MAGIC MIX

ALL GENRES

WEEK STARTING 17 Aug

Fresh from touring with Hugh Masekela (“The Boy’s Doin’ It”), Gboyega Adelaja goes into the lab to drop heavy keyboard science on his Moog and Fender Rhodes. Its Joe Sample meets the Afro Funk of BLO. With names like Jake Sollo on guitars, Mike Odumusu (BLO, Osibisa) on bass guitar and Gasper Lawal on percussion. This is a top quality, Afro-Funk, all-stars affair that shines from the inspired interventions, masterly arrangements to the sublime production.

“I was already following Hugh Masekela when I met him, he was an outstanding musician and I knew of his collaboration with
Hedzoleh, that band brought him nearer to many of us, because he was playing authentic African melodies with the Hedzoleh
sound which was mostly percussion oriented. Yes I knew about Hugh’s music before I met him. Infact when we started playing
together, he insisted that I stay with him in our three bedroom apartment, other members of the band had their own apartments,
but Hugh and myself shared the same 3 bedroom apartment”.

“We were touring, under Casablanca owned by Neil Boggart, we toured as professional musicians, flying to our gigs. There was
a time when we were touring with George Clinton and Parliament Funkadelic we had two luxury buses deployed for our use.
We made many friends where ever we went to play, we met many big and popular musicians who came to watch our shows, the
Spinners came to see us in Detroit, we met Wayne Shorter of Weather Report, Freddie Hubbard, we played a gig with Herbie
Hancock at the Carnegie Hall New York City, we toured almost all the 50 States of the US.”

Tangerine Reef is a full-length audio-visual album by Animal Collective (Avey Tare, Deakin and Geologist), in collaboration with Coral Morphologic, to commemorate the 2018 International Year of the Reef. Tangerine Reef is a visual tone poem consisting of time-lapse and slow pans across surreal aqua-scapes of naturally fluorescent coral and cameos by alien-like reef creatures (note: no CGI or artificial enhancement was used in this film). Tangerine Reef is the sight and sound of a literal underwater collective of animals.

STAFF COMMENTS

Barry says: Another brilliantly off-piste outing from Animal Collective. Scattered percussion, haunting shadowy vocals and that effervescent duality of low-fi production values and hi-fi songwriting make this yet another stormer from the AC camp.

FORMAT INFORMATION

Coloured LP Info: Heavyweight green vinyl.

2xLP Info: Heavyweight black vinyl.

Average Sex

Melodie EP

    London band Average Sex have announced the release of their second EP ‘Melodie’, released on Tim Burgess’ O Genesis Recordings. The EP was produced by Tim Burgess and James Spencer and recorded in Cheshire and is the follow-up to the acclaimed debut EP ‘Ice Cream’ that was released in December.

    With Average Sex it's love at first sight and love at first listen - just depends whether you see them live or hear one of their records first. If you like girls, boys, guitars, melodies and something to dance to then Laetitia, Sam, Louise, Finn and Jamie might well be your new BFFs. Finding love, falling out of love, slashing tyres, eating ice cream - all the major subjects are covered in classic three-minute pop gems that you will still be humming days later. Their songs are gorgeous and their gigs are hectic. And now they have a new EP with four reasons to love them more: ‘Ne M’Oublie Pas’, ‘U Suck’, ‘Melodie’ and ‘Sociopath’ are future classics.

    Average Sex are like the band you've been matched with on a dating site, so be free and go meet them for a drink


    Big Dee

    Presents Mental Illness

      Big Dee hails from Manchester and hits out hard at social issues including prison, drugs and mental illness. Orchestral stabs, heavy beats and Dee's smooth flow make this a top local hip-hop pick. 

      Born and raised in Philadelphia, gospel singer, songwriter, arranger, pianist, band leader and producer Calvin Carr (now a Minister of the Gospel) possessed excellent ears for music at a very young age. The sounds of music that shaped his life were the sounds of his early church singing experience. He began playing the piano at the age of 9, continued his work in music throughout high school, composing, singing in different churches, learned how to executive produce and ended up working for the TCS Music Company under the direction of its founder Mr. Tony Carter, displaying the talents of Philadelphia’s local artists such as Gabriel Hardeman Delegation, The Young Delegation, Little Sammy & The Flying Cloud Jrs., Gwen Carter, The Collins Sisters, Brockington Singers…
      In 1978 Calvin released the now scarce and relatively unknown “Without Christ” 45 on the TCS “Philadelphia United Records“ subsidiary. Taking the rhythms of disco, tonality of soul and energy of gospel, Calvin cooked up a seriously spiritual blast of raw dance floor energy. 


      STAFF COMMENTS

      Patrick says: Eyes closed and hands in the air, this gospel killer has spirit fingers written all over it...Church MFs!

      Tuff AF hardware acid and industrialized dance music here from Chicago Floatation Device. The forth in their divisive series, this is hard edged music for surviving mutant attacks in the rave bunker.

      Four tracks that hiss, crackle and thud in all the right places. Elements are forced well into the red, max'ing out the head room and resulting in that natural, tape saturated compression the freaks go nuts for. Mechanized drum patterns open and shut onto bubbling leads and reams of think analogue stinkiness.

      RIYL: Cerberus Future Technologies, Power Vacuum, Muscle Records, Hieroglyphic Being etc.


      Mikey Collins

      Hoick

        Hoick is the solo album from Allo Darlin’ drummer Mikey Collins, who combines his love of solid grooves and joyous harmonies to create a fun and sonically varied record. Mikey played most of the instruments and mixed the record himself, with some assistance from Laura Kovic (Tigercats) on vocals and fellow Allo Darlin' member Paul Rains on lead guitar. The flicker of his previous band provided the building blocks of an upbeat, positive record, but Mikey wanted to add his own quirky, disco spin & sonic expansiveness. The aim to make a record that people stood a chance of being able to dance to. Mikey draws on influences as far flung as Dexy's, Bruce Springsteen, Night Works, Matthew E White & Father John Misty. Mikey began working on the album while he was in Allo Darlin’.

        The last few years were a conveyor belt of change as he; got married, had a child, bought a house, moved from London to be by the Kent coast and opened a residential studio Big Jelly Studios (Girl Ray, Metronomy, Pete Doherty, Mt Wolf, Seamus Fogarty & ELVA). In short, he grew up. The record journeys through these changes but has its roots firmly grounded in his new seaside habitat. His identity with and connection to the area is even incorporated into the album artwork – a startling photograph by local photographer Jason Evans (Radiohead / Keiran Hebden/Fourtet), incorporating flora and fauna of the region, an outer ring of pop glow that hints at the neon din of the seaside. 

        FORMAT INFORMATION

        LP includes MP3 Download Code.

        Cosmic Invention

        Help Your Satori Mind

          In 1996, Masaki Batoh, who’d spent the previous decade recording, playing and living in a hippie communal environment with the heavy chamber folk outfit Ghost, formed a new unit to play in a different manner. He’d just finished making an incredible new Ghost album - ‘Lama Rabi Rabi’ - but making music with Ghost was an intense and spiritual endeavor; for a change, Batoh wanted simply to enjoy, with a free and open mind, the playing of the kind of music that he and his musical friends had grown up with; the 70s sounds of British, American and Japanese rock. ‘Help Your Satori Mind’ is a result of things they just naturally jammed on during a couple of sessions. It’s totally out of Ghost’s world.

          Along with Batoh were fellow Ghosts Fuji on congos and Michio Kurihara (a modern psychedelic rock guitar god previously in White Heaven and eventually joining with Damon and Naomi). Also invited were notoriously crazy drummer virtuoso Futoshi Okano from Osaka’s heavy rock trio Subvert Blaze, bassist Chiyo Kamekawa from Yura Yura Teikoku and organist / pianist Jun Koto from Kakashi. Together, they were Cosmic Invention.

          The sound of Cosmic Invention was equal parts exploratory and explosive, accessing classical modes of psychedelic and progressive rock and roll music. These guys were so powerful when they played together, Batoh eventually recruited them to form most of the line up for Ghost’s second US tour, in 1997, after ‘Lama Rabi Rabi’ was released. As Ghost, from coast to coast, they pushed American audiences up against the wall with the enormity of their sound. That, though, was the end of their group partnership together; Cosmic Invention was a one-time excursion into this music. Today, The Silence combine elements of Ghost and Cosmic Invention into their eclectic ongoing experience.  Originally, ‘Help Your Satori Mind’ was released by The Now Sound, who’d previously issued two Batoh solo records, both of which became available on Drag City (as ‘Collected Works’) following the collapse of The Now Sound, not too terribly long after the Cosmic Invention release. So, this record has been kind of forgotten for some time, which isn’t the fate that was meant for it. It is the kind of item to be unearthed in a sarcophagus many years later - and at 20 years and counting, now is a good time. This marks ‘Help Your Satori Mind’s first appearance on LP, the vinyl giving new dimension to their multi-hued, raw rock performances. It’s the first appearance of the aptly-titled ‘Long Jamming’, which wasn’t included on the original release. It’s also the first appearance of images of the band, taken while deeply in the albummaking spirit.

          Julee Cruise

          The Voice Of Love

            25 years after its initial release, Julee Cruise’s sophomore album The Voice of Love is being issued for the first time on vinyl as a deluxe 2xLP, and returning to print on CD.

            In 1992, after the release of Twin Peaks: Fire Walk With Me, David Lynch, Angelo Badalamenti, and Julee Cruise returned to the studio with new compositions as well as the intent to craft previously instrumental score-based material from Fire Walk With Me and Wild at Heart into Julee Cruise songs. The result was 1993’s final studio album The Voice of Love, a gorgeous ethereal album, which like her debut “Floating Into The Night” had a dreamlike, cinematic feel to it.

            “In the studio, David would always say ‘[sing] like an angel, like an angel…” Cruise remembers.

            Julee Cruise

            Three Demos

              Three Demos is a very unique release, featuring the very first demo recordings for songs from Julee Cruise’s initial lp with David Lynch and Angelo Badalamenti, Floating Into the Night.

              In 1985, Lynch’s obsession with This Mortal Coil’s “Song to the Siren” was at a fever pitch. Wanting to feature the song in Blue Velvet, the rights to the Tim Buckley cover proved problematic and prohibitively expensive. Lynch had famously just began working with Angelo Badalamenti, who had been suggested by producer Fred Caruso to coach Isabella Rossellini with singing “Blue Velvet” for the film. Faced with the “Song to the Siren” dilemma, Caruso again suggested his friend Badalamenti as a possible solution, encouraging Lynch himself to pen lyrics in order to come up with an original alternative for the film. “David reluctantly agreed to write a lyric, but he thought writing a new song was absolutely preposterous because ‘Song to the Siren’ was his favorite song of all time,” Badalamenti says. The result – “Mysteries of Love,” sung by Cruise – ended up forging a rich blueprint for not just one song, but two full-length albums.

              Two years after Blue Velvet was released, the notion of a full album of material took shape and three crucial demos were recorded to gain the confidence and financial support of a label. Early versions of “Floating,” “Falling,” and “The World Spins” were all roughed out in economic elegance, rendering distinctive snapshots of what could be if the formula of “Mysteries of Love” was spun into a larger body of work. They’re fascinating glimpses into the genesis of what became Floating Into the Night and the minimal key ingredients that made the material alchemize. An early version of the album opener “Floating” originally began with a stunning spoken-word intro later dropped entirely from the album version. A revelation in its overarching simplicity, the three-song collection is devoid of the lp’s additional arrangement flourishes, and yet still manages to present the same emotional depth charge with only voice, synthesizer, and lyric.

              FORMAT INFORMATION

              Ltd 12" Info: Pink vinyl

              Lo-fi house superstar, DJ Seinfeld here debuting on new label, Lobster Fury, the new label from the Lobster Theremin omniverse. Further cementing / displaying his unique stylings - showing us the different moods and feels of the multi-dimensional producer as he takes us on a whistle stop tour through house music's mirrored doors and time portals. There's more than a nod to the M1-organ sounds of early nineties dance music, with a plethora of tasty breakbeats and Baby-D wannabee's to boot. Infact, the whole thing plays like a holographic refraction of the last 25 years of dance music; before being re-sampled, bit dithered and generally reassembled by today's modern machinery. The vibe is uptempo and the mood is bright; a childlike naivety permeating throughout the album that'll see it soundtrack as many teenage bedroom moments as it does nightclub peak hours. A tour de force by one of the leading lights of the so-called 'lo-fi' scene and surely one of house music's new saviors. Top stuff.

