ALL GENRES

WEEK STARTING 20 Nov

Luke Abbott

Translate

    'Translate' is the first solo artist album in six years from Norfolk synthesizer specialist Luke Abbott: a strikingly direct and assured return to the solo music-making game following a productive diversion into live improvisation with his experimental jazz trio Szun Waves.

    At times dark and ominous, others bright and welcoming, these eleven electronic vignettes form a dramatic and undeniably cinematic body of work which functions as a fitting widescreen soundtrack to our new now.

    The lumbering rhythms, strident synths and distinctive touchstones of 'Translate' represent a musical reconciliation with the directness of the wave-making rolling synth-kraut of Abbott’s forthright debut 'Holkham Drones'.

    Newly-reinvigorated and with a new sense of musical purpose, this is Luke Abbott’s sound fully realised and never so sure of itself.

    STAFF COMMENTS

    says: 'Holkham Drones' was one of my favourite albums for many a year, and still gets a good playing nowadays but nothing has come close to the mind-melting electronic bliss-blanket of 'Translate'. Perfectly split between hypnotic electronic counterpoints and synthy, IDM levity.

    FORMAT INFORMATION

    2xDinked Edition LP Info: • Audiophile-friendly double crystal clear vinyl.
    • 15cm die-cut vinyl sticker insert.
    • Numbered Edition.
    • Limited to 300.
    • Download code.

    2xLP Info: Black vinyl edition.

    2xLP includes MP3 Download Code.

    Across The Water

    Across The Water

      An unknown and precious album recorded in 1975 by two friends who recorded one side each, they made just two acetates and then handmade beautiful covers from two enlargements of a photograph of the Isles of St Kilda. Side one is a neo classical prog rock epic in the style of Renaissance and Continuum, inspired by the wild and pagan isles of St Kilda where, as a 16 yr old, the composer Peter Mc Kerrow was taken by military launch to conduct a census on the rare Soay Sheep that live there. A storm blew away his tent on the first night. The other side is by his canadian pal who attended the same Uni in england, deeply homesick for Canada and surviving a broken relationship these songs are melancholic and Cohen-esque. The original Lp is astonishingly gorgeous and one of the most desirable looking artefacts of the prog era.

      Anaconda

      Sympathy For The Madman

        Post Arcadium psychedelic folk masterpiece, lost since 1969, just one original acetate LP exists,valued at £7000+, the lp has an intense pagan mood and deals with themes of alienation, notably in “Outsider”, it sounds very similar to Comus with flutes, violins but replaces the insanity of Comus with dark folked out melancholia. Short at 24 mins. Quite possibly the finest prog-folk lp ever made, with songwriting and lead vocal by Miguel Sergides who crafted the psych lp masterpiece by Arcadium. Accomplished and meticulous prog folk genius

        Autechre

        Plus

          As if one Autechre announcement wasn't enough of a suprise, we get ANOTHER album within the space of a month. While 'Sign' was a superb standalone album, it was a surprising twist in the story of this northern electronic powerhouse. The terse atmospheres and claustrophobic electronic air of previous LP's had become a mainstay in their sound, sign eschewed that to some degree with moments of levity and light. 

          'Plus' takes things right back to the Autechre we all know from yesteryear, with coarse electronic soundscapes and static percussion riding atop muddied seas of post-industrial noise and fractured, glitched dancefloor drive. 

          STAFF COMMENTS

          says: Plus takes the shimmering electronic glow of 'Sign' and passes it through a stack of resonators and distortion pedals for its undeniably related but uncompromisingly shadowy sister. 'Plus' perfectly bridges the stylistic gap between the old works and the new age of Autechre's legacy.

          FORMAT INFORMATION

          2xLP includes MP3 Download Code.

          Battles, New York City’s preeminent experimental rock duo, drop a slick 12” of remixes from DJ Dairy & DJ Orient (black midi), Delroy Edwards, Shed, and DJ Nigga Fox.  The release sees the aforementioned artists using an array of sounds from across the spectrum of Battles’ latest LP "Juice B Crypts", released late last year. In utilizing the wide array of sounds, the remixers have created work that is not singularly indebted to one song or another, rather inspired by the sonic world of the album and serving as an extension of it. The remixers have utilized this creative freedom to the fullest, delivering a collection of songs that occupy distinctly different spaces of the electronic music landscape while retaining a shared connectivity to the original work. 4 uniquely individual remixes, remixing one of the uniquely individual bands of the new millennium, tied together by experimental spirit and a shared musical perspective. 

          STAFF COMMENTS

          says: One of Warp's highly celebrated acts of late hauls in an imperative who's who of electronic music talent. A hype-list rightly deserved of their cult statuses - not a single one disappoints.

          FORMAT INFORMATION

          12" includes MP3 Download Code.

          The Beck Studio Acetate 1969

          The Beck Studio Acetate 1969

            Cut in northampton’s Beck studios circa 1969 and thought to be connected to Axe’s lead guitarist, this band remain completely unknown - only one battered acetate exists which has been held in a private collection for decades, it has track titles but no band name, with all research drawing blanks. regardless, this is arguably the finest example of blistering undergound heavy prog jamming ever graven in acetate or vinyl. And the band are at the top of their game,not a dodgy private press, it’s the real mc coy, a band that’s honed a perfect organic sound, with fantastic interplay, male and female vocal leads, and a guitarist completely on fire, possibly Axe’s Anthony Barford (rip) as theorised by Dark’s Steve Giles...we can’t be sure. Just 4 long tracks, 24 mins, if you like Heep, May Blitz, and a touch of Jefferson Airplane, you need this. And the final track is a space ballad with the girl on lead vocal, and she outclasses Grace Slick and Julie Driscoll. Fact. Ranks with Dark. Valued in excess of £10,000

            Bhajan Bhoy

            That Summer Oh Creator! EP

              BHAJAN BHOY is Ajay Saggar. He released his debut solo album “Bless Bless” on 5 June 2020 which was met with unprecedented universal praise from the music press and received widespread airplay from radio stations in the USA (WFMU) to the UK (Steve Barker’s “On The Wire” and BBC 6 Music) to Australia (Eastside FM).

              - “a gloriously blissed out set” (The Wire / August 2020)
              - “ a great, deeply energising record” (The Quietus / June 2020)
              - “as contemporary deep psych trips go this is seriously potent gear
              - the perfect soundtrack for invoking the messianic spirit of Timothy Leary” (Shindig / July 2020)
              - “fascinating guitar mantras” (Lust For Life / June 2020)
              - “superb meditative collection” (Narc / June 2020)
              - “J Mascis (Dinosaur Jr.) said it was a “killer album”. I bow to that accordingly” (OOR / June 2020)

              BHAJAN BHOY now follows the release of “Bless Bless” with a 10” EP….“That Summer Oh Creator!” EP. It features 2 tracks, clocking in at over 17 minutes, that were recorded in June and July 2020 and takes Saggar’s sonic explorations into even deeper territory. Yes the kosmische psych guitar touches are there, but the 2 beautiful songs are enhanced by pastoral electronica and dynamic field recordings.

