MAGIC MIX

ALL GENRES

WEEK STARTING 18 Sep

A Vision Of Panorama

Follow The Melody EP

Hailed as the king of the modern Balearic sound Mikhail Khvasko aka A Vision of Panorama makes his debut on Omena with another must have EP.

Imagine if Nu Guinea would organize a jam session with Metro Area and set up the following rules - combine doses of slow paced disco, hints of boogie, a dash of jazz and deep layers of house.
Mikhail's music has always been warm and dreamy combined with impeccably tight drum programming. It is no wonder why his music is played & charted by Lexx, Detroit Swindle, Kenneth Bager, Session Victim and many more...

Ambiance

Into A New Journey

    Unearthed by The Mighty Zaf for BBE Music, Into A New Journey by Ambiance is an impossibly rare and sought-after private label spiritual jazz masterpiece from 1982 with Latin, Brazilian and Afro overtones. Ambiance was the ‘nom de guerre’ of an ever-shifting jazz collective headed up by Nigeria-born, LA-tutored multi- instrumentalist, arranger, producer and photographer Daoud Abubakar Balewa. Balewa studied composition and jazz improvisation at the feet of innovators such as Frank Mitchell (Art Blakey’s Jazz Messengers), Jackie McLean (Blue Note) and other masters from the golden Blue Note era. Although he favoured alto, soprano and tenor, he was equally happy on flute, keyboards, and Latin and Brazilian percussion. What’s more, he had the knack of using musicians who were bold enough to welcome being part of such multi-faceted sessions: guitarist Jim Lum’s flexibility suits the theme of this album perfectly, as does prolific Japanese soul-jazz drummer Danny Yamamoto; the stunning Hawaiian pianist Kino Cornwell (Yamamoto’s colleague from funk-fusion supergroup Hiroshima); and the wonderful Jean Carn-like tones of Daoud’s wife, jazz vocalist Monife Balewa. From the band’s reading of Joe Henderson’s modal masterpiece Black Narcissus, through the deep multicultural percussive jazz-dance workout that is the title track, and on to the three-octave vocal embellishments of Monife, on her own composition Something Better as well as on the Chick Correa fusion classic 500 Miles High, nothing here is generic, nothing taken for granted, nothing comfortable or predictable. All of the half-dozen or so albums recorded and released by Daoud and Ambiance during just six years of frantic creativity between 1979 and 1986 are well worth seeking out, but in BBE Music’s opinion Into A New Journey is the pinnacle: spiritual jazz worthy of the very best practitioners of the genre, by an obscure group of ludicrously talented artists on a tiny, self-financed indie label with an equally tiny promo budget: that’s what great jazz is all about.

    STAFF COMMENTS

    Patrick says: All my spiritual jazz customers went crazy when High Jazz reissued 'Gida Gida' and 'Ebun' over the last few years, and with good reason - the soulful and dynamic fusion sounds of Ambiance are practically unrivalled. This time it's Zaf whose handled the digging, encouraging BBE to give the group's fourth LP a lavish reissue. Higher listening folks.

    Over the past few years The Magic Movement have coolly secured a place at the top table of consciousness shifting club tackle, and their latest release continues to fuel the shamanic dance. Fresh from a debut LP on Random Collective, Anatta arrives with tribal throwdown "Fields Of Play", along with a trio of mesmeric remixes from Noema, Tolouse Low Trax and Carrot Green.

    In the original mix, Anatta invites us to discover a sonic world between pitched down UK House and future-primitive downbeat.
    Rough Drumbeats, quirky synths, and catchy vocal chops guide us through a sophisticated arrangement with unforeseen twists and turns.

    Salon des Amateurs resident Tolouse Low Trax delivers the 'Knights & Wheels Remix' in his signature style: While a hypnotic vocal loop hooks you up from the very beginning, minimalistic and dreamy synths slowly submerge the listener into a jam of stripped-down Lo-Fi funk.

    The 'Beat Mix' by Rio de Janeiro's sound wizard Carrot Green and long time family member of the label, speeds up the tempo, and puts together a groove of classic electro boogie vibes with a P-Funky bassline that sounds like a futuristic liaison between Afrika Bambaataa and George Clinton.

    Increasing the UK house vibe with strong drums and a wobbly bassline, Noema's 'Acid Ghetto Style Remix' works the mysterious vocals of Anatta into a delicious hook and creates a highly animating and fun dancefloor monster.

    And now, let's get weird!!!

    STAFF COMMENTS

    Patrick says: Fifteen releases in and The Magic Movement continue to deliver the high grade dancefloor psychedelia. Now Empire Market's down, I'd suggest you light a candle and embrace the shamanic shakedown of the Tolouse Low Trax remix here.

    Anjimile

    Giver Taker

      On Giver Taker, the gorgeous debut album by Anjimile, death and life are always entwined, wrapping around each other in a dance of reverence, reciprocity, and, ultimately, rebirth. Giver Taker is confident, intentional and introspective. Anjimile Chithambo (they/them, he/him) wrote much of the album while in treatment for drug and alcohol abuse, as well as while in the process of living more fully as a nonbinary trans person. Loss hovers over the album, whose songs grieve for lost friends (“Giver Taker”) and family members (“1978”) along with lost selves (“Maker,” “Baby No More,” “In Your Eyes.”) But here, grief yields an opening: a chance for new growth.

      “A lot of the album was written when I was literally in the process of improving my mental health, so there’s a lot of hopefulness and wonder at the fact that I was able to survive,” says Chithambo. “Not only survive but restart my life and work towards becoming the person I was meant to be.” Each song on the album is its own micro-journey, adding up to a transformative epic cycle created in collaboration with bandmate Justine Bowe of Photocomfort and New-York based artist/producer Gabe Goodman. “1978” and “Maker” both begin as Su an Stevens-esque pastoral ballads with Chithambo’s mesmerizing voice foregrounded against minimal instrumentation and swell into the realm of the majestic through the addition of warm, steady instrumentation (informed by the mix of 80’s pop and African music Chithambo’s Malawi-born parents played around the house) and harmonies by Bowe. “In Your Eyes” starts out hushed and builds to a crescendo via a mighty chorus inspired by none other than The Lion King. The allusion is fitting: each song encapsulates a heroic voyage, walked alone until accompanied by kindred souls. The choirs present throughout are equally deliberate. Chithambo grew up as a choir boy himself, and several songs (notably “Maker”) grasp not only towards reconciliation between his trans identity and his parents’ strong religious beliefs, but towards reclaiming his trans identity as an essential part of his own spirituality. (“[Less] Judeo-Christian, more ‘Colors of the Wind.’”) There is a boldness to this borrowing and shaping, a resoluteness that results from passing through hardship and emerging brighter, steadier. As a closing refrain on “To Meet You There” might sum it up: “Catalyst light of mine / now is your time.” 

      FORMAT INFORMATION

      Coloured LP Info: Limited Maroon Vinyl.

      The Apartments

      In And Out Of The Light

        Based in Sydney, Peter Milton Walsh and his band, The Apartments, are acclaimed by critics and fans alike all over the world. Peter Milton Walsh formed The Apartments in Brisbane, 1978, and left Australia for New York a few years later, and relocated to England when The Apartments were signed by Rough Trade. But before leaving Australia, Walsh was sought out by Robert Forster and Grant McLennan, of Brisbane's most critically adored band, The Go-Betweens. Having been offered an 8-album deal by Beserkley Records, Forster and McLennan asked Walsh to join The Go-Betweens as their fourth member in late 1978. The union was, however, short-lived, as the deal with Beserkley fell through. Grant McLennan famously said of their different personalities, "Walsh is night, we are day. We're sun, he's rain." In and Out of the Light is a classic Apartments album, with songs, lines and melodies coming back to you long after the music has stopped playing. The album came together in a new way for The Apartments. Recording began in Sydney, at the end of winter of 2019. Working a few hours a day, one or two days a week, the album was finished in the summer, with the final mix completed the day before coronavirus lockdown hit Australia in 2020.

        Peter Milton Walsh and bass player Eliot Fish worked with producer Tim Kevin in his Marrickville studio in Sydney, while French Apartments, Natasha Penot and Antoine Chaperon, recorded their parts in various studios in France. English drummer Nick Allum worked in London. In and Out of the Light (their 7th studio album) again features Chris Abrahams from The Necks on piano. The vocal and piano for We Talked Through Till Dawn were recorded live in one take with Peter singing as Chris played piano. Miro Bukovsky, who played on No Song, No Spell, No Madrigal, again plays flugelhorn and trumpet. In 2015, The Apartments surprised fans by re-emerging -after over a decade of silence-with No Song, No Spell, No Madrigal, an album that saw a new audience drawn to The Apartments music. By year's end, readers and critics of French music magazine Magic named No Song, No Spell, No Madrigal #1 Album of the Year. Five years later, In and Out of the Light is the highly anticipated album that will once more appeal to existing fans and new ones as well. The Apartments exquisite instrumentation and beautiful harmonies and Peter Milton Walsh's impressionistic storytelling work together beautifully on In and Out of the Light. Here are eight songs to get lost in-for a day, for a week, for a lifetime.

        FORMAT INFORMATION

        LP includes MP3 Download Code.

        Liam Bailey

        White Light / Cold & Clear

        "White Light," an instant-classic, dancefloor filler. The rough and tough drum break intro catches you from the first beat before the track gives way to an infectious and uplifting reggae-dis- co number. Liam's instantly recognizable voice showers his muse with praise over deep round bass lines and a four on the floor beat. The combination of Leon Michels' crushing production and Bailey's lyrics like "You love yourself, you're so exciting, like no one else"... is sure to make this a staple in dj sets around the globe. The B side "Cold & Clear" is a proper lighters in the air, slap the wall, top ranking tune. The track struts in the door with a natural and undeniable confidence. Liam weaves a heavy metacognitive story over the one drop drums, perfect basslines, and organ stabs that will have people stepping in rhythm. The lo-fi production weaves elements from the finest early rocksteady era with touches from the late 70s / early 80s digital era and takes the entire vibe into the present with unorthodox arrangements and vocal treatments. Bailey has a tune here that will hold up next to the classics in the dancehalls from the yards of Jamaica to the discotheques in his homeland of England. 

        Bear's Den + Paul Frith

        Fragments

          Bear's Den are beloved by their fans for the way their songs have woven themselves into the fabric of some of the most bittersweet chapters of their lives. Last April the band released their 3rd album ‘So that you might hear me’ which debuted at no. 13 in the UK charts, no. 4 in Belgium, and top 40 in Germany.

          Fragments is a collaboration album between Bear's Den and award winning composer Paul Frith, stemming from some live shows in 2018. Fragments sees Paul Frith rework and arrange a number of songs from the Bear’s Den catalogue with an orchestra; from adding orchestral flourishes to the originals to completely pulling apart and reimagining tracks - hence “Fragments”. 


          FORMAT INFORMATION

          Coloured LP Info: White block-coloured vinyl.

          Beesmunt Soundsystem / Cooper Saver

          Bredius 1998 / Walk On Water

          The Hivern split series was born as a platform for club-ready tracks that don't require a broader sonic context to express themselves. It's also as a way of generating an unplanned dialogue between artists in the label's orbit, connecting the dots amid them in spontaneous and almost unconscious ways. The third installment of the series brings together Beesmunt Soundsystem and Cooper Saver. Their two tracks share a similar approach, deconstructing ethereal sounds over dark rhythmic foundations to reach the same kind of narcotic transcendence. The visual concept of the series has been developed by Manchester's own DR.ME. Vinyl-only.

          STAFF COMMENTS

          Patrick says: Beesmunt bring the post-apocolyptic attitude in spades on the A-side, turning out another techno-pagan growler at a gremlin friendly 110ish. For the flip, Cooper Saver lock into the prog revival with an amphibian trance dancer.

          Producer and bassist Huw Marc Bennett presents ‘Tresilian Bay’, a new project that draws from artists such as Tim Maia, Augustus Pablo and Idris Muhammed as much as the jazz scene and community he has found in south-east London. The languid, sultry sound fuses both modern and vintage, travelling from South London electronica, to Brazillian groove, Nigerian Afrobeat and Ghanaian Highlife along with a streak of Welsh psychedelia.

          ‘Tresilian Bay’ is a nod to hedonistic summer nights, whether spent on the Glamorgan coast or the hot Lewisham streets. The album is titled in honour of the bay near where Huw grew up, an area steeped in stories of ancient Welsh royalty, smugglers and pirates.

          The album started out as a lost live session recorded at the Total Refreshment Centre studios, featuring Chelsea Carmichael (sax), Rosie Turton (trombone), Shirley Tetteh (guitar) and Jake Long (drums) with Huw at the helm on bass and compositions. With glorious vocal contributions from Miryam Solomon; Huw utilised his human style of production and multi instrumentality heard in his Susso project (Soundway Records, 2016) to mold these recordings into this mature and emotional debut.

          The album was mixed and mastered by Albert's Favourites co-founder Adam Scrimshire with artwork by Jonny Drop.

          Matt Berry

          Phantom Birds

            BAFTA Award-winning actor Matt Berry has been the star of a number of high profile TV series including Toast Of London, The IT Crowd and most recently What We Do In The Shadows. Concurrently he has cultivated a career as a musician that has seen him release six solo albums and collaborate with the likes of Bond composer David Arnold, Jean-Michel Jarre and most recently Josh Homme, who invited him to perform on the Desert Sessions.

            His most recent album ‘TV Themes’ was a UK Top 40 hit and was awarded four stars by Will Hodgkinson writing for The Times. His reinterpretation of British TV themes of the past was no mere wallow in nostalgia but an exploration of recording techniques and a joyous celebration of the music.

            ‘Phantom Birds’ was inspired by a fascination with Bob Dylan’s ‘John Wesley Harding’, the way it was recorded with the minimum of musicians to draw attention to the songs. For the recording Matt worked with drummer Craig Blundell - known for his work with Steven Wilson and Steve Hackett - and legendary pedal steel player BJ Cole, yet the tinges of Americana are never allowed to overwhelm Matt’s own distinctive style.

            FORMAT INFORMATION

            Coloured LP Info: Red vinyl.

            David Bowie

            Young Americans (2016 Remaster)

              AVAILABLE INSTORE ONLY FROM SEPTEMBER 18TH.

              Originally released in March 1975, Young Americans was the David Bowie’s ninth studio album. To celebrate its 45th anniversary Parlophone is proud to announce a special limited edition ‘bricks & mortar’ outlet only gold vinyl version of the album.

              Young Americans was a huge departure for Bowie, creating a sound during sessions in Philadelphia and New York that he described as ‘Plastic Soul’. The album's two hit singles, the title track and the John Lennon co-write Fame, are viewed as amongst Bowie's very best with the latter giving him his first US #1.


              FORMAT INFORMATION

              Coloured LP Info: AVAILABLE INSTORE ONLY FROM SEPTEMBER 18TH.
              PRICE WILL BE £19.99.

              BSCBR

              Master Of Rehearsal

                BSCBR is a group of Black Sabbath lovers hailing from New York City. The group consists of Brad Truax (Interpol), Mick Barr (Ocrilim, Krallice), Greg Fox (Liturgy, Ex Eye), Nick Zinner (Yeah Yeah Yeahs), and Angel Deradoorian (Dirty Projectors, Deradoorian). After a music residency in Berlin where Zinner, Deradoorian, and Fox met up, the first formation of the band was created. Zinner had the idea of bringing the music to NYC (when Truax and Barr joined) where the band received immediate attention and sold out their first concert. It was surprising for everyone, but they just kept on playing, and the people kept on showing up. It's been one of their favorite bands to play in ever. The love of Sabbath has brought so much joy to this group and there's no greater feeling than spreading that joy to fellow fans. 

                Charli XCX

                How I'm Feeling Now

                  Over the course of her trailblazing career, Charli XCX has earned critical acclaim for her forward-thinking musical output and refreshing entrepreneurial spirit that has seen her carve her own lane on the global pop circuit. A singer, songwriter, video director, documentary maker, radio host and record label boss, Charli’s story is one of an artist continuing to succeed without compromise.

                  Now in 2020, Charli is already breaking boundaries - this year has seen her first BRIT nomination for British Female Solo Artist, marking a huge moment of validation from a mainstream audience that Charli has built on her own terms. In reaction to the global COVID-19 pandemic of 2020, Charli has proven herself to be one of the most adaptable artists working today; initially providing programs of Instagram live sessions that invited various guests to spark conversation, share insight, or simply entertain fans across the world who are currently practicing social distancing. Charli’s vision then expanded further, leading her to announce ‘how i’m feeling now’ - a new album to be written, recorded and released in 39 days, completely in self-isolation. The creative process was also to push her collaborative stream in a unique way; opening up the recording, writing, artwork, music videos and more to fans for feedback and contribution - she also further inspired her fans’ creativity, allowing them access to song stems to create remixes and greenscreen footage to be edited using their own imagination.

                  ‘how i’m feeling now’ has given further spotlight to Charli’s status as one of the most adaptable, exciting pop artists working today, and through it’s uniquely collaborative approach, provided a shared space for those who listen to feel safe enough to express themselves however they wish at a time when they need it most.


                  FORMAT INFORMATION

                  Coloured LP Info: Exclusive, 140g Neon Orange 12” vinyl.

                  The Chats

                  High Risk Behaviour

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

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

                    FORMAT INFORMATION

                    Coloured LP 3 Info: Black and White coloured Pinwheel vinyl.

                    Club Paradise

                    Growing Up

                      Growing Up is the debut physical release by Newcastle quartet Club Paradise, released on Kids Records (The Wombats, The Whip, Band of Horses, I Like Trains) featuring four epic guitar-pop tracks each, in the words of CMU: "featuring a chorus that will fill every corner of any room you'd care to put it in".

                      The band have built a fierce local following and have already shared the stage with the likes of Vistas, Apre, Larkins, Kashmere, Vant, Saint Raymond, The Navettes and Only The Poets, as well as picking up early attention from the likes of Clash Magazine, Shortlist and a legion of blogs. Made up of school friends Ryan Young (vocals/guitar), Jackson Vert (lead guitar), Harry Webb (bass) and Nathan Hogg (drums), the band cite the likes of Foals, The Midnight, Jungle and The Horrors as influences, writing tracks reminiscent of an 80s Sunset Boulevard movie montage.

                      FORMAT INFORMATION

                      Ltd 12" Info: Limited to 300 copies.

                      On a collision course with earth from the furthest reaches of the universe, The Colours That Rise announce their debut album “Grey Doubt’ on the inimitable Rhythm Section International. Comprised of producer duo Simeon Jones and Nathanael Williams, The Colours That Rise have previously turned heads with 2017’s “2020” EP released on Breaker Breaker (the label credited with breaking Ross From Friends).

                      Returning with their most accomplished offering to date, “Grey Doubt” features acclaimed guests such as Yazmin Lacey, Yussef Dayes and Andrew Ashong, each respectively complementing the incredible musicianship on display here, capturing the true zeitgeist of present day UK. Combining live instrumentation and analogue synths, intricate, intertwining textures and melodies run deep throughout this beautifully crafted afrofuturist voyage, exploring the darkest recesses of the galaxy, through weatherbeaten and asteroid damaged synth waves and broken drum patterns reverberating out into the vastness of space.

                      Pre-announcement single ‘Home Time’ has picked up steam with support across BBC 6 Music and 1Xtra through the likes of Benji B, Tom Ravenscroft, Jamz Supernova and Mary Anne Hobbs, who awarded it as her ‘Near Future’ track. The duo are also set for a live performance at Rhythm Section’s showcase at SXSW 2020.

                      John Coltrane

                      Giant Steps - 60th Anniversary Deluxe Edition

                        John Coltrane is one of the most renowned jazz artists and influential saxophonists in music history

                        Within the span of less than three weeks, John Coltrane completed his work with Miles Davis on what would become the bestselling jazz title in history (Kind of Blue) and embarked on his first record with Atlantic that would become the landmark recording Giant Steps.

                        Saying farewell to bebop, "Giant Steps" was Coltrane's second album to be recorded for the Atlantic label, and marked the first time that all of the pieces on a recording had been composed by him. The recording exemplifies Coltrane's melodic phrasing that came to be known as 'sheets of sound', and features the use of a new harmonic concept later to be known as 'Coltrane changes'. The set features early versionss of "Naima", "Cousin Mary", "Mr PC", "Spiral", and "Syeeda's Song Flute".

                        A remastered, deluxe 180g 2-LP and 2-CD, each with the original album plus a bonus disc of alternate takes and versions – including rehearsal and incomplete tracks, as well as false starts – only previously included in The Heavyweight Champion: The Complete Atlantic Recordings of John Coltrane boxed set.


                        FORMAT INFORMATION

                        2xDeluxe LP Info: 2-LP configuration features a 12” x 12” 12pp booklet, packaged in a replica of the original 1969 stereo pressing, with a 12” x 12” album cover insert included.

                        2xDeluxe CD Info: 2-CD configuration is a 6-panel, 2-pocket digi that features a 24-page booklet.

                        Cool Tiger

                        Junction White 003 - Inc. AQXDM Remix

                        Junction returns with 3 tracks by label owner Cool Tiger blending techno, breakbeat and bass music together, plus one mind-boggling remix by AQXDM (Aquarian & Deapmash).

                        "Hide & Seek" opens the EP with a combination of hypnotic vocals, unstable rhythms leading to a blast of breakbeats. Aquarian and Deapmash join their forces again as AQXDM for delivering a high-intensity ravey and atmospheric remix that defies catagorization with its break-neck acceleration and half-time swagger. On the flip-side, "I Feel You" provides the most club-focused track of the EP before the grand finale "Slave" which will plunge you into a dystopian world.

                        Artwork by Lucie Corbasson. 

                        STAFF COMMENTS

                        Matt says: Marmite record and dare I say it, a little bit tooo wild for some of our listeners. However that AQXDM remix of "Hide & Seek" is defiantly lovable - a pneumatic drill of rhythms crushing thru impenetrable light fractals. Would absolutely demolish any main arena.

                        Crake

                        Enough Salt (For All Dogs) / Gef

                          Crake are an alt-folk four piece from the city of Leeds in northern England who write melodic and (sometimes) hopeful songs about ora, fauna, anxiety and the tough stu. Formed on the cusp of 2016/17 after a New Year’s Eve pact, Crake spent their rst couple of years playing locally with loose-line-up changes, self-releasing two EPs - 2017’s By the Slimemould and 2018’s The Politics of Lonely.

                          Led by singer/guitarist Rowan Sandle, Crake blend shimmering alt-folk and indie-rock, featuring an increasing density of guitars, tape-loops and synth blankets. Their songs provide a more sonically reassuring but equally intimate bed for Sandle’s poetic lyrics.

                          In late 2018 the band supported Big Thief ’s Buck Meek on the Leeds date of his solo tour, impressing the guitarist so much that he invited them along for Big Thief ’s forthcoming tour across the UK and Europe. Those three weeks spent travelling and playing with their musical heroes saw Crake go from a small, beloved act who’d barely left their hometown, to finding themselves with a legitimate fanbase of their own. Their third 3-track EP Dear Natalie was subsequently released in 2019, also marked by the addition of lead guitarist Russell Searle, joining Rob Slater on drums and Sarah Statham on bass. The EP was the sound of Crake nding their feet on a larger stage, both literally and guratively, with opening track ‘Glycerin’ shining a spotlight on Sandle’s ever-confessional words.

                          Since the Big Thief tour and the Dear Natalie EP the band have focused solely on writing and demoing new music, assembling in garages, practice rooms and the beloved Greenmount Studios in Leeds (The Cribs, Pulled Apart By Horses) where drummer Rob Slater works. The rst results of this focused time away can be heard on Enough Salt (For All Dogs) b/w Gef, a brand new, two-track single which will be released on 7” vinyl via Saddle Creek’s ongoing Document Series.* Their rst self-produced eort, the new single is Crake at their most condent. Exploring the depths of their sound while staying rooted in Rowan Sandle’s brilliant songwriting and captivating lyrics.

                          Cults

                          Host

                            Cults have embarked on a radical reimagining, both of the band’s sound and its dynamic, and the result is the NYC indie duo’s utterly mesmerizing fourth album, Host. Written more collaboratively than ever before and recorded primarily with live instruments for the first time, the collection marks the start of a bold new chapter for the band, one fueled by an ever-deepening trust and a boundless appetite for growth and experimentation.

                            The songs here are deceptively charming, with lush, airy arrangements that belie their dark, weighty lyrics. The production is rich and multifaceted to match, blending retro and futuristic palettes into a spellbinding swirl of high-def indie rock and lo-fi bedroom pop. As its title suggests, Host is an exploration of the sinister dynamics at play in a parasitic relationship, but rather than dwell in the discomfort, the record charts a cathartic journey towards freedom and self-reliance, reveling in the power that comes from standing your ground and declaring independence in the face of exploitation and manipulation.

                            Formed while Follin and Oblivion were still just students in college, Cults first emerged in 2010 with their breakout single, “Go Outside,” which the New York Times hailed as “one of the indie rock highlights” of the year. Both a commercial and critical smash, the track would go on to rack up more than 40 million streams on Spotify, land in soundtracks everywhere from Broad City to Gossip Girl, and help the band score a major label deal for their self-titled debut, released the following year on Columbia Records.

                            The duo followed it up with the similarly celebrated Static in 2013, and they returned in peak form four years later with Offering, building up a devoted audience along the way through relentless headline touring and festival appearances at Bonnaroo, Lollapalooza, Coachella, Austin City Limits, and more.

                            FORMAT INFORMATION

                            Coloured LP Info: Evergreen coloured vinyl.

                            Sarah Davachi

                            Cantus, Descant

                              The new Sarah Davachi record is an 80-minute, 17 track double album meditation on impermanence and endings, framed by minimalistic organ études and careful harmonic layering. On two tracks the artist’s own vocals are also heard for the first time. This is the first release on the artist’s own label, Late Music.

                              The title of the record - ‘Cantus, Descant’ - has both literal and metaphorical meaning and is something of a concept album that addresses the relationship between the two. In medieval music, the Latin ‘cantus’ was used as a general term for unadorned singing or chant and by the end of the Middle Ages it came to represent the highest voice of a polyphonic choral texture, often improvised. ‘Descant’, at that time, was used in part to denote the structures of polyphony and counterpoint, the harmonious play of two or more voices against one another.

                              The instrumentation is predominantly organ-based, a combination of electric organ, reed organ and a pipe organ based on a 15th Century design. These arrangements are embellished with tape-based technologies like the Mellotron and echo devices.

                              Davachi comments: “The pervading effect on the album is one that gives reverence to the suspension, the epoché, a space where we welcome and attempt to reconcile impermanence. It is an opportunity to go inside - oneself, one’s sound - in order to simultaneously commune with our comforts and that which we mourn, perhaps not unlike the function of a hymn.”

                              FORMAT INFORMATION

                              2xColoured LP Info: Limited edition clear vinyl.

                              2xColoured LP includes MP3 Download Code.

                              Rudy De Anda

                              Tender Epoch

                                FFO: Chicano Batman, Brainstory, Drugdealer, Sugar Candy Mountain.

                                Conceived in the 1980s in Mexico and brought to California through the border inside of his 6-month-pregnant mother, Rudy de Anda's debut solo record is a love letter to the long historical lineage of rock 'n roll music as interpreted through his multicultural lens. "I write my own story, I don't want to be defined by any scene" de Anda proclaims of his personal journey, and his ability to adapt and flit between cities and cultures is part of why L.A. Record has called his sound "deliberately difficult to classify, familiar but novel at the same time." Since 2005, De Anda has played thousands of shows in various musical projects, but with 'Tender Epoch', tellingly the first recorded under his own name, he has clearly found his own voice with a wealth of stories to spotlight. It's exquisitely crafted pop, with universal messages of heartbreak and loss that still feel appropriate played speeding windows-down on the highway in the coastal sunshine.

                                Above all, De Anda likes to keep people guessing: from the album artwork to the multi-faceted textures of sound, 'Tender Epoch' feels ambiguous to any era, a perfect collusion of old and new that showcases a music historian's knowledge of both past greats and influential peers. Sculpting his own path through a wild ride that feels unlikely to let up, De Anda refuses to settle down or get comfortable, instead carving out a classic record that is sure to set a standard for songwriting to come. The whole Colemine and Karma Chief family is proud to welcome Rudy De Anda and to present Tender Epoch.

                                FORMAT INFORMATION

                                Coloured LP Info: Limited Topo Chico bottle clear vinyl for Indie stores only.

                                The Death Wheelers

                                Divine Filth

                                  From beyond the gutter, The Death Wheelers bring you their second album, the soundtrack to the fictional bikesploitation flick that never was: Divine Filth. Drawing inspiration from instrumental rock, proto- metal, punk and funk, the band embalms the listener in their sonic world of decay, groove and debauchery. Surfing the line between Motörhead, The Cramps and Dick Dale, the Canadian quartet uncompromisingly blends rawness and power in their riff fueled compositions. Recorded entirely in 48 hours in a live setting just like in the good old days, this second opus is a testament to what the band stands for: a no BS attitude spiked with a heavy layer of crass. Just like their previous offering, the album is devised to serve as a soundtrack loosely based on a plot synopsis of a B-movie:

                                  It’s 1982. Spurcity is run-down. The crime rate is up and so is drug use. A new kind of kick has hit the streets and it ain’t pretty. DTA, a powerful and highly addictive hallucinogenic drug, is transforming its loyal citizens into undead trash. Its users experience an indescribable high, but it leaves them rotting away within days, craving human flesh. No one knows who is dealing this new potent drug, but rumour has it that the motorcycle cult, The Death Wheelers, is behind this concoction. Could this be the end of civilization as we know it? What is motivating this group of psychotic individuals?
                                  The cycle of violence indeed continues with this sordid slab of sounds. So hop on, and enjoy one last ride with The Death Wheelers.

                                  Gone Clear, is the quintessence of reggae and groove, as only Manu Dibango can conceive them. After a stay in Nigeria and a great tour with the Ivorian Radio-Television Orchestra, the Cameroonian saxophonist landed for the first time in Kingston, Jamaica, in 1976. Just a few steps away from Bob Marley's home (taking the time to greet him every day on his way to the studio to say “hello”!).

                                  It was with the cream of the crop of musicians at that time (Robbie Shakespeare and Sly Dunbar, Randy and Michael Brecker, Lou Marini...) and in the legendary Dynamic Sounds Studios that he shaped this 100% roots album. With a slightly relaxed and positive atmosphere, far from the usual militant style lyrics, Manu's reggae invites you to "chill out", and is supported by a highly effective backing choir. Like most of his albums, Manu's reggae is also very mixed, blending African, Jamaican and American inspiration with danceable funk on tracks such as Goro City and Happy Feeling. The cherry on the cake is his hit "Soul Makossa" - sampled without permission by Michael Jackson and Rihanna a few years later – and arranged in a Caribbean sauce in a slower version, renamed "Reggae Makossa."

                                  If there's one thing we can truly salute here, it is that Manu Dibango can compose reggae with respect for tradition while adding his own personal touch. We can see this touch later in the album Cubafrica, where Manu was able to surround himself with the best Cuban musicians (the Quarteto Patria), to deliver a very high-quality Afro-Cuban album, adding a new gem to his fabulous discography.

                                  Dimorphodons

                                  Searching For Dimorphodons EP

                                    Searching for Dimorphodons is the debut EP from multi-instrumental artist, producer, guitar builder, eccentric and visionary Dimorphodons, who describes his sound as “the fantasy world I’d like to live in”.

                                    Trawling through psychedelic mind palaces and off-piste historical moments, the Searching for Dimorphodons EP presents five varied tracks representing a different time and place. Ranging from the Jurassic to the present day, each one is a kaleidoscopic take on psychedelia, with nods to sunshine pop and swamp rock along the way.

                                    EP opener and title track Searching for Dimorphodons is a searing freakbeat hymn sung from the dual perspectives of palaeontologist Mary Anning and a long extinct proto-bird. An intense exorcism of rattling drums, 12-string electric guitars, a delirious meandering melody, and sunshine pop harmonies, Searching for Dimorphodons is an exploration of a life lived in two concurrent timelines, separated by millennia.

                                    Snodohpromid takes us on a more experimental and ambient trip, a sound painting of an ancient swamp where half-speed birdsong and field recordings of mushrooms squeaking in a pan sonically depict the calls of long departed prehistoric creatures.

                                    Petty Things Are All I Have and Know explores what Dimorphodons describes as “the tension between the life desired and the life attainable” to a backdrop of timeless British chamber pop. The song moves in a fluttering pace, with lush harmonies and hymnic crests, a Wilson-esque mini-symphony to unreachable dreams.

                                    Next, another track indebted to Dimorphodon’s obsession with ’60s pop, this time the imagined narrative of The Factory moves away from the Jurassic and into more introspective realms, a person reflecting on the life lived and unlived, Lowry’s smoggy and short-distance horizons put to song.

                                    And lastly, an untitled track of which the artist himself says: “I don’t know what this is. I like the way it wisps in and out and then goes away.”

                                    Tanya Donelly And The Parkington Sisters

                                    Tanya Donelly And The Parkington Sisters

                                      Tanya Donelly covers some of her favorite songs by The Go Go’s, Leonard Cohen, Kirsty MacColl, Split Enz, Linda Ronstadt, The Pretenders, Wings, Echo & The Bunnymen, and Mary Margaret O’Hara on this outstanding new album. "When Joe from American Laundromat asked if I’d be interested in doing a covers album, I was hesitant, mainly because most of the songs I truly love are already perfect in their original form. But then I had the idea to ask the brilliant Parkington Sisters to be the band for this project, to bring their gorgeous sound and spirit, and make it something cohesive and centered. Happily, they said yes. So I chose a handful of songs that have been on heavy rotation in my head and heart from the first time I heard them, and the Sisters took over. They charted and plotted and arranged, and I joined Rose and Sarah and Ariel recording at Jon Evans’ Brick Hill Studio in Orleans MA, with guest players Matthias Bossi and Jon Evans (who also engineered). Lydia P put down some cello later, and I recorded additional vocals at Q Division Studios in Somerville MA, with James Bridges engineering. These are some of the most honest, moving, beautiful, unfiltered, true and cool songs that have ever been written, in my opinion. And those same adjectives apply to the Parkington Sisters as well." – Tanya.

                                      STAFF COMMENTS

                                      Barry says: Tanya Donelly presents a perfect selection of covers, ranging from minimalistic guitar, to full Americana-tinged orchestration, and Donelly's legendary vocal prowess. A superb counterpoint to the original versions, and a superb listen.

                                      FORMAT INFORMATION

                                      Coloured LP Info: Teal Vinyl

                                      El Ten Eleven

                                      Tautology

                                        RIYL: Explosions in the Sky, Sigur Ros, Do Make Say Think, Mogwai, Russian Circles, Minus the Bear.

                                        Experiencing an unexpected tragedy or loss often provokes a period of self-reflection, a time to contemplate one’s own place and purpose in the world. That was true for El Ten Eleven’s Kristian Dunn. When a beloved family member passed, Dunn found his own reflections on life emerging in the music he composed. Those expressions led to the creation of Tautology a sonic meditation on the arc of human life, composed in three parts.

                                        Over the course of three discs, Tautology is, in Dunn’s words, “a representation of life from the teenage years, through middle-age, until the end of life.” The sounds on the album echo Dunn’s own experiences, veering from aggressive metallic riffs to blissful ambient soundscapes. And while there are shared melodies and harmonies through all three records, each one has its own distinct qualities: Tautology I, which represents adolescence, is angsty, aggressive and occasionally depressive; Tautology II is head-noddy and mid-tempo, and represents middle age; while Tautology III, quiet and ambient, represents one’s golden years.

                                        Tautology is not a typical rock album, and El Ten Eleven are not a typical rock band. For seventeen years the instrumental duo of Dunn (bass/guitar) and Tim Fogarty (drums) have flourished outside the accepted norms of rock orthodoxy, releasing eight full length albums and four EPs, and performing over 750 live shows. Utilizing inventive arrangements and a masterful use of looping, El Ten Eleven create a sound much bigger than the sum of its parts. Joyful Noise Recordings will digitally release each of Tautology’s three discs, individually and in sequential order, beginning May 1st, with a physical 3LP release on September 18, 2020.

                                        Dunn explains there’s no right or wrong way to listen to Tautology, suggesting that a deep dive into the full project will yield rewards. “I think someone could listen to any one of the discs by themselves and have a really great experience—even if they didn't know about the others. But if they do want to go deeper, I think there will be a lot of interesting stuff to discover. It works symbolically and it all connects. I think this is the best record we've ever done.” 

                                        STAFF COMMENTS

                                        Barry says: Having been at the forefront of two-man post-rocking for some time now (their self titled debut was, and still is one of my favourite albums), it was a delight to see this triple LP covering all the ground they've touched on in the past 10 years or so. Starting off a lot more driven and gradually rolling towards tender, shimmering post-rock,this is a true impression of just how varied El Ten Eleven can be. Lovely.

                                        FORMAT INFORMATION

                                        3xColoured LP Info: Limited to 1000 Ultra Clear Vinyl is for Indies only. Deluxe triple Gatefold packaging and comes with a download card.

                                        Franke Ene

                                        No Longer

                                          “No Longer is a suite of six absorbing, patient reveries on conflicted concupiscence and encroaching darkness by Berkeley songwriter Frank Ene, who composed the material in a period of solitude following the demise of his noise-pop group Pure Bliss. Ene abstained from socializing to write the songs, venturing outside mostly to work in the basement of a frame-shop or observe students on the nearby UC Berkeley campus, vintage self-help paperbacks stuffed in his pockets.

                                          When it came time to record, he opted to play nearly every instrument himself. ‘Some songs are affirmations,’ he said. ‘The saddest ones I can’t remember writing, as if someone entered my mind and body in a really brutal way.’ “Suffused with an atmosphere of slow-simmering tension, No Longer traffics in understated grooves reminiscent of latter-era Nick Cave & the Bad Seeds, with Ene’s rich voice somehow sounding at once wispy and full-bodied.

                                          ‘Flesh In The Womb,’ one of the songs to feature songwriter and Fresh & Onlys guitarist Wymond Miles, channels the lasciviousness of Serge Gainsbourg as well as the beguiling sparseness of Dean Blunt. The lyrics to ‘Housing Alcove,’ a crushing meditation on childhood trauma, reveal competing, interconnected feelings of vulnerability and ambition (a duality captured by the evocative album art). A dynamic, repeat listen, No Longer stands among the most musically arresting and emotionally contoured Bay Area solo debuts in recent memory.” —Sam Lefebvre

                                          For their second release, Open Space present an emotional 5-track EP by Alexander Folonari aka Gateway Shuffle stuffed with lush mid-tempo Balearic pop and slow bubbling acid club music. If you dig artists like Andras Fox, Benedek, Moon B, Pender Street Steppers & Caravan; plus labels like Ken Oath, Light Of Other Days, Mood Hut & Claremont 56, you're bound to enjoy the sounds contained on this lavish piece of wax.

                                          Written and recorded in the Italian countryside of Chianti in late 2019.

                                          Recommended! 


                                          STAFF COMMENTS

                                          Matt says: Anything produced in Chianti is gonna have an air of sophistication and class about it! Stick this next to a top shelf wine pairing for maximum buzz.

                                          ‘Put Your Head Above The Parakeets’ is a brand new EP from HAAi, her second for Mute.  The EP features four brand new tracks including the pseudo title track ‘Head Above The Parakeets’, which exudes a woozy summery heat while ‘Rotating in Unison’ embraces positivity, written in response to this year’s enforced slowdown. The final two tracks take us back to the club, where HAAi is known for spinning genre-bending and spellbinding DJ sets.




                                          STAFF COMMENTS

                                          Matt says: Twisting breakbeat, braindance, brutalist techno and IDM into an utterly postmodern sonic collage, HAAi brings the past into the future wonderfully on this fierce four tracker for Mute.

                                          FORMAT INFORMATION

                                          Ltd 12" Info: Green vinyl 12"

                                          Ltd 12" includes MP3 Download Code.

                                          Matthew Halsall

                                          Joyful Spirits Of The Universe

                                            Two brand new tracks and a bonus edit available here for the first time and exclusively on vinyl. 

                                            Strictly limited 12" vinyl (500 copies only - no repress).

                                            Ed Harcourt

                                            Monochrome To Colour

                                              Haunting and other-worldly new record from Ed Harcourt, his ninth studio album and second release on Point Of Departure following 2018’s ‘Beyond The End’.

                                              Recorded at his own Wolf Cabin studio in rural Oxfordshire between January and October 2019, this beautiful 12-track album was written and produced entirely by Harcourt. It features Clive Deamer from Portishead on drums on three tracks, and Gita and Amy Langley on violin and cello respectively

                                              The new album is full of rapturous outreach. It was made with an interesting blend of instrumentation, ancient and modern. There’s a 1910 Hopkinson baby grand piano and also a dulcitone, a 19th-Century oddity where hammers strike an array of tuning forks.

                                              A much-acclaimed recording artist who released his Mercury Prize nominated debut ‘Here Be Monsters’ on Heavenly Records in 2001, in recent years Harcourt has gained acclaim for his songwriting for a variety of artists. He’s co-written songs with Marianne Faithfull, Lisa Marie Presley, Paloma Faith, Sophie Ellis-Bextor and Orbital’s Paul Hartnoll. He’s featured on albums with Mark Lanegan and alongside an intercontinental array of musicians, from Egypt and Tanzania to Argentina and Russia (this global cast featuring on the 2019 album ‘Beyond Music: Same Sky’). Moving from bands to the big screen, Ed has written for several soundtracks, including the recent superhero comedy Supervised and the 2014 drama Like Sunday, Like Rain.

                                              Harmonious Thelonious is the solo project of the Düsseldorf musician Stefan Schwander. His works combine American-influenced minimal music with African rhythms and European melodies.

                                              "I was busy experimenting with noisy rhythms when Bureau B asked me if I would like to release an album on their label. I was aiming for a more industrial sound; backwards cymbals, loops generated from non-musical sources such as slamming doors, and had the feeling that this would align nicely with Bureau B’s own story." Stefan Schwander’s new album Plong is something of a hybrid in the discography of Harmonious Thelonious, drawing on his existing strengths plus a sense of adventure in a mix of all his musical predilections. Dipping into the music, Middle Eastern elements can be heard on "Original Member Of A Wedding Band" and "Mumba", whilst tracks like "Höhlenmenschenmuziek" are characterized by more pronounced bass structures. Tuned down xylophones, evocative of ritual drums, sub bass and electrifying basslines catalyse the idiosyncratic sound of Plong: hypnotic, danceable, irresistible. A powerful head of steam builds across the nine tracks, with subtle changes in harmony ("Geistertrio Booking") or unexpected cameos such as a new wave bassline on "Abu Synth" shaking things up before the album hurtles onward with renewed force. Take "Interpretation de reve" as a case in point – floating sequences and themes sweep ashore in wave after wave of melody; analogous to dreams which enter the subconscious in episodes, their apparent randomness gradually shifting into a correlative pattern. "Totentanz" closes the album in a homage to the Basle club of the same name, a place which played a decisive role in Schwander’s musical socialisation: "I was lucky enough to see bands like Liquid Liquid, Gun Club, Jonathan Richman and a very young Aztec Camera there".

                                              Harmonious Thelonious comes off with an exceptional work in the genre of electronic music, successfully embracing the physical power of a club night soundtrack whilst exploring the dramatic depths of sonic worlds to create an intensive listening experience in total solitude.

                                              STAFF COMMENTS

                                              Patrick says: Durian Bro and Dusseldorf sorcerer Stefan Schwander gets industrial and middle eastern on this Bureau B LP, translating his usual sonic manipulations into a hypnotic set of trance dancers for the alternative club kids. I'm gonna buy like 5 copies of this!

                                              Tim Koh

                                              In Your Dreams

                                                In Your Dreams is Tim’s most straightforward and accessible release to date, and an exciting addition to his body of solo work, which hitherto can broadly be described as experimental noise. The poignant song collection tackles core themes of life’s calamities, broken love, and transitory relationships, yet counterbalances its essential melancholy with a whimsical, upbeat, and playful spirit throughout. While not strictly autobiographical, the songs draw from Tim’s recent personal experiences during his two-year isolation from friends and family, and create a compelling narrative of alienation, loss, and love.

                                                Tim wrote In Your Dreams in Amsterdam, L.A., and London in-between his time touring with Ariel Pink, and subsequently recorded the songs at home in Amsterdam while recovering from a near-fatal 2018 accident. The recurring hospitalizations that Tim has endured in recent years subtly find their way into the album through phone recordings from Tim’s actual hospital stints, underscoring the album’s themes on this highly personal work. In Your Dreams deftly juxtaposes lush, densely layered sounds with stark simplicity through a series of quick turnarounds, creating the captivating feeling of tension and release that characterizes this remarkable song collection.

                                                Guest musicians on In Your Dreams include Chris Cohen on guitar, and drum help from Jay Watson (Tame Impala, Gum) and Josh da Costa (CMON). Adding to the family feel of the album, longtime Ariel Pink and Tim Koh collaborator Jorge Elbrecht performed mixing duties along with mastering by Heba Kadry.


                                                FORMAT INFORMATION

                                                Dinked Edition LP Info: • Exclusive Mulberry Coloured Vinyl *
                                                • Exclusive 7” - 2 bonus tracks *
                                                • Artworked inner jacket
                                                • Signed & Numbered Print *
                                                • Exclusive Tote Bag *
                                                • Dinked info sticker *
                                                • 350 copies only.
                                                * Dinked Exclusive

                                                Coloured LP Info: Vapour coloured vinyl.

                                                Boston edit fiend Kon returns with his gang in tow for some more stone cold funk to make you groove...

                                                Needless to say - this one slaps in all the right ways! Aided and abetted by his long time engineer Caserta and featuring the dope musicianship of Soul Supreme on keys and Xander Vrienten on bass, Kon brings us the boogie love, reimagining a jam from one of Buffalo's most famous sons. This has summer JAM written all over it, we're talking chasm deep bass, snapping drums and the illest rhodes you've heard for a minute. Oh yeah, there's a dub on the flip too.... essential. Welcome back Kon & The Gang!

                                                STAFF COMMENTS

                                                Matt says: Holy smokes! The funk is alive right here. Kon doing his thing with a little bit of Rick James - sounds like an unstoppable dancefloor force to me.

                                                Emma Kupa

                                                It Will Come Easier

                                                  Following successes fronting Mammoth Penguins and (the much missed) Standard Fare, Emma Kupa releases her first full length solo album It Will Come Easier. “The title is a hopeful line, and one that is important to me – it is something I try to hold onto when things feel difficult”. The album delves through the trials and tribulations of attempting to navigate through the crossroads of your early thirties. Direct, raw and frank, Kupa leads us through her tender reflections on relationship regrets, the torment and pressure to succeed, and the dichotomy of now finding herself tending to choose logic over impulse - “does her smile light up your heart, or do you just want to get under her shirt?” she asks on Does It Feel New. Picking up from the intimate family portraits of her debut solo EP, Home Cinema, this is her most personal collection of songs yet.

                                                  “The album explores aspects of love, escapism and fidelity, but there’s also a thread which is about ac-cepting feelings of hopelessness when you don’t quite meet the many pressures of life’s expectations”. Despite the brutal directness of the subject matter, It Will Come Easier has an audible freshness and spring to its step. The optimistic jaunt of Nothing At All defies the futility in being unable to influence a particularly toxic situation. I Keep An Eye out is a follow up to Half Sister, written for the eponymous sibling that doesn’t know of Emma. Written and recorded over several years, Kupa felt she needed to give these 10 tracks some emotional space before releasing the record. Joined by bandmates from both Mammoth Penguins and Suggested Friends (Mark Boxall and Faith Taylor, respectively), alongside Laura Ankles, Joe Bear, Rory McVicar and Carmela Pietrangelo, the instrumenta-tion is more diverse than in previous Kupa bands. From the sparse, evocative strings of Hey Love and the simple piano backing of unexpected wedding drama in Crying Behind The Marquee, through to the grinding synths of CP Reprise, there’s textural flourishes abound that bely her background fronting noisy three-piece indiepop outfits. With nods to Dusty Springfield, The Unthanks and The Postal Service, It Will Come Easier is a mesmerising journey through early adulthood, poignant and expertly detailed. Emma Kupa currently fronts Mammoth Penguins, and The Hayman Kupa Band alongside Darren Hayman. She ini-tially made her name with Standard Fare, whom called it a day at the peak of their success in 2013. Her insightful warmth, eye for lyrical detail and powerful, idiosyncratic voice has made her a firm favourite amongst fans and critics alike. 

                                                  FORMAT INFORMATION

                                                  Ltd LP includes MP3 Download Code.

                                                  Kuroi Ame

                                                  Sacred

                                                    Another killer outing, with Manchester's own Pure Life recordings this time teaming up with US label VILL4IN for a vinyl release of 'Sacred'.

                                                    Dreamy, engrossing swells of synthetic ambiance and organic, shapeshifting instrumentation. 

                                                    We see a perfectly formed collaboration between Panta Rhei and CMD094, under the nom de plume Kuroi Ame, mixing throbbing percussion beneath euphoric pads and swirls of noise, before periodically launching into a snapping dancefloor IDM, drowned in a wash of reverb and echoic modular flickers. 

                                                    This is hugely inventive, eminently listenable and perfectly executed electronic music. An absolute gem. 

                                                    FORMAT INFORMATION

                                                    Coloured LP Info: Blue vinyl

                                                    L7

                                                    Smell The Magic - 30th Anniversary Edition

                                                      This 30th-anniversary edition of the ‘90s underground rock classic Smell the Magic includes all 9 songs from the album, remastered and available together on vinyl for the first time ever! A multitude of rock music scenes populated the expanse of Los Angeles in 1989: hardcore punk, industrial goth, roots rock, and Sunset Strip hair metal, to name a few. L7 fit into none of them, creating their own unique blend of punk and hard, hooky rock loaded with humor and cultural commentary. Originally released in 1990, Smell the Magic is a a landmark of '90s feminist rock.

                                                      FORMAT INFORMATION

                                                      Coloured LP Info: Indies-only Loser edition on neon orange vinyl.

                                                      Liar, Flower

                                                      Geiger Counter

                                                        Liar, Flower is the reincarnation of Ruby Throat, consisting of artists KatieJane Garside (Daisy Chainsaw, QueenAdreena, Lalleshwari) and Chris Whittingham. As Ruby Throat, the duo released four albums and an EP between 2007 and 2017, as well as their 2018 compilations Stone Dress, and Liar, Flower.

                                                        It began with Daisy Chainsaw in 1991 when KatieJane Garside emerged as a furious icon of the alt-girl underworld in a torn dress and matted hair howling ‘Love Your Money’ a confused and violent mixture of lust and loathing, then came QueenAdreena bolder, darker, louder, unpredictable and violent

                                                        Courtney Love proclaimed her as one of the three instigators of the “Riot Grrrl” scene, along with Courtney (of course) and Babes in Toyland’s Kat Bjelland, Katie has since gone on to inspire and enthuse a new generation of artists including Arrow De Wilde of Starcrawler, all while keeping her mysterious and creative integrity intact, a true artist in every sense.

                                                        Garside and Whittingham have been living together on a small sailboat while raising their young daughter and have spent the past few years out at sea. In recent years the pair have lived a life of isolation, and the album reflects those experiences, coincidently fitting for the current times. Chris said

                                                        “We’re just a tiny, super-self-contained operation with not much outside contact. It’s been 14 years and all our records are played, recorded, mixed, mastered, art-worked, videoed, etc., solely by us, and in the end there's probably little else to say beyond the recordings.”

                                                        The first single, ‘My Brain Is Lit Like An Airport’, is a disquieting, hypnotic rock concoction that alludes to the necessary and inevitable dissolution of ego and the desperate clinging to it in its death throes. “My brain is lit like an airport, so the angel will find me,” Garside repeats, later adding, “Recruit me – she wants me on the show! I’m considering, as it would give me more exposure! Maybe I could help others if I show them my recovery process!” - Stylistically varied, the album ranges from raw, bewildering, venomous rock to gentle folk musings.


                                                        Fenne Lily

                                                        Breach

                                                          Isolation is nothing new for Fenne Lily – in fact, she’s written an album of songs all about it. “It’s kind of like writing a letter, and leaving it in a book that you know you’ll get out when you’re sad – like a message to yourself in the future,” she says, referring to BREACH, her Dead Oceans debut she wrote during a period of self-enforced isolation pre-COVID.

                                                          It’s an expansive, diaristic, frequently sardonic record that deals with the mess and the catharsis of entering your 20s and finding peace while being alone. “I think this record is proof that I can be emotionally stable, even if right now I feel a little bit up and down,” says Fenne. “There’s the ability to find clarity in that. It’s sobering, weirdly.”

                                                          Fenne was born in London and moved to Dorset as a toddler, where she grew up in the picturesque English countryside. She was a “free range kid,” as she calls it, after her parents took her out of school for a period at the age of seven. Over the following year, they taught her while the family travelled Europe in a live-in bus. Even after she returned to traditional school at 9, her home education never ended, extending to music. Her mother gifted Fenne with her old record collection, through which she discovered her love for T-Rex and the Velvet Underground and Nico. Soon after she fell for the strange genius of PJ Harvey and came to worship Nick Drake, Joni Mitchell, and the richly crafted worlds of Feist, which inspired Fenne to pick up a guitar. It’s that journey to find peace inside herself that underpins the whole of Fenne’s second album.

                                                          Its title, BREACH, occurred to Fenne after deep conversations with her mum about her birth, during which she was breech, or upside down in the womb. The slippery double-sidedness of the word – which, spelled with an “A”, means to “break through” – drew her in. “That feels like what I was doing in this record; I was breaking through a wall that I built for myself, keeping myself safe, and dealing with the downside of feeling lonely and alone. I realized that I am comfortable in myself, and I don’t need to fixate on relationships to make myself feel like I have something to talk about. I felt like I broke through a mental barrier in that respect.” Even though it also carries implications of awkwardness, rebellion, and breakage, it’s a widereaching word, representing new beginnings and birth.

                                                          STAFF COMMENTS

                                                          Barry says: Perfectly on-point songwriting, crisp production and a keen ear for melody make this a perfect release for stalwart label, Dead Oceans. Fenne Lily writes clever, catchy and effecting poppy odes, rich with grit but *just* polished enough to shine. Beautiful.

                                                          FORMAT INFORMATION

                                                          Coloured LP Info: Indies Exclusive on Flame Orange Opaque vinyl.

                                                          Macintosh Plus

                                                          Sick & Panic

                                                            Deluxe Hi-Fidelity vinyl picture disc. All music & art by Macintosh Plus aka Vektroid. Limited edition including digital download. Where have the alienated masses gone after vaporwave? Producer Ramona Andra Xavier, aka Vektroid, Macintosh Plus, Laserdisc Visions, New Dreams Ltd., and a few others, is a good resource, being a reliable throughline from the genre’s peak to our current moment. Since her most recent studio album Floral Shoppe in 2011, Xavier has travelled further and further away from slowed-down R&B samples, challenging and complicating her own production style. But “Sick & Panic (First Mix)” is her first return to the Macintosh Plus name since 2011, and it sounds almost entirely unlike the curious complacency of Floral Shoppe. This new twelve-minute track breaks apart a few key components of vaporwave, but more readily takes influences from glitch music and the freeform design of a DJ set. But by calling this a Macintosh Plus record, we’re forced to see it with a strangely human face. Between the hundreds of interrupted thoughts and microscopic silences, something organic is growing. This is the sort of music nobody is really built for, but that one learns out of idle curiosity. While we may not be androids for a few more years, this compact, biting music speaks to some metaphysical data analysis we’re hardwired to be fascinated by. In a twelve-minute span, it has more than exhausted every notion and idea. It’s a tactical deployment of thoughts too scattered to fit into their own slots. Which is where it wraps around again to vaporwave, because nothing ever changes. 

                                                            Master Plan was the Chicago based dance music project of Pepper Gomez and Tom O’Callahan. Spanning from 1984 to 1986, the groups development is in sync with the dance music scene of Chicago during that era. While their first record „Pushin’ Too Hard“ is a Windy City version of the NYC club music of the time and its European cross-pollination, „Electric Baile“ from two years later down the line is almost a quantum jump into house music. With the engineering help of Matt Warren, it bears the marks of Ron Hardy, Chip E, Farley Jackmaster Funk or the WBMX dance party craze, if you will. Here you have remastered and updated versions by Enzo Elia and Gerd Janson. The first ones’ edit attempt of „Electric Baile“ ignited this edition. A custom-tailored main mix is completed by a dub and useful bonus beat version to do, what DJs used to do. Concluded by two edits of „Pushin’ Too Hard“ by GJ, you get two great slices of yesterday that are still major dance music blue prints today.

                                                            Anna Meredith

                                                            FIBS

                                                              Fibs is heralded by the release of ‘Paramour’, its first single and spectacular accompanying single-take video, and a song that forbids you from turning away - its sweeps, jerks and wrong turns pinning your ears to the speakers whilst heading for warp speed at a blistering 176 BPM before rounding the journey out with an (utterly unexpected) tuba-led half-time rock-out. Arriving three and a half years on from the release of her Scottish Album of the Year Award-winning debut studio album Varmints, Fibs is 45 minutes of technicolour maximalism, almost perpetual rhythmic reinvention, and boasts a visceral richness and unparalleled accessibility.

                                                              Fibs is no “Varmints Part 2” — the retreading of old ground, or even a smooth progression from one project to another, just isn’t Meredith’s style. Instead, if anything, it’s “Varmints 2.0”, an overhauled and updated version of the composer’s soundworld, involving, in places, a literal retooling that has seen Meredith chuck out her old MIDI patches and combine her unique compositional voice with brand-new instruments, both acoustic and electronic, and a writing process that’s more intense than she’s ever known. Despite Meredith’s background and skills these tracks are no academic exercise, the world of Fibs is at both overwhelming and intimate, a journey of intense energy and joyful irreverence.

                                                              Fibs, says Meredith, are “lies — but nice friendly lies, little stories and constructions and daydreams and narratives that you make for yourself or you tell yourself”. Entirely internally generated and perfectly balanced, they can be a source of comfort and excitement, intrigue and endless entertainment. The eleven fibs contained on Anna Meredith’s second record will do all that, and more besides.

                                                              STAFF COMMENTS

                                                              Barry says: As some of you may well know, i'm a fan of a nice cheery arp, and 'Fibs' is RAM-PACKED with them. Half way between the 16-bit rave aesthetic of Anamanaguci or the brooding, soundtracky synths of Konami Kukeiha Club and high energy synthpop (Kristin Kontrol, Tegan & Sara etc), Meredith has crafted a completely unexpected and thoroughly exciting fusion. Stunning.

                                                              FORMAT INFORMATION

                                                              Coloured LP Info: White vinyl.

                                                              Coloured LP 2 Info: 'Winter Wind’ Coloured Vinyl

                                                              Moon Duo

                                                              Escape - Expanded Edition

                                                                To celebrate the tenth anniversary of Moon Duo’s long-out-of-print debut LP Escape, Sacred Bones is proud to present a new deluxe version of the album. The new reissue will include the original album in its entirety, plus three additional rare tracks taken from Moon Duo’s wild early days. Reflecting on the album in March 2020, the band shared the following statement:

                                                                “We made this record in a rehearsal space in San Francisco in late 2009. It was kind of a classic band space, shared by a rangy assortment of musicians over months and years, behind one of several similar doors in a dark red hall. A windowless room lit by string lights and an odd assortment of lamps, the walls a palimpsest of posters and gig fliers. There was a grimy, burn-pocked rug, cluttered gear in various stages of use and abandonment, and the air seemed to hang in a permanent film of smoke residue and stale beer. We recorded to a 4-track tape machine over the course of a few nights - we’d just start the beats, hit ‘record’ and let fly. We had a vague sense of coalescence, or fomentation, like a glimpse of a thing in outline which you can’t yet see, but neither of us knew at the time that this was the record that would mark the beginning of our life as a touring band and would initiate our connections to so many (now long-time) friends, familiars and collaborators. Ten years feels like both a lifetime and the blink of an eye - measurable but impossible to quantify. These four tracks, and the others that join them here, are a snapshot of our earliest incarnation: flying blind, but high on the freedom of experimentation and filled with hope for things to come.”

                                                                FORMAT INFORMATION

                                                                Coloured LP Info: Pink vinyl edition.

                                                                Normil Hawaiians

                                                                In The Stone / Where Is Living?

                                                                  First new music from the renowned post-punk group Normil Hawaiians since 1985.
                                                                  A pressing of 500 copies only for the world.

                                                                  When Upset The Rhythm released Normil Hawaiians’ lost album ‘Return Of The Ranters’ back in 2015, the band members got back in touch with each other after a 30 year break and starting playing music together again. Out of this the group played a launch show for the album and followed that up with more concerts, including an appearance at Supernormal, a residency at the Edinburgh Festival, gigs at Cafe OTO and supporting Richard Dawson in London too. They even recently toured Greece in support of having all three of their renowned exploratory post-punk albums finally back in print.

                                                                  Throughout this time, Normil Hawaiians revisited their original songs for these live performances. However for a group always so interested in evolving their sound and seeking nuance, it comes as no surprise that they shirked the idea of a faithful retread of old material in favour of reimagining their songs. The group experimented by pushing their songs into new inventive dimensions, still progressive at heart, but now imbued with a cosmic uncanny. A cinematic, even pastoral approach that was always quietly present has come to the fore. The quaint weirdness of folk song, the humanity of communal practice and the group’s ecological mindedness have all found a place in Normil Hawaiians’ current sound world. With this conducive atmosphere brewing, the band’s first new songs in decades started to emerge.

                                                                  Being far-flung across the UK, the Family Hawaii encamped to Tayinloan, a small village on the west coast of the Kintyre peninsula in Scotland with the intention of recording new music. They set up their own studio in an isolated, windswept house overlooking the sea and started the tape rolling. Noel Blanden from the band explains how the spirit of the location was such an inspiration to the group during this initial recording session: “Our time immersed in the place and the unique energy it generated in us allowed us to write ‘In The Stone’. It goes right back to our first album, this need to document experience before it passes over and eludes us. We were grabbing at the musical ether and letting it shape itself through the band.” From loose, improvised sessions and reflective periods of listening in Tayinloan, Normil Hawaiians captured the moment. ‘In The Stone’ is a motorik thrill of distorted guitars, locked rhythms and morphic resonance. Guy Smith is joined by Zinta Egle on vocals, skilfully sharing lyrics informed by Alan Garner and Nigel Kneale’s ideas around recurring events being linked to place and historical artefact; a kind of residual haunting known as ‘Stone Tape’ theory. In keeping with the context of the song, sounds from several previous live recordings of the track were woven into its present being. Flipside ‘Where is Living?’ is a decidedly more delicate affair of questioning lyrics and eerie traces, droning strings and impressions smudged. This resultant 7” is a tantalising glimpse of Normil Hawaiians now, an echo from the past, an echo from the future.


                                                                  Notorische Reflexe was an experimental band, art form and a film performance group from West Berlin. Existing from 1982 to 1986, they were part of the early 80s Berlin art scene along with groups like P.D., Die Tödliche Doris, Einstürzende Neubauten or Malaria. Their only LP – originally released in 1985 – is an impressive outburst ranging from minimal electronics to more experimental takes with some jazzy/ethnic touches. Now reissued on LP featuring a bonus track, extended artwork and liner notes by Mark Reeder. 

                                                                  STAFF COMMENTS

                                                                  Patrick says: Total grail of the German underground this! Falling somewhere between NDW, tribal electronics and avant jazz, this killer LP balances ethno-industrial freakouts and noise experiments with absolute floor fillers for the weirdo dancefloor.

                                                                  Nouvelle Vague

                                                                  Version Francaise

                                                                    The 80s owed everything to the punk revolution ... and betrayed it time and again.

                                                                    ln 76-77, the incredible explosion of English-speaking bands focused the energies of a whole generation of Western youth - rebels ready to pick up a guitar and use it like a weapon. Yet more than punk music itself, it was the creative burst it triggered that radically shaped 80s pop and heralded an unending stream of inspired performers.

                                                                    Although we often speak of the British and American golden age of post-punk from 78 to 84, with artists that included Talking Heads, Joy Division, PIL and Devo, France (together with Switzerland and Belgium) joined the movement too. Today, on a new album, the group Nouvelle Vague have paid tribute to this sumptuous "Frenchy" period clothed in the nihilism of punk, along with bitterness fuelled by the economic crisis and, paradoxically, the bewitching spirit of pop.

                                                                    lts title, Couleurs sur Paris (Colours on Paris) is based on both a famous postcard collection and Oberkampf's 1981 punk anthem, and reflects the period, which oscillated between elation and despair. Written by artists sometimes known as "the modern young people" and including faux naïf electropop nursery rhymes by Elli & Jacno ("Anne cherchait l'amour", 1979), Lio ("Amoureux solitaires" , 1980) and Etienne Daho ("Week-end à Rome", 1984), along with Lili Drop ("Sur ma mob", 1979) and Taxi Girl ("Je suis déjà parti", 1986), the songs clearly express the hopes and disappointments of the day.

                                                                    The sense of melancholy suggested by the disenchanted lyrics of "Déréglée" - performed in 1977 by Marie-France, an icon of Paris nightlife - is even more noticeable on the 1981 hit by The Civils, who cynically sang, "Tonight, they're dying in Chad, but l'm buying my dream Walkman" before taking it to the chorus: "The economic crisis is fantastic, decadence is the right feel".

                                                                    The punk shockwave con also be felt in the music of bands who radically shaped French culture and song. Like Rouen, with Les Dogs ("Sandy, Sandy", 1982), every provincial town and city in France began to produce bands at the end of the 70s and the start of the 80s. Wunderbach's 1983 punk pamphlet "Oublions l'Amérique" was a foretaste of what is now called alternative punk, a genre that won acclaim in 1988 with Mano Negra's "Mala Vida". Indochine, French pop legends for the last thirty years, also encouraged the trend in the summer of 1983 with "L'aventurier", after a first single brimming with the spirit of rebellion, "Dizzidence Politik".

                                                                    Rita Mitsouko, the duo that emerged from the underground Parisian punk scene of the late 70s, rocketed to stardom in 1984 with "Marcia Baïla". Equally baroque, TC Matic - the first band fronted by Belgian singer Arno - released an ironic, political underground hit in 1983: "Putain, putain". Other artists fuelled a post-punk movement that explored the romanticism of machines and the darkness of new wave, including the cult, much-neglected duo from Nancy, Kas Product ("So Young but so Cold", 1982) and Switzerland's Stephan Eicher, whose "Two People ln A Room" (1985) followed on from "Eisbaer", a hit in a more underground style written with Grauzone in 1981. However, the genre's most influential practitioners were certainly Noir Désir. From their first single in 1987 ("Où veux-tu qu' je r'garde?"), they won mainstream success with their unique fusion of 80s gloom and power rock. Beyond from the meteoric success of Bordeaux's Gamine ("Voilà les anges", 1988) and the subversive spirit of Jad Wio ("Ophélie", 1989), French post-punk reached its climax with the success of Noir Désir, Rita Mitsouko, Stephan Eicher and Manu Chao, whose albums reigned supreme in the 90s French charts. From the underground scene to gold records: the eternal story of pop.

                                                                    OSEES

                                                                    Protean Threat

                                                                      Latest iteration of John Dwyer’s everchanging, impossible-to-describe band.

                                                                      Witness the ever-changing, ever-mutating threat that is reality. Perception is under duress; sensibility is bending everyday under the barrage of nonsense. One must make note of whom one is and what one has become: look into the mirror of the planet-killers—psychic cannibals infiltrate and contaminate once familiar and seemingly secure territories… formidable foes indeed! What powers these beasts? What fuels discord and hatred? The behemoth of a “civil” society? What are the weapons at one’s disposal? Generosity is the aegis against greed, empathy is the armor to deflect apathy, love is the club to abate hate…the fog is lifting and humans are opening their eyes.

                                                                      And so Castle Face offers this field recording, the Osees Protean Threat, from the pits as a quick booster between protein pills and recycled sweat beverage anthems to assist the listener to not worship at the altar of violence and greed, to not offer oneself up for free, to stand up and be vigilant! Truth will not be found in the speeches and photo ops of the overlords— stand strong and together under the gaze of the oppressors. Stand vigilant, united with those who don’t have the same privileges. Demand respect and a peaceful life for all. This recording is at the apogee of scuzz—punk anthem amulets for the ears and heart, a battery for one’s core. Be strong. Be human. Be love.

                                                                      STAFF COMMENTS

                                                                      Barry says: They're going to start running out of different iterations of those 5 (or 6) letters soon aren't they? No matter the moniker, this is classic Oh Sees territory, mathy guitars, perfect production and DRIVE. Quintessential OCS.

                                                                      OXP - a duo combined of Parisian beatsmith Onra, and Pomrad, a composer and multi- instrumentalist from Belgium, give you a class of ’93, West Coast nugget of hip-hop gold – ‘California’ ft Mr Getto Jam himself for this vinyl only, Ramrock Red Records 7 inch release.

                                                                      Four fingers up, two twisted in the middle, in your low rider with the top down. Head nodding to the track on Trend City Radio with the homies, cruising along a palm lined boulevard in the eternal, shimmering sunshine of the West Coast. It’s Hip Hop Summer for life, conceptualized around the vintage synths and drum machines that marked the Golden Era.

                                                                      Lee Perry

                                                                      Skanking With The Upsetter "Rare Dubs 1971- 1974"

                                                                      Mr Lee Perry who in no uncertain terms defines the words musical genius, recorded some of the most inspiring, soulful, funny and weird / wild reggae music ever put down on tape. Working through all the manifestations of reggae from Ska to Roots and Dub, where his ground breaking 1973 ‘Blackboard Jungle’ LP, set the standards, he was an innovator. If this was not enough his recordings of THE WAILERS, many believe to be their finest work. Born Rainford Hugh Perry, 28 March 1936, Hanover, Jamaica. He began his career at the grand age of 16, working for Clement ‘Coxone’ Dodd’s sound system, rising quickly to the position of record scout and organising recording sessions during his 3 year period 1963-1966. Restlessness and unsatisfied with credit he felt due to him he moved on to work with Producers J.J. Johnson and Clancy Eccles, the later of which would help him set up his ‘Upsetter’ label in 1968,which would see his first of many recordings telling the injustices done to him by previous employees.

                                                                      ‘The Upsetter’ track itself pointed at Mr Dodd but reflected back to Perry when he inherited it as a nick name along side many others during the coarse of his career, including ‘Scratch’, again taken from one of his recordings ‘Chicken Scratch’ recorded in 1965/1966. Perry’s work in 1968 with producer Joe Gibbs was fruitful and resulted in many successfulreleases, but again lack of credit and itchy feet, it was time to move on. But not without leaving his trademark recording summing up his feelings at the time ‘People Funny Boy’ this time aimed at Mr Gibbs. Still not having a studio of his own, Perry recorded at the various Kingston establishments of the time, Randy’s Studio 17 on North Parade, Dynamics on Bell Road and Harry J’s on Roosevelt Avenue where the bulk of the aforementioned recordings with The Wailers were carried out.

                                                                      During this time and the years that followed Perry has built up a vast catalogue of backing tracks / instrumentals, he had cut over a 100 releases on his ‘Upsetter’ label alone. A library of music that he has an uncanny knack of reutilising to work into something new when put against a new song / singer. This collection of rare and unreleased dubs stems from his 1971-1974 period. We can here on tracks like ‘Perry’s Jump Up’ Ska-ish up tempo chopping guitar cuts leading through to organ laden tracks like ‘Roots Rock Dub’. The sound moving to a slowed down rhythm on ‘Perry in Dub’ which would predominate his sound, when in mid 1974 he’d open his own studio at his home in the Washington Gardens district of Kingston. We hope this selection of lost treasures will add to the jigsaw that makes Mr Perry’s output now spanning over 5 decades so remarkable.
                                                                      RESPECT.... JAH FLOYD.


                                                                      Deep and rolling dubwise reinterpretation of the Isaac Hayes' classic B/W "Electric Boogie" a toe tappin' nod to 80's dancehall destined to brighten the smokiest of rooms. Originally released back in 2010 and unavailable since 2011. Funky reggae from Canada's Balanced records. Fresh repress! Headz dub

                                                                      Piccadilly Records

                                                                      Enamel Badge

                                                                        Look at this beauty!

                                                                        Limited edition 25mm x 25mm hard enamel badge with butterfly fastening.

                                                                        Sam Prekop

                                                                        Comma

                                                                          Sam Prekop’s boundless imagination is guided by his strong sense of melody. For more than 25 years, as a solo artist or as part of The Sea and Cake, Prekop creates a singular sound that is both inventive and warm. New album ‘Comma’ takes Pekop’s electronic music experiments in a surprising new direction. Working extensively with beat programming for the first time, Prekop uses rhythm as a narrative tool, tapping into electronic music’s romantic and emotional qualities. ‘Comma’ embraces the analogue synthesizer’s often unpredictable nature, imbuing the record with a decidedly organic feel even while working within the relative rigidity of beat architectures.

                                                                          Prekop’s creative process is a combination of preparation and improvisation.Writing sessions for ‘Comma’ began with an open-ended exploration of sounds and textures from which the first fragments of songs would reveal themselves. The introduction of drum machines and additional synthesizer units to his modular setup shifted things in surprising new directions as he worked to bend them into more traditional pop song structures. Drum tracks and emergent rhythms provided the frameworks and narrative sketches to be fleshed out with lustrous widescreen synth pads and ribboning melodies. In approaching his writing with a completely open mind and letting himself be guided by the music, Prekop maintains a delicate balance between composition and chance, control and spontaneity.

                                                                          Prekop’s wide-eyed sense of discovery guides his exploration of beat-driven music, pushing him to use rhythm as a narrative tool and to embrace electronic music’s romantic and emotional qualities. With ‘Comma’, Prekop compiles an incredible breadth of ideas into a surprisingly coherent soundworld. It’s a modern minimal pop album that taps into the experimental heritage of the synthesizer. The album places Sam Prekop’s work squarely in the tradition of electronic music pioneers like Brian Eno and Yellow Magic Orchestra, who brought together the unrestrained ambition of the avantgarde with the immediacy and accessibility of pop music.

                                                                          Quiroga is back on Really Swing providing an extensive set of tracks in his typical style, a breezy and ear pleasing affair with his longtime friend and collaborator Dario Bass.

                                                                          “Dabbler in Love” is a sunrise-ready boogie affair with stunning chords and bass progression summed by a twinkling Rhodes solo; “Kundabuffer” drives into more jazzy territory delivering throbbing basslines over a 4/4 latin beat while “Villa Lysis” is a laidback piano soundscape over a lately bassline on a Capri sunset.

                                                                          On the flipside “Snaporaz” named after the Marcello Mastroianni’s character draws a housey jazz atmosphere with an astonishing bassline reminding of Kaytranada’s groove. “Drum’n’Bass for Papa” closes out the release - an homage to Plug/Luke vibert where chord progressions fuse onto a Squarepusher-Pastorious esque bass lead. Rock on!

                                                                          Hot new edit drop here from Israeli duo Rabo & Snob, who explore the forgotten jams from the outer limits of Tel Aviv's 80's scene on this super fine EP. While the sounds of new wave and synth wave mainly dominated in the clubs of the city at that time, some artists also experimented with Italo music. On this EP Rabo & Snob pay tribute to those early pioneers of a new and different Disco-inspired electronic sound, and sprinkle some of their own magic dust upon it to make it both interesting and fresh.
                                                                          "Inn Yan" embraces the weird dance by fusing a smooth and buoyant boogie groove with some serious atonal brass and unexpected looping. If you dug on the spiritual synthesis of Alice Coltrane's 'Ecstatic Music', that gives absolutely no indication of whether you're ready for the Italo pump and vocoded Krishna consciousness of "Hare Rama", but if you have ears and a pulse, you’ll probably love it. B1 bomb “Ego Incognito” comes correct with a little synth pop meets Euro disco camp, frothing away with cooing female vocals and cold wave style brass before percussive closer “Tik Wah Hood” stomps through a little ethno-core tribalism perfect for Multi Culti fans.

                                                                          Enjoy the trip. 


                                                                          Based in Berlin via rural Israel, RAS are comprised of multi-instrumentalists and producers Dekel Adin, Eden Leshem and Guy Gefen. They came together as RAS in 2018; a deep appreciation of international sounds that cross common ley lines has resulted in a melting pot of influences, armed with vintage drum machines, guitars, synths, bongos and a Tascam Portastudio 424 tape machine.

                                                                          RAS’ creative palette is relatively minimal, opting to work with a toolkit of analogue instruments and improvisational recording styles. Mixing surrealism, injokes and nonsensical word patterns, their lyrics are sung in Hebrew. The vocals are there to support the music, acting as another instrument in the overall sound. 

                                                                          Dekel, Eden and Guy managed to create an intricate balance between lo-fi soul and brighter Mediterranean-leaning club jams, ending up with a record we might mistake as a lost treasure of the early 90s.A record that perhaps has an unconscious connection to the past but more importantly to an onward looking story of friendship and a musical journey which has spanned many continents throughout the last ten years.

                                                                          STAFF COMMENTS

                                                                          Patrick says: Undercover Balearic heat here I reckon - don't let the kooky cover fool you. Operating in the same dusty, groove-based vein as those Bonjo Joe cats (Altin Gun, Mauskovic, Yin Yin) but with the smooth and soulful leanings of a Stones Throw classic, this should keep summer going well into the darker months.

                                                                          This iconic and much sought after self titled LP by Piry Reis now re-issued as a deluxe 180 grams edition containing an extra bonus track (a spaced out Jazz interpretation of "No Risco Do Relâmpago"). After playing for several years with Egberto Gismonti group and other prominent Brazilian acts, Piry decided to record this solo album which was originally released in 1980 featuring a special guest appearance by Egberto Gismonti. Softly psychedelic, beautifully textured and totally seductive Tropicalia.

                                                                          Run The Jewels

                                                                          RTJ4

                                                                            Run The Jewels, the lauded duo of El-P and Killer Mike, have shared the long-awaited details of their feverishly anticipated new album, Run The Jewels 4.

                                                                            This eleven song, 40 minute powerhouse is their most ferocious and focused effort to date, and sports a lineup of all-star guests including Pharrell Williams, Mavis Staples, 2 Chainz, Zack de la Rocha, Josh Homme, DJ Premier, and Greg Nice. Recorded primarily at Rick Rubin’s Shangri-La Studios and the iconic Electric Lady Studios in NYC, RTJ4 represents two years of intensive writing, recording, distilling, and amplifying the most potent elements of their music.

                                                                            The result is a collection of wall-to-wall bangers illuminating the group's unique ability to straddle the worlds of pointed social commentary and raw, boisterous fun.


                                                                            STAFF COMMENTS

                                                                            Patrick says: Bombastic, aggressive, assertive, political and absolutely effin BANGING, RTJ are back to save you from whack MCs and company stooges. Fire from start to finish here, but I'm advising you to bump "Ooh La La", the prescient "Walking In The Snow" and the trapping "JU$T" featuring RATM's Zack De La Rocha.

                                                                            FORMAT INFORMATION

                                                                            2xColoured LP Info: Neon Magenta coloured vinyl.

                                                                            4xDeluxe LP Info: Deluxe 4LP, Neon Magenta & Gold coloured vinyl.

                                                                            Since releasing his Shaka EP Vol.1 back in 1995, Swiss House veteran Kurt Spichiger aka Shaka has become a reliable sources of skilfully constructed house music.

                                                                            Opening track 'Theme From Riverwalk' is a luscious exercise in melodic and soulful deepness. It oozes deep house authenticity and you know you are holding quality just a few bars in, a track that would sound at home on Strictly Jaz Unit Muzic.

                                                                            On the flip you'll find Shaka confidently skipping between deep melodic house with jazzy melodies, heavily influenced by soulful and spiritual house vibes. 'New Relationship' aims straight to the heart and is the perfect blend of something played by both Joe Clausell and Ron Trent.

                                                                            STAFF COMMENTS

                                                                            Matt says: Bit of classic sounding deep house a la Ron Trent, Joe Claussell, Karizma etc. Plenty of bump in the second track, "New Relationship" while "Theme..." gifts us rich musicality around that typical 4/4 framework. Ace!

                                                                            The debut offering from Shakey, a new project from Silvia Kastel and Lizzie Davis (Wilted Woman). Shakey, then, is a syncretic meshing of both artists sensibilities, encompassing both’s love of digi-dub, jungle, musique concrete, and the fusing of ambient textures with abstracted rhythms.

                                                                            So if you've as much as caught a passing snippet of either Silvia Kastel or Wilted Woman, you'll be correct in your assumption that this collaboration is utterly certifiable. Take opener "Crayscandens" for instance - a dash of jazz fusion, Rephlex braindance and deconstructed dancehall, which sounds quite a lot like a soundclash in Boomkat HQ. Next to that BPM blending mindfuck, "Slappy" sounds perfectly sane, though the bleep test synths, dislocated voices and steppers rhythm might twist your melon all the same. Things continue to weird the fuck out on the flip, as the eerie fourth world haze of "Dischidia" gives way to the whacked out electro (in its loosest sense) of "Moth". All that remains is for us to float away in the aquatic electronics of "E Ocean", another baffling but brilliant bit of creativity from these collaborative cats.

                                                                            The recording had been first devised as a benefit concert in LA which was at- tended by Dr. Dre who took to the stage to express thanks for Sly5thAve’s ar- rangements. Having spent the past three years performing the project with orchestras around the world, ‘What It Is’ sees Sly5thAve retain the high-quality that fans and critics alike have come to expect from him while stepping out with something considerably different, delving deeper into the worlds of hip hop, jazz and soul.

                                                                            Celebrating not only his own versatile musicianship but that of his collaborators and friends, ‘What It Is’ is a collection of tracks showcasing the best of the multi-faceted musician. A sought-after collaborator himself, Sly5thAve has attained much respect from his work with a host of highly f ted musicians including; Prince (as a member of the New Power Generation Band), Stevie Wonder, Gladys Knight, The Dave Brubeck Quartet, Taylor Swift, Janelle Monee, Freddie Gibbs and Quantic.

                                                                            “It’s a little jazzy. There is some hip hop in there. A little bit of orchestral chamber vibes... It’s me”, Sly5thAve admits. From the NYC-Texas inspired sounds of “More Or Less” featuring prolific New York rapper Marlon Craft to the politically charged Brazilian-Portuguese “Expatria” recorded with Grammy-nominated Thalma de Freitas, the album spans a myriad of genres and offerings from fellow talented musicians.

                                                                            FORMAT INFORMATION

                                                                            2xColoured LP Info: Limited edition purple vinyl.

                                                                            2xColoured LP includes MP3 Download Code.

                                                                            Smalts / Human Flesh

                                                                            Periodiciteit / En De Stad

                                                                            "And the city opens up its streets to me again.Gloomy and damp, walled by wet surfaces, Which the pale glow Bouncing off a languishing moon. She shows me her reddish bars without any embarrassment, Where the sex yawns against the black decor."

                                                                            Soft Cell

                                                                            Magick Mutants

                                                                              Entitled ‘Magick Mutants’, the exclusive EP features four previously unreleased tracks: three brand new re-workings of the early Soft Cell classics ‘Bleak Is My Favourite Cliche’, ‘Science Fiction Stories’ and ‘The Girl With The Patent Leather Face’, alongside a cover of the late Fad Gadget’s seminal 1979 single ‘Back To Nature’, and the EP release is also dedicated to Fad Gadget who studied alongside Marc Almond and Dave Ball at Leeds Polytechnic.

                                                                              In order to preserve audio quality the four tracks on the vinyl EP are all edited versions, however all purchasers will receive a code which will allow them access to downloads of the four full-length tracks, as well as the edited versions.

                                                                              Intended as a sequel to 1980’s ‘Mutant Moments’ release, the new EP features artwork by the band’s Dave Ball, also who created the ‘Mutant Moments’ sleeve.

                                                                              Special Interest

                                                                              The Passion Of

                                                                                But would you bat an eye, waiting for war machines to pass you by? But aren’t we going out tonight? Aren’t we going out?"" Special Interest have returned with their sophomore LP. A dual release from Night School (UK) and Thrilling Living (US), The Passion Of... combines elements of glam rock and no wave pushed through a mangled filter of contemporary electronic forms. Special Interest present a precise and deranged vision of punk, an apocalyptic celebration, a step forward into a perverse and uncertain landscape. Recorded throughout 2019 with engineer James Whitten, The Passion Of finds the band with a fuller realization of their sound.

                                                                                While their debut, Quintron-produced, album Spiraling documented a band discovering their purpose, The Passion Of… is both more chaotic and melodic, daring to finally live up to their notorious wall-of-sound live performances. Massive, juddering beats from an old Electribe sampler and distorted bass provide much of the rhythmic backbone. The effect is purely physical, circumnavigating the brain and heading straight to the body’s core, sounding at times like an Industrial take on the most brutal Gabber 12”s from the Groningen hardcore underground.

                                                                                Crass, decolonized guitar work and haunting synth lines cut through the low end noise to serve the album’s layers of drama. It’s a cloying, intense dynamic that builds to almost unbearable fever pitch at points, threatening to overwhelm and overpower. Aided by mastering work by Rashad Becker, The Passion Of… is a true document of Special Interest as the intense and radical unit they are. Alli Logout’s razor sharp lyrics drip with the collective lust for life in the midst of painful truths. Offering moments of clarity and hope in their signature bratty maladjusted manner, switching from high camp satire to insightful political imperatives often within the course of one song.

                                                                                The Passion Of... takes you on an odyssey, from celebrating the highs and lows of hedonism (Disco III), to dystopian anthems (All Tomorrow’s Carry) and disillusioned love songs (Street Pulse Beat). Ending in a powerful final decree (With Love) offering visions and desires for futures to come. The Passion Of... is a culmination of Special Interest’s long standing obsessions. Not just bearing witness but living and moving towards our innate desire for rapture in an urgent and raw testimony of the here and now. "Beyond blood we fight towards liberation"

                                                                                Chicago based & Tetrode mastermind Specter takes up the torch with a (too) long awaited solo EP on Into The Deep records. As a true soldier of the underground, Andres Ordonez has been designing his sound for two decades, bridging the gap between Chicago and Detroit. Brief excursions on Theo Parrish's Sound Signature label, an incredible collaboration with Jose Rico and a few fleeting moments on some other cutting edge labels precede this release: a spectacular EP exploring that illusive and seductive territory where beatdown house, jazz and organic sound design coalesce as one complete form. I remember someone from Manchester once stating that people like Specter, Andres and Moodymann make 'house music for hip-hop heads', and personally, I can relate to that statement. Intelligent yet still firmly nodding the head throughout, perfect for soundtracking late nite drives, closed-curtain smoke-outs and of course, pitch black dancing in your favourite dance spot. Most recommended.

                                                                                Tobin Sprout

                                                                                Empty Horses

                                                                                  Artist, illustrator, writer and lo-fi innovator, Tobin Sprout was the super-productive partner of Robert Pollard in the legendary Guided By Voices. The gifted songwriter returns with a pensive, expansive part autobiographical new album ‘Empty Horses’. Here he’s part Townes Van Zandt, part John Prine, part Robbie Robertson at his retrospective best.

                                                                                  The album is a meticulously observed study of America and Americana (not the music, but the state of mind). An alternative American Songbook, if you will, a collection of laments to simpler times and the struggle for what’s right, peppered with an examination of faith and the search for a sense of justice. Close up and personal, ‘Empty Horses’ is a poignant carefully etched experience, a rolling journey in modern times, nodding back to tradition, a personal snapshot filled with honesty.

                                                                                  ‘Empty Horses’ is released on vinyl LP and also a deluxe bookback CD, beautifully packed with 24 pages of paintings and lyrics by Tobin Sprout, a true collectors piece for fans of Tobin’s music and art.

                                                                                  “The perfect aural encapsulation of melancholy: in turns somnambulant, romantic and all-consuming” Rolling Stone.



                                                                                  “Raw, honest and often revelatory” Consequence Of Sound

                                                                                  FORMAT INFORMATION

                                                                                  LP Info: LP Standard Black Vinyl with download.

                                                                                  CD & Book Info: CD BOOK ‘Bookback’ CD, Exclusive artwork & paintings.

                                                                                  Stone Foundation

                                                                                  Changes

                                                                                    Following a rapid sell out of their last limited 7”, Stone Foundation return with Changes - the second single from their stunning new album "Is Love Enough?” The soulful track strikes a wistful note with a poignant lyric examining how change affects peoples lives. Whilst written in 2019, the sentiment has been very appropriate for the global events of this year. The b-side is a brand new cover version of Going Back To My Roots - listen out for the unmistakable voice of Paul Weller supplying backing vocals! 

                                                                                    Tracks for the rave, direct from Japan.

                                                                                    Stones Taro joins the BAM roster with four heaters designed to demolish the dancefloor. Taking inspiration from UKG, jungle, breaks and house, this release brings the quintessential sounds of rave culture into 2020, showcasing the Kyoto-based producer’s ability to regenerate the genres that define UK clubland.

                                                                                    Lovingly delivered by the crew at YAM Records, this is the second installment of Body Action Music - check! 


                                                                                    This is Tolouse Low Trax’s 4th solo album Jumping Dead Leafs.
                                                                                    A 38 minutes exorcism, dionysac sexyness fueled with romanticism, made of mechanical incantations mixed with spectral vocals of forgotten imaginary tribes, words from a physicist (Incomprehensible Image), and mystical breathings… To remind you that music is demanding your soul and body, fully. A master irritator, disclosing this talent all the way, down to every chosen title, for the album itself and all of its components (would you put Milk in Water ?). As repetitive or minimalist music may already make some of you feel nervous, it seems more accurate to talk here about primitive music - notwithstanding a non violent anarchism. But those are only words and vain attempts to attach TLT to a region or a family. Neither the burden of classical European music legacy, which eventually lead to pop music, seemed to interfere with his wild mind, and if it is no surprising to hear Bach in German electronic music, there is here a clear statement that you are out of this sirupy prison… For D.W. is a sorcerer. He’s been empirically learning the speaking of trance with years of touring and experimenting with all kinds of audience and venues, from clubs to museums, from Mongolia to Brazil, from his performances with his bands Kreidler or Toresch to solo ones, sustained by a steady limited set up, as the one used when he’s recording : one MPC, rudimentary synths, few effects and a mixer. No sound engineer on stage as only he knows his secret language… Raw dubmaking, leaning towards
                                                                                    hip hop, indubitably underlining here a significant distanciation from his previous industrial inspirations. The bewitchment of this record is operating with no warning from the very first seconds until the last epiphany of Sales Pitch. He is using his knowledge of techno, psychedelism (Inverted Sea), UK bass (Jumping Dead Leafs), only to bring you out of it. We all tend to be slaves, without even being conscious about it, and a balance must be existing between being a slave and showing off. Mr. Weinrich’s answer is unsettling because it is an utter call to this balance, in our world of black and white and political correctness. There is no morality in music… Don’t expect anything else than an unaccountable liberating immediate experience. Don’t expect any kind of music because you are already in the past or the future… From his recording technique mainly relying on one takes, his adoration of mistakes and jeopardy, to the core essence of repetitive music, it is all hereabout being in the present. No ears no glasses. 


                                                                                    STAFF COMMENTS

                                                                                    Patrick says: Dusseldorf's dance floor Derrida comes correct with his first solo album in six years, providing a little club deconstruction for the fringe DJ and haunted home listener! Frankly, no one sounds like Detlef, and as this LP blazes its hazy trail through warehouse smog, dislocated dubspace and an entirely crepuscular strand of psychedelia, it becomes increasingly clear how much we've missed him.

                                                                                    David Turpin, Stephen Shannon & Kevin Murphy

                                                                                    The Lodgers (OST)

                                                                                      Beautifully haunting gothic score to The Lodgers by Stephen Shannon, Kevin Murphy and David Turpin.

                                                                                      David Turpin’s first feature as screenwriter – the gothic fantasy premiered at the Toronto Film Festival in 2017, and was subsequently acquired for worldwide release by Netflix.

                                                                                      Film synopsis:
                                                                                      A family curse confines orphaned twins Rachel and Edward to their home, in punishment for their ancestors' sins. Bound to the rules of a haunting childhood lullaby, the twins must never let any outsiders inside the house, must be in their rooms by the chime of midnight, and must never be separated from one another. Breaking any of these rules will incur the wrath of a sinister presence that inhabits the house after midnight.

                                                                                      STAFF COMMENTS

                                                                                      Barry says: Another stunning release from Burning Witches records, with all the neo-classical gloom and horror slo-burn we've come to expect from this legendary label. Crackling ambience and slowly drawn strings are accentuated with crescentic wails and simmering unease. Gorgeous to look at and most importantly, to listen to.

                                                                                      FORMAT INFORMATION

                                                                                      Coloured LP Info: Lake Water colour vinyl, heavyweight sleeve, insert and download card

                                                                                      TVII SON's self-titled album is a glorious concoction of local and global, and combines rich immersion in music history and in-the-moment immediacy with uncanny ease. The trio of Florian, Mika Shkurat and vocalist / writer Lucy Zoria make, essentially, a kind of stripped-to-the-bone industrial dub, fizzing with white noise and quivering with soundsystem bass – but given a glorious pop infectiousness, thanks to the earworm phrases and phrasing of Lucy's vocals.

                                                                                      The name was chosen purely for how cool the letters look on the page but conceals intriguing lyricism (it means "your dream" in Ukrainian), and likewise their sound's simplicity hides deep intellect and emotion. Their roots are deep in both Kyiv and Berlin, with a sprinkling of extra cosmopolitanism from Lucy's part-American upbringing. Beneath the surface simplicity lies an intellectual and musical richness that belies all three members' backgrounds in punk / alternative scenes, and their immersion in everything from 90s WARP records to anime soundtracks. And there's both a vivid expression of Berlin's deep rooted electronic music culture and a proud sense of increasingly confident Ukrainian identity, still carrying the energy of the 2014 revolution even as its optimism has mutated into something darker and perhaps more determined.

                                                                                      The trio's history is tangled – seeds were sown when Mika worked on some visuals for Florian's modular synth band Driftmachine and a lasting friendship was forged. Mika and Lucy didn't meet till much later, despite having many friends in common – but when they did formed the trio Nisantashi Primary School. Florian fell for Lucy's unique style and when Nisantashi played Berlin in 2018, a new collaboration was forged.

                                                                                      Over 18 months, they built their frameworks of abstract sounds made into immediate rhythms, with Lucy's style adapting to the grooves until the total sound you hear now had coalesced. You might detect hints of King Midas Sound in the dub spaces, a little Pan Sonic in the crackle and hiss, some classic electroclash in the sass of the songs, even a bit of cheeky dancehall and grime in the sprung rhythms of “Simple Ends” and “Kilang” – but most of all you'll naturally focus on the totality of those songs. It only takes one listen for Lucy's memorable phrases like “clinging to what we love as it slips out of vogue”, and “give me your chastest kiss” to fix in your mind, and a second listen for the songs to become old favourites. The roots of this record might be tangled but its effect is brilliantly, beautifully direct.

                                                                                      Valium Aggelein

                                                                                      Black Moon

                                                                                        Just as Duster’s landmark debut album Stratosphere was making its first orbit, Clay Parton, Dove Amber, and Jason Albertini tracked a largely improvised companion capsule under their Valium Aggelein alter ego. An ode to ’70s Kosmische, Hier Kommt Der Schwartze Mond is a skeletal space nap for the prozac generation. Remixed and remastered from the original 16 track analog tapes, the 1998 album has been adjoined by 15 period-appropriate bonus tracks. A fuzzy masterpiece, hidden in plain sight, by the most important slowcore band of all time.

                                                                                        Anna Von Hausswolff

                                                                                        All Thoughts Fly

                                                                                          Sacro Bosco (“Sacred Grove”) is the starting point for Anna von Hausswolff’s new album All Thoughts Fly, incoming on Southern Lord on 25th September.

                                                                                          Here in solo instrumental mode, the entire record consists of just one instrument, the pipe organ, and represents absolute liberation of the imagination.All Thoughts Fly radiates a melancholic beauty, and is distinguished by fluid transitions of contrasting elements; calmness and drama, harmony and dissonance, much like the place that inspires the music.

                                                                                          Sacro Bosco is a garden,based in the centre of Italy,containing grotesque mythological sculptures and buildings overgrown with vegetation, situated in a wooded valley beneath the castle of Orsini.Created during the 16th Century, Sacro Bosco was commissioned by Pier Francesco Orsini, some say to try and cope with his grief following the death of his wife Guilia Farnese, others speculate the purpose was to create art.

                                                                                          About the album Anna explains“there’s a sadness and wilderness that inspired me to write this album, also a timelessness. I believe that this park has survived not only due to its beauty but also because of the iconography, it has been liberated from predictable ideas and ideals. The people who built this park truly set their minds and imagination free. All thoughts fly is a homage to this creation, and an effort to articulate the atmosphere and the feelings that this place evokes inside of me. It’s a very personal interpretation of a place that I lack the words to describe. I’d like to believe Orsini built this monumental park out of grief for his dead wife, and in my Sacro Bosco I used this story as a core for my own inspiration: love as a foundation for creation.”

                                                                                          The organ on All Thoughts Fly is situated in Gothenburg and is a Swedish replica of the Arp Schnitger organ in Germany. It is the largest organ tuned in Quarter-comma meantone temperament in the world. With it’s four manuals, one pedal and 54 stops, it was built as part of a ten-year research project reconstructing 17th Century North German organ building craft. The tuning temperament is an important detail to note here, as it deeply affects the sound and tuning, and thus radically changed the process of creating this album. Anna speaks of a pleasant surprise during recording, the organ's ability to create beautiful "pitching" notes through its stops and air supply system. She remarks “We took advantage of this so most of the pitching sounds and notes that you hear on the album comes from the mechanics of this organ, effects made entirely acoustically." The organ was recorded with two room mics for atmosphere and two pairs of close mics placed inside the organ to capture nuances and detail for further organ sound processing by Filip Leyman in his studio.


                                                                                          Another win for the Glowing Pin as Müller & Wandt drop a fresh new age groover on a killer club dub tip. Elsewhere Phazer Boys, Suzanne Kraft, Philipp Otterbach and River Yarra remix the pscht out of their favourite tracks from ‘Instrumentalmusik..’. Expect Goan hits, cosmic trips, loved up rave and chilled out wave on this flawless five tracker.

                                                                                          Growing Bin becomes Glowing Pin for the most anticipated rematch of the century. Back at the beginning of 2018, Wolf Müller and Niklas Wandt went head to head for a box office smash, throwing a high school percussion tray, wall of hardware and voodoo skull into the ring for the tribal trip of ‘Instrumentalmusik Von Der Mitte Der World’. Now the multi-instrumental duo face off once again, but this time it’s a royal rumble with Phazer Boys, Suzanne Kraft, Phillip Otterbach and River Yarra all bringing the noise to the Glowing Pin.

                                                                                          Müller and Wandt dominate the action on the A1, playing loose with sampler vox, serene pads and future primitive rhythms on the unreleased ‘Fun Dub’ of the also unreleased ‘Dub Dub’. Imagine Ferris Bueller’s trampoline tumble trading Chicago to the Weissenhof and you’ll sense the mood of this New Age groove. Germany’s number one party dudes, those freaky Phazer Boys take a break from dropping killer Candomblé cuts to reach for the lasers on the A2, taking ‘Ahu’ to another dimension. Dripping in neon body paint and armed with fire poi, the Düsseldorf duo power up progressive house sequences, didgeridoo bass and thumping tribal house percussion for a wall-shaking, speaker-breaking remix.

                                                                                          The B1 belongs to synth whiz Suzanne Kraft who revels in glistening, gliding glory on an expansive remix of ‘Auflösung’. Sleek, serene and futuristic, the track shimmers like Fritz Lang’s Metropolis, free from inequality and rendered with the 5D(ub?) majesty of a DMT breakthrough.
                                                                                          B2 hears Salon associate and serious talent Philipp Otterbach take over on a stripped back and psychedelic post punk dub of ‘Expedition’. Angular bass by Süne Große and a stuttering rhythm underpin astral flourishes and the hazy vocals of Lucas Croon before the African elements begin to move to the forefront.
                                                                                          Last man standing is Australian outlier River Yarra, who leads us into the Krautback with a chugging dub of ‘Weltraumsandalen’. Lent a lysergic sparkle by a percolating one-note bassline, this slow motion stunner masters perpetual motion amid the eerie echoes of the bush, organic percussion and electronic animal cries fading into the night. Let the pins glow again.

                                                                                          STAFF COMMENTS

                                                                                          Patrick says: Not content with turning out the hottest LP of 2018 (back in stock now!), Wolf Müller & Niklas Wandt swap Growing Bin for Glowing Pin for this remix spectacular. Calling on Phazer Boys, Suzanne Kraft, Philipp Otterbach and River Yarra, the drum-loving duo serve dub-not-dub, wavey pop, prog house, post punk and cosmic wobble, all with the required amount of weirdness. Essential business for the fun loving DJs of the world!

                                                                                          Young Knives

                                                                                          Barbarians

                                                                                            Barbarians was written, recorded and mixed by Young Knives (brothers Henry Dartnall and The House of Lords) in their studio near Oxford, UK. John Gray’s book Straw Dogs inspired the brothers to dial into the ultra-violent, brutal nature of human beings. Our progresses in science and knowledge have not made us any less barbaric: our entertainment is obsessed with it, our world is full of it. What if cruelty to others is just part of who we are? How do we live with that?

                                                                                            Building on a base of loved hits from their early work last decade (Voices of Animals and Men, Superabundance, Ornaments from the Silver Arcade) and the metamorphosis of 2013’s Sick Octave, Barbarians is a leap into sonic experimentation by a band who love to confuse and entertain in equal measure.


                                                                                            FORMAT INFORMATION

                                                                                            Coloured LP Info: Limited clear and pink splatter LP

                                                                                            Neil Young

                                                                                            The Times

                                                                                              'The Times' is a moving and topical solo acoustic performance, a unique collection of songs, recorded by Neil Young at home during lockdown as part of the raw and personal, 'FIRESIDE SESSIONS' series.

                                                                                              The songs include his updated 'Lookin' For A Leader - 2020,' ‘Alabama’ from the seminal ‘Harvest’ album, the Young penned CSN&Y classic ‘Ohio’, the brilliant ‘Southern Man’ from the ‘After The Gold Rush’ album, and Bob Dylan's 'The Times They Are A-Changin' closing with 'Little Wing' from the latest Reprise release, 'Homegrown'.


                                                                                              Adrian Younge, Ali Shaheed Muhammad & Marcos Valle

                                                                                              Marcos Valle

                                                                                                The third release from Jazz Is Dead records is features Marcos Valle, one of the greatest and most important composers, arrangers, writers and performers in Brazilian history. A jack of all trades, Valle has produced works in many musical styles, including bossa nova, samba, and fusions of rock, soul, jazz, and more. Composed and produced by Adrian Younge & Ali Shaheed Muhammad and recorded in the Linear Labs analog studio. 

                                                                                                Three extra special tracks from Zmatsutsi, Tross & Houschyar on the Leeds-based imprint: Space Ritual.

                                                                                                "Psychedelic Frogs Are Ok" takes cues from the current resurgence in 5-MEO-DMT and the Colorado River Toad; conjuring up a psychedelic sonic tapestry that transcends the planes of conciousness with extra-dimensional SFX and a richly transportative palette.

                                                                                                Trosss' "Gallium" is the kinda wacked-out, smoked-out, loose groove that might grace a Light Sounds Dark compilation. Flanging bass, sloppy breaks and sweeping FX insistant on keeping us upright but by no means stable.

                                                                                                Houschyar completes the collection with a gentle, electro-Balearic lullaby via the delicate plucked tones of "Einsteig". A dreamy fairytale that dissipates into the ether after nursing us into a relaxed slumber. Beautiful stuff.


                                                                                                STAFF COMMENTS

                                                                                                Matt says: Tasty new Leed imprint, Space Ritual return with more digital psychedelic ceremonial music for the toad lickers and mushroom hunters!

                                                                                                Various Artists

                                                                                                Bob Stanley Presents 76 In The Shade

                                                                                                  “76 In The Shade” follows in the footsteps of Bob Stanley’s hugely successful comps for Ace, including “English Weather” and “The Tears Of Technology”. It suggests bright yellow sunshine, hot plastic car seats, cats lolloping on the lawn. A few tracks (Smokey Robinson, Cliff Richard, David Ruffin, Carmen McRae) act as necessary splashes of cooling water; most of them sound like it’s just too hot to move. Luckily, you don’t need to.

                                                                                                  The months without rain and airless days and nights might not have been something out of the ordinary in the Algarve or the south of France, but it was without precedent in Britain. The Summer of 1976 has remained a benchmark for long, hot summers – there may have been scorchers since, but none have seemed quite as relentless or enervating. The country melted into a collective puddle. “76 In The Shade” probably wasn’t anyone’s real life soundtrack of the year – that could have included Bowie’s “Station To Station” and Abba’s “Greatest Hits”. Instead, Saint Etienne’s Bob Stanley has put a compilation together that sonically evokes the summer of 1976 itself, its sweet heat and almost narcotic lethargy.

                                                                                                  Getting out of the sun, you might have sat inside with the radio on, and heard the dreamy wooziness of Liverpool Express’s ‘You Are My Love’, 10cc’s ‘I’m Mandy Fly Me’, or the Emotions’ ‘Flowers’. Or maybe you flopped out in front of the telly, where you heard an alternative summer soundtrack – the music libraries that provided the bulk of the testcard’s music gave us Simon Park’s minimal ‘Stoned Out’ and John Cameron’s deeply immersive ‘Liquid Sunshine’; the Californian jazzer Spike Janson provided the wordless vocal harmonies of ‘Walking So Free’.

                                                                                                  “76 In The Shade” follows in the footsteps of Bob Stanley’s hugely successful comps for Ace, including “English Weather” and “The Tears Of Technology”. It suggests bright yellow sunshine, hot plastic car seats, cats lolloping on the lawn. A few tracks (Smokey Robinson, Cliff Richard, David Ruffin, Carmen McRae) act as necessary splashes of cooling water; most of them sound like it’s just too hot to move. Luckily, you don’t need to.

                                                                                                  FORMAT INFORMATION

                                                                                                  2xLtd LP Info: 180g pressing, with deluxe heavy-duty gatefold sleeve, that features a bonus track!

                                                                                                  Part three in a series of 12” vinyl EP’s celebrating 30 years of Z Records and the legendary Dave Lee. Featuring sought-after tracks and remixes by Joey Negro, The Sunburst Band, Opolopo and TW Funkmasters.

                                                                                                  On the A side, an all-time classic JN remix of ‘Love Hangover’, tweaked for the modern dancefloor but retaining all of it's authentic mid 70's flavour.

                                                                                                  A stratospheric, ‘80s influenced, house cut by Opolopo is a welcome curveball from all the disco and boogie Dave's been peddling. With all-mighty pianos and sizzling signature bass plus all the high Q's and analogue sfx, it's still gonna keep the disco ball massive tweaking right through till sunrise.

                                                                                                  Flip it over for a jazz-funk gem in the form of TW Funkmasters 'Love Money', beefed up and dubbed out to the high heavens. While we part ways with the soulful sunset rhythms of The Sunburst Band "Far Beyond". Unstoppable! 


                                                                                                  Various Artists

                                                                                                  DJ Kicks - Avalon Emerson

                                                                                                    Avalon Emerson's contribution to !K7's DJ-Kicks series, out September 4, 2020, encompasses her maverick sound. The 70-minute mix traverses a wide range of tempos, styles and eras with the grace of an experienced selector who distinguishes herself based on technical skill, clever methodology and a unique vision. Old-school house records mingle with references to rave and Italo, but the set isn't confined to a specific era or style — besides her own.

                                                                                                    "I wanted it to be representative of how I sound in the club while incorporating new original music," Emerson says. “I thought of it as a good opportunity to summarize the last few years of DJing for me and share my original productions, covers and remixes.” Avalon's DJ-Kicks is a confident and competent summation of what makes her one of the underground's most in-demand DJs. The diverse selections are tied together by her own edits, remixes and productions. New material bookends the mix: she opens the mix with her own voice featured more prominently than ever before on a bold, fresh and playful cover of The Magnetic Fields' "Long Forgotten Fairytale." At the end, she shuts it down with her "14th Life" remix of Austra's "Anywayz," which reimagines the song not as a dancefloor tool, but rather in a distinctly Avalon flavor of pop.

                                                                                                    On the Corner goes beyond being a record label. It is a story of innovative artists from hotbeds of ancient-future* music across the globe. This ‘Door to the Cosmos’ compilation is the 10th full release (and an eclectic array of 20 EPs). OtCs rawkus sonic explorations are brought to the fore via 24 tracks making a heady blend of label mainstays and fresh family recruits. The label is an inimitable mixture of Miles Davis’ ‘call it what you want’ attitude, the afro centric futurism of Sun Ra and the evolving electronic frontier where black music kicks it to the dance floor.

                                                                                                    ‘Door to the Cosmos’ expresses On the Corner’s adventure; future sounds referencing the source, be it Detroit, UK bass culture, New Orleans or the Niger delta. The title riffs off of the otherworldly, afro futurist jazzer Sun Ra’s infamous chant ‘dare to knock at the door to the cosmos’. Sun Ra’s sound and narrative bending inspires us to kick at the rules and push at the infinite, the ecstatic and the unknown through music by knock, knock, knocking at the door to the cosmos. The compilation is the first outing for a new raft of artists who are celebrated by the label and welcomed to a creative space brimming with the tales of unsung pioneers of the past and champion sonic explorers of the future.

                                                                                                    Szymek Lawik and Maritn Lefteri’s regular party and NTS show, Feel the Drive, turns record label with a debut release that takes you through the gears.

                                                                                                    Spending their lives digging up the very best Italo, New Beat and EBM delights, a record label was the next logical move for Szymek Lawik and Martin Lefteri. The perfect distillation of their combined tastes and determination to search the globe for new music, the four-track debut EP features big hitters from Franz Scala (Bahnsteig 23, Tusk Wax, Cocktail d'Amore), Anatolian Weapons (Beats in Space, Dark Entries), Furor Exotica (Bordello a Parigi, Sprechen) and the label bosses themselves under their Ondata guise (Red Laser, Night Noise Music).

                                                                                                    First up is Franz Scala, with “Sabrina”. A pulsing, new beat thrum bolts out of the gate, setting the pace with heads-down conviction. This straight-ahead velocity soon leans into guitar licks and Italo horn stabs and, before you know it, you’re transported - hugging the curves and corners along with the motorik rhythm.

                                                                                                    Next, we shift down a gear and head east for “Ela” as Anatolian Weapons lights up the skies with a slow-burning intensity delivered with complete conviction. Exotic synth melodies, impossibly dextrous string playing and rolling acid lines carve out a unique path through the terrain, leaving no choice but to follow in its slipstream.

                                                                                                    Argentinian duo Furor Exotica pick up the pace with “Fat Training”, an arpeggio-supercharged dancer guaranteed to lift the spirits and recharge the batteries come 3am. This is a track that carries its momentum up front and its boogie in the back. There’s a nod to the old new beats, but with wide eyes facing resolutely forward.

                                                                                                    And then it’s time for the last lap. “Kolossos” is an apt moniker for this no-nonsense, heads-down, full-force monster. It’s a neon-lit tunnel late at night – unfamiliar, alien light throwing repetitive, yet slowly shifting shapes against sheer walls as you move through. “It’s not as bad for humankind to be dominated by me than to be dominated by others of your species” a voice intones as we reach our destination.

                                                                                                    It’s metal machine music to save us from ourselves.

                                                                                                    Various Artists

                                                                                                    How The River Ganges Flows: Sublime Masterpieces Of Indian Violin, 1933-1952

                                                                                                      How The River Ganges Flows is a transcendent collection of Carnatic violin performances captured on 78 rpm disc between 1933 and 1952. Most of these sublime recordings have not been heard since they were first etched in shellac decades ago. These melodies are ethereal and transporting: meditative. The rhythms undulate from despair to ecstasy, often within the same phrase. Remastered from the collection of Christopher King along with a set of deep notes, this music is unlike anything you’ve ever experienced.

                                                                                                      Star Creature's first official compilation featuring unreleased tracks and new mixes by label fav's E. Live, Giovanni Damico, Shiro Schwarz, Ourra, Saucy Lady, Proh Mic, Amalia and Kutcorners...

                                                                                                      Star Creature is the no. 1 international label for new boogie and modern funk. No other camp has represented the sound so strongly and authentically in present times. Finding a natural habitat across the digital airwaves of many a Manchester radio show, and soundtracking a fair share of its nightlife too (check the whole Wet Play / Full Beam / Red Laser Disco gamut for proof...), it continues the long standing tradition of US dance music going down a storm in the north west of England!

                                                                                                      Star Creature have lavishly dished out seven new tracks for our dancing feet, and at remarkably good value too. They could have just as easily reissued five of their now-sold-out 7" across one disc and charged us twenty quid for it. Instead we get a jam packed 12" with ALL NEW material and featuring a different artist on each track, and for less than the price of two cocktails in the Northern Quarter. Star Creature we love you! 


                                                                                                      Holy smokes! It's almost ten years since Zambon began to flip our lids with TVPC and what better way to celebrate than with a 7th instalment. Get ready for another quartet of forgotten Polish jams, polished up for the modern dancefloor. 
                                                                                                      Cast your ears within and you'll find freaky and frisky Moroder-esque acid via Dyyune's deep and cosmic edit of Izabela Trojnowska's 'Jestem Twoim Grzechem' ('I Am Your Sin'), the hip-hoppin Balearica of Dyyune and Bisti's take on 'W Moim Niebie Nie Ma Gwiazd' ('There Are No Stars In My Heaven') which was recorded by lesser known 80's Polish girl band Fiesta. If you try to imagine the Venn diagram overlap between a Red Motorbike and Eric Duncan's "Dolly Parton" edit, then you're bang on the money, honey. 
                                                                                                      Take a sidestep to the B1, neck a gary and  prepare to hold a toal stranger to your rushing bussom as FOPA & Tamten re-interpretate Polish pop classic 'Jezioro Szczescia' ('The Lake of Happiness'). Hefty breakbeats, sustained bass and nostalgic AF keys abound here, all leading to a chorus which hits the same melody as Rozalla's "Everybody's Free".  The whole package is rounded up by Stachy DJ (a Polish veteran who recorded with DJ Koze) who offers up the hypnotic stomp of 'Obiecany Raj' ('Promised Paradise') from one of the top Polish synth bands of all time. Reinforced percussion, neat loops and a consciousness shifting arrangement score 10/10 for this reviewer.
                                                                                                      As always all killers no fillers and a very limited pressing !!

                                                                                                      STAFF COMMENTS

                                                                                                      Patrick says: TVPC are back (for at least the next 13 mins before this belter sells out)! This time round we get an acid infused Italo peach, a little Balearic beat down, pilled up pop euphoria and some slick synth pop - all on one unmissable disc.

                                                                                                      Can you believe it's five years since Invisible, Inc. started releasing records?! Run by GK Machine, the label's been pivotal at unearthering lost, digital-only tracks from cult underground artists and re-issueing them on vinyl; alongside a plethora of incredibly strong new music from the current underground, often by artists with very little profile. Who knew such a formula would proove so popular (we did! - ed) but five years on and the label is a mainstay here at Piccadilly Records as well many other establishments who embrace the 'wierd shit' catagory with open arms.

                                                                                                      Focussing on artists who provided much of his favourite music of last year; for the fifth anniversary of the label GK Machine has enlisted people like Anatolian Weapons, Youkounkoun, Puma & The Dolphin, Golden Bug & In Fields and TCB, alongside acts that have been the backbone of the label from the beginning: Sordid Sound System, Secret Circuit and Double Discone. It's a brilliant snapshot of this truly great label five years into fruition and still as vital as when it was first conceived.

                                                                                                      For newcomers, expect immersing dips into modern kraut, voodoo percussion workouts, digital sonic shamanism and technicoloured, over-flowing Balearica. It's a magical listen, captivating and transportative in equal measure and probably one of the strongest releases we've got in this week! 


                                                                                                      STAFF COMMENTS

                                                                                                      Matt says: Sick label this; celebrating five years of ingenuity and passion. A great snapshot of what they're about and featuring pretty much the whole roster of artists. Nice.

                                                                                                      Whities changes its name to AD93 amid the current social wave of consciousness. This cutting edge, tastemaking label seems to go from strength to strength as it ushers in the new and unfounded. A various artists EP this one, kicking off with the sublime electronic glide of Bas Dobbelaer and their track "Diversion", which sounds perfect for the cold dark nights that lie ahead of us. Mucho Sueno proffer us a meditative, rhythmic hybrid that sounds like it’s suspended atop a great icy mountain while Martinou's "Let's Get Out Of Here" could well soundtrack the slow, steady journey down, encased in thick fog and snow blizzards. The amazing Sapphire Slows conclude proceedings with "Swirl", a dazzling and crystalline electro-pop ballad which fits perfectly with the slow, glacial aesthetic which seems to permeate through the whole EP. With records like this you don't need to fear the Winter....


                                                                                                      Latest Pre-Sales

                                                                                                      136 NEW ITEMS

                                                                                                      Can confirm that this is a great record housed in a great sleeve 🙌 https://t.co/8Oh9TEafby
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                                                                                                      💫 COMPETITION 💫 @idlesband are back with their latest album ‘Ultra Mono’ out Friday. Pre-order now to be in with a… https://t.co/CyweDMt0KV
                                                                                                      Mon 21st - 3:20
                                                                                                      Happy Monday everyone ☀️ We’re OPEN as usual today 12 - 5 for browsing, purchasing and ‘click n collect’ orders. Se… https://t.co/MkhZyXFNDz
                                                                                                      Mon 21st - 11:10
                                                                                                      Glad you could make it in and well done on getting that one ⚡️ https://t.co/ozuMIqLa2y
                                                                                                      Sun 20th - 9:22
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