              STAFF COMMENTS

              Matt says: We ALL slept on this last year ('cept Syl who gets a Tufty Badge) - perhaps swamped by the seismic wave of what would become 'lo-fi house'; sometimes you need the dust to settle around a scene before you can pinpoint the landmarks. And this, my friends, is a mother fuckin BEACON. Timeless and innovative in equal measure; the blueprint and high watermark of the 'lo-fi house' genre. Don't miss it a second time!

              Felix aka Djrum is classically trained in the jazz tradition and influenced by the likes of Keith Jarrett and Alice Coltrane. Previously shy at the prospect of fans hearing his piano playing, his determination has paid off: delivering this new album that ditches the straight up dancefloor moods of before for a much more wide-screened, encompassing listen that traverses electronic, jazz and avant music styles with a poised finesse.

              Taking inspiration and solace from performance artist Marina Abramovic, Felix collaborated with cellist Zosia Jagodzinska and vocalist Lola Empire. Jagodzinska recorded several takes of improvisations over the track "Creature" which Felix would chop, pitch and layer into new melodic lines and seed throughout the album. Felix's new approach expanded to experimentation with field recordings, contact micing his beloved piano and purchasing his first hardware synth, all in service of enriching the personal, humane quality of the record.

              Anyone expected ten garage bangers will be sorely let down; however existing fans of his work will notice the meticulous attention to rhythm, frequency balance and sonic inventiveness; nodding quite effortlessly to the multifaceted universe of UK dance music - particularly sound system friendly vibrations.

              More artistic and cinematic than anything he's previously release it sees the esteemed garage and dnb producer move into the more esoteric and freeform realms - and is a welcome move for this wonderful artist.


              Dorian Concept

              The Nature Of Imitation

                Dorian Concept - the insanely gifted keyboardist, producer and collaborator with Flying Lotus, Thundercat and The Cinematic Orchestra - makes his debut on Brainfeeder and the result is refreshingly unpretentious: dizzying swells, cacophonous breakdowns and formidable rhythms are both expert and childlike, hyperactive and hyper-focused.

                For fans of Machinedrum, Lone, Floating Points, Cid Rim.

                Sounding a little like a lost Balearic / house treasure, only refracted back through a modern prism, George Earnest's EP here on Pear seeks to update templates laid down by proto- British House pioneers as much as it delivers paradisiacal music for the sunshine isles.

                After an ambient, coastal introduction we're flung into the lush driving house of "Organ Of Evening Calm" - with big pitch bent solos enthusiastically jumping from a bed of delicate rhythms and synthy flute licks. The perfect track to get lost in as the stars begin to shine across the outdoor arena. "Dreaming Island" hires in a bolshie breakbeat for extra bump while majestic keys paint a tantalizing picture of serotonin flooded fun. Cheeky, groovy and oh-so-nice this'll have the whole floor smiling at each other. The appropriately named "Mermaid Dive" sounds exactly as describes, as sonar bleeps and underwater bubbles cascade past our ears as we sink deeper and deeper into a swirling sonic world. Finally, another beatless, coastal excursion closes proceedings entitled "A Sea" and decorated beautifully with bird song. I love bird song. I love this EP! 


                First Floor

                You Dubn't Know

                Hitoshi Murakami aka First Floor debuts on long standing label Local Talk.

                Opening track "You Dubn't Know" has got a heavy bassline, deep chords and hypnotic textures and sounds like it was tailor-made for those dark and sweaty moments late on in the session when all that's needed is a bit of bump n rumble to keep the floor ticking along nicely.

                On the flip, 'Delight', shows a more exuberant mood. A piano driven house track with a great sense of melody that just keep giving - squelchy leads, rising synth-strings, bubbling pads; this baby's got it all! Maximum pleasure guaranteed! Mega. 


                Follakzoid

                London Sessions

                  It should come as no surprise to fans of the Chilean trio Föllakzoid that upon meeting the legendary Jason Pierce a.k.a. J. Spaceman (Spacemen 3, Spiritualized), they discovered they were kindred spirits. Föllakzoid and Spaceman’s projects share a restless drive to explore the outer limits of music, as well as an uncanny ability to lock into a groove until it infiltrates the deepest recesses of the listener’s psyche. When Föllakzoid met Spaceman backstage at a Wooden Shjips gig at London’s Electric Ballroom several years ago, they instantly became friends. For London Sessions, the Chileans and Spaceman joined forces for new, live-to-tape renditions of “Electric” and “Earth,” two highlights from Föllakzoid’s III.

                  The recordings were made in a private studio in London while Föllakzoid was on tour in Europe in June 2016, and Spaceman’s contributions breathe new life into the songs. “Jason added a very different harmonic atmosphere to the songs,” guitarist Domingo Garcia-Huidobro explained. “It somehow rearticulated the space and metric that already existed in a way the band never could.”

                  Robbie Fulks & Linda Gail Lewis

                  Wild! Wild! Wild!

                    Wild! Wild! Wild!, the new collaboration between Grammy-nominated singer-songwriter Robbie Fulks and rock-and-roll royalty Linda Gail Lewis, gleefully lives up to its title. It's Americana music that's as butt- shakin' as Beale Street, deep-rooted as the Grand Ole Opry, and hip as a trip to The Strip. Subversive as it is reverential, the album jumps the genre tracks of nitty-gritty rock-and-roll, country-and-western, rockabilly, jump swing, and gospel, landing in a strange slice of spacetime - call it 1954 - when all these were One (and Linda was seven). obbie Fulks, the record's producer, is "one of the most observant and wry songwriters of the past two decades" ( Rolling Stone). Ground-zero Louisiana- born rocker Linda Gail Lewis is the younger sister and frequent performing partner of Jerry Lee Lewis, whose piano innovations she carries forward.

                    Chapel Perilous exists whereby the supernatural converges with the everyday - whatever one’s definition of reality, this psychological realm serves to prove it endlessly subjective and changeable. Robert Anton Wilson may have laid claim to the modern use of this phrase - as in his 1977 tome ‘Cosmic Trigger’ - yet there can be few musical outfits in the here and now more worthy of carrying on its tradition than Gnod. In more than a decade on the planet this singular Salford-birthed entity have married intrepid musical exploration with psychic fearlessness - not to mention a tendency to leave any tag or bracket one attempts to place on them utterly redundant. In a sense, the latest adventure bearing this title evolved both from the lengthy European tour that the band embarked upon in the wake of their stripped-down and paint-stripping 2017 opus Just Say No The Psycho Right-Wing Capitalist Fascist Industrial Death Machine.

                    Yet recording in Supernova studio in Eindhoven under the auspices of Bob De Wit, the band found themselves free not only to lay down two tumultuous tracks that they had been honing and hammering into shape on the road - the pulverising fifteen-minute opener ‘Donovan’s Daughters’ and the bracingly brutal ‘Uncle Frank Says Turn It Down’ - but to sculpt more abstract material, utilising dubbed-out repetition, furious riff-driven rancour, bleak soundscapes and off-the-map experimentation to create an intimidating and invigorating tableau of dystopian dread and unflinching intensity. Always working purely on their own instincts and co-ordinates, Gnod’s pathway into unchartered territory continues to move firmly on with nary a care for the sanity of anyone in their surroundings. Chapel Perilous is a still more indomitable chapter in a transcendental travelogue from an iconoclastic institution that only gathers momentum with the passing of time. Wherever Gnod go in 2018 and beyond, expect reality to be reinvented anew, whatever the consequences

                    STAFF COMMENTS

                    Barry says: Gnod once again ripping everyone a new one with a heady mix of metallic drone, psychedelic ambience and visceral spoken-word musings, incisive cut-throat guitar lines and hypnotic scree. Classic, unbelievable Gnod. Killer.

                    FORMAT INFORMATION

                    Coloured LP Info: Teal Blue repress.

                    Gnod

                    Just Say No To The Psycho Right-Wing Capitalist Fascist Industrial Death Machine

                    Considering the current political climate, Gnod's newest outing was never going to be a particularly cheery affair. 'Just Say No To The Psycho Right-Wing Capitalist Fascist Industrial Death Machine' is indeed political, it is wrought and angry, and it installs everything you would expect from a Gnod album, and adds to it exponentially. 'Bodies For Money' sets out as a state of intent from the off with a screaming pillar of feedback before launching headfirst into a barrage of percussion and punishing guitar. Settling slightly to leave sonic headroom for an angry muted voice is as symbolic as it is effective, giving the impression of fighting against the tide of noise and crushing weight of the background. 

                    'People' begins much more unceremonoiusly, pitching a looped vocal abstraction against rich and guttoral bass guitar and driving percussion. More akin to the aggressive Krautrock of their earlier years, but injected with a satisfying grit and industrious drive. The vocal segments are layered and amplified, giving the impression of a growing force speaking towards one end. This is music for protest, a soundtrack for forced disillusionment, a call to arms and it is as rousing as it is brilliant. 

                    The clanging of 'Paper Error' quickly becomes one of the more melodic points on the album, eschewing vocal snippets and ambient swells for a deft stoner-rock passage, before twisting and tunring into a rawkous and molten grinding thump. It's towering conclusion is inched upon you, like a frog boiling in water without jumping out. 

                    'Real Man' is rich in thunderous sub-bass, and propelled by galloping drums and a snarling monologue half-sung about our hero, the man in a dirty grey suit with a bag full of beers. Claging old-school punk littered with instrumental passages and cataclysmic breakdowns, screaming and feedback twisted and rolled into a voracious wall of noise and force. 

                    The epic closer 'Stick In The Wheel' grows from a vocal refusal of convention, accompanied by rhythmic guitar stabs and dark-ambient synth work, the constantly propulsive and militaristic rhythm perfectly befits the conventions of the previous numbers, acting as an anchor for the political tumult that preceeds it, before breaking down into a psychedelic and metallic distillation of rage into an eastern-tinged opium den percussive head-nodder. 

                    A driven and direct assault on the troubles of today, and a bold, bracing barrage of musical magma. Caustic, loud and captivating to the end. 

                    STAFF COMMENTS

                    Barry says: Brilliance as ever from Manchester noise-rock-drone-psych stalwarts Gnod. Brilliantly musical, stunningly direct and absolutely unmissable.

                    FORMAT INFORMATION

                    Coloured LP Info: Black with Red Stripe repress.

                    Light of the Fearless, Hybrid's fifth artist album, brings together UK-based, Mike and Charlotte's passion for combining emotionally powered cinematic pieces with astute, intricate and intelligent electronic production. This long-awaited work is firmly based on the foundation of the principles and standards set by previous albums but here there's a clear development and evolution. Never wanting to write the same album twice, Mike and Charlotte have taken another step forward and have created a cinematic, electronic album with songs that stylistically borrow from their childhood soundtracks of soul, funk & hip-hop.

                    With songs have been inspired by not only events in their own lives but also by movements such as the Heads Together campaign, March for Our Lives 2018 and the Women's March of 2017. The album provides a positive and confident stance on moving forward through adversity and regaining empowerment. This is "The Light Of The Fearless". This inspiration certainly hasn't led to an album encumbered by political statements, but instead gives all the summery buoyancy you'd want to hear at your next festival.

                    Since their last album in 2010 the band have not only expanded their ever growing body of film score work (Fast and Furious 8, Interlude In Prague, Hercules, Dead in Tombstone, Take Down, Luther, X-men, Deja Vu ) but also saw the departure of band member, Chris Healings in 2015. The cinematic ethos is deep throughout the album with The City of Prague Philharmonic Orchestra performing on eight tracks. Unsurprisingly, the album as a whole works almost as a kind of score, and it's intriguing to be guided through the plot from the outset in the album's first track "We Are Fearless" through to the final track on the album. The expansive and unique cover of Tom Petty's "I Won't Back Down". Hybrid certainly haven't lost their flair for combining cinematic soundscapes, electronics and breakbeats.

                    Jason Isbell

                    Sirens Of The Ditch: Deluxe Edition

                      The debut album from accomplished guitarist and songwriter Jason Isbell, formerly of Drive By Truckers, is reissued with four unreleased tracks from the original recording sessions. The addition of those extra songs finds ‘Sirens Of The Ditch’ clocking in at 15 total tracks.

                      ‘Sirens Of The Ditch’’s mystical quality can be partially attributed to the FAME recording studio (Aretha Franklin, Duane Allman, Otis Redding) in Isbell’s hometown of Muscle Shoals, AL, where the album was recorded.

                      Co-produced by Isbell and Patterson Hood (Drive By Truckers), ‘Sirens Of The Ditch’ features Isbell singing lead vocals and playing guitar throughout, joined by Shonna Tucker (formerly of Drive By Truckers) on bass and Brad Morgan (Drive By Truckers) on drums. Several musicians pop in for cameos including Spooner Oldham and David Hood (Patterson’s father) on ‘Down In A Hole’, John Neff (formerly of Drive By Truckers) on ‘Dress Blues’ and Patterson himself guests on ‘Shotgun Wedding’.

                      “A strong debut, full of the kind of confident, charismatic songwriting that just can’t be taught.” - Pitckfork

                      FORMAT INFORMATION

                      2xLP Info: Double LP format pressed on 180 gram vinyl with
                      digital download code included.

                      Jerry Paper

                      Your Cocoon

                        Jerry Paper is the creative persona of LA based multi-instrumentalist, songwriter and producer Lucas Nathan.

                        Jerry Paper’s first release for Stones Throw following releases on Orange Milk and Beach Fossils’ Bayonet label.

                        For fans of Homeshake, Mac DeMarco, Connan Mockasin, Mild High Club.

                        The B-side ‘New Chains (Demo)’ is exclusive to the 7” format.

                        Portuguese producer Kaspar has enjoyed plenty of shelf life here on our racks at Picc HQ. A mainstay of the Groovement label, his idiosyncratic productions epitomizes the beginning of the holiday house sound, full frequency, highly stimulating tracks made for the Function1's and the excesses of a dance music vacation.

                        Now moonlighting on Lisbon based Percebes Música, the "Epicurismo EP" was conceived as an homage to the Greek philosopher Epicurus, who widely professed a personal mantra for happiness. The sounds contained within are refreshingly upfront and direct, as we've come to expect from this skilled soundsmith.

                        "Brand New Meaning" is proper rollicking, party starting house music. Think Groove Armada or Sneak DJ'ing in their hayday - big acid b-line, shoulder dropped house beats and THAT vocal sample all combine to raise arms aloft and shake waists to the core and has already ensured a BUY sentiment from our in house passerine Kickin P.

                        "Jacksteppa" is up next: deploying some gliding Reese bass onto a rugged soundsystem friendly beat and with added agro snares this is absolute fire for the big rigs and up-fer-it crowds. *gunshot noise* pee-ooowwm!

                        "Got Connected" sees a side chained, pumpin house cut lashed with a sharp 303 line and bolstered through mid-shelved vocal fx and dramatic drops; the very essense of the mainroom distilled into one huge track.

                        "T2P" it becomes apparent, means 'It's time to party' as Kaspar concludes the set with a wigged-out, DC-10 themed technoid banger. A twangy lead accompanies crunchy beats while THAT vocal refrain causes a whole manner of chaos through grain delays and sample manglers.

                        All four tracks epitomize that big room, peak time sound and is tailor made with a good set of Function 1's in mind. Amazing stuff. 


                        New, abstract and blackened techno stylings here from a fresh new face. We have very little info on this artist, but what we do know is that he / she makes great tunes!

                        "Sun Melter" kicks us off with an inventive and experimental acid workout. A million miles from the mainroom slayers a la Posthuman, Artwork and the I Love Acid machine, this baby drinks from the same lysergic cup as Italy's La Beauté Du Négatif crew and favoures rich textures, head turning sonics and intricately plotted rhythms as opposed to speaker tickling fist pumpers for the peaktime.

                        If you like to really get lost inside machine's inner circuitry, if standing next to the speaker stacks come 5am with your eyes wide shut is your thang, and if the thought of leaving industrial warehouse spaces covered in club muck and gremlin detritus fills you with joy, then this record my friends, is for you. Recommended.


                        To celebrate its 20th anniversary, Lambchop’s 1998 album ’What Another Man Spills’ has been pressed to vinyl for the first time after it’s original release 20 years ago! Remastered from the original DAT and featuring refreshed artwork.

                        What Another Man Spills (1998) represents a milestone in Lambchop’s career, but not in the modern sense of a ‘landmark’ release. Building on foundations that had once sounded almost literally creaky, it expands upon the tentative manoeuvres they’d undertaken with the previous year’s Thriller (1997) and gestures confidently towards its brassy successor, Nixon, which would arrive in 2000 to wild acclaim and previously unimaginable commercial success.

                        Liner notes by Kurt Wagner himself.

                        FORMAT INFORMATION

                        2xColoured LP Info: 180g double heavyweight coloured vinyl (one LP yellow, one LP clear), plus liner notes.

                        2xColoured LP includes MP3 Download Code.

                        2xLP Info: 180 double vinyl plus liner notes.

                        2xLP includes MP3 Download Code.

                        The Mekons 77

                        It Is Twice Blessed

                          Formed in the late 1970s as an art collective, The Mekons are one of the longest-running and most prolific of the first-wave British punk rock bands. Through the years, the band's musical style has evolved, incorporating aspects of country music, folk music, alternative rock and even occasional experiments with dub. Following the release of new single "Still Waiting", and the success of Mekonville - a weekend-long music festival organised and curated by The Mekons themselves - the re-united 1977 line-up have continued to play live shows, and have now recorded their first album together since 1980.

                          Anna Meredith

                          Anno

                            Anna Meredith announces the release of Anno, a boundary-pushing collaboration with the Scottish Ensemble, in which original pieces of work by the classical-electronic composer are intertwined with Vivaldi’s Four Seasons. Released via Moshi Moshi, the project began as an immersive 360 degree live experience but will be available on double vinyl, CD and digitally for the first time from 17th August. After a recording process using the unusual ‘binaural recording head’ the project will also be available in an exclusive binaural recording – allowing the listener to experience the unique spatial aspects of the piece through headphones.

                            Occupying a unique position of bridging both popular, experimental and classical worlds, Anna is a composer/producer and has made a name for her genre defying sound. In 2016 Anna Meredith released her acclaimed debut album Varmints via Moshi Moshi, which went on to win the Scottish Album of the Year award. Among countless achievements, she has been Composer in Residence with the BBC Scottish Symphony Orchestra, RPS/PRS Composer in the House with Sinfonia ViVA, the classical music representative for the 2009 South Bank Show Breakthrough Award and winner of the 2010 Paul Hamlyn Award for Composers. Anna has also scored forthcoming American comedy-drama Eighth Grade, written and directed by Bo Burnham, which took home the Audience Award at this years Sundance Film Festival: London. 


                            STAFF COMMENTS

                            Barry says: Anna meredith spreads her considerable talents into the realm of classical music with this stunning juxaposition of the old world of musical symphonies and the electronic influences of Meredith's previous work. A triumph, and further evidence that Meredith is at the forefront of today's musical landscape.

                            Hailed as the new vanguard of indie rock following the breakout success of 2016’s Puberty 2, Mitski returns with Be The Cowboy, via Dead Oceans.

                            Mitski’s carefully crafted songs have often been portrayed as emotionally raw, overflowing confessionals from a fevered chosen girl, but in her fifth album, Mitski introduces a persona who has been teased before but never so fully present until now—a woman in control.

                            “For this new record, I experimented in narrative and fiction,” comments Mitski. Though she hesitates to go so far as to say she created full-on characters, she reveals she had in mind “a very controlled icy repressed woman who is starting to unravel. Because women have so little power and showing emotion is seen as weakness, this ‘character’ clings to any amount of control she can get. Still, there is something very primordial in her that is trying to find a way to get out.”

                            In Be The Cowboy, Mitski delves into the loneliness of being a symbol and the loneliness of being someone, how it can feel so much like being no one. Lead single “Geyser” introduces us to a woman who can’t hold it all in any more. She’s about to burst and unleash a torrent of desire and passion that has been building up inside. While recording the album with her long-time producer Patrick Hyland, the pair kept returning to “the image of someone alone on a stage, singing solo with a single spotlight trained on them in an otherwise dark room. For most of the tracks, we didn’t layer the vocals with doubles or harmonies, to achieve that campy ‘person singing alone on stage’ atmosphere.”

                            There is plenty of buoyant swagger on Be The Cowboy, but just as much interrogation into self-mythology. Throughout these 14 songs, the music swerves from the cheerful to the plaintive. Mournful piano ballads lead into deceptively uptempo songs. “I had been on the road for a long time, which is so isolating, and had to run my own business at the same time. A lot of this record was me not having any feelings, being completely spent but then trying to rally myself and wake up and get back to Mitski.”

                            STAFF COMMENTS

                            Barry says: We aren't the only ones who've been eagerly awaiting a new Mitski album, with the news on this outing being VERY warmly received online, and listening to it, it's no surprise. Forward thinking synth-pop progressions, beautifully balanced song structures and Mitski's unmistakeable vocals. Superb stuff.

                            Mr Ben And The Bens

                            The Happy Shopper EP

                              Following the amazing success of the Bingo Records Split EP, Lancaster polymath Ben Hall, AKA Mr Ben & the Bens is back with four new songs and another UK tour to boot! Since the release of 'The Bluest Blues' and 'My Museum' on the split record, Mr Ben has toured the UK with DIY legends The Lovely Eggs, played in session for Marc Riley on BBC Radio 6 Music, watered his houseplants, bought a new hat, eaten at least 17 pieces of toast and had a bath. After all that, it was time to record some new stuff. Here's The Happy Shopper EP, out on Bingo Records.

                              The record, due in summer this year, sees Ben continuing to write songs that reflect his own ability to see the noteworthy in the everyday. His ear for a melody shines through the song writing, and the ethos behind the album is firmly rooted in the growing co-operative DIY scene fast becoming synonymous with his home town of Lancaster. Ben said: "The Happy Shopper EP is a set of four songs I wrote over the Christmas period of 2017. I recorded it over 4 days at Church Road studio in Brighton with producer Theo Verney and drummer Nicholas Klar. The studio is packed with analogue gear so it was a full on assault to use as much of the stuff I don't have at home as I could. "I went in wanting to use as little post-production as possible to try and get a soul-esque sound to the record, where the instrumentation creates the dynamic rather than the software. 

                              Theres only confirmation an intoxicating combination of outlook and output that clarifies and crystallizes the bands many sonic strengths throughout the albums fantastically unfolding forty-plus minutes. From the beginning, with an appropriately Albert Ayler-ish blast of Awakening, to the epic 20-minute B-sidelong excursion, Note From the Underground, the beating heart of The Myrrors current statement. Borderlands will be extremely satisfying to otherworldly music seekers who find aural transcendence through the works of artists such as International Harvester, Taj Mahal Travellers, Trad Gras och Stenar, Kikagaku Moyo, Amon Duul, and Agitation Free, to name a few.

                              The Mystery Lights

                              Thick Skin / In The Darkness

                                It is our distinct pleasure to announce the latest platter from Brooklyn's own Mystery Lights.

                                The a-side, Thick Skin, finds the boys moving away from a traditional '60s garage feel towards an angular, late '70s no-wave sound – but with a driving beat and verbal assault that brings groups like MC5 to mind.

                                Coupled with scratchy/noisy bits that tip the cap to the more experimental side of The Velvet Underground, The Mystery Lights masterfully blend blues y riffs, dorky farfisa, and tough rhythms to create a sound that's wholy their own.And the lyrics? Simple: Don't be a cry baby.

                                On the flip is In the Darkness which shows the more introspective, soulful side of The Mystery Lights.

                                With guest vocals by Coley Gold, Mike laments about finding comfort in the darker side ofl ife, while Coley reasures our protagonist that there is light in all things dark. But hey, sometimes it feels good .


                                Kate Nash

                                Yesterday Was Forever

                                  Nash's history involves a helluva lot of highs and lows, as the youngest, loudest, sharpest new British ingenue back in 2007, she was launched as a major label product. A BRIT school graduate, she started writing pop aged 14. Those songs went on to inform her #1 record and Brit-Award gleaning debut 'Made Of Bricks'. She sold-out huge gigs. It was a whirlwind; not one that always felt comfortable. At 20, she rebelled, changing tack on album two. Channeling Kathleen Hanna and riot grrrl punk, she made the far less commercial album 'My Best Friend Is You' (2010), while also having her high-profile relationship be subjected to intense media scrutiny, it was ultimately a career shifting time.

                                  Now aged 30, Nash finds herself in a great place, she's rediscovered her love for pop, launched a stellar acting career, (currently starring in the female wrestling series 'GLOW') and found communities of intersectional activists and progressive new voices to get involved in.

                                  For her, 'Yesterday Was Forever' is a phrase straight out of a teenage diary and it contains smatterings of '90s pop-rock (Meredith Brooks, but also The Cranberries, Annie Lennox, Alanis Morissette and similarly forthright yet positive femme rock), alternative dance numbers, and spoken-word confessionals.

                                  Nat Birchall

                                  Tunji / Mode For Trane

                                  Nat Birchall returns with two sides of blissful cosmic and spiritual jazz. Released on the label JAZZ45, which is a platform for discovering new independent and creative jazz artistes! Both Tunji and Mode For Trane focus on the simplicity of jazz, creating beautiful mindful tracks, Nat Birchall is a Piccadilly favourite, slow paced floaty jazz is perfection. Original artwork & original music on each and every release. The release is very limited, just 600 copies worldwide! 

                                  Hidden Spheres' curated label Fruit Merchant makes the plunge with no. 3. Debut release by Native Cruise - a UK ahem, native who, through my own investigatory prowess MAY also DJ under the name Hollick - if I'm wrong please correct me!

                                  Anyway, the mysterious producer contributes four stoutly tracks to the fledging label showing that house music's anything but dead in Y2K18.

                                  "Purple Waltz" stands starring at the stars while "Plastic Mesh" inhabits the more rainforesty areas that saw HS explore on the first release. "Calypso Spring" and "Japanese Fantasy Taxi" are pure hardware house - nodding to boogie wit da snares and house music in the keys they possess that proto-everything naivety that Andras Fox and Low Flung also made their own.

                                  Another winner from team Fruit Merchant - yes lads! 


                                  Crack the coffers, Oh Sees have spawned another frothy album of head-destroying psych-epics to grok and rock out to. Notice the fresh dollop of organ and keyboard prowess courtesy of Memory Of A Cut Off Head-alum and noted key-stabber Tom Dolas, while the Paul Quattrone / Dan Rincon drum-corps polyrhythmic pulse continues to astound and pound in equal measure, buttressed by the nimble fingered bottom end of Sir Tim Hellman the Brave and the shred-heaven fret frying of John Dwyer, whilst Lady Brigid Dawson again graces the wax with her harmonic gifts.

                                  Aside from the familiar psych-scorch familiar to soggy pit denizens the world over, there’s a fresh heavy-prog vibe that fits like a worn-in jean jacket comfortably among hairpin metal turns and the familiar but no less horns-worthy guitar fireworks Dwyer’s made his calling card. Perhaps the most notable thing about Smote Destroyer is the artistic restlessness underpinning its flights of fancy. Dwyer refuses to repeat himself and for someone with such a hectic release schedule, that stretching of aesthetic borders and omnivorous appetite seems all the more superhuman!

                                  STAFF COMMENTS

                                  Barry says: They're back again, reliably presenting us with their annual outing as 'Oh Sees' (not to mention their interim performances as any variety of that name), and they have reliably smashed it out of the park. Unbelievably grooving, beautifully constructed and forged with as much intensity as anything they've ever created. Once again, predictably brilliant.

                                  FORMAT INFORMATION

                                  2xColoured LP Info: Indies exclusive coloured vinyl edition.

                                  2xColoured LP includes MP3 Download Code.

                                  2xLP includes MP3 Download Code.

                                  Having already been nominated for a Swedish Grammy with their debut EP, Diamond Waves, their full-length 2015 debut on Rocket Recordings, Horse Dance, marked out a territory in which beguiling repetition could sashay with sweet pop suss, melodic flourishes with experimental intensity, and it was summarily rapturously received on arrival, making new fans and earning them appearances at Roskilde Festival and Eindhoven Psych Lab. Their second effort Mirage, which follows a mere year after its predecessor, sees the band sculpting sprawling, hypnotic jams into elegant nocturnal serenades. “We agree on not remembering very much about how these tracks came about, that all of them were written on the road and that most of them came fully formed” note the band. “Most were really long to begin with, but we found it relieving to break away a bit from the mandatory psych jams a little bit. We also just realised that none of them were written in daylight, which might be why memory is so elusive.” Indeed, this hypnagogic approach seems to fit well with the primary inspiration for the five-piece, which centred on ‘the state where dreams, visions and the present are entwined’ .Mirage sees the band taking a chic tradition of avant-pop that extends all the way from Serge Gainsbourg and Françoise Hardy to Broadcast and Saint Etienne, and warping it mercilessly to their own darker ends. Whilst the brooding yet sultry ‘Sister Green Eyes’ is no less than a sharp slice of velveteen motorik-pop and ‘Looking For You’ reinvents three-chord garage-rock attack with mighty finesse, The Liberation are just as comfortable dealing out the heavy-lidded and electronically-driven ‘In Madrid’ or the dive in the hallucinatory deep end of ‘Circular Motion’, on which they’re aided and abetted by Lay Llamas’ Nicola Guinta. The seductive splendour of these ten songs åmake manifest a parallel world of disorientation and deliverance in which one would be a fool not to want to languish adrift . Fresh excitement for the band lies in wait, courtesy of a UK tour with Goat and an appearance at Liverpool International Festival Of Psychedelia.

                                  STAFF COMMENTS

                                  Barry says: Driven and mesmerising psychedelic loops, snarling basses and full on funky-psych freakouts. Sweetly sung vocals contrast perfectly to the experimental backdrop, breaking out into moments of profound serenity. A perfectly measured combination, and just another essential part of this enthralling collection.

                                  FORMAT INFORMATION

                                  Coloured LP Info: Purple & Green Swirl Effect Vinyl repress.

                                  Cullen Omori

                                  The Diet

                                    Cullen Omori’s path to his second album ‘The Diet’ wasn’t an easy one. After the release of his first album, ‘New Misery’, he had to deal with busted vans, crashed cars, mangled relationships and other trials that can leave one feeling like the world is playing a cosmic joke. From the guitar that drops out of the sky on the opening track ‘Four Years’ all the way through the fade-out of kaleidoscopic closer ‘A Real You’, ‘The Diet’ is a powerful modern indie rock album that is buoyed by warped, analogue pedals / transistors and tailor-made guitar tones. Omori’s winsome vocals crisscross 70’s art rock and classic songwriting all within the span of 40 minutes.

                                    Omori crafted ‘The Diet’ as a series of what can loosely be defined as love songs that metaphorically channel the frustrations and ruptures of his turbulent 2016-2017 into unforgettable compositions with abstract yet sharply rendered lyrics. Omori’s version of the love song medium goes far beyond the la-la-love-you template: “Only a few deal with loving or falling out of love with an actual, physical person,” says Omori. “Then there are, like, love songs to my antidepressants or whatever I thought my life would be like at 27.”

                                    After relocating from Chicago to Los Angeles in 2016, Omori re-examined his whole artistic process. “Whereas on ‘New Misery’ I was locked in a room with a producer for a month tinkering away, this time around I wanted the sessions to be a revolving door of musicians: different people, different aesthetics. I pushed against my inner nature by actively pursuing collaborators.”

                                    ‘The Diet’ was recorded at Velveteen Laboratory with Taylor Locke, whose talents wound up being well-suited to the intricacies of the songs that would become ‘The Diet’. “He can sing, he is a multi-instrumentalist. On top of that, he is also a producer. Working with him really lent itself to my process of songwriting,” says Omori.

                                    ‘The Diet’ represents a new chapter for the former Smith Westerns member, one in which he stretches out his songwriting chops and uses his life experience to craft loose-limbed, hook-filled songs that combine pop appeal with finely sutured lyrics. “I spent my early 20’s saddled with the ill-conceived, romantic notion that the best songs are written through suffering. The process of trying out a completely different persona and approach in ‘New Misery’, and then facing my negative experiences and the shortcomings of that persona, clarified where I wanted my music to go. While making ‘The Diet’, my songs were constantly presenting themselves to me, and when I got a chance to listen back and read my song journals I saw what a truly beneficial and cathartic event had taken place.” ‘The Diet’s collection of 12 songs has Omori well on his way.

                                    FORMAT INFORMATION

                                    Coloured LP Info: Loser edition coloured vinyl.

                                    At first, it’s difficult to pinpoint exactly what makes Our Girl so special, or why the Brighton-formed, London-based trio’s music stands out within a busy crowd of fellow guitar-wielding-types. But if an explanation didn’t jump out when they first emerged with a debut EP of mighty fuzz-soaked songs in November 2016, it surfaces with ‘Stranger Today’, a debut album of personal, emotional juggernauts that could have only been made by these three people: Guitarist / vocalist Soph Nathan, bassist Josh Tyler and drummer Lauren Wilson.

                                    Since forming in Nathan and Tyler’s Brighton home four years ago – Wilson joining as a late recruit when she was wowed by a demo of their self-titled debut track, and ‘Stranger Today’’s opener – Our Girl’s members have only had pockets of time to work together. A day booked in a local studio here, a soundcheck there, full-time jobs and other projects meant the three rarely had a concentrated, collective patch. This changed in September 2017, when they stayed in Eve Studios in Stockport for a week, recording with Bill Ryder-Jones. Their week in Stockport became a crucial catalyst for what would follow. Ryder-Jones is a guitar virtuoso himself (“He did stuff neither me or Soph had ever seen anyone do before,” Tyler remarks), and he became an unofficial fourth member of the group.

                                    ‘Stranger Today’ is a special debut for several reasons: First, because it’s the sound of a band beginning to grasp their own value and place in the world. Secondly, because you can hear the trio’s hunger to finally get in the same room and put to tape years’ worth of scrapbooks, half-finished ideas, and a slowly-forming feel for how their first album would actually sound. “What band isn’t itching to make their debut? But it’s quite frightening, knowing you’re about to do it,” Wilson remembers.

                                    The real clincher, however, is Our Girl’s dynamic, and how it plays out across ‘Stranger Today’. Best friends in person, the trio share the same close kinship and chemistry on record. On one side is Nathan’s visceral lyricism, which has a habit of detailing and chipping away at precise moments; the first heart-flutter of a new crush; the moment a long-term friendship begins to ebb away. Around her, Tyler and Wilson’s rhythm section carefully mirrors each feeling Nathan conveys. When she sings pointedly about love (‘I Really Like It’), she’s backed by a major-key afterglow. When the subject turns on its head (‘Josephine’), out steps a wall of taut, earth-shaking noise. They each “serve the song,” in Wilson’s words, moving in sync but with their own personal slant. Not least on the closer ‘Boring’, where all restraint is thrown aside and the trio let out one final, violent thrash. They inhabit a space bigger than the first loves, sleepless nights and growing pains that define this record.

                                    Nathan remembers being in Brighton four years ago, shortly after Our Girl formed, and realising, “I was finally in the band I wanted to be in.” Almost half a decade later, and this eureka moment is sewn up on ‘Stranger Today’. It’s the sound of three friends totally at ease in their own space, discontent with being anywhere else; a vibrant document of what it’s like to be young, invigorated and amongst people who feel the same.

                                    FORMAT INFORMATION

                                    2xColoured LP 2 Info: Double orange and black vinyl including the bonus "Bedroom Record". Initial quantities include a signed 12"x12" art print.

                                    2xDeluxe CD Info: Limited edition signed copies. The deluxe edition includes the "Bedroom Record" bonus disc.

                                    Papa M

                                    A Broke Moon Rises: Music For Four Acoustic Guitars By Papa M

                                      Late 2016’s ‘Highway Songs’ brought Papa M back to us, after many years of silence and several harrowing dances with death for his Id-ego/host body, David Pajo. Now, two years on down the road, we’re all here again to witness ‘A Broke Moon Rises’.

                                      ‘Highway Songs’ was a necessarily cathartic experience in all phases. Afterwards, with no tour dates forthcoming (partially due to lousy clubs and their lack of wheelchair-accessible stage doors), it felt good just to play for fun again, like being in the practice space instead of the psych ward - a much healthier change of pace than some might guess. David blew it out; all the different styles he’s played in over the years, from folk-blues to metal, electronic, pop, Bollywood... all of it. When the spasms subsided, however, a back-to-roots sediment remained in the bottom of the bowl, which he read as a motive for a new Papa M album done with all acoustic instruments. That’s how there’s nothing electric about ‘A Broke Moon Rises’. Even the drums are acoustic.

                                      The five songs of ‘A Broke Moon Rises’ find David focusing his technique in unknown directions, to find out what he can do with them. When that happens, he finds himself on the very spot where Papa M music becomes alive. As the quietly funereal march of the opening track resonates with a spare drum beat, we are completely transfixed into the open spaces around the guitars.

                                      David’s been engineering and mixing his records for years, so the sensation of his sound-thoughts doesn’t entirely surprise us, even in their latest, acoustic anointment. Layers of guitars curl and unfurl, falling away from the centre with feathery softness. Slide figures cut through the progressions with a rusty glide. Arpeggiations flicker with light, leading into a change that’ll break on ones ear like a small revelation. Even the sound of Papa M playing in the room, leaning forward or untouching the strings, provides textural byplay in created space. ‘A Broke Moon Rises’ is meditative in the most active sense, with the unquiet mind leaping from place to place in a static, spartan theatre. All of which action makes hypnotic music, perfect for listening.

                                      The album’s title is based upon his son’s observation of a half-moon one evening (when his son was 29) and it helped infuse the record with an essential feeling, which draws to a decidedly tasty conclusion with David taking on an Arvo Pärt piece. After years of fascination with the music, listening in passivity, he finally decided to do something about understanding it by playing it himself. If you’re wondering, that’s the key to ‘A Broke Moon Rises’.

                                      You'd think that following "Melodies Of Love" would be an impossible task. Not so, if you happen to be genius Brit-Funk pioneers John Rocca and Andy Stennett. On their more understated - yet, pound for pound, stronger - second record, Pink Rhythm stretched out to create a 4 track EP of richly melodic, exquisite beauty. In the process, they trumped their most well-known release.

                                      Cruising on a funk-fuelled journey from the swaggering title track, via the blue-eyed soul of "Trust Me", to the stabbing staccato synth heat of "More And More" and back again ("India" dub) this EP has ESSENTIAL seared onto its substantial grooves.

                                      STAFF COMMENTS

                                      Sil says: Dreamy, galactic, synth-ridden and surprisingly soulful killer funk 4-tracker for those who dig deeper. Perfect soundtrack for my Saturday night ride back from clubbing hard on my Delorean.

                                      Poolside began as a recording project in a converted Los Angeles backyard pool house in early 2011, producing sunny tracks of subaquatic indie dance music in this makeshift recording studio. Surfacing first in the form of a YouTube video for the catchy track "Do You Believe?" Poolside were soon gaining local and national attention, with DJs like James Murphy of LCD Soundsystem, techno legend Derrick May, and disco don Todd Terje spinning these tracks at events and a growing online following. Throughout 2011 Poolside continued making waves with a sound called "daytime disco" through tracks like their cover of Neil Young's "Harvest Moon" and original tunes. In 2012 Poolside worked on a remix for longtime disco punks The Rapture and held fans over with a new single and video for a song called "Slow Down" as they prepared to release their debut album. That album, Pacific Standard Time, was self-released in July of 2012.

                                      After the album's release, remixes for artists like Matthew Dear, Little Dragon and Fool's Gold soon followed, as well as rehearsing and touring with a live band and doing DJ sets around the world. As thoughts turned to a second album, Poolside went on ice for a year to regroup, beginning to work in earnest on another album in the Fall of 2016. While still revolving around the sunny, laid-back disco sound of PST, these sessions yielded the additions of up-tempo dance songs and more guitars, and generally more fleshed-out arrangements. 


                                      STAFF COMMENTS

                                      Sil says: Glossy disco journeys for the discerning listening. This is the perfect soundtrack for your weekend away somewhere sunny with the ocean as a backdrop. Look at that gorgeous cover!

                                      Trevor Powers

                                      Mulberry Violence

                                      Early chronicles have long enveloped mulberry trees in legend. Some say they're the link between heaven and earth. Others say the red berries are stained from the blood of star-crossed lovers. For over 5,000 years, medicine has been made from their leaves, with some cultures claiming them to be a miracle remedy or even the key to eternal life. Although many stories and attributes surround the mulberry tree, they are known most for one reigning characteristic ::: wisdom. Mulberries wait until the danger of frost is completely gone before they begin to bud, at which point the budding occurs overnight. They are patient. They are restrained. They are calculated. They are everything we're not.

                                      We are tornadoes, sweeping the fields - mutable and unsettled. Storms of impulse; units of destruction. Often our instincts are misguided / lashing out rather than soaking in silence, tuning in to the whispers. Violence is king, and we are its servants ::: eager to please, trained in frenzy, and knowing little else. Since infancy, we've grown used to hearing words far opposite the examples we've been shown. We've been told to douse fires, but we've been handed a torch. Should it be a surprise that the world is burning?

                                      Mulberry Violence is the intersection of these two dimensions. It is where stillness meets pandemonium. Dead air meets babel. Harmony meets war. Sisters from the same womb, separated at birth. It serves as a personal document of the everlasting battle inside of us. No one has it figured out; least of all me. 


                                      FORMAT INFORMATION

                                      Coloured LP Info: Indies exclusive white vinyl edition.

                                      Prince Far I aka the Voice Of Thunder got his start in the burgeoning Jamaican music industry as a sound system DJ (for Sir Mike The Musical Dragon), working security at Joe Gibbs’ stuido and in a similar roll at Coxsone Dodd's Studio One. As fate would have it, King Stitt, the regular DJ at Studio One, failed to turn up to voice a track and the up and commer convinced Coxsone to give him a try on the mic. The resulting cut launched the career of one of Reggae’s most famous toasters - though he liked to describe his style as a chanter rather than the more popular term toaster.

                                      First releasing records using the moniker King Cry Cry, the same name he’d used working Sir Mike’s sound system, he soon changed his name to Prince Far I at the suggestion of producer Enos McLeod. On Voice Of Thunder, Prince Far I is supported by an extremely sparse yet heavy instrumental backing which perfectly compliments his growling voice. As is often the case with Prince Far I, much of the material is essentially Bible verse, “Ten Commandments” being a perfect example. The Voice Of Thunder full length also includes a tribute to the very recently deceased Bob Marley, and he even takes time to take UK skinheads to task for wearing polyster (forbidden to a real rastafarian). Long out of print on vinyl, this 1981 masterpiece from Prince Far I is back in effect thanks to Get On Down.

                                      In the third of the "Phobiza Trilogy" we are invited through the ethereal haze that separates our world from RAMZi’s flourishing kingdom. Guided always by the deity’s music, we are given passage through the arcane archipelago that RAMZi calls home, a place where animals, children and wild spirits share territories and cooperate in harmony in their plight to protect these ancient islands from the ceaseless threat of the Great Grey Invasion.

                                      With the night closely following us, we are welcomed to these lands in dusk’s light, with the warm tones of "Bibwel" (featuring Asaël Robitaille on synth) carrying us across 11 different islets, all with unique climates, flora and fauna. After travelling for many a sunrise and sunset we take pause at mid day on "Det Calash" isle (with some beats provided by Regular Fantasy). We end our journey with a final sunset, this time on the foggy island of "Warhasu" (recorded on Vancouver Island with Hashman Deejay).

                                      'Amor Fati' (meaning 'Love of fate' or 'Love of one’s fate' in Latin) comes as the inaugural release on Phoebé’s own FATi Records and is the new nesting place for RAMZi and its’ extended family. The record ends the "Phobiza" story, following "Phobiza Dia" on Total Stasis and "Phobiza Noite" on Moodhut.


                                      Brand new from Vancouver's Regular Fantasy on Total Stasis and featuring guest touches from some of the Mood Hut family - DJ Silk, Bobo Eyes, Plush Throw and Lonely Flute.

                                      Livy Lou continues to ply her blurred sonic dreams, soaked in that thick, BC ganja haze but dressed ready to dance and with a spring in her step. Decidely more 'clubby' than other excursions, tracks like "Text Me" and "Versace Towel" are sure to soundtrack the more classy dancing establishments on this and that side of the pond. The title track, "Sunsets & Sublets" perfectly epitomizes that chilled out 'Riviera' aesthetic - electronic, soulful and languishing in stoned abandon.

                                      Guest touches by other Vancouver / BC stars, Plush Managements Inc, CZ Wang, Hashman Deejay, Neu Balance.

                                      Mixed by CZ Wang & Sam Beatch
                                      Mastered by Gabriel Schuman
                                      Cover painting by Olivia Mee
                                      Layout by Logan Sturrock


                                      STAFF COMMENTS

                                      Matt says: Vancouver's finest have done it again. An allstar cast of talent bringing that 'Riveira' sound to our receptive head spaces for another outing of coastal bliss and THC-soaked radiance. BC essential!

                                      Brazilian boogie merchants Barefoot Beats return with more of their patented 10" bad boys, ready to rock your all nite tropical discotheque!

                                      NYC's Jacques Renault steps up first with "I Want You More" - a mid tempo, low slung tropical funker that packs a punch with maximum sway. Anyone that's just got back from Tisno or Pula should relate to this slice of beach bar slaying, daytime joy.

                                      On the flip, Selvagem's Trepanado drops into edgy, EBM tackle. Brazilian new beat anyone? Yes please! - a warehouse friendly shudder accompanies catchy female vox as proto-house guitars and pummeling toms as to that rawkus vibe. It's another winner from the camp!


                                      STAFF COMMENTS

                                      Sil says: A smile appears on my face when I see Jacques Renault name on a vinyl. The man knows how to do edits. Remember the anthemic, groovy and infectious 'Young Single and Free' on RVNG INTL? I do. His signature is here too. It is not as dancefloor filler as the one above but the quality is there. Always. A bit more laid back but still inviting you to dance the brazilian way. Flip this 10" and you get yet another beauty edit of another Brazilian rarity. Bass heavy and groovy all the way. One of the best Barefoot to date.

                                      FireScope label head Steven Rutter joins forces with John Shima on this classy EP of emotion laden, space-aligned techno.

                                      The starry "Skywards" leads the way upwards with tenderly treated spacious drum programming and light-as-air atmospherics while darker and deeper cavernous tones create the yin-yang balance of lightness and dark. "Broken Spell" continues the enchanted and uplifting, almost heavenly vibe. Full of splashing snares and flanging electronics it nods to Derrick May whilst soundtracking an afternoon in some Romanesque baths on the planet Pluto. "A New Day" takes us thru into the midnight hours with its poking analogue b-line, reversed atmospheres and steady mechanized perc. As always, a slower number is provided; this time in the form of "Disjointed Rout" - a delicately formed, sophisticated sculpture of rippling electronics, gentle drums and angelic melodies. Top stuff and highly recommended. 


                                      In the 1980s, Abidjan's Jess Sah Bi & Peter One became one of the most popular musical acts in not just the Ivory Coast (Cote d'Ivoire), but broader West Africa, eventually performing with a full band to stadium-sized audiences at home and throughout Benin, Guinea, Mali and Togo. Although they'd been popular radio and television performers for several years prior, the catalyst for Jess and Peter achieving this new level of stardom was their debut album, Our Garden Needs Its Flowers, recorded and released in 1985.

                                      In contrast with the heaving funk, disco and reggae sounds of the day, Our Garden Needs Its Flowers was a lush fusion of traditional Ivorian village songs and American and English country and folk-rock music. Jess and Peter sang in French, English and Gouro, delivering beautifully harmonized meditations on social injustice and inequality, calls for unity across the African continent, an end to apartheid in South Africa and the odd song for the ladies, all set against lush guitar riffs, rustic harmonica and rollicking feel-good rhythms. Surprisingly, it's the first time the album has been re-released in a high-fidelity, legally licensed form. Jess and Peter had shared experiences of loving and drawing inspiration from the traditional and ceremonial songs they remembered their mothers singing in their respective hometowns of Barata and Ono. In addition, hearing imported country and folk-rock music over the radio in the early ‘70s was a lightbulb moment for both of them. Jess recalls DJs playing Kenny Rogers, Don Williams and Dolly Parton on the radio in the morning, while Peter notes the significant presence Simon & Garfunkel, Cat Stevens, Crosby, Stills & Nash and Creedence Clearwater Revival had in his listening life.

                                      Country music and folk-rock weren’t very popular with the general public. But interest was bubbling up within the growing student population, who connected with the protest sentiments expressed by many English and American artists of the era and loved the sound as well. “It’s very nice music, with very nice harmonies, and it’s different from what you hear every day,” Peter says. “The language was a big barrier though. You had to learn English to understand the songs, and the students were the ones learning English.” Having access to education along with their awareness of growing social and political inequality and injustice made students the perfect audience for folk music in Ivory Coast

                                      Ben Salisbury & Geoff Barrow

                                      Annihilation: Music From The Motion Picture

                                      Geoff Barrow and Ben Salisbury have once again joined forces with writer and director Alex Garland for the filmmaker’s Paramount film ‘Annihilation’, starring Natalie Portman and produced by Scott Rudin and David Ellison.

                                      “After our experience on ‘Ex Machina’, we obviously jumped at the chance to work on a new Alex Garland film. Right from the outset we could see we were going to have to use a wider musical pallet than we did on ‘Ex Machina’, and operate on a bigger and broader scale. So whilst synths and electronics do play a key role in one specific (and crucial) part of the film, 90% of the score is actually made up of acoustic instruments including voices, warped strings and the bass waterphone. Our main musical challenges were to be part of the world the scientists are travelling through, which is on the one hand terrifying, and on the other full of a strange psychedelic beauty.”

                                      FORMAT INFORMATION

                                      2xColoured LP Info: ‘Shimmer’ coloured vinyl double LP cut at 45rpm for
                                      superior sound quality and housed in a deluxe gatefold sleeve with digital download code featuring the full score along with 11 bonus tracks.

                                      2xLP Info: Double LP cut at 45rpm for superior sound quality and housed in a deluxe gatefold sleeve with digital download code featuring the full score along with 11 bonus tracks.

                                      Pharoah Sanders possesses one of the most distinctive tenor saxophone sounds in jazz. Harmonically rich and heavy with overtones, Sanders' sound can be as raw and abrasive as it is possible for a saxophonist to produce. Yet, Sanders is highly regarded to the point of reverence by a great many jazz fans. He made his name with expressionistic, nearly anarchic free jazz in John Coltrane's late ensembles of the mid-'60s. The hallmarks of Sanders' playing at that time were naked aggression and unrestrained passion. In the years after Coltrane's death, however, Sanders explored other, somewhat gentler and perhaps more cerebral avenues - without, it should be added, sacrificing any of the intensity that defined his work as an apprentice to Coltrane.

                                      Sanders made his first record as a leader in 1964. "Tauhid" was his first album after the death of John Coltrane in 1967.

                                      "'Upper Egypt And Lower Egypt' is so perfect that the rest of Tauhid tends to get forgotten, but the four shorter tracks which complete the album, totalling another 18:08, are also magnificent. 'Japan,' inspired by Sanders' tour of the country with Coltrane's band in the summer of 1966, is as pretty as pink lotus blossom. 'Aum' and 'Venus,' the first with Sanders on alto, are tougher and further out, before the concluding 'Capricorn Rising' re-establishes the album's peaceful opening vibe... In retrospect, the first cut was indeed the deepest, and for many devotees Tauhid remains Sanders' astral jazz muthalode, and 'Upper Egypt And Lower Egypt' his finest (quarter) hour.


                                      The Shacks

                                      My Name Is... / Sand Song

                                      Big Crown Records drop another top single from The Shacks' fine debut album Haze. The A side “My Name Is…” is one of the first songs The Shacks wrote shortly after they met. Producer Leon Michels had the track and the title for it and sent it on to The Shacks to pen the lyrics. Max Shrager says of writing the lyrics “this song is about setting a time and place to meet up, wandering around like ghosts until we spotted each other in a crowd of strangers. It is inspired by "I Only Have Eyes For You" by The Flamingos”.

                                      Musically, it has the infectious attraction that all of El Michels productions do. A poppy melody balanced out by the rough and tough rhythm section made this the perfect match for Shannon’s subtle and sweet vocals. The B side, “Sand Song” is a beautiful tune about an ugly subject; global warming. The hauntingly beautiful guitar melody that the Shrager produced track begins with is met with the equally somber vocals from Shannon. Reverb drenched background vocals and organ flourishes follow suit with the arrangement showcasing The Shacks razor sharp musicianship. A stand out tune from the album and the embodiment of what made iD magazine call The Shacks “classic American sounds…simultaneously recalling Sesame Street and David Lynch’s nocturnal crooners”.

                                      Sierrra

                                      Sierrra 01

                                      Taken with love straight from the heart of one of Guadalupe's most famous, Ti Celeste.

                                      'Pueblo' oozes Caribbean infused percussive house, vocals, choirs and a saxo solo that will make you smile even in the rainiest of days. To be played outdoors and enjoyed surrounded by homies.

                                      'Discoteca' is paying homage to some mysterious pioneers of Czech Electronic music.A  disco anthem from the 70s, it blends delightful disco samples with fat four to the floor beats. Total stormers on both sides. Buy with confidence!

                                      STAFF COMMENTS

                                      Sil says: Latin and disco vibes all over the place. Summer fodder for the beach chiringuito or urban pool party. Not bad though if what you are looking for is to get those hot beach bodies dancing like maniacs.

                                      Siouxsie & The Banshees

                                      Join Hands

                                        This is one of four releases by UMC of classic Siouxsie And The Banshees LPs, each album appearing as it should on glorious 180-gram black vinyl. Join Hands was their second LP, originally release in 1979. Includes Playground Twist.

                                        Siouxsie & The Banshees

                                        Juju

                                          An absolute classic from 1981. Budgie’s tribal drums and John McGeoch’s swirling guitars provide the perfect backdrop for Siouxsie’s distinctive vocals.

                                          This is one of four albums released by taken from the Siouxsie And The Banshees extensive studio catalog, each album appearing as it should on glorious 180-gram black vinyl.

                                          Siouxsie & The Banshees

                                          Through The Looking Glass

                                            This covers collection was originally released in 1987 and is one of four albums released by UMC, from the Siouxsie And The Banshees extensive studio catalog, each album appearing as it should on glorious 180-gram black vinyl.

                                            Siouxsie & The Banshees

                                            Tinderbox

                                              Originally release in 1986, this is one of four albums released by UMC from the Siouxsie And The Banshees extensive studio catalog, each album appearing as it should on glorious 180-gram black vinyl.

                                              Slaves' newest outing throws off the punky shackles of 2016's 'Take Control' with a more nuanced outlook, featuring some heavier moments like the thudding grind of 'Bugs' or the heavy thrash and militant stomp of 'Artificial Intelligence', but interspersed with more heartelt quieter moments like the sombre Arctic Monkeys-like swagger of 'Daddy' or the jagged metallic edges of 'Chokehold'. 

                                              If you like slaves thus far, it will please you to hear them furthering their sound, and if you're yet to hear them, there might be a little more here to pull you into the fray. 

                                              FORMAT INFORMATION

                                              Coloured LP Info: Heavyweight white vinyl, spined outer sleeve with embossing, printed inner, download card.

                                              LP Info: Heavyweight black vinyl, spined outer sleeve with embossing, printed inner, download card.

                                              LP includes MP3 Download Code.

                                              Stella Sommer

                                              13 Kinds Of Happiness

                                                Affairs Of The Heart could not be more excited to welcome Stella Sommer to their roster of incredible talent. Stella is the first German artist to be signed to the label. No stranger to her German audience she is the singer, songwriter and lyricist in DIE HEITERKEIT. Stella will no doubt win over international crowds soon with her remarkable voice, idiosyncratic yet immediately appealing approach to songwriting and lyrics and unrivaled charm. 

                                                Uncut - 8/10 review Sept 2018 - "Enchanting solo set".



                                                FORMAT INFORMATION

                                                LP includes MP3 Download Code.

                                                ‘Unplugged Vol. 1’ is the first release in a new CD series by Ssaliva. This inaugural release contains 11 synthetic vignettes, a very stripped back affair, much more then we are used of this ever so elegant master of layering and kingpin of the lighter kind of electronic lasagna, digesting the latest flavors long before they get stale. Not on this one though. These are more skeletons of pop songs, bare and glassy, played on a fake nylon-stringed koto for an imaginary court of internet angels. 

                                                STAFF COMMENTS

                                                Patrick says: Ssaliva leads us through skeletal synth compositions here, capturing the bedroom misanthropy of C86 but in an entirely different style. Flavours range from the beautiful and pastoral "Ever Since" and "Fall W Me" to the queasy "Backfire".

                                                SLOW AIR is the fourth album by Still Corners, released on Wrecking Light on 10th August 2018. Evoking the atmospheric sounds Still Corners are known for, SLOW AIR continues the band's journey with an album full of tension and brooding all the while wrapped in a reverb laden dream. Written in the hill country in Austin, Texas, Slow Air nods towards a classic sound with emphasis on the guitar, both acoustic and electric, combined with the alluring and ghostly voice of Tessa Murray. The songs are rounded out with live drums and minimal synthesisers with all the mistakes kept in for maximum human feel and emotion.

                                                The album title is derived from the sultry heat in Texas which causes everything and everyone to slow down. While writing SLOW AIR, Still Corners found inspiration in the change of leaving England for the States and traveling around the massive expanse that is North America from the deserts of Texas and Arizona to the beaches of California and mountainous regions of the north east New York. Recorded in a new studio designed by Greg Hughes in Austin, TX, Still Corners focused on a recording process that was as fluid and minimal as possible. Using a variety of microphones both old and new the band recorded and mixed this new set of songs in three months. Keeping everything fresh and not over-thinking moved the album to the finish line faster than any album Still Corners had written and recorded before. Joe Laporta put the finishing touches on at Sterling Sound in NYC. 

                                                Stone Foundation

                                                Standing At The Top

                                                  Stone Foundation release the first 12" from their forthcoming album Everybody, Anyone. A glorious 7 minutes of summer soul, underpinned by a dub-inspired bassline, soaring strings and sunny backing vocals. Limited to 500 copies worldwide. Backed with the instrumental version of the track, in the dub tradition!

                                                  New label headed up by an artist named Stone Cold who resides in Berlin and kicks off a new imprint under the Streetman alias.

                                                  Three ruff n rugged disco-house fixes that'll keep the Shir Khan, Karlovak and Lumberjacks In Hell camps more than bouncing with their slammin' kicks and funky licks. This is proper, well formed house music - thoughtfully & simply constructed with just a delicate peppering of vocal samples with all the emphasis placed on those deep grooves.

                                                  Support across the board thus far, with most major players on the house scene getting in on the action.


                                                  * Officially sanctioned by original members Charles Bullen and Charles Hayward
                                                  * Remastered from the original analog tapes
                                                  * First time ever on vinyl
                                                  * This Is Not This Heat first US show 7/23/2018 at Pitchfork Festival in Chicago, IL.

                                                  Formed in 1976 in Brixton, a multicultural, and – at the time – down-at-heel part of south London, This Heat were born into a music scene in rapid flux, first thanks to the punk explosion and then via new wave and its myriad offshoots into pop, rock and art-rock. But while many sought to apply punk attitude to chart-friendly sounds, This Heat were concocting some of the most experimental ideas ever committed to tape, taking influence from musique concrète, krautrock, the burgeoning industrial scene and even the dub reggae blasting out in their home borough.

                                                  In many ways, the nuanced sound worlds created in the studio by This Heat are tailor made for sedentary headphone listening. But pulling off such complicated, genre defying compositions live was surely something to witness. Until now, there was no real official document of the group’s live performances. Compiled by Charles Hayward and Charles Bullen from rough cassette tape recordings of European gigs in Tilburg, Nijmegen, Ärhus, Apeldoorn, Vienna and Rheims between April 1980 and June 1981, Live 80-81 is an essential document of This Heat's powerful live performances.

                                                  Following Modern Classics Recordings’ 2016 reissue campaign to mark the band’s 40th anniversary, these new releases Made Available, Repeat / Metal, and Live 80-81 round out the story. Each release is sanctioned by surviving members Charles Bullen and Charles Hayward and features newly remastered audio sourced from original tapes.


                                                  * Officially sanctioned by original members Charles Bullen and Charles Hayward .
                                                  * Remastered from the original analog tapes .
                                                  * First time on vinyl in 20 years.

                                                  Formed in 1976 in Brixton, a multicultural, and – at the time – down-at-heel part of south London, This Heat were born into a music scene in rapid flux, first thanks to the punk explosion and then via new wave and its myriad offshoots into pop, rock and art-rock. But while many sought to apply punk attitude to chart-friendly sounds, This Heat were concocting some of the most experimental ideas ever committed to tape, taking influence from musique concrète, krautrock, the burgeoning industrial scene and even the dub reggae blasting out in their home borough.

                                                  Given the difficult, abrasive, and involved nature of their furiously forward-thinking sound, This Heat never found anything approaching mainstream success, but patronage by the influential Radio 1 DJ John Peel meant they reached a national audience – whether that audience was ready for them or not. Made Available collects This Heat’s two Peel Sessions, recorded for BBC Radio 1 in April and October of 1977 and features essential songs that would later appear on their debut album, This Heat (1979) and the follow-up, Deceit (1981), as well as electro-acoustic works unique to these sessions. These are the earliest public recordings of the band, showing even in their infancy, masterful use of live tape loops and radical song structure.
                                                  Following Modern Classics Recordings’ 2016 reissue campaign to mark the band’s 40th anniversary, these new releases Made Available, Repeat / Metal and Live 80 – 81 round out the story. Each release is sanctioned by surviving members Charles Bullen and Charles Hayward and features newly remastered audio sourced from original tapes.


                                                  * Officially sanctioned by original members Charles Bullen and Charles Hayward
                                                  * Remastered from the original analog tapes
                                                  * First time ever on vinyl

                                                  Formed in 1976 in Brixton, a multicultural, and – at the time – down-at-heel part of south London, This Heat were born into a music scene in rapid flux, first thanks to the punk explosion and then via new wave and its myriad offshoots into pop, rock and art-rock. But while many sought to apply punk attitude to chart-friendly sounds, This Heat were concocting some of the most experimental ideas ever committed to tape, taking influence from musique concrète, krautrock, the burgeoning industrial scene and even the dub reggae blasting out in their home borough.

                                                  Recorded from 1979 – 1980 Repeat / Metal is essentially This Heat’s third proper album, although it was released posthumously in 1993. Arguably their most radical work, Repeat / Metal features side-length tape experiments ranging from the dubby drum loops of “Repeat”, a 20 minute edit / reworking of their landmark piece “24 Track Loop”, to the gamelan-inspired sounds of “Metal”, an electro-acoustic work recorded outside of their studio, Cold Storage, and helmed by member Gareth Williams.

                                                  Following Modern Classics Recordings’ 2016 reissue campaign to mark the band’s 40th anniversary, these new releases Made Available, Repeat / Metal and Live 80 – 81 round out the story. Each release is sanctioned by surviving members Charles Bullen and Charles Hayward and features newly remastered audio sourced from original tapes.


                                                  Uniform

                                                  The Long Walk

                                                    Following the release of critically acclaimed LP Wake in Fright, which had two songs featured in the new season of David Lynch’s Twin Peaks, it was time for Uniform vocalist Michael Berdan and instrumentalist Ben Greenberg to return to the studio. The duo decided to up the ante and add a third member to help perfect their vicious post-industrial dystopian cyber-punk. After some deliberation, Greenberg called upon drummer Greg Fox (Liturgy, Zs) to help round out the sound they were looking for. Using a mix of triggered samples and real drums along with layered synths and good old electric guitar, the trio arrived at what would become The Long Walk after only a few short days in the studio.

                                                    From the opening whirr of the title track, it’s clear that the band is onto something special. Recorded in Strange Weather studios in the first part of 2018, The Long Walk is eight new tracks by the duo of Greenberg and Berdan, incorporating Fox’s skills behind the drum kit to add an entirely new dimension to the signature Uniform sound. Ditching sequenced tracks, Greenberg opted for single takes to highlight the Frankenstein-like guitar-bass-synth hybrid that oozes throughout the recording. Meanwhile, crushing guitar thunder is punched up by Fox’s masterful drumming while Berdan’s cries from the nether feel more desperate and morose than ever. This is Uniform at its most bleak, emotional, and powerful.

                                                    Lyrically, The Long Walk deals with paradoxes in spirituality and organized religion. Berdan went to Catholic school for most of his primary education. Fear of Biblical hell and damnation felt tangible. As Berdan grew and matured emotionally, he began to reject Catholicism bit by bit. In the recent past, Berdan found himself slowly reconnecting with his background, observing how the faith that he found so repressive served as a great source of comfort and strength for so many. Yet therein lay the contradiction that drove him from religion in the first place — many of the human traditions of the church also dealt in repression, intolerance, and bigotry. Could one observe the rituals and practice of a faith while acknowledging and rejecting its ugliest elements?


                                                    Unknown

                                                    A Homage To Frankfurt – Farmacia

                                                    A cross between Innervisions meets Age Of Love vibes with a twist of Isolee. Causing quite the stir in certain circles and now available on mysterious and anonymous white vinyl, "A Homage To Frankfurt – Farmacia" rotates around a twangy analogue b-line and these rising shard-like leads that sound like an exotic 'synth-flute' preset. I get the feeling just listening in my headphones it's gonna sound pre-tty f****ng mega on a big rig; possessing that trance-like quality everyone's going nuts for atm. Big ting. 10 out of 10.

                                                    Vinyl Williams

                                                    Opal

                                                      After three albums released on No Pain In Pop (Lemniscate, 2012) and Chaz Bundick’s Company (Into, 2015, Brunei, 2016), Vinyl Williams has joined French label Requiem Pour Un Twister for his fourth album: Opal. Throughout his art, both musical and visual, Lionel Williams is always exploring the syncretistic territory between reality and dreams, between earth and space. For him “music is a chance to transmute qualitative opposites into the center, to dissolve all illusions of duality”. As “chaos and disorder is an illusion”, with Opal, Vinyl Williams is trying to reach a new state of celestial harmony. The result of which is an album fuelled with mysticism and space age utopia, ten kaleidoscopic lush pop songs that takes you into a transcendental journey.

                                                      For fans of: Unknown Mortal Orchestra, Toro Y Moi, Todd Rundgren, Morgan Delt, Mild High Club, Triptides, Homeshake and Connan Mockasin

                                                      FORMAT INFORMATION

                                                      Coloured LP Info: Indies exclusive blue vinyl.

                                                      Ween

                                                      The Pod

                                                        The Pod was recorded by Dean and Gene Ween on a Tascam four-track cassette recorder between January and October 1990. The album was then produced and mixed by Andrew Weiss and for this edition re-mastered by Howie Weinberg at Masterdisk. This is 1000 copy limited edition run in grey vinyl and comes with a compact disc as well. This edition will never be re-pressed in this format.

                                                        FORMAT INFORMATION

                                                        2xColoured LP Info: Limited Edition double gatefold grey coloured 180 gram LP + CD.

                                                        Vinyl comes with CD version of the album enclosed.

                                                        Westerman

                                                        Confirmation

                                                          After his early material revealed an ambitious new sound borne on the forward-thinking experimentalism of influences like Nick Drake, David Byrne and Arthur Russell, Westerman’s single ‘Confirmation’ - available here on 7” - brought his music to new legions of fans, with Pitchfork profiling him in their Rising and Best New Music columns, saying it “captures a promising writer who’s learned how to take good ideas and warp them into stranger, more sublime shapes.” Gorilla Vs Bear placed it at Number 10 in their recent Best Tracks Of The Year (So Far) feature.

                                                          Westerman

                                                          Edison

                                                            For Westerman, second 7” single ‘Edison’ is an incisive trip into the inner frailties of a narcissist and the consensus is unanimous: his slick leftfield pop leanings and psychological songwriting have made him one of the most hotly tipped artists this year.

                                                            New song ‘Easy Money’, the flip side to ‘Edison’, sees Westerman confronting some of his own fixations. He says: “I started out writing a love song, then it sort of morphed into more of a conversation. It’s a conversation I had many times over with someone I care about a lot. The subject matter is something I was thinking about too often. I wanted to retain a sense of romance in the music as counterpoint to where lyrics ended up, and I tried to make it so the voice seems float within the music. The characters existing in a state of transience.”

                                                            10th Anniversary Reissue, back in print for the first time in years. "I'll go unknown by torpedo or Crohn's / Only those evil live to see their own likeness in stone." It's the kind of couplet you'd carve into a wall whilst savoring the irony at hand, but when Yoni Wolf spit the line ten years ago he was blissfully, broodily unaware that he and his band WHY? were creating a career-defining album—one so fan-adored that it would go out of print, and so influential that the art-pop heroine Lorde herself would lovingly steal the very lyric quoted above. When it dropped in 2008, "Alopecia" not only marked WHY?'s evolution from a sonically collaged mostly solo project to a live-recorded powerhouse band of badass multi-instrumentalists.

                                                            It also minted a genre of one: wryly written, poignantly posed, simultaneously swaggering and heart-rending song-rap that jangles like folk, bursts like psych-rock, and sways like chamber pop. To this day, there is no other group in the known universe that sounds or feels like WHY? does on Alopecia. The album's 2018 reissue cheekily etches that aural likeness into our musical history. If the genre-agnosticism of WHY? is no longer novel, it’s still stunningly unique. Yoni Wolf has carved out a curious niche for himself. In the two decades he's spent releasing off-kilter hip-hop under the WHY? moniker--first as a solo act, and more recently as the frontman of a six-piece band--he's evolved in some sort of isolation, refining his sound while indie rock and hip-hop forked off around him. He's adored for it, too.

                                                            FORMAT INFORMATION

                                                            Coloured LP Info: Cloud coloured vinyl + 7" inc. Boards Of Canada / DNTEL remixes.

                                                            Coloured LP includes MP3 Download Code.

                                                            The Wire

                                                            Issue 415 - September 2018

                                                              Inside this issue:

                                                              Low: Over 20 plus years Low have established themselves as unique song stylists. But what drove the trio to bury their songs beneath layers of electronics on their latest album Double Negative? By Abi Bliss

                                                              Music And Mental Health: An innovative new project in South West England aims to help residential patients articulate their ideas of freedom through experimental approaches to sound. By Trevor Barre

                                                              Klaus Schulze: As a member of Tangerine Dream, Ash Ra Tempel and Cosmic Jokers, and most crucially as a solo artist, the German synthesist has helped shape the sound of electronic music. By Phil Freeman

                                                              Bites


                                                              Sarah Kenchington: The Scottish inventor and musician makes good use of her found objects. By Claire Sawers

                                                              Fauxe: The Singapore rhythm master finds heat in cultural friction with Malaysia. By Josh Feola

                                                              Tengger: The pan-Asian duo traverse meditative synthesized vistas. By Clive Bell

                                                              Makaya McCraven: The Chicago percussionist plays cut ’n’ paste with time ’n’ space. By Phil Freeman

                                                              Global Ear: Northern Egypt: A rave on the beach holds hidden gems from Cairo’s underground. By Maha ElNabawi

                                                              Invisible Jukebox: Oliver Coates: Will the cellist and composer bow before the The Wire’s mystery record selection? Tested by Stewart Smith

                                                              The Inner Sleeve: The Tapeworm’s Philip Marshall on Peter Gabriel’s Big Time

                                                              Epiphanies: Poulomi Desai sails her own personal ocean of sound

                                                              On Screen: New films and DVDs: Sami Sänpäkkilä’s The Goodiepal Equation

                                                              On Site: Recent art events: Orgasmic Streaming Organic Gardening Electroculture, London, UK; AvantWhatever, Melbourne, Australia

                                                              Print Run: New music books: Wayne Kramer’s life in rebel rock, the story of electronic music, video games and classical music, European folk, and more

                                                              On Location: Recent festivals, gigs and clubs: Bastard Assignments, Supersonic, SEED Ensemble, Feldman At Sunrise, and more.

                                                              If "Movin' On" is Witch's "Rumours" then "Kuomboka" is their "Tusk". A remarkable follow-up to a timeless album that shows the band taking greater risks in songwriting and playfully experimenting with production techniques. This album is Witch's stunning swansong before the fast-changing music industry and political environment in Zambia took its toll on the group. Although once again inspired by American FM radio, from soft rock ballads to boogie, this album sees the group embrace their Zambian roots to a greater degree, resulting in fluid rhythms and sweet melodies. This time around Patrick Mwondela pushes his synth work and electronic production to a whole other level, especially on the bombastic "Erotic Delight" and low slung "More Sweat Than Sweet". "Kuomboka" is the unforgettable last voyage of this legendary band.

                                                              FORMAT INFORMATION

                                                              LP Info: Repress in new artwork

                                                              Those scholarly diggers at Invisible City Editions make their first foray into the world of the long player with this beautifully put together reissue of Witch's most diverse record. 'Movin' On' was released after the Zamrock heyday, when the music of 80s Zambia came to be influenced by disco and rhumba from neighboring Congo. Bands that didn’t adapt sounded outdated. Thus even Zamrock’s greatest band, Witch, splintered, with a skeleton crew of core members embracing younger musicians to record and release two albums that found the band replacing fuzz guitars with whirling synthesizers and trying their hand at soul, disco and boogie. The LP explodes into action with the title track, an uptempo groover driven on by Gedion Mulenga’s heavy duty bass playing and set alight by Christine Jackson’s cut glass vocals. “Movin On” is swiftly joined on the dancefloor by the James Mason styled funk of “I’m Coming Back” and the powerhouse disco of “It Feels So Good”, a psychedelic disco bomb propelled into orbit by Patrick Mwondela’s swirling synths, which would undoubtedly been sampled by those French robots had they known about it. Elsewhere, Witch inject traces of the Carpenters (“It Was You Boy”), the Doobie Brothers (“You Are My Sunshine”) and Ned Doheny (“Let’s Get Together”). On paper this should be a disaster; at a push one could imagine an afro-psyche group managing a half decent disco-funk record, but the soft rock stylings of America’s west coast are surely a step to far. But in reality, the planets aligned and circumstances fell perfectly into place, as the combination of a band of talented musicians, at the height of their creative powers wrote eight perfect songs, each a snapshot of that era, but completely unlike anything else around.

                                                              FORMAT INFORMATION

                                                              LP Info: Repress in new artwork

                                                              Conner Youngblood

                                                              Cheyenne

                                                                Nashville resident Conner Youngblood crafts melodies through a wide range of obscure instrumental arrangements. Often centered around a specific place of natural landscape or human connection his songs embody delicate, nuanced moments in nature and the introspection of these moments.

                                                                Where many musicians pick their instrument of choice and let it be their primary songwriting vessel, Youngblood finds different instruments allow him to tap into varied parts of his songwriting brain. His debut album ‘Cheyenne’ features no less than 30 different instruments – a harp, a bass clarinet, a tabla, etc – all of which are played by Youngblood on a record featuring no guests. Instead it’s simply him and an engineer he’s known and worked with since he first started releasing music back in high school. Though he’ll be building up a band to play live, he has before now mimicked the sounds of certain instruments on stage and supported people such as Janelle Monae, SOHN and Angus & Julia Stone.

                                                                “Listening to music there are certain ways you think are the right ways to create songs, then you realise you can write however you want. Like, ‘Oh, I can play bongos, accordion and a guitar’ – as long as it sounds good,” Youngblood explains of his writing process. Though he initially started out learning clarinet, he’s been collecting instruments from a young age, often being gifted a new one for birthday and christmas or seeking out cheap and used rarities from local stores.

                                                                The result of this lifelong process of collecting and playing instruments means ‘Cheyenne’ is a record that’s rich in atmospheric, organic sound. Sitting somewhere between the more low-key elements of The Band (who Youngblood wrote a thesis on while studying at Yale), the beautiful melodics of Moses Sumney and the Grammy nominated songwriter Justin Vernon of Bon Iver, this latest collection of songs feel embedded in the fabric of life – Youngblood examines what makes us human, the earth, translating his findings back into music.

                                                                For those who may not already be aware, the release of ‘Cheyenne’ comes off the back of an already illustrative career for Youngblood. Born and raised in Dallas – a city he describes as “a lot of concrete” – Youngblood spent his formative years switching between skateboarding (he had built a half pipe in his backyard), wrestling and playing in local coffee houses. His first few releases – ‘Monsters’, ‘Australia’ and ‘A Summer Song’ – shot immediately to the top end of the Hype Machine chart and clocked up hundreds of thousands of plays and attracted offers from labels in the process.

                                                                Though the opportunity was there, however, Youngblood decided to pursue his studies before music. That Youngblood continued his education in American Studies at Yale is an interesting point. His real name is Kneeland Conner Youngblood, after his father, a former physician who participated in sit-ins at Princeton University, while his grandfather was initially turned away from Princeton for being black - making Youngblood the next in a strong, essential American lineage.

                                                                Though the 13 songs on ‘Cheyenne’ all have their own story, they each centre around a familiar theme. The record was written over a two year period, during which Youngblood travelled extensively. Lead track, ‘The Birds of Finland’, is a perfect example of these expeditions, touching on the tonality of these places scattered across the globe. “Travel might be a response to not feeling comfortable to stay in one place too long. I love meeting new people and seeing new terrains,” he explains. “With that being said, I do feel like the idea of a home is very important. Otherwise traveling ends up feeling more like drifting.”

                                                                The response is a record that involves travel, but also the grounding aspects of the people Youngblood has encountered along the way, in particular the women in his life. In essence, ‘Cheyenne’ – which follows 2016’s ‘The Generation of Lift’ EP – is Youngblood having introspective conversations with himself about the relationships he holds and tying them together with specific places. That doesn’t mean these songs are specifically focused around love stories, instead the tracks on this record are about people that “have come and gone, stayed; family and friends; exes; people I like and don’t like.”

                                                                “I've never consciously written about women, but for some reason I felt inclined all of a sudden. And one song led to the next with this album. I usually enjoy writing about places, but this time it was nice to put different people into places,” says Youngblood of the writing process. Since he has five siblings, all of whom are sisters, one of these tracks in particular stands out – ‘My Brother’s Brother’ – which was written by Youngblood after a break-up and “wishing I had a brother to talk to about it.”

                                                                “A lot of the times I’m writing down what I want to try out as combinations before I’ve even started a song,” says Youngblood, about the songs on the record, many of which have been laboured over often for weeks at a time; as a living entity that needs to be explored, played around with and worked out.. “For example… on ‘Stockholm’, I specifically wanted to do a song with 808s and a harp, and see where it goes from there. I ended up using a vocoder too. I often think about what I haven’t used together, and use it in different ways.”

                                                                Clearly – whether it’s what Youngblood humbly puts down as “musical ADHD” or sheer talent – ‘Cheyenne’ is the work of a musical polymath. As well as travel informing the content of the songs, it’s also a crucial part of the album’s concept as a whole. The album’s artwork is shot by Youngblood (and friends he was travelling with) who took around 2,500 photographs while touring around Europe in the past couple years, mostly in places such as Iceland, Macedonia and Finland as well as a few hiking trips around the United States. The CD and LP comes with a book full of these photographs as well as notes, sketches, essays – essentially a map of how Youngblood created this record.

                                                                Ultimately, positioned between the sincere folk-like melodies of Elliott Smith, the pure sonics of and instrument switching ethos that’s reminiscent of Sufjan Stevens, ‘Cheyenne’ presents Youngblood an accomplished songwriter. While there are a few distant key figures grounding his sound Conner's music carves out a future narrative that is very much his own with unexpected instrumental parts and obscure melodies a step outside the current landscape.

                                                                FORMAT INFORMATION

                                                                LP includes MP3 Download Code.

                                                                Zero 7 were formed in 1997 by producers Henry Binns and Sam Hardaker. In 2001 their debut album "Simple Things" was released selling over a million copies to date and was nominated for the Mercury Music Prize. Zero 7 were also nominated as Best Newcomer at the Brit Awards 2001. "Simple Things" peaked at no.28 in the UK album chart and spent 89 weeks on the chart. Stateside, the album hit no.4 on the Billboard Dance / Electronic album chart and stayed on that chart for 52 weeks.

                                                                Singles taken from the original album included ‘I Have Seen’ featuring Mozez, ‘Destiny’ featuring Sia & Sophie Barker, "In the Waiting Line" featuring Sophie Barker and "Distractions" featuring Sia. The LP has been out of print for almost two decades and second-hand copies of the original pressing are changing hands on Ebay and Discogs for upwards of £100!

                                                                STAFF COMMENTS

                                                                Andy says: Beautiful, lushly produced downtempo grooves topped with sweet melodies, somewhat akin to French masters Air but with soul and jazz flavours, this is a timeless classic, and every home should have one!

                                                                Various Artists

                                                                Ahbe Casabe : Exotic Blues & Rhythm Vol. 2

                                                                  Subtitled “Blues & Rhythm, Popcorn, Exotica & Tittyshakers” this is the reissue of the second release in the Exotic Blues & Rhythm series. Released ages ago in an edition of 500 copies it sold out in next to no time and is a sought after collector’s item by now. We now reissue this title as a limited editon of 700 copies - all on CLEAR vinyl. Guaranteed to go fast!

                                                                  FORMAT INFORMATION

                                                                  10" LP Info: 10” (Clear Vinyl).

                                                                  Various Artists

                                                                  Destination Crampsville: The Finest In Demented Rock 'n' Roll, Rabid Rockabilly And Oddball JD Pop...

                                                                    A double CD of wild and irreverent music as preferred by The Cramps’ Lux and Ivy. A vintage splattering of thunderous rock ‘n’ roll, deranged teen pop, juvenile delinquent idealism, ridiculous new dance trends, jump blues, demented rockabilly and simply strange instrumentals. Covering high school etiquette, sensually transmitted rock ‘n’ roll fever, angst and radicalism via plenty of maniacal performances, Destination Crampsville is a steamy sax-powered assault on the senses begging the question – how did these three minute salvo’s ever get thought up. Featuring The Ikettes, Little Eva, Tiny Bradshaw and Bobby Parker amid the oddball Don Eee (real name!), Guitar Gable and the wonderful Gin Gilette; it’s a cavalcade of rare and rambunctious tunes. Also includes several indecipherable lyrical excursions. Remastered from the original sound sources with sleevenotes by MOJO magazine’s Dave Henderson

                                                                    Various Artists

                                                                    Light Sounds Dark: 3, 6, 9: The Trinity Alignment

                                                                    Possibly the darkest, most voodoo and downright terrifying Light Sound Dark to date - this is some baaaaad acid to get totally freaked out on.

                                                                    Sounding like a lost artifact from an Aboriginal-era civilization based on a distant, mutated planet; the haunting drones, red-shift didgeridoo and Event Horizon style phaze shift are sure to transport the listener into an alternate reality of menacing and otherworldly elements. Drums and guitars do enter the fray, as the journey reaches its natural apex along with a couple of coldwave vocal nuggets, but on the whole the discogs boffins are gonna have a really hard time trying to identify these lost freakouts.

                                                                    You know the score by now - mega limited and one of the more sought after compilation labels that we get in the shop - get those orders in now if you want in on the escapades. 


                                                                    FORMAT INFORMATION

                                                                    2xLtd LP Info: Super limited, one off pressing in full colour sleeve.

                                                                    Renowned DJ and broadcaster Richard Searling revisits the records that helped define his career at the world-famous Wigan Casino Soul Club between the years 1973 to 1981. This fantastic 16 track - vinyl only - album is compiled from over 150 records profiled in Richard Searling’s 2018 book Setting The Record Straight and is an absolute must for any serious Northern Soul fan. It is the soundtrack, not only to the book, but to almost a decade of discoveries that shaped the sound of the might Casino Club. “The records I have included here are all ones I had the privilege of playing first at Wigan Casino, or in my short time behind the turntables at Va Va’s in Bolton. There are many others I helped create a demand for, all of which are detailed in my book. I’ve annotated any “cover-up” name changes that I might have used, and I’ve also tried to describe each 45 in the context of the time when it was garnering favour. I’ve also added as much background information as possible about the artists and how the records came to exist in the first place. As the book title - Setting The Record Straight – suggests, I have taken this opportunity to clear up once and for all some of the myths and unnecessary distortions of the truth surrounding Wigan Casino that have been circulating since the All-Nighters came to an end in late 1981.” Richard Searling

                                                                    Various Artists

                                                                    Teen Expo: The Cleopatra Label

                                                                      From a basement in New Jersey, Tommy Falcone remade himself into a DIY Phil Spector. From 1962 to 1970, he founded and ran Cleopatra Records, discovered and mentored young Garden State talent, wrote songs and produced wild studio effects, and quit his day job to promote it all himself.

                                                                      Trained as an accordionist, Falcone had a whirlwind imagination and an omnivorous approach to genre, expressed through acts like the Centuries, the Tabbys, Johnny Silvio, the Inmates, Bernadette Carroll, the Hallmarks, Vickie & the Van Dykes, the Shandillons, Eugene Viscione, the Shoestring, and more. Cleopatra became a time-capsule of every 1960s pop style imaginable—garage rock, psychedelia, surf, girl groups, soul, novelties, exotica, even a crooner—a kaleidoscope of sound in search of the ever-elusive hit record.



                                                                      Latest Pre-Sales

                                                                      144 NEW ITEMS

                                                                      This weeks Sunday classic album club featuring Patti Smith @TheDoors The Durutti Column and @pinkfloydhttps://t.co/lZiuL1BfyV
                                                                      Sun 19th - 1:54
                                                                      Still buzzing off last night’s @liamgallagher @LancsCCC gig but know there’s no a limit to how much of his music yo… https://t.co/ZLeXxmsMnH
                                                                      Sun 19th - 12:28
                                                                      Just when you thought the summer was over! Our resident beach boy Patrick does his Balearic things for killer label… https://t.co/KNvK3J7149
                                                                      Sat 18th - 4:18
                                                                      Yes! Good work! 👌🏻 https://t.co/crSsp4Pwkq
                                                                      Sat 18th - 10:17
                                                                      Animal Collectives new album Tangerine Reef is out today. Available on heavyweight green/black vinyl and CD. Beauti… https://t.co/ut8UQGz9wp
                                                                      Fri 17th - 2:57
                                                                      E-newsletter —
                                                                      Sign up
                                                                      Back to top