              - “For Robbie Basho” is a musical piece that reflects on the life of one of Ajay’s musical heroes…moments of heightened beauty and exaltation and moments of physical and mental suffering that touched Robbie Basho’s brief time on this earth.

              - “Pinecone” has a pastoral, laidback feel to it. Composed, recorded and produced in one day in Malberg (Germany) at the house of Kat Bornefeld (drummer for The Ex), this track has already received airplay on BBC 6 Music and WFMU.

              FORMAT INFORMATION

              10" LP Info: 200 copies only.

              Mal Blum

              Nobody Waits B/w San Cristobal

                Once dubbed “punk’s greatest hidden treasure” by Stereogum, Mal Blum writes cleverly craftedsongs that are as self-eacing as they are viscerally relatable. Following on from 2019’s Pity BoyLP, a brand new 7”, to be released via Saddle Creek’s Document Series*, is the last thing they recorded with their band before hunkering down to wait out the pandemic.

                Recorded in drummer Ricardo Lagomasino’s basement in Maine, months before coronavirus wasa word in our collective periphery, these two new songs are embellished by the band’s time there. In between takes, Barrett padded the hardwood in his slippers. Audrey xed herself lunch in the kitchen. Ricardo’s wife, Meg, was pregnant at the time but she said she didn’t mind thenoise that drifted up to the living room. The house felt brimming with possibility.

                “Since then, my associations of home have changed,” Mal says. “In recent months, in quarantine, I only write and record songs by myself. Listening back, this seven-inch feels like a relic. An old photograph of a weekend spent idly with my bandmates years ago, though it was only a few months. Spending the weekend together felt like a reprieve. Home is a respite. It doesn’t have to be yours.”

                Lead track “Nobody Waits” is a song about patience, rejection, loneliness, love, depression, andacceptance. The possibility that we may never meet somebody who is willing to embrace everypart of us. The song posits that being loved is an impossible, Sisyphean task, akin to leaving something burning in the oven in a house where there is no entry way.“San Cristobal” is a song that was written almost a decade ago. It’s about escapism, traveling, andgoing long distances to try to leave yourself behind, only to nd another impossible task. This new version was re-recorded with a band arrangement.

                “My voice had just begun changing from testosterone,” Mal says of the new version. “I had to relearn how to sing it. By the time this comesout, more will have changed, be changing, still.”


                Cabaret Voltaire

                Shadow Of Fear

                  Shadow of Fear is Cabaret Voltaire’s first studio album in 26 years. Richard H. Kirk is the sole remaining member; he’s released many acclaimed solo albums, having invented bleep techno via his groundbreaking work in Sweet Exorcist. Kirk has formed this new album from a series of pulverising live shows. The tone and personality of CV is ingrained in its core as it dances across techno, dub, house, 1970s Germany and general esoteric explorations coupled with mangled vocal samples.

                  STAFF COMMENTS

                  says: As important a document as anything they've done, 'Shadow Of Fear' is a swimming electronic odyssey, split between hypnotic industrial percussion and slowly evolving synth arps, bringing the churning driven thump we know so well, as well as a more playful, danceable backbone. Superb.

                  FORMAT INFORMATION

                  2xColoured LP Info: Limited edition purple vinyl.

                  2xColoured LP includes MP3 Download Code.

                  Isobel Campbell

                  Amorino

                    Following excellent reviews for her recent solo album, 'There Is No Other...', released earlier this year, Isobel Campbell will reissue her third and fourth solo albums, Amorino and Milkwhite Sheets via Cooking Vinyl.

                    'Amorino' is the third solo album from the former Belle & Sebastian member Isobel Campbell. Obsessed with French New Wave, chanson, vintage European cinema, the beat girls and boys of the 1960’s, White Horses by Jacky, Peter Sellers and the bossa nova of Stan Getz and Astrud Gilberto, Campbell, alongside fellow maverick composer and Scottish national treasure Bill Wells set about making their homage to such things. 

                    FORMAT INFORMATION

                    LP includes MP3 Download Code.

                    Isobel Campbell

                    Milkwhite Sheets

                      Originally release in 2006, "Milkwhite Sheets" was conceived and recorded in tandem and shortly after "Ballad Of The Broken Seas". It's a piercingly beautiful set of traditional folk songs and originals, on the surface tranquil, with turbulence underneath. More intimate, more deftly twisted than "Ballad…", it draws on broader and more personal influences.

                      FORMAT INFORMATION

                      LP includes MP3 Download Code.

                      Carlton Melton

                      Where This Leads

                        Agitated is more than pleased to announce the long over-due return to wax (and CD) by Carlton Melton, the new album from San Franciscan / Northern Californian space-trippers is here, and its ready to tune you out and turn you on.

                        Nestled deep in the forests of Mendocino County in Northern California, huddled under the protective shade of towering redwoods and within earshot of frothy waves crashing against the Pacific coastline, squats a geodesic dome that has served as crucible for the experimental genius of Carlton Melton. Nature and Man operate under different logics. But here, Carlton Melton wholly entrusts this idyllic environment with the task of inspiring and guiding their musical improvisations.

                        The Dome has been the ideal setting to facilitate their creativity. Without forcing a specific dynamic or theme, the band inhabits its womb-like confines to improvise, explore, dream. Their music draws on psychedelia, stoner metal, krautrock, and ambient atmospherics to convey, above all else, a mood.

                        A prickly guitar melody will float lazily, a wall of dissonant feedback will resolve into a hypnotic drone, or a colossal riff will exhume the soul of Jimi Hendrix. One hears Hawkwind or Spacemen 3 jamming with Pink Floyd at Pompeii.

                        Indeed, Carlton Melton have one foot in the ancient world and one tentacle in deep space. They are both the pack of proto-humans drumming with femurs in Kubrick’s 2001 and the film’s inscrutable monolith hinting at the universe’s mysteries. The “Stoned Ape” theory holds that early hominids ingested psychedelic mushrooms that provided an evolutionary boost to their brains, helping them blossom into Homo Sapiens. Imagine such cavemen trippin’ balls, their nightmarish visions sending them into feverish bouts of rage and then gentle moments of introspection. They very well could have heard the music of Carlton Melton rattling inside their skulls, first driving our ancestors mad then upward into a higher realm.

                        Andy Duvall (drums, guitar), Clint Golden (bass), and Rich Millman (guitar, synths) have yet to play Pompeii, but they have already wowed crowds at European festivals such as the Liverpool International Festival of Psychedelia, Roadburn, and Desertfest Antwerp. Live, they are jaw-dropping. On record, mind-altering.

                        In fact, with each album, Carlton Melton adds a subtle new element, synapses firing new neural connections. In 2020, they release new full-length Where This Leads, marking ten years of the band’s working relationship with their UK label Agitated Records and five years of recording with Phil Manley in his El Studio in San Francisco. With Where This Leads, the band rewires the listener’s mind. “Smoke Drip Revisited” is a ticklish acid flashback, “Porch Dreams” a dabbling in country psych, and “Closer” a driving, freak-out of guitar heroics.

                        One senses that the group is conveying a message that cannot be expressed verbally but only suggested through synth sighs, walloping rhythms, and soaring solos. Would Carlton Melton therefore be a group of stoned apes dizzily grasping for meaning or telepathic futurists communicating to us through crude man-made instrumentation?

                        Well, lower the stylus to find out.
                        - Eric Bensel, Paris July 2020

                        FORMAT INFORMATION

                        2xColoured LP Info: Indies Vinyl Colourway:
                        Disc 1 Green Transparent
                        Disc 2 Marbré Opaque

                        Jennifer Castle

                        Monarch Season

                          Jennifer Castle’s 6th album, the moon-suffused Monarch Season an album as delicate and diaphanous as its namesake butterfly stands, in a literal sense, as her first proper “solo” album, performed alone in her coastal kitchen, windows open to the insects and the wind and the reflection of the moon on Lake Erie, entirely without human accompaniment (though a chorus of crickets provides rich interstitial support throughout.) This record is a reminder to cherish openly that which reflects off and onto me. A reminder that stone orbs only become meaningful moons when they experience the gravity and light of others.” Jennifer Castle. In autumn 2009, for the first time, monarch butterflies, known for their extensive annual North American migrations, emerged from their cocoons in outer space, onboard the International Space Station, part of a NASA experiment on the effects of microgravity on Lepidoptera. Ten years later, in autumn 2019, Jennifer Castle sat at home in her quiet coastal kitchen in Ontario, windows open to the insects and the wind and the reflection of the moon on Lake Erie her host of muses and recorded nine moon-suffused songs. It was monarch season again on Earth, and Jennifer was inspired to “see the wings in everything.” Now, a year later, we have Monarch Season, an album as delicate and diaphanous as its namesake creature.


                          Although created half a year pre-pandemic, Castle deliberately pursued a minimalist, homebound, and solitary process that represented, for her musical practice, a radical reduction of scale, coupled with a telescopic expansion of scope. The follow-up to her acclaimed 2018 record Angels of Death, Monarch Season is Castle’s private experiment on the effects of microgravity in this context, increased immediacy, intimacy, domesticity, simplicity, brevity, and directness on her music. Monarch Season transports the listener, from the first strains of the heavy-lidded guitar instrumental “Theory Rest,” to that lakeside kitchen at dusk, beneath a bright moon twinned in the water. It also intentionally resembles Castle’s riveting, discursive solo live performances more accurately than any other of her albums. The terrestrial vinyl and CD versions of the album include lengthier ambient segues of onsite environmental recordings between songs; you can hear the lapping of the lake. She recorded quickly, with only her longtime co-producer Jeff McMurrich to capture her guitar, piano, and for the first time on record harmonica.Jennifer dedicates her blowing to friend and mentor Kath Bloom, who played the Pink City harp.


                          Her airy, lambent voice renders these taut poems as elegant inscriptions within circumscription, fully present and presciently articulate, months before the age of coronavirus quarantines, about the troubles and delights to be found in aloneness, in the patient observation of our immediate surroundings. Subtle nods toward classic songcraft, and traditional ideas about songcraft are abound on Monarch Season. “NYC” features a baseball anecdote and metaphor (“we all pick teams, I guess.”) “Justice” is her take on a big-tent folk-revival protest anthem. “Did you lock my heart up? And throw away the key?” Jennifer asks on “Moonbeam or Ray,” embracing the conventional romanticism of that lyrical trope. But her answer to herself is oddly put, sad and slightly schizoid: “I hope no!” “What becomes of the broken-hearted?” begins the last song, slyly conjuring Jimmy Ruffin.


                          Castle posits no answer to that riddle. Elsewhere, warm personal details emerge. The gorgeous spiraling melody of “Veins” laments that the world is not changing “as fast as it should” a sentiment more relevant than ever while also insinuating that losing love feels like being stranded on the surface of the moon. Her repeated use of the word “labour” in “I’ll Never Walk Alone” “I birthed from the mouth of a cave” is metaphorical and literal, on two levels. In addition to her songwriting, Castle works as a doula, but herein her creative labour bears the fruit of these new songs, or as she calls them, “my new plays.” Monarch Season offers these songs as lapidary mirrors of solace, radiant with reflected moonlight, to whoever is listening. Look up, look around, look inward, they say, for the light of others. And then look again

                          FORMAT INFORMATION

                          LP Info: Limited deluxe LP edition POB057LPDLX (1000 copies) features a songbook of sheet music to every song (not included in subsequent pressings).

                          Nick Cave

                          Idiot Prayer - Live Alone At Alexander Palace

                            In June 2020, mid lockdown, Nick Cave performed a live set in the vast grandeur of in the West Hall of London's Alexandra Palace. The performance, featuring just Nick at the piano, was filmed and streamed in July and was a beautifully sombre affair that sat perfectly with the mood and uncertainty of the time. 

                            In recent years Nick has performed several solo shows with just a piano, covering material spanning his entire career, but whether it is the shadow cast by the global pandemic or the majestic splendour of the location, this songs here seem somehow more poignant than ever. Although recorded in such a vast space it is the intimacy of the performance that makes it such a compelling listen. Wonderful.

                            The Telegraph ****
                            "Cave's solo live stream could be the most the beautiful and sombre performance he's ever given"

                            The Guardian ****
                            "Cave’s performance in an empty hall, with just piano and voice, seems to try and ward off the terrifying silence of the Covid-19 age”

                            Evening Standard ****
                            "Gravitas echoes beautifully in the void of an empty Alexandra Palace"

                            The Independent ****
                            "‘Idiot Prayer’ performance is stately and beautiful”

                            The Arts Desk ****
                            "The dramatic minimalism of this setting is perfect for an expressive face, and such powerfully emotional songs”

                            STAFF COMMENTS

                            says: There is absolutely no stopping Nick Cave. Even a global pandemic can't halt his transformative live show, and the bleak solemnity of one man and a piano only serves to exacerbate the intoxicating experience.

                            FORMAT INFORMATION

                            2xLP includes MP3 Download Code.

                            Chubby & The Gang

                            Speed Kills

                              At the start of 2020 several US publications began running glowing reviews of ‘Speed Kills’, the breakneck debut album from Chubby & the Gang, a West London punk troupe comprised of members of various bands associated with The New Wave of British Hardcore, among them Violent Reaction, Abolition, Big Cheese and more. At the time, the band - helmed by local electrician Charlie Manning - had developed a cult following in the UK, largely rooted in the cross-pollinating nature of the punk scene, select shows including dates with Sheer Mag and an impending, last minute US run with Royal Hounds.

                              ‘Speed Kills’, produced by Jonah Falco of Fucked Up, would go on to be called “the best punk-pop LP in recent memory” by Paste Magazine, a debut that “comes alive with liberating energy” in an 8.0 review from Pitchfork and full of “massive barroom gang choruses, power chords at breakneck tempos, rock spelled R-A-W-K and visceral gratification” as Stereogum put it. Impressive going for a band at the time with no publicist, no big budget label backing and no industry clout per se, beyond increasingly fervent underground support.

                              Following the quietly blossoming success of ‘Speed Kills’ earlier this year, Chubby & the Gang now find a new home on Partisan Records (IDLES, Fontaines D.C., Laura Marling, Fela Kuti) who reissue the album in remastered form with the unreleased cut ‘Union Dues’ included to boot and with new music on the horizon.

                              FORMAT INFORMATION

                              Coloured LP Info: The LP arrives on yellow vinyl and includes a sticker sheet featuring cartoon characters from the album artwork. It has been remastered for vinyl at West London’s Metropolis Studios.

                              Coldplay

                              Parachutes - 20th Anniversary Coloured Vinyl Edition

                                Celebrating 20 years since it’s original release, Parlophone reissue a limited edition, coloured (translucent yellow), heavyweight vinyl pressing of their number one debut album.



                                FORMAT INFORMATION

                                Coloured LP Info: 180 gram heavyweight transparent Yellow 12” vinyl.

                                This mini-album is Craven Faults’s second vinyl release on The Leaf Label.
                                Thirty-seven minutes of music over three epic tracks - longform analogue electronic journeys across the north of England.

                                Enclosures follows Craven Faults’ debut album Erratics & Unconformities. These 37 minutes of music are the start of the next journey. New terrain and more refined methods of travel. Dark clouds gathering.

                                We’re out of the blocks quickly. German engineering carries us swiftly across the moors on a Saturday night rendezvous. Two almost identical mushroom shaped rocks are the destination. There’s evidence of previous rituals carried out. Two hours due north we go in search of the power source. Cascading. An experiment in performance over a fixed point. Tape loops recorded in 1967 at The Philadelphia College of Art. Woodwind purchased from a charity shop in Yeadon. The concept of work was forgotten. We’re back on the millstone grit of the Mid Craven Fault for an exercise in simplification. Familiar territory. Sometimes the theory isn’t all it’s cracked up to be, and there’s still power in hammering a single note over two chords – a lesson learnt from the American South in the late 40s and early 50s and boiled down in the late 60s. Olympic Sound Studios, April 1967. The Hit Factory, April 1969.

                                On Erratics & Unconformities, Craven Faults often found a calm inner space in the vistas. Here the tensions of the early EPs return, with a focus on how human ‘progress’ has impacted and shaped the landscape. How the land was divided now shapes our present and future, and retracing that journey is particularly pertinent.


                                STAFF COMMENTS

                                says: While i've been a big fan of everything Craven Faults have done thus far, I think this is the pinnacle of their recorded material. A throbbing, soaring collision of euphoric dancefloor thump and saturated, PCA-like groove.

                                FORMAT INFORMATION

                                Mini LP Info: Edition of 400 on grey vinyl.

                                The Cribs

                                Night Network

                                  AMAZING COMPETITION NEWS!!!

                                  Order the album for a chance to win Ryan Jarman’s Signature Fender Squier guitar (the last of its kind) .

                                  From Ryan: “Found the last Musuar Fender in existence the other day whilst going through my storage unit. It was supposed to be my personal ‘final production’ model (as I only have the prototypes at the minute) but looks like one of you guys are gonna end up with it instead! Still all boxed up like the day I received it. If you want it, better get on it. Only 250 were ever made and this is the one that was set aside for me personally. Which makes it cooler, obviously. It even still has my name and shipping address on the box, but that might be scribbled out by the time you receive it!”

                                  NPN: Sign up to The Cribs mailing list here.


                                  Having released their Steve Albini engineered album, 24-7 Rock Star Shit – their fourth consecutive UK top 10 album- in August 2017 the multiple Q and NME Award winning band almost immediately parted company with their long time UK management and found themselves stuck in what Gary describes as a “legal morass”, unable to record or release new music, so touring wasn’t an option either. That meant 18 months of fallow – heart-breaking stuff for a band who’ve known nothing else in their adult lives. “At one point we were actually so disillusioned with what had happened, we didn't even know if we wanted to get back into the band anymore,” says Ryan.

                                  Fast forward 3 years and Night Network is as fresh, cathartic and vital as anything they’ve ever put out. There’s no weariness, no bitterness, just a clear desire to get back to doing what they do best – that unique blend of bittersweet melody, brutal lyrical honesty and riffs for days.

                                  The turning point came at the 11th hour, in the late summer of 2018. The Cribs had been invited to support Foo Fighters at Manchester's Etihad Stadium, in what could very well have been the band's last hurrah. Enter the brothers’ knight in shining armour, and childhood hero, Dave Grohl. Hanging out backstage, chatting over a few post-show drinks, The Cribs confided their recent struggles to their new friend. “Dave was just like, ‘Forget about all that business stuff, just come out to LA and make a record at our studio’ – Dave made that offer to us,” Ryan recalls

                                  The three brothers are now scattered over nearly 5,000 miles, with Gary in Portland, Oregon, Ryan in Queens, New York and Ross in Wakefield, West Yorkshire. When they gathered in the UK for a family Christmas in December 2018, they began working on songs in Ross’s garage, and found the creative juices flowing.

                                  The songs came together fast, and when they finally contacted the Foo Fighters and said they’d be keen to take them up on the offer, they were offered a window of studio time in April 2019 – a fixed date to work towards, and the impetus for a final push to sort out the miasma of business mess.

                                  Their new found autonomy extended to the recording process itself – this is the first album to be entirely self-produced by the band. Engineered by James Brown (Foo Fighters, Arctic Monkeys) and mixed by frequent Cribs collaborator John O'Mahony (who also worked on 'Men's Needs, Women's Needs, Whatever' and 'For All My Sisters') the record took shape over two weeks in LA, plus an extra week of overdubs at Halfling Studios in Portland. Mercifully, it is not a poor-me album about the ills of the industry. No, they deal with that on the first track, a slice of surf-ready sunshine pop with gorgeous harmonies called 'Goodbye'. “That was our way of saying ‘goodbye’ to that period of our lives. Let's move on,” says Ross.

                                  After that, no indulgence is made to the band’s struggle. Instead, it’s wall-to-wall Cribs bangers, the fruit of that special, symbiotic relationship between the songwriting, singing brothers, drawing on the boiled-down influences they felt had always been there: The Motown stomp of 'Never Thought I'd Feel Again' and 'Under The Bus Station Clock', red and blue album-era Beatles ('Running Into You' and 'In The Neon Night', respectively), melodic 70's style pop on 'Deep Infatuation’, and even early work by their own band.

                                  And they return with a familiar friend, too – Lee Ranaldo, ex-of Sonic Youth, and the man whose spoken word verses on 2007 track 'Be Safe' helped elevate the song to anthem status amongst the bands legendarily devout fanbase. Here, Ranaldo plays guitar on 'I Don’t Know Who I Am' – and Be Safe Part II (Be Safer?) it ain’t. The song started out as a jam in Ross’s garage which the brothers later tracked at 606, before Ranaldo layered sheets of white-noise guitar over the recording at Sonic Youth’s Hoboken studio, and a few backing vocals for good measure.

                                  In a typically downplayed way, the band have honed in on what’s so special about The Cribs: really bloody good songs. Fans might well think this is their best album in a decade. So, once again all is right in Cribs world – or as much as all is right in any world in 2020 at least. The Cribs are romantics and they’re realists, and the balance, for a hot minute, nearly tipped in the favour of the latter. But now they return empowered, beholden to no one, on the greatest form and still screaming in suburbia.

                                  STAFF COMMENTS

                                  says: The Cribs bring the fire on their latest offering of infection stoned rock hooks and snarling, punk edge. Brimming with hooks and varied enough to keep the momentum, it's definitely their greatest work for quite some time.

                                  FORMAT INFORMATION

                                  Coloured LP Info: Limited edition "swimming pool blue" vinyl.

                                  One can hardly imagine the genre-busting, culture-crossing musical magic of Outkast, Prince, Erykah Badu, Rick James, The Roots, or even the early Red Hot Chili Peppers without the influence of R&B pioneer Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can’t be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli to Ludacris have rhymed over her intensely strong but sensual music.

                                  There is one testimonial about Betty Davis that is universal: she was a woman ahead of her time. In our contemporary moment, this may not be as self-evident as it was thirty years ago – we live in an age that’s been profoundly changed by flamboyant flaunting of female sexuality: from Parlet to Madonna, Lil Kim to Kelis. Yet, back in 1973 when Betty Davis first showed up in her silver go-go boots, dazzling smile and towering Afro, who could you possibly have compared her to? Marva Whitney had the voice but not the independence. Labelle wouldn’t get sexy with their “Lady Marmalade” for another year while Millie Jackson wasn’t “Feelin’ Bitchy” until 1977. Even Tina Turner, the most obvious predecessor to Betty’s fierce style wasn’t completely out of Ike’s shadow until later in the decade.

                                  Ms. Davis’s unique story, still sadly mostly unknown, is unlike any other in popular music. Betty wrote the song “Uptown” for the Chambers Brothers before marrying Miles Davis in the late ‘60s, influencing him with psychedelic rock, and introducing him to Jimi Hendrix — personally inspiring the classic album ’Bitches Brew.’

                                  But her songwriting ability was way ahead of its time as well. Betty not only wrote every song she ever recorded and produced every album after her first, but the young woman penned the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty’s career would be her unbending Do-It-Yourself ethic, which made her quickly turn down anyone who didn’t fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal.

                                  In 1973, Davis would finally kick off her cosmic career with an amazingly progressive hard funk and sweet soul self-titled debut. Davis showcased her fiercely unique talent and features such gems as “If I’m In Luck I Might Get Picked Up” and “Game Is My Middle Name.” The album Betty Davis was recorded with Sly & The Family Stone’s rhythm section, sharply produced by Sly Stone drummer Greg Errico, and featured backing vocals from Sylvester and the Pointer Sisters.

                                  FORMAT INFORMATION

                                  Ltd LP Info: Limited Light In The Attic 180g reissue in heavyweight paste-on board sleeve and biography insert.

                                  Betty Davis

                                  They Say I'm Different - Light In The Attic Reissue

                                    One can hardly imagine the genre-busting, culture-crossing musical magic of Outkast, Prince, Erykah Badu, Rick James, The Roots, or even the early Red Hot Chili Peppers without the influence of R&B pioneer Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can’t be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli to Ludacris have rhymed over her intensely strong but sensual music.

                                    There is one testimonial about Betty Davis that is universal: she was a woman ahead of her time. In our contemporary moment, this may not be as self-evident as it was thirty years ago – we live in an age that’s been profoundly changed by flamboyant flaunting of female sexuality: from Parlet to Madonna, Lil Kim to Kelis. Yet, back in 1973 when Betty Davis first showed up in her silver go-go boots, dazzling smile and towering Afro, who could you possibly have compared her to? Marva Whitney had the voice but not the independence. Labelle wouldn’t get sexy with their “Lady Marmalade” for another year while Millie Jackson wasn’t Feelin’ Bitchy until 1977. Even Tina Turner, the most obvious predecessor to Betty’s fierce style wasn’t completely out of Ike’s shadow until later in the decade.

                                    Ms. Davis’s unique story, still sadly mostly unknown, is unlike any other in popular music. Betty wrote the song “Uptown” for the Chambers Brothers before marrying Miles Davis in the late ’60s, influencing him with psychedelic rock, and introducing him to Jimi Hendrix - personally inspiring the classic album 'Bitches Brew'.

                                    But her songwriting ability was way ahead of its time as well. Betty not only wrote every song she ever recorded and produced every album after her first, but the young woman penned the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty’s career would be her unbending Do-It-Yourself ethic, which made her quickly turn down anyone who didn’t fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal.

                                    Her 1974 sophomore album 'They Say I’m Different' features a worthy-of-framing futuristic cover challenging David Bowie’s science fiction funk with real rocking soul-fire, kicked off with the savagely sexual “Shoo-B-Doop and Cop Him” (later sampled by Ice Cube). Her follow up is full of classic cuts like “Don’t Call Her No Tramp” and the hilarious, hard, deep funk of “He Was A Big Freak.”

                                    FORMAT INFORMATION

                                    Ltd LP Info: Limited Light In The Attic 180g reissue in heavyweight paste-on board sleeve and biography insert.

                                    Brigid Dawson & The Mothers Network

                                    Ballet Of Apes

                                      Tip-top of our osmosis list is the first quiver of tunes from Brigid Dawson and her newly minted Mothers Network: wise warnings dyed in dark hues, knotted and hard-won torch songs from the edge of a turbulent sea, bittersweet balladry spun in defense against evils familiar and unknown. Lovely though it may seem from a distance, the striation of loss quicksilvered throughout provides weighty balance to her contralto lilt. Those familiar with her harmonic counterpoint from her time in Thee Oh Sees or in OCS know she can belt as well as lullaby but there’s a fresh and smolderingly heavy swing in her step on display here that we mightily dig.

                                      “Ballet of Apes” tapestries together sessions that read like a who’s who from outside our own castle walls - in Australia with Mikey Young (Total Control/Eddy Current Suppression Ring), in San Francisco with Mike Donovan (ex Sic Alps), Shayde Sartin (ex Fresh & Onlys/lifetime ringer) and Mike Shoun (ex Oh Sees/Peacers), and in Brooklyn with instrumental heavy-weights Sunwatchers - and the results are spellbinding. At the focal point of this maelstrom, our lady, as if illumed by candlelight, intones, pleads, consoles - white magic perhaps but it carries with it the anodized tang of blood. 

                                      FORMAT INFORMATION

                                      Coloured LP Info: Electric blue coloured vinyl.

                                      Dirty Projectors

                                      5EPs

                                        Dirty Projectors’ 2020 five four-song EPs, each strikingly different from the next, all come together in a 20-song anthology titled ‘5EPs’.

                                        Each EP features lead vocals by a different band member: Maia Friedman, Felicia Douglass, Kristin Slipp and Dave Longstreth, who all trade verses on the series closer.

                                        Maia’s ‘Windows Open’ is acoustic and folky, Felicia’s ‘Flight Tower’ is both soulful and electronic, Dave’s ‘Super João’ is a four-track bossa nova homage to João Gilberto, Kirstin’s ‘Earth Crisis’ is a cut-up orchestral collage in the mode of through-composed art song, whereas the final EP ‘Ring Road’ weaves together the emotional, stylistic, and lyrical threads explored in the prior four EPs.

                                        STAFF COMMENTS

                                        says: I was just listening to Dirty Projectors' song with David Byrne for the 'Dark Was The Night' compilation just the other day, which led me to wishing for a collection of some of the more unheard of tracks from their canon. Lo and behold, stone the crows etc. Here it is. You'll have heard some of these tracks before, but it's a brilliant document to have them all together like this.

                                        FORMAT INFORMATION

                                        2xColoured LP Info: Indies exclusive crystal clear vinyl.

                                        2xColoured LP includes MP3 Download Code.

                                        Django Django

                                        Glowing In The Dark - Limited 10" Single

                                          Ultra limited 10" single.

                                          PVC Sleeve with neon paper stock.

                                          EABS

                                          Discipline Of Sun Ra

                                            The creative process of the album revolved around two Sun Ra’s ideas - deconstruction and discipline. “He sent members of the Arkestra out to research individual players in Henderson group in the order to get the feeling right when playing their parts. Sun Ra told them they weren’t copying those pieces, they were re-creating them, and with the proper information they could know the spirit behind the original.”

                                            That’s how Herman Sonny Blount treated the music of the swing legend, Fletcher Henderson. EABS approached the composition of Sun Ra in exactly the same way. An equally important element with recording was a regime associated with the discipline and precision that the pianist from Saturn fought for, using a series of exercises-compositions entitled ‘Discipline’ previously used by Arkestra.

                                            Sun Ra was aiming to record timeless music that could still be alive in 1000 years, and with no hesitation, he managed to do it. The music from distant planets is infinite. “By infinity, Mr.Ra means creating jazz of the future, but also covering the past”.

                                            Duke Ellington & John Coltrane

                                            Duke Ellington & John Coltrane - Reissue

                                              The classic 1962 album Duke Ellington & John Coltrane showcased the rising jazz saxophone innovator performing alongside the long-established piano institution. While the pairing might have portended a dynamic clash of the musical generations, instead we got a casual, respectful, and musically generous meeting of like-minded souls. Similarly, while one might have assumed that Ellington would use his sidemen, instead producer Bob Thiele (who also produced similar albums for Ellington including pairings with Louis Armstrong and Coleman Hawkins) chose to bring in Coltrane's own outfit for the proceedings. Consequently, the duo is backed here at various times by bassist Jimmy Garrison and drummer Elvin Jones, as well as alternates bassist Aaron Bell and drummer Sam Woodyard. The most surprising aspect of the Ellington/Coltrane date is how well suited Coltrane and his group are at playing what largely ends up being Ellington's own material. While he was certainly in the nascency of his more avant-garde period in 1962, Coltrane had a deep understanding of traditional jazz vocabulary, having played in a swing band in the Navy in the 1940s and studied the style of artists like Hawkins and Ben Webster while coming up in Philadelphia. Similarly, though an icon of the big-band era by the 1960s, Ellington had been on the upswing of a career resurgence ever since his dynamic performance at the 1956 Newport Jazz Festival, later released as Ellington at Newport. His meeting with Coltrane was emblematic of his renewed creativity and was one of several albums he recorded in his latter life with theretofore unexpected artists, not the least of which his other 1962 date, Money Jungle with bassist Charles Mingus and drummer Max Roach. Here, Ellington and Coltrane play a handful of well-known Ellington book numbers, including a supremely lyrical "In a Sentimental Mood" and a soulful, half-lidded version of Billy Strayhorn's "My Little Brown Book." Ellington even supplied the brisk original "Take the Coltrane," allowing plenty of room for Coltrane to let loose with knotty, angular lines.

                                              FORMAT INFORMATION

                                              LP Info: Comes with bonus CD.

                                              Favourite People

                                              Wading Out / Shell Island

                                              Favourite People is a new band from the Brooklyn boroughs orbiting blues-rock with faint psychedelic radio waves. The band met in ‘International Waters’, the legendary after-hours club in the East Village and soon began rehearsing at Selva after a chance meeting with Quantic. These two cuts boast more fuzz than Bootle Street, taking the form of a lascivious swagger and hippy cartwheel respectively.



                                              FORMAT INFORMATION

                                              7" Info: Limited to 127 copies.

                                              Flux

                                              Flux

                                                Searing art rock monsterpiece dominated by a relentlessly coruscating lead guitar sonic attack as if played by a demonically possessed John Mclaughlin, Flux is ex Babe Ruth, ex Motiffe, with lead guitar by John Grimaldi before he joined Argent and worked on their prog masterpiece Circus. This LP is taken from a mono mastertape recorded on a BBC Mobile Unit at a live gig in 1973, a shocked Record Mirror journalist witnessed the concert and described it in a published Record Mirror review as ‘a new form of music’.

                                                Sound quality is great and this is a band in top form playing exactly what they want, in a zone a bit like King Crimsons Red, but with insane guitar leads that bludgeon the listener to death. The vocalist later joined italian prog rockers Flea On The Honey. Play this with a hangover and you will die in screaming agony. 1 very short track, and 4 very long ones. The gig ended with an IRA bomb scare. yes really.

                                                Josephine Foster

                                                No Harm Done

                                                  Brand new album from Colorado’s freewheelin’ melodist Josephine Foster.

                                                  Revolving between her adopted Spain and her native American West, Josephine was stationed this spring in Nashville with maverick guitarist and comrade-in-arms Matthew Schneider. The result: ‘No Harm Done’, a spacious and enveloping love letter of an album.

                                                  Eight new slow-burning songs branch forth from idiosyncratic country folk blues, sung with sibylline wit and a hint of the absurd, awash in sensually anachronic lyricism.

                                                  “The Wheel of Fortune”, nearly a title track by virtue of its refrain: 'No harm will come/if there's no harm done', are words of a homebound wanderer finding refuge in healing stillness with her beloved, having 'time to kill' in the midst of 'hard times to feel at home'. All delivered with calm sagacity upon the pedestal of Mr. Schneider's pedal steel and underscored by a knowing trebled chorus in Foster's lower register. Going nowhere never felt like so righteous of a destination before.

                                                  Devotion in all its permutations, spiritual to carnal, are seamlessly explored.

                                                  In 'Conjugal Bliss', overtones of the 12-string and autoharp gently interplay, sounding like some unearthed Carter family wedding hymn (it bears the subversive subtitle '69' ) while 'How come, Honeycomb?' bounces low in the hips like a sultry old music hall number à la Harry Nilsson. The obliquely sapphic 'Leonine', it's unquiet harp scaling right out of ancient Lesbos, dreams of a kingless land; in 'Sure Am Devilish', a stargazer humbly confesses to a lowercase lord. 'Old Saw', the mesmeric album closer, is a medium's petition to cross the threshold and merge with the holy spirit.

                                                  Josephine's enigmatic voice captured once more by frequent co-producer Andrija Tokic in his analog Bomb Shelter studio, where layers of her guitar, piano, organ entwine with Schneider's 12-string, pedal steel and electric bass to rouse a spectral yet full blooded band. The ensuing cycle of songs pulse and glow within the ruins and deep fundamental roots of American song.

                                                  FORMAT INFORMATION

                                                  LP Info: Black Vinyl, Reverse board sleeve, DL card.

                                                  Ben Frost

                                                  Dark Cycle 3

                                                    Invada Records and Lakeshore Records release Dark: Cycle 3 (Original Music from the Netflix Series) by Australian composer Ben Frost on LP & CD. Frost’s strikingly menacing soundscapes have provided a foreboding backdrop to the surreal German thriller for three seasons. In this third and final cycle, Frost’s score evolves beyond the sharp string orchestrations of the first cycle and the percussive distortion of the second, towards a sea of disintegrated brass and woodwind arrangements and Eno-inspired ambience. The vinyl is pressed on sand coloured vinyl, and housed in a deluxe spined sleeve with fold out poster included. Also included is a digital download card which features the full score plus 9 bonus tracks only available with the vinyl purchase! The CD is presented as a digipack.

                                                    In the third and final season, DARK reaches its mind-bending conclusion, moving beyond the concept of space and time. Upon arrival in a new world, Jonas tries to make sense of what this rendition of Winden means for his own fate, while the ones left behind in the other world are left on a quest to break the loop that now not only bends time but also space. Two worlds. Light and dark. And in the center a tragic love story of epic proportions. Ben Frost is a Composer, Producer, Sound Artist and Director. Born in Melbourne Australia in 1980 and based since the early 2000’s in Reykjavík Iceland, Frost was mentored by Brian Eno in the Rolex Arts Initiative.

                                                    His work includes the studio albums Theory of Machines (2007), By The Throat (2009), A U R O R A (2014) and The Centre Cannot Hold (2017) and spans an array of other forms including installations, live performance, scores for dance, theatre, and various studio collaborations. He has composed several scores for film including the Palme d’Or nominated Sleeping Beauty, the TV series Fortitude and Dark. Most recently he composed the score for Raised By Wolves with director Ridley Scott.

                                                    FORMAT INFORMATION

                                                    Coloured LP Info: The vinyl is pressed on sand coloured vinyl, and housed in a deluxe spined sleeve with fold out poster included.

                                                    Coloured LP includes MP3 Download Code.

                                                    Sascha Funke / Niklas Wandt

                                                    Kreidekreis - Inc. Alexander Arpeggio / Whodamanny Remixes

                                                    Follow-up EP for Multi Culti from this Berlin duo merging sleek Krautrock influences, decades long production experience, jazz-percussion chops and funky German vocals.

                                                    ‘Kometenschweif’ will sound the most familiar to fans of Sascha Funke’s club-ready tracks, with percussive and vocal flourishes from Niklas Wandt. ‘Kreidekreis’ takes the tempo down while ramping up the trippiness, a circular journey into funk bass, synth prog, and again, a percussion masterclass.

                                                    Finally, ‘Weg Vom Leder’ sounds like a lost Falco tune, brought up to date. On the remix side, Alexander Arpeggio somehow manages to swing ‘Kreidekreis’ into a digital reggae slowburner, while Whodamanny turns Kometenschweif toward indie-kraut-wave bop.

                                                    STAFF COMMENTS

                                                    says: My favourite percussive piss-taker gets back in the ring with Sascha Funke for a very German edition of the oddball house / shamanic electronics experience. Post kraut hypnotism, commune funk and NDW chuggers on the OGs, while Alex Arpeggio and Whodamanny embrace the cosmic and leather clad on their remixes.

                                                    Hachiku

                                                    I'll Probably Be Asleep

                                                      “When a close friend took an in-advance listen to Hachiku’s debut album, I’ll Probably Be Asleep, she had one question for bandleader Anika Ostendorf: “’why are you so angry?’”

                                                      It’s not the first reaction that most people would have to the Melbourne-based outfit, whose dream-pop jams all dewy guitars, rickety drum-machines, and layered ambience, topped off with Ostendorf’s oft-breathy voice would seem to contain no sharp edges. But, following Hachiku’s self-titled 2017 debut EP, Ostendorf found herself dealing with darker themes; which reflected the 25-year-old growing up, changing, and feeling mounting frustrations.”

                                                      Marika Hackman

                                                      Covers

                                                        Marika Hackman returns with ‘Covers’, a darkly beautiful, self-produced new album which showcases a more vulnerable side. During the extended lockdown period of the last few months, Marika felt that creating a covers record was a way of exploring new sound ideas and expressing herself without having the pressure of the blank page. She recorded and produced Covers between home and her parents’ house, then got David Wrench to mix it.

                                                        Matthew Halsall

                                                        Salute To The Sun

                                                          Composer, trumpeter, producer, DJ and founder of Gondwana Records, Matthew Halsall has always worn many hats. But at the heart of everything that he does Halsall is first and foremost an artist and a musician. A trumpeter whose unflashy, soulful playing radiates a thoughtful beauty and a composer and band-leader who has created his own rich sound world. A sound that draws on the heritage of British jazz, the spiritual jazz of Alice Coltrane and Pharoah Sanders, as well as world music and electronica influences, and even modern art and architecture, to create something uniquely his own. A music that is rooted in Northern England but draws on global inspirations.

                                                          Salute to the Sun is his first album as a leader since Into Forever (2015) and marks the debut of his new band. A hand-picked ensemble featuring some of Manchester’s finest young musicians: Matt Cliffe flute & saxophone, Maddie Herbert harp, Liviu Gheorghe piano, Alan Taylor drums and Jack McCarthy percussion as well as long-time Halsall collaborator, bassist, Gavin Barras who has been at the heart of Halsall’s bands for over a decade. For Matthew it was important to have a band based locally and able, pre-Covid, to meet and play each week, and who also performed a sold-out monthly basement session at Yes in Manchester. The album draws energy from these sessions and inspiration from themes and ideas that have inspired Halsall through the years (on albums such as Oneness, Fletcher Moss Park and When the World Was One) ideas of ecology, the environment and harmony with nature.

                                                          “I feel Salute to the Sun is a positive earthy album. I wanted to create something playful but also quite primitive, earthy and organic that connected to the sounds in nature. I was listening to lush ambient field recordings of tropical environments such as jungles and rainforests and found myself drawn to percussive atmospheric sounds which replicated what I was hearing (bells / shakers / chimes / rain sticks) and I started to experiment with more wooden percussive instruments such as kalimba and marimba”.

                                                          STAFF COMMENTS

                                                          says: Halsall's newest mindblowing feat of chilled nu-jazz groove takes the lysergic, heady lounge aesthetic we know and love and injects it with a shot of tropical flavour. Both warmingly familiar and boundary-breakingly progressive.

                                                          FORMAT INFORMATION

                                                          2xColoured LP Info: Limited edition double clear vinyl. *Faulty pressing, getting re-manufactured*

                                                          2xColoured LP includes MP3 Download Code.

                                                          2xLP Info: Double black vinyl.

                                                          2xLP includes MP3 Download Code.

                                                          Helen Love

                                                          Power On

                                                            The Leader of the Love returns with a barnstorming punk LP, cut with all the regular bubblegum, discoteque and glitter pop hits you’d expect - but this time with added POWER ON! Arguably their best record yet, expect to see the Ramones-championed Swansea punk outfit top of the pop charts all summer long!

                                                            FORMAT INFORMATION

                                                            Coloured LP Info: Cherry Cola Red vinyl.

                                                            For RE:WARM 004 the label heads to South Africa to welcome the amazing band, The Hurricanes. The Hurricanes are comprised of Donald Mbowane, Albinus Sobekwa, Elias Sekete and Philip Marokoane. However over the years there were a number of variations in the band. They released a number of singles and EP’s throughout the 1970’s on RPM and Buffalo but they finally released their greatest hits in 1978 on Buffalo. It’s from the greatest hits which was produced by Thomas J. Masingi that RE:WARM have selected three wonderful tracks that show off the band’s phenomenal talent. The hugely sought after track “Sea Waves” will take over the A side with “Brother” and “She’s Got To Know It Well” on the flip.


                                                            Ipa-Boogie

                                                            Ipa-Boogie

                                                              Acid Jazz Records celebrate an exclusive licensing agreement with Albarika Store, the legendary record label that defined the sound of Benin and influenced the entire region of West Africa and beyond with this first exhaustive trawl of the archive and will see the label presented in a way that ensures its historical importance is recognized.

                                                              ‘Ipa Boogie’ is a super rare LP from 1978 that almost never surfaces in good shape. Today even average condition copies can command £500 to £1,000 on the collector's market and for good reason. These are the only known recordings by this obscure band and they present the listener with some of the finest afro-boogie and afro funk that the extensive Albarika Store catalogue has to offer.

                                                              Transferred from the original tapes and remastered by Grammy award-winning engineer Frank Merritt at The Carvery, the album is presented with beautiful artwork and packaging to match the sonics. This is the music as it should be heard.

                                                              The Janitors

                                                              Noisolation Sessions Vol. 1

                                                                Cardinal Fuzz and Little Cloud Records are proud to bring to you for your listening pleasure the 5th album by your favorite Swedish purveyors of heavy drones, fuzzed nightmares and stökpsych – The Janitors – ‘Noisolation Sessions Vol.1’.

                                                                ‘Noisolation Sessions Vol.1’ is a testament of three months in disturbing times. In March 2020 The Janitors had their new Album written and studio time booked -ready to unleash their latest shamanic fuzz meltdowns, then corona hit and everything changed. They figured they would go down into their own studio to work on those tunes some more until things passed over. While working there they recorded what they felt was a most apt tune for that moment back in Spring 2020 – A cover of Joy Divisions – ‘Isolation’ – It was epic and the reaction they got confirmed it. It re-energised The Janitors and in doing so the creative juices flowed and a though kicked in - that the next week they just start writing new songs, but with the same dogmatic rules, one night of recording, one week of mixing and then it's done - A challenge of just letting the creativity flow but then leaving the song as a testament to that moment.

                                                                These six songs are the product, All of it The Janitors came up with on the spot, all ideas were welcome as improvisations leads to new and far-out places, but also the occasional wrong note, lyrics reflecting the strange days we were witnessing and how they affected us, the people we love and the world. The Janitors say this is by far their least worked through art, but it turned out to be some of the best songs The Janitors have ever produced.
                                                                The next album will be recorded as soon as corona is gone, until then we'll see if there will be a volume 2 of the Noisolation series. Always and forever, fuck all right wing and capitalist oppressors. To create is to resist. To resist is to create.

                                                                Fuzz love from The Janitors

                                                                FORMAT INFORMATION

                                                                Coloured LP Info: Limited transparent blue vinyl.

                                                                Jetstream Pony

                                                                Jetstream Pony

                                                                  Jetstream Pony come from a love of schrammelig indie-pop and post-punk, and are based in Brighton and Croydon, UK. The band features Beth Arzy (The Luxembourg Signal, Trembling Blue Stars, Aberdeen, The Fireworks, Lightning in a Twilight Hour) on vocals, Shaun Charman (The Wedding Present, The Popguns, The Fireworks) on guitar and Kerry Boettcher (Turbocat) on bass, with Hannes Mueller (The BV's, Endlich Bluete) on drums for live shows. Following a first issue sell-out only months ago, released via Shelflife (USA) and Kleine Untergrund Schallplatten (Germany), Spinout Nuggets are pleased to provide a reissue of the debut long player, this time adding track 'It'll Take More Than A Friday' to the listing, with a limited run of 250 on splatter vinyl. 

                                                                  FORMAT INFORMATION

                                                                  Coloured LP Info: Limited edition of 250 on splatter-coloured vinyl.

                                                                  The title Pete Josef picked for his debut full-length just couldn’t be more appropriate: Like a found collection of analogue photographs, sepia-tinged and covering some beautiful, intense trip, the essence of “Colour” indeed lies in its manifold shades and hues, the colourfully rich and warm soundscapes the singer, songwriter and producer presents throughout the album. At home in various genres – from jazz to soul, from downbeat to outright pop –, Pete Josef just knows how to capture the warm glow of different spheres, how to present this special kind of light in various unique frames: “Colour” is comprised of 11 sonic snapshots, and one can tell right away how deeply personal they are, how much room he’s given these ideas to mature over time.

                                                                  It’s easily the soundtrack to this year’s Indian summer: “Colour” refracts and pools the warm afterglow of many years, and it burns brighter with each listen.


                                                                  FORMAT INFORMATION

                                                                  LP includes MP3 Download Code.

                                                                  Pete Josef

                                                                  I Rise With The Birds

                                                                    Five years have passed since Pete Josef’s debut album “Colour” caused a sensation worldwide amongst music lovers and critics alike. Since then, it’s hardly surprising that his steadily increasing fanbase have been awaiting its follow up impatiently. “I Rise With The Birds” will be released in October on Sonar Kollektiv and one can say without doubt that the wait was worth it. The album’s ten tracks offer gold until the last note of music, and an hour of food for thought about life’s ups and downs.

                                                                    The blue-eyed soul singer from Bristol has come to be a well-respected multi-instrumentalist and producer over the years merging jazz, soul, pop, and electronic music and collaborating with Manu Delago, Rag’n’Bone Man and Roni Size among others.

                                                                    Taking all of the production reins himself, he brings in long-time Bristol collaborators John Pratt and Ben Plocki (saxes), Nick Malcolm and Gary Alesbrook (trumpets), Rory Francis and Justin Fellows (drums, percussion), Roshan ‘Tosh’ Wijetunge (double bass), Luke ‘Typesun’ Harney (drums) and of course the voice of honey that so compliments Josef’s vocal on ‘Colour’ and beyond, Marie Lister.

                                                                    Most featured perhaps are Barney Sage (drum kit); the rhythmic backbone behind six of the ten tracks, and the virtuosic Austrian string players that provide so many highlights throughout; Bernie Mallinger (Violin, Viola) and Clemens Sainitzