the album's closing track "Dreamy." Kidbug's debut LP is fueled by a deeply charged electrical love, and the band hopes to return that magical energy to listeners. "This album is a celebration of love. All of my songs with Dumb Numbers have been about endings, but Kidbug is about beginnings," Harding shared. "We hope to bring love into the world with this album," Tadic adds. "We dig love."

                                                                    FORMAT INFORMATION

                                                                    Coloured LP Info: Loomer Pink Vinyl.

                                                                    Coloured LP includes MP3 Download Code.

                                                                    Kool Keith

                                                                    Computer Technology

                                                                      Kool Keith is an educated man, boasting a pair of doctorates -- one in dooomology and another in octagon mathematics. With this immense medical and scientific background at his disposal, Keith has come to operate. Production on Keith's albums is eerily evil; his music is an LSD experience gone horribly wrong. Bizarre, ethereal sound effects and tight, piercing drum loops prepare the listener for a down and dirty lyrical delivery that's been cultivated since Keith first arrived on the rap scene with the Ultramagnetic MCs. Verses contain unique rhyme structures and original metaphors, and range from classic emcee braggadocio to tales of robbery and street sex. Keith's latest LP "Computer Technology" entirely produced by Junkaz Lou is yet another work of art. No MC on the planet is so grimy and yet so polished -- after years in the rap game, Kool Keith's as unique as ever.

                                                                      Kool Keith

                                                                      Saks 5th Ave

                                                                        Arguably poised as Kool Keith’s most sophisticated release to date, “Saks 5th Ave” serves as both a stepping stone forward in the artist’s prolific career, as well as a much needed reminder that the world’s most innovative emcee has a thorough grasp on far more than your average rapper. Touching on everything from the use of high fashion products to personal experiences including a near fatal car crash which occurred in 2017, The 16 track studio album produced by the versatile beat maker Dean “Landon Price Beats” Trotter channels Keith in a smoothly conscious state while laying down effortless bars over modern yet timeless hip hop production. From the artist who brought you "Dr. Dooom”, “Sex Style”, “Keith” and everything in between, “Saks 5th Ave” is the latest and greatest haute couture in a world of Gap and Old Navy hip hop.

                                                                        Ray Lamontagne

                                                                        Monovision

                                                                          Grammy Award winning artist Ray LaMontagne is set to release his eagerly anticipated, eighth studio album 'MONOVISION' via Columbia Records.

                                                                          The 10 track album sees Ray not only writing and producing the album once again but also includes added duties of engineering as well as performing all the instruments for the tracks. 

                                                                          Lithics

                                                                          Tower Of Age

                                                                            RIYL: Deerhoof, Bush Tetras, Kleenex/Liliput, Delta 5, Pylon, Y Pants, Liquid Liquid, Sex Clark Five, Grass Widow, Palberta. After introducing themselves to the world with 2016's "Borrowed Floors" (Water Wing) and throwing down the gauntlet with 2018's "Mating Surfaces" on Kill Rock Stars, Lithics make the jump to Trouble In Mind for "Tower of Age". "Tower of Age" bristles with invention, wedging lyrical Dadaism into right angles of rhythmic minimalism. This is music in ellipses. A circular communication and a fusion of decades worth of musical insight into a singular refraction of thought & sound. Guitars plunk and scratch, and rhythms pulse and syncopate tightly wound around an imagist's philosophy to "use absolutely no word that does not contribute to the presentation." The band's austere approach to composition and wordplay elevates them above and beyond bands seeking similar sounds; it's not that they use less; it's HOW they use less. 

                                                                            FORMAT INFORMATION

                                                                            Coloured LP Info: Limited white, black & yellow “tri-color” vinyl version is for Indies only.

                                                                            Little Kid

                                                                            Transfiguration Highway

                                                                              After six days Jesus took with him Peter, James and John the brother of James, and led them up a high mountain by themselves. There, he was transfigured before them. His face shone like the sun, and His clothes became as white as the light.”(Matthew 17:2).

                                                                              Based out of Toronto, Little Kid’s Kenny Boothby finds himself inspired by this idea of transfiguration - a complete change of form or appearance into a more beautiful or spiritual state. Far-ranging in both its sonic palette and its subject matter, the band’s forthcoming album, Transfiguration Highway is a record of unusual depth and clarity from a songwriter who has spent the better part of a decade honing his craft and a lifetime building the perspective his songs so deftly express. These are personal songs that look outward, that seek to tie together the bigness of the world and the smallness of the everyday with both subtlety and humility. For years Boothby and Little Kid have been quietly building a devoted following, but their Solitaire debut is a beautifully formed introduction to the wider world for an artist who will undoubtedly be recognized as a uniquely gifted songwriting voice.

                                                                              Operating since 2011, and now joined by Megan Lunn (banjo, keys, vocals), Paul Vroom (bass & vocals), Liam Cole (drums) and Brodie Germain (drums, guitar, percussion), Little Kid has built a cult audience with a series of idiosyncratic home recordings, self-released in short cassette runs that range from more traditional albums and EPs, to 2019’s Botched Restorations - on which Boothby sold out a run of one-of-a-kind 60 minute cassettes that each contained 10 songs from his discography, chosen by the purchaser and recorded live to tape in his bedroom.


                                                                              FORMAT INFORMATION

                                                                              Dinked Edition LP Info: • 180g Clear with Baby Blue, Opaque Orange and Opaque Gold Splatter Vinyl*
                                                                              • Foil numbered sleeve*
                                                                              • ‘Le Cycle Liturgique’ A3 folded poster*
                                                                              • Dinked orange obi-strip*
                                                                              • Download card
                                                                              *Exclusive to Dinked Edition

                                                                              Ltd LP includes MP3 Download Code.

                                                                              Linda Majika / Thoughts Visions & Dreams Feat. Ray Phiri

                                                                              Let's Make A Deal / Step Out Of My Life

                                                                                Double sider 12" including the bubblegum club track ''Let's Make a Deal'' by Linda "Babe” Majika, which was originally released on the rare 'Don’t Treat Me So Bad' lp in South-Africa, 1988. On the flip, you’ll find the deep late-night saxophone driven tune ''Step Out Of My Life'' which includes Don Laka on the keyboard and is produced by Ray Phiri, who also founded the popular South African group 'Stimela'. The song was originally released in 1989 and finally sees a reissue, pressed as a loud DJ-friendly 12-inch.

                                                                                Mall Grab

                                                                                Take Down Enemies (Inc. Special Request Remix)

                                                                                  "Take Down Enemies" is a powerful collection of three sought after MG tracks and a whopping remix from the one and only Special Request.

                                                                                  Play it loud.

                                                                                  Positive Energy Forever.

                                                                                  Mammal Hands

                                                                                  Chaser / Prism

                                                                                    Gondwana Records are delighted to announce '7" Series', our first ever 7" vinyl collection series. Featuring bespoke artwork from Gondwana Records designer Daniel Halsall, cut at Calyx in Berlin, and manufactured at Optimal, each 7" is limited to strictly 300 copies and housed in a reverse board printed sleeve with classic 'dinked' centre holes.

                                                                                    To launch this collectable series, we are excited to share new and previously unreleased music from Mammal Hands and two catalogue favourites from Matthew Halsall. Over the next coming months, we will share series part 3 and 4 and beyond.

                                                                                    Captivating, ethereal and majestic, Mammal Hands are driven by their unique line-up of drums, piano and saxophone. Their hypnotic music draws on a rich well of influences from Sufi trance and West African music to folk music, contemporary classical, spiritual jazz and electronica to produce something uniquely their own. Their 7" features two brand new, previously unreleased tunes.

                                                                                    Side A Chaser is a punchy, hypnotic tune with an enchanted melody that'll take you on a magical journey. All in less than 4 minutes

                                                                                    Side B Prism is a mysterious ear-worm, ethereal but catchy, it sounds like nothing else the band have ever recorded.

                                                                                    MC Yallah

                                                                                    Mama Waliwamanyii

                                                                                      Ugandan rapper MC Yallah joins Phantom Limb for the release of her blistering new 12” Mama Waliwamanyii. Produced by Irish electronic artist Eomac (one half of R&S Records’ Lakker), the EP fuses Yallah’s breakneck Luganda language rapping with Eomac’s powerful, purposeful beats.

                                                                                      Formed remotely between Dublin and Kampala, Mama Wailwamanyii represents several months of work, sending beats, loops and song-stems back and forth until the results boiled down to the two vital cuts of exhilarating, experimental, unpredictable hip-hop that make up the EP.

                                                                                      Opening with urgent descending synth lines, ‘Mama Waliwamanyii’ rushes Yallah’s rhythmic vocal style to the forefront, bristling with kinetic energy. The song references her mother - its title translates to “Mama, you were strong” - and a sense of fierce, feminine intensity pervades throughout, a deep personal meaning that kicks as hard as the beats. The track is destined to intoxicate dancefloors across the world, perfectly sculpted by Eomac to rise and fall with breathless ecstasy one moment and send the heart racing with expectation the next. Yallah wrote the track after losing her mother, who raised her and her siblings alone following their escape from the domestic violence of their home life in Kenya. She writes that the studio session evoked floods of tears. That raw, expressive power shines through.

                                                                                      On the flip, ‘Kakana’ is darker, more patient. Eomac’s spacious, creeping synth lines burn and glower with simmering anticipation, while Yallah’s delivery fills in the percussive gaps with machine-gun poetry. It acts as a neat foil both to ‘Mama Waliwamanyii’ and to Yallah’s previous material, positioning her contribution to the collaboration as a colourful, flowing solo over the greyscale, psuedo-industrial sonics laid down by Eomac. A call to arms, the title translates to “calm down” in response to the criticism Yallah has faced as an outspoken, independent MC in her local scene.

                                                                                      The EP also features extended mixes of both tracks as instrumental versions specially created by Eomac, transforming them into a mutant, warped techno with entirely different personalities to their vocal takes. MC Yallah is Kenyan by heritage, but born and raised in Kampala, where she is a key member of the much-celebrated Nyege Nyege crew. Her debut release - a collaboration with French producer Debmaster - surfaced in 2018 on Nyege’s Hakuna Kulala imprint. Björk recently picked up on the Yallah phenomenon, spinning her tracks in DJ sets and mixes.

                                                                                      Eomac (Dublin-based producer Ian McDonnell) is one half of Phantom Limb favourites Lakker, whose pitch-black avant-techno graces both dancefloors and experimental music venues the world over. His solo records - including the vital 2016 album Bedouin Trax LP of Middle Eastern samples, released on the UAE’s Bedouin Records - are favourites of Phantom Limb’s A&R team.

                                                                                      Melt Yourself Down

                                                                                      100% YES!

                                                                                        After a few years out to perfect their jaw-dropping new album 100% YES,  Melt Yourself Down are back. Thanks to collaborations with production legends Youth and Ben Hillier, the band have reimagined themselves and  created a bruising re-up of their signature sound with added synths, lyrics, anthems and epic joyrides. They took their sweet time crafting this new sound and it was worth it - 100% YES is the band at their finest.

                                                                                        Denai Moore

                                                                                        Modern Dread

                                                                                          Denai Moore is a British- Jamaican artist who rose to prominence as a guest vocalist on SBTRKT's 2014 album ‘Wonder Where We Land’. Moore was born in Spanish Town, Jamaica, where she started to learn to play keyboard from her father. Her family moved to Stratford, London when she was 10. 

                                                                                          Bill Nace

                                                                                          Both

                                                                                            With a requisite crackle, hum and drone, you’re fixed to slide into the disrupture in stereo that is guitarist Bill Nace and — well, THIS is a nice surprise — Bill’s got his own record out this time.

                                                                                            Sweet — in the past 15 years or so, Bill’s been a trusty improv partner to so many: Steve Baczkowski, Chris Corsano, Paul Flaherty, Greg Kelly, James Twig Harper, Samara Lubelski and Thurston Moore, plus - with Kim Gordon – in Body/Head, to name but a handful.

                                                                                            Bill’s appeared on probably more than 50 albums — but other than a few solo cassettes way back in the day, Both is his actual solo LP debut. It’s been a long time coming, and just like we hoped, with the Nace approach to electric guitar waxing front and center, sound and countersound, it’s a blast.

                                                                                            Working with producer Cooper Crain, Bill constructed Both with the ribs of composition protruding from his improvisational electron pool, pulsing with energies black and shiny, finding lots of sound and music in the process. The listening experience is only faux-monolithic — you can take it all in as a big noise thing if you want, but it’s much more rewarding to lean in and observe the variety of colors and spaces in the playing, how it breaks along discrete lines into alternating currents. The small details, like the crunch of contact between fingers and strings, the hum of the amp in a resting moment, the rhythm implied in a waveform and then pursued, all build up into melodies, climatic detours and underlying emotional expression before wiping into silence again. A real encompassing vision of what to do with a guitar in this day and age. Plus, you got cover artwork by Daniel Higgs.

                                                                                            Naeem

                                                                                            Startisha

                                                                                              Startisha introduces Naeem as a restlessly creative artist with an impressionistic, genre-bending album. As a complete work, Startisha exemplifies artistic daring and emotional intelligence while exploring new ideas and sounds, and philosophically excavating the artist’s histories. Startisha may be loaded with impressive collaborations and left-field sounds, but don't get it twisted—this music comes straight from Naeem's heart, representing the journey he's taken to get to this point as well as what lies in the future for him.

                                                                                              Baltimore-hailing Naeem Juwan has spent much of the last decade stretching his creative legs in a variety of ways: he's hit the road with artists ranging from the Avalanches and Bon Iver to Big Red Machine and Mouse on Mars, took part in a 37d03d residency in Berlin, and was selected as the music resident in 2019 for New York's Pioneer Works space. Through it all, he's been building the songs that make up Startisha, a record a half-decade in the making that featured Juwan pulling from creative circles all across the U.S. to craft a truly unique document of sound.

                                                                                              After studio sessions in Philadelphia and New York, Juwan decamped to Minneapolis and holed up in Justin Vernon's home studio, where Startisha continued to come together with contributions from Vernon, Ryan Olson (Gayngs, Polica), Swamp Dogg, Velvet Negroni, Francis and the Lights, and regular collaborators Amanda Blank and Micah James. The guest spots came together "very organically. I originally didn't want any features at all. Over time, meeting people and sharing the record with them, things just kind of happened."

                                                                                              For Juwan, the challenge inherent in Startisha was to “write songs from a personal place, and to write love songs – both things I’ve never done before.” The album kicks off with a gorgeous cover of the Silver Apples classic "You and I," reinterpreted for today's fraught times. He describes “Stone Harbor” as “a simple love song to my boyfriend, written in and name after the shore town he and his family spend their summers, Stone Harbor, NJ.” On “Simulation,” the album’s first proper single, Juwan offers a kind of treatise of creative resistance on art and culture. “I had been reading a few books, such as Trickster Makes This World: Mischief, Myth, and Art, and they helped me solidify feelings I’ve had all of my life about surviving a society of institutions that presents fictions as fact, and often use these fictions to diminish my worth, or to convince me to join their gangs. So I wrote this song to remind myself, and hopefully everyone that hears it, that nothing is real, and our greatest defense in this life is our own creativity, and finding great faith in whatever sigils and icons we choose to guide us.”

                                                                                              FORMAT INFORMATION

                                                                                              Ltd LP Info: Opaque red vinyl.

                                                                                              Piccadilly Records

                                                                                              Khaki Green Tote Bag - Mint Green Print

                                                                                                Mint green print of the Piccadilly Records logo on a khaki green tote bag.

                                                                                                Piccadilly Records

                                                                                                Logo T-Shirt - Summer 20: Cream / Burgundy

                                                                                                  This shirt features an burgundy print on a cream Gildan Softstyle Rinspun t-shirt.

                                                                                                  FORMAT INFORMATION

                                                                                                  S Info: To fit chest 28"/30".

                                                                                                  M Info: To fit chest 32"/34".

                                                                                                  L Info: To fit chest 36"/38".

                                                                                                  XL Info: To fit chest 40"/42".

                                                                                                  Women's L Info: To fit chest 36"/40"

                                                                                                  Polypores

                                                                                                  Flora

                                                                                                    Polypores (AKA Stephen James Buckley) new work, “Flora" was written and recorded in the long, hot summer of 2018. Says Stephen “I didn't intend to write a record with a specific theme or sound, but, as is often the case, something eventually presented itself once I started playing around with my machines. I spent a lot of time walking in the woods and exploring some of the beautiful countryside around the North West of the UK. Whilst doing this I got a collection of field recordings, which ended up forming the compost from which the album grew. I'd have the recording playing in the background whilst writing, or running through loop pedals. I found that if I blended the field recordings in with my initial synth pieces, it added a whole new texture and depth to what was already there.

                                                                                                    "It created a place in which the music lived. And that place was most definitely a forest. As I got deeper into the writing process a vague narrative formed. Entering a strange forest, where everything was unnaturally huge. Towering flowers and fungus. Both frightening and overwhelmingly beautiful. Then, emerging at the end through the canopy of trees into bright daylight. The last track, Sky Man, represents this I think. Like I say, it's a very loose narrative. I don't even feel like I wrote it myself - more that I channelled it from that strange ether out of which music comes.”

                                                                                                    “Flora" is an astounding record. Electronic Sound Magazine reviewed the LP in issue 54, declaring that “Flora” '…is just as good as you would expect from this superb analogue synthesist. From the eerie grittiness of the title track to the bleepy, sombre wobbles of “Golden Mould”, “Flora” has a touch of science fiction enveloping it for a record "about flowers”. “Giants" could soundtrack the exploration of a distant, long abandoned alien planet, all ambient whines and echoing, stargazing synthesis…There’s a lot to enjoy here.' 

                                                                                                    Prince Fatty

                                                                                                    The Model

                                                                                                      On this limited edition 7" production heavyweight Prince Fatty puts his own unique signature stamp on Kraftwerk's 1978 electro masterclass 'The Model,' with a helping hand from vocalist Shniece McMenamin and Drummer / MC Horseman. Includes a killer dub remix on the flip.

                                                                                                      Renowned for his collaborations with reggae and dub royalty, Prince Fatty's reworking of 'The Model' maintains the essence of the original but with a smooth rock-steady twist. Replicating the famous synth melody on a rumbling bass groove, the foundations are laid for Shniece McMenamin's impeccable vocal performance and Horseman's experimental percussive rolls to flourish. With infectious rhythm, the song moves effortlessly from start to finish and takes you on a euphoric journey of musical heritage.

                                                                                                      On producing the track Prince Fatty added: "This one always takes people by surprise, The Model by Kraftwerk is a undercover roots rockers classic - Synthesiser melodies and echoes blend as one in sound system harmony with a sweet lovers rock vocal by Shniece and MC Horseman's signature Rub a Dub Style - enjoy!"

                                                                                                      Priori

                                                                                                      On A Nimbus Remixes (Inc. Roza Terenzi / SpecialGuest DJ / Ex Terrestrial / Beta Librae / Amselysen)

                                                                                                        Following the release of Priori's 2019 full length 'On A Nimbus', NAFF presents 5 reinterpretations by some of their favorite artists.

                                                                                                        "I feel like 'Home' is a second part of the same book, that the start was in 'Esja', a musical prelude to a real plot. I feel Home is a story with an ending, so the next book can tell a totally different one. I am constantly looking for new ways of expression. I am curious where 'Home' will lead me and my music". — Hania Rani

                                                                                                        Hania Rani is a pianist, composer and musician who, was born in Gdansk and splits her life between Warsaw, where she makes her home, and Berlin where she studied and often works. Her debut album 'Esja', a beguiling collection of solo piano pieces on Gondwana Records was released to international acclaim on April 5th 2019 including nominations in 5 categories in the Polish music industries very own Grammys, the Fryderyki, and winning the Discovery of the Year 2019 in the Empik chain's Bestseller Awards and the prestigious Sanki award for the most interesting new face of Polish music chosen by Polish journalists. Rani also composed the music for her first full length movie "I Never Cry" directed by Piotr Domalewski and for the play "Nora" directed by Michał Zdunik. Her song "Eden" was used as a soundtrack of a short movie by Małgorzata Szumowska for Miu Miu's movie cycle "Women's Tales"

                                                                                                        If the compositions on Esja were born out of a fascination with the piano as an instrument, then her follow-up, the expansive, cinematic, 'Home', finds Rani expanding her palate: adding vocals and subtle electronics to her music as well as being joined on some tracks by bassist Ziemowit Klimek and drummer Wojtek Warmijak. The album reunites her with recording engineers, Piotr Wieczorek and Ignacy Gruszecki (Monochrom Studio) and the tracks were again mixed again by Gijs van Klooster in his studio in Amsterdam and by Piotr Wieczorek in Warsaw ( Ombelico and Come Back Home). Home was mastered by Zino Mikorey in Berlin (known for his work on albums by artists such as Nils Frahm and Olafur Arnalds).

                                                                                                        For Rani, 'Home', is very much a continuation of the work she started on 'Esja', "the completion of the sentence" as she puts it. The album offers a metaphorical journey: the story of places that become our home sometimes by chance, sometimes by choice. It is the story of leaving a place that is familiar and the journey that follows it. Home opens with the fragment of the short story "Loneliness" by Bruno Schulz, which can be seen as a parable of a journey that does not necessarily mean going beyond the physical door but can signify going beyond the symbolic limits of our knowledge and imagination.

                                                                                                        "One can be lost but can find home in his inner part - which can mean many things - soul, imagination, mind, intuition, passion. I strongly believe that when being in uncertain times and living an unstable life we can still reach peace with ourselves and be able to find 'home' anywhere' This is what I would like to express with my music - one can travel the whole world but not see anything. It is not where we are going but how much we are able to see and hear things happening around us". — Hania Rani

                                                                                                        Home is also about the inevitability of change. We never find places exactly how we left them. Time flies and life with it. Just like art and music. Once you started the trip, you will never be back really to the place where you started with. It is a sentiment that is at the heart of Home, not just its themes, but at the heart of Rani's music too. Following the success of Esja it would have been easy for her to stick to the same solo piano formula, but while Rani expresses her surprise and gratitude for the success of Esja, "I wasn't sure how this album - based on Piano and silence - will be received by the audience. The reception was a big surprise to me" it has also given her the confidence to express more of herself as an artist. On Home Rani steps into more of a producer's role, adding strings, bass and drums where needed, exploring the sounds of synths and electronica, but also creating textured layered songs made from acoustic samples, mostly from piano recordings. "I try to explore new genres and discover new artists, I don't want to be stuck in things that I know, I want to learn about things that are still new to me". But perhaps most notable is her singing, Rani has a fragile, beautiful voice, both pure and expressive. Long a feature of her live shows she uses it as another instrument, adding extra layers of melody and emotion to her already deeply expressive music.

                                                                                                        "I consider voice as another instrument. Maybe if I wasn't so often alone on the stage, I would take another instrument to play the melody that I have in my mind. But while I am alone, singing allows me to have more possibilities at the same time. The human voice has a real magic, nothing carries emotions as easily and powerfully as the voice, and I think being able to bring this atmosphere on stage opens up new possibilities of expression for me". — Hania Rani


                                                                                                        Home also features Rani's new band, bassist Ziemowit Klimek and drummer Wojtek Warmijak who appear on some of the albums stand out tracks, the beguiling single 'Leaving', the title track 'Home', atmospheric 'Tennen' and the beautiful 'I'll Never Find Your Soul'. After working and touring alone Rani begin to feel stuck with her own ideas and thoughts, and sounds. It was a prolific period for her compositionally, writing the music on Home, but also a film score and music for the theatre, but she felt that someone else's vision might bring new ideas to things that she already knew. Shortly before she was about to record Home she attended a concert of the young Polish jazz trio, Immortal Onion, in Gdańsk, her hometown. She liked what she heard and sked the double bassist and a drummer if they wanted to meet and something clicked. They spent most of the next week improvising and jamming on her music. This gave a whole new insight for some of the songs and brought new ideas for arrangements. And having enjoyed working together on the album Rani is looking forward to touring with the boys.

                                                                                                        "Touring with band is a totally different thing, way more challenging technically, but it also brings a new energy and new sound possibilities. I am very curious how we will manage to bring the album to life. I would like to keep the show balanced - mixing the new textures of Home with the atmosphere of minimalistic songs from Esja." — Hania Rani

                                                                                                        For Rani, this sense of exploring is a key part of her art. But it isn't only the music, Rani is keenly interested in art and architecture (as anyone who follows her exquisitely curated Instagram feed will know) and how her music works in the wider world.

                                                                                                        "I try to keep my eyes and ears wide open. What I want to master in my art is how to build the right atmosphere on stage, in recordings. To do this you need to be aware of many aspects - not only music, but also the full range of gestures, acoustics, visual aspect. I want to learn how to bring particular atmosphere and bring people to a specific space. I observe how music works in different contexts, how the feeling of sound changes in different acoustics, space, light conditions. The same thing happens with artwork that I share. I feel like everything of what I am bringing to the the world and sharing with others has an impact of reception my music. If we are an inseparable part of the ecosystem, then the music should be considered similarly." — Hania Rani

                                                                                                        The album's distinctive cover artwork was designed by the architect Łukasz Pałczyński, who combined his sketches with the stills from the music video for the song Leaving shot by her regular collaborators Mateusz Miszczyński and Jakub Stoszek in Greece and together with Rani's music and vision it is this sense of collaboration that gives Home it's power as Rani starts to give full expression to her own unique vision and perhaps the most exciting thing is that it is just another step on her journey, one that we are all lucky to be a part of!

                                                                                                        FORMAT INFORMATION

                                                                                                        2xColoured LP Info: Limited 500x only edition on Clear vinyl, printed in reverse board wide spine sleeve with printed insert

                                                                                                        2xLP Info: Double black vinyl, printed in reverse board wide spine sleeve with printed insert

                                                                                                        Reload (Mark Pritchard And Tom Middleton)

                                                                                                        A Collection Of Short Stories - Coloured Vinyl Edition

                                                                                                          Collection of Short Stories is an ambient electronic masterpiece produced by Mark Pritchard and Tom Middleton (collectively also known as Global Communication). This first full-length by the duo, released as Reload, charted the dark side of the ambient-techno, long before it became popular. This incredibly atmospheric early 90s collection is one of the best from the genre and a must have for every electronic music fan.

                                                                                                          Available as a limited edition of 2000 individually numbered copies on translucent yellow vinyl. The package includes 24-page booklet with introduction and short stories written by Dominic Fripp.

                                                                                                          FORMAT INFORMATION

                                                                                                          2xColoured LP Info: 2000 individually numbered copies on translucent yellow vinyl.

                                                                                                          Polly Scattergood

                                                                                                          In This Moment

                                                                                                            Following two critically acclaimed solo albums and an exciting side project collaboration entitled ‘onDeadWave’… Polly Scattergood is returning with her fourth studio album in early 2020, entitled ‘In This Moment’. Sonically, the album is powerful and cinematic, scattered with moments of raw intimacy and delicate soundscapes. Encompassing grief and joy in equal measure, the album documents various snap shots of life including her journey towards motherhood.  Each song is a snapshot of a moment in time. Like a soundtrack to a compendium of photographs, it is a collection of experiences that come together to create an album. In part documenting Polly’s journey towards motherhood, encompassing grief and joy in equal measure, some moments are older than others, but all are now reflected upon from a slightly new perspective.

                                                                                                            Polly began recording this album shortly after having her first child, and on a very human level felt this massive sense of freedom, peace, and also wonderment which opened her up artistically to writing again. Sonically, she loves music which feeds her, hearing new things on each listen, and so tried to create many layers and textures within the sounds…fires crackling…breathing. She even had a few field recordings of bells and the sea from time living in Fuerteventura a few years ago. Polly and her producer, Glenn Kerrigan, weaved them into the soundscape very subtly, so occasionally you will catch glimpses of them. Worlds within worlds.


                                                                                                            Sparks

                                                                                                            A Steady Drip, Drip, Drip

                                                                                                              Brothers Ron and Russell Mael are releasing their 24th studio album ‘A Steady Drip, Drip, Drip’. Since storming into the charts, minds and airwaves in 1974 with “This Town Ain’t Big Enough For Both of Us” from their 3rd album ‘Kimono My House’, the musically vital pop pioneers have created a unique legacy both on record and in their live performances. ‘A Steady Drip, Drip, Drip’ follows Sparks’ 2017 album ‘Hippopotamus’, an extraordinary record which saw them return to the Top 10 and was universally acclaimed with many critics declaring it to be one of the finest albums of the year and the pinnacle of the band’s career - until now.

                                                                                                              FORMAT INFORMATION

                                                                                                              2xPicture Disc Info: Picture Disc 2LP + 12” Booklet.

                                                                                                              Deluxe CD Info: Casebound book CD edition.

                                                                                                              Etuk Ubong

                                                                                                              Africa Today - Night Dreamer Direct-To-Disc Sessions

                                                                                                                Hailed by none other than Seun Kuti as “one of the best things to come out of Lagos”, Nigerian trumpeter, composer and bandleader Etuk Ubong has developed an original style he calls “Earth Music”.

                                                                                                                Weaving together a unique combination of not only afrobeat, highlife and jazz, but also the ritualistic drumming of Ekombi, the result is urgent and highly energetic, yet spiritual; his compositions reflecting his heritage and life philosophy of goodwill, peace and love for humanity. Ubong’s music is so vibrant and propulsive that one can easily make comparisons with leading lights of the UK scene, such as the Shabaka Hutchings-led Sons of Kemet, but at the same time it is distinctly Nigerian.

                                                                                                                Ubong was invited by Night Dreamer to record at Haarlem’s Artone Studio, home to an enviable collection of vintage mastering and recording equipment and situated right above a pressing plant. He assembled an international ensemble of the highest calibre to record his compositions direct-to-disc, avoiding the interference created by widely adopted recording techniques and capturing his enigmatic live performance in its most natural and explosive form. Ubong is joined by another Lagos-based musician, Michael Awosogo, also on trumpet, and a hand-picked group of UK and Netherlands-based musicians who finally after an impromptu show the night before, recorded the whole album in just one sitting on the last day of the five-day session.

                                                                                                                Much of the music is incredibly fast-paced, and politically charged, particularly on titles such as “African Struggle” and “Mass Corruption'', with Ubong featuring on both trumpet and lead vocal, leading a five-piece brass section over the percussion-heavy rhythm section and soulful keys supplied by Vels Trio’s Jack Stephenson-Oliver. Etuk uses music to address not only injustice but also humanity and spirituality, most notably on “Spiritual Change”, a deep cut on which Etuk reflects on Africans need for internal change before they can address the problems around them, stands-out among the rest of the album.

                                                                                                                Born in the Akwa Ibom State in southern Nigeria, but raised in Lagos, Ubong picked up the trumpet at the age of 14 and never looked back. He went on to study at the Peter King College of Music, Muson School of Music and the University of Cape Town, and aged just 16 was recruited to join the band of the late-great and recently passed highlife musician Victor Olaiya, through whose ranks also passed a young Fela Kuti & Tony Allen before inventing afrobeat. This led to him joining and touring with reggae sensation Buchi, before a fruitful stint with Femi Kuti’s Positive Force, performing frequently at the New Afrika Shrine in Ikeja, and dates with the visionary South African pianist and composer Nduduzo Makhathini, recently signed to Blue Note Records.

                                                                                                                Already greatly in-demand at home in Lagos, and across Nigeria and Africa, he has launched his own venue, “The Truth”, the most prolific in the Nigerian capital since Fela Kuti’s Shrine, performing himself three nights a week. At the same time, Etuk’s following in London & the UK has exploded after numerous performances including a mesmerising and widely-discussed session with acclaimed London-based artist collective, event and music community Steam Down, residencies at Jazz re:freshed & the Royal Festival Hall and a storming set at the inaugural edition of Gilles Peterson’s We Out Here Festival. Ubong’s connection to the UK scene, particularly Steam Down and musicians such as Theon Cross from Sons of Kemet, draws attention to exciting parallels. The intensity, the political edge, the crossing of barriers and pursuit of spirituality.

                                                                                                                Night Dreamer has captured Etuk Ubong, live-and-uncut, at a pivotal point: a highly accomplished musician who has absorbed his home’s musical heritage, created his own sound and already made an impact not only in Lagos but also within the exciting UK and South African jazz scenes. An essential record that transcends the labels of jazz or afrobeat. Let’s call it earth music.

                                                                                                                Luke Vibert

                                                                                                                Presents Amen Andrews

                                                                                                                  You know we are in for a treat when Luke Vibert, exponent of electronic beats and breaks since the dawn of rave, delivers not one, not two, but three new album projects, each with a specific musical theme and thread. A set of three long players, collect them all like bubble gum stickers and annoy your neighbours by playing at high volume!

                                                                                                                  Vibert’s previous album projects for Hypercolour, both as Kerrier District, and under his own name, have always excelled, not to mention his groundbreaking and brain scrambling long players for Warp, Rephlex, Rising High Records, Planet Mu and Ninja Tune.

                                                                                                                  Vibert revives his Amen Andrews moniker after over a decade lying dormant. Squarely aiming the sound at the ‘Amen break’, ‘Luke Vibert presents Amen Andrews’ brings together 14 slabs of raucous breakbeat bangers, riddled with cool as fuck samples and bass bin shattering sub!

                                                                                                                  Luke Vibert

                                                                                                                  Presents Modern Rave

                                                                                                                    Part two in his trilogy of what seems like an aural romp through dance music’s key components, Luke Vibert follows up his ode to the ‘Amen break’ on the sumptuous ‘Luke Vibert presents Amen Andrews’, with a pretty damn thorough modelling of rave roots, in ‘Luke Vibert presents Modern Rave’.

                                                                                                                    When it comes to bashing out creative, highly complex, yet seemingly simplistic rave bangers, Luke Vibert certainly has the chops for delivering the goods in spades. As an innovator in the field for labels like Ninja Tune, Warp and Rephlex, Vibert digs deep into his floppy disc collection for a glorious ride through familiar samples and hooks, breakbeats and funky basslines and earworm melodies for an indispensable collection of feel good modern rave.

                                                                                                                    Jessie Ware

                                                                                                                    What's Your Pleasure

                                                                                                                      Fourth studio album by the English singer-songwriter, featuring collaborations with Shungudzo Kuyimba, Kindness, Clarence Coffee Jr., Metronomy and former Badbadnotgood sound whiz Matthew Tavares.

                                                                                                                      FORMAT INFORMATION

                                                                                                                      Coloured LP Info: Limited Edition White Vinyl.

                                                                                                                      Wendell Watts

                                                                                                                      You Girl / Kiss A Good Thing Goodbye

                                                                                                                        Outta Sight’s collectable ‘Real Side’ series continues with two stunning sides from Ted Jarrett’s Nashville based ‘ref-o-ree’ label. Jarrett was a hugely successful songwriter and producer for a number of Tennessee labels before he formed Poncello and Spar ahead of the harder Soul sounding ‘ref-o-ree’ that was home to our star turn Wendell Watts. Little is known about Wendell Watts other than he recorded and released two 45s for the ‘ref-o-ree’ label in 1969. According to some sources he hailed from Detroit but these recordings are certainly Nashville based and were produced by label owner Ted Jarrett and arranged by his long-time collaborator Bob (Robert) Holmes. The 45s are highly collectable with “Kiss A Good Thing Goodbye” rarely seen for sale and available as a reissue for the very first time. Incredibly, both of our featured spins were originally released as B-sides. “You Girl” on the back of Watts’ soul-cover of the Peppermint Rainbow hit “Will You Be Staying After Sunday”, whilst “Kiss A Good Thing Goodbye” played second fiddle to the novelty Bob Holmes song “The Love Bug”. The latter was reissued in 1972 coupled with “Grooviest Thing Side Of Heaven” on the tiny Jiminie logo. Watts also released a chidren’s Christmas album in 1972, for which he wrote most of the songs, before bowing out of the music industry.

                                                                                                                        Paul Weller

                                                                                                                        On Sunset

                                                                                                                          With a creative peak that continues to shoot skyward, Paul Weller releases his 15th studio album “On Sunset” on June 12th on Polydor Records.
                                                                                                                          On Sunset features ten classic yet modern Paul Weller songs. On Sunset is a soul album. At the same time it’s also an electronic album, an orchestral album, an album packed with masterly pop songs and heart-tugging ballads, and an album filled with touches of experimentalism. It’s also an album that sees Weller taking a rare glance into the rear-view mirror as he speeds into the 2020s. 

                                                                                                                          Weller started work on “On Sunset” soon after finishing 2018’s masterpiece “True Meanings”. Opening track “Mirror Ball” was from the TM sessions and originally slated as a b-side. Thankfully it was rescued for On Sunset as it’s shimmering opener. 

                                                                                                                          As ever, Weller retains a rigorous forward-looking focus when it comes to seeking out the best contemporary sounds and music. But lyrically, Weller – back on his old home, Polydor Records for the first time since the Style Council days – is also starting to look back on the past with the insight of age especially on songs like “Old Father Thyme”.

                                                                                                                          Most of the album sees Weller multi-tasking on various instruments with accompaniment from his regular band - Ben Gordelier appears on all tracks and Andy Crofts on most whilst Steve Cradock pops up with his guitar on 4 songs. An eclectic and sometimes surprising gathering of guests appear on On Sunset including Slade’s Jim Lea contributing violin to the Bonzos-esque “Equanimity”, and Paul’s old Style Council chum Mick Talbot adds his signature Hammond Organ sound to 3 tracks. The beautifully lush “More” features a verse sung by French singer Julie Gros, from the band Le Superhomard (whose album Meadow Lane Park was one of Weller’s favourites of 2019) as well as the return of The Strype’s guitarist Josh McClorey. English folk trio The Staves contribute backing vocals for 3 tracks. Once again Hannah Peel sprinkles her magic over the album with string arrangements and The Paraorchestra were invited to add their expertise to 4 tracks.

                                                                                                                          FORMAT INFORMATION

                                                                                                                          2xColoured LP Info: Indies exclusive solid purple coloured vinyl.
                                                                                                                          Heavyweight gatefold double vinyl.

                                                                                                                          2xLP Info: Heavyweight gatefold double vinyl.

                                                                                                                          Deluxe CD Info: Hardback book version with additional tracks.
                                                                                                                          *Please note additional tracks in Deluxe tracklisting below.

                                                                                                                          A. A. Williams

                                                                                                                          Forever Blue

                                                                                                                            Making her stage debut in April 2019 and selling out her first headline show at London’s prestigious Southbank Centre less than a year later, A.A. Williams has hit the ground running. Similarly, the acclaim for her performances and her music has been unanimous from the start. After one self-titled EP and the 10” vinyl collaboration Exit in Darkness with Japanese post-rockers MONO, the London-based singer-songwriter has signed to Bella Union and made a stunning debut album, Forever Blue.

                                                                                                                            A rapturous blend of post-rock and post-classical, Forever Blue smoulders with uncoiling melodies and haunted atmospheres, shifting from serenity to explosive drama, often within the same song. Williams is a fantastic musician as well as songwriter, playing the guitar, cello and piano, and her voice has the controlled delivery of a seasoned chanteuse whilst still channelling the rawest of emotions.

                                                                                                                            Forever Blue is named after a song that didn’t make the album’s final cut, “but it still encapsulated these songs,” Williams explains. “It sounded timeless and in the right place.” The album’s threads encapsulate the anxieties and addiction of love and loss with haunting detail, for example ‘Glimmer’(“I wasn’t meant to see the sun washed out and pale / I wait undone / I wasn’t meant to be the one hollow and hurt and meant for none”), though Williams admits the theme was shaped more by her subconscious than any grand plan.

                                                                                                                            “The lyrics come at the end, they fall into place, rhythmically, and link together,” she explains. “And then it’s my job to decipher what I’ve written! I want the words to get my point across but still let the listener map on their own experiences. I find it really therapeutic.”

                                                                                                                            Therapy is intrinsic to Williams’ approach: to not just express and unpick her feelings of longing and loss but to work through them. “Verbalising something, you feel a weight has been lifted,” she says. The transition can be mirrored in the dynamic shift from ‘quiet’ to ‘loud’, as on ‘Glimmer’ and arguably at its most euphoric on ‘Melt’. “There’s something very satisfying and elating about songs that have that drop in them, to stomp on the guitar pedal on and let it all out.”

                                                                                                                            It’s testament to Williams’ skills, and those of husband and bassist Thomas Williams, that Forever Blue’s commanding sound was largely captured at the couple’s two-bedroom flat in North London. Drums by Geoff Holroyde were added at engineer Adrian

                                                                                                                            Hall’s studio in South London, with guest vocals from Johannes Persson (Cult Of Luna), who adds his deep-trawling growl to ‘Fearless’ (“he sounds like Tectonic plates moving” Williams feels), Fredrik Kihlberg (Cult Of Luna) on ‘Glimmer’ and Tom Fleming (ex-Wild Beasts) on ‘Dirt’.

                                                                                                                            Williams can scarcely believe she’s in such exalted company, or that her band has toured with Cult Of Luna, Russian Circles, Explosions In The Sky, Nordic Giants and Sisters Of Mercy, whilst performing with MONO at their 10th anniversary show. It’s not because she doesn’t trust her own worth but that Williams only became a singer-songwriter by chance.

                                                                                                                            Having taken music lessons from the age of six and been immersed in classical music, Williams’ life was forever changed when she discovered Deftones in her mid-teens, “and after them, all things heavy,” she recalls. “It was music that made me feel included, that tapped into me.”

                                                                                                                            Yet it was only years later, when she found a guitar in the street with a note attached, “please take me, just needs work,” that Williams started playing guitar, and only started writing songs as a way of learning how to play. “I wrote in different styles to find a sound I was comfortable with,” she says. “Likewise, with singing. I’d never before thought of singing with a microphone in front of other people. It’s been quite a journey.”

                                                                                                                            That journey was thrown off course by the Coronavirus lockdown, but Williams’ response has been the ‘Songs From Isolation’ video project, solo renditions of songs suggested by her fans. At the time of writing, she has performed Radiohead’s ‘Creep’ (“to take on a song like that, you either have to be brave or dumb, and I thought, let’s be brave!”), Gordon Lightfoot’s ‘If You Could Read My Mind’ and Nick Cave’s ‘Into Your Arms’.

                                                                                                                            As ‘Songs From Isolation’ keeps posting intimate messages from a place of solitude, Forever Blue will spread the news of A.A. Williams’ extraordinary talent far and wide - and once lockdown is over, she and her band will be taking the next steps on her journey by touring the record. She’s already come so far but this story is only just beginning. 


                                                                                                                            FORMAT INFORMATION

                                                                                                                            Coloured LP Info: Silver vinyl.

                                                                                                                            Coloured LP includes MP3 Download Code.

                                                                                                                            Various Artists

                                                                                                                            Martin Freeman And Eddie Piller Present Jazz On The Corner Two

                                                                                                                              A follow up to 2018’s Jazz On The Corner which has now sold over 10,000 copies, and last year’s equally successful Soul On The Corner, this compilation see Martin and Eddie return to the world of jazz for another bite at the cherry after Volume one was declared to be “the best jazz compilation of the last 20 years” by Jazz FM’s Chris Phillips.

                                                                                                                              The concept came from a radio show that Freeman and Piller put together for BBC Radio 6 Music which was so well received that the pair decided to dig deep into their record collections and build a double album of some of their favourite tracks.

                                                                                                                              The concept is simple: an album packed full of jazz gems which they hope are slightly off the beaten track. This year we have hidden gems from Nina Simone and Nicola Conte, classics from Roberta Flack, Roy Ayers and The MJQ, whilst the new British jazz generation is represented by Emma Emma-Jean Thackray. Running the gamut from hard bop, to progressive fusion via Latin beats, it’s an exhilarating listen from start to finish.

                                                                                                                              Various Artists

                                                                                                                              Warfaring Strangers: Acid Nightmares

                                                                                                                                As the hippie movement hurdled towards its emanate demise, bad vibes infiltrated the rock world. Tainted LSD, loud motorcycles, and a series of brutal deaths spawned inspiration for guitar-wielding teenagers across the globe. Implementing deafening fuzz and satanic screams to create their proto-metal monstrosities, short-lived stoner bands pressed their lysergic experiments in microscopic quantities before blacking out entirely. Lifted from the ashes of the acid rock hell fire are 18 distorted tales of dope fiends, pill poppers, and the baddest of trips.

                                                                                                                                Deluxe 2LP comes housed in a blacklight poster-style jacket, replete with flocking and lysergic neon. 24 pages documenting the creeping existential dread of the hard rock underground are tucked into the gatefold pocket alongside two dead dinosaur-heavy LPs. Compact disc is packaged in standard Numero slipcase, with digipak and 40-page book, limited to 2000 copies. 


                                                                                                                                STAFF COMMENTS

                                                                                                                                Matt says: This fearsome Numero collection is made up of sonic remnants excavated following the collapse of Haight-Ashbury and the 'Summer Of Love'. Bathed in bad vibes, strong amphetamines and cheap LSD; "Acid Nightmares" chronicles the musical movements of biker bands, social drop-outs and narco-casualties struggling to make their voice heard against the backdrop of civil unrest and encroaching mortality.

                                                                                                                                FORMAT INFORMATION

                                                                                                                                2xColoured LP Info: Opaque yellow blob on clear vinyl.

                                                                                                                                2xColoured LP 2 Info: Double neon purple coloured vinyl edition.
                                                                                                                                Exclusive colour to Dinked Edition shops.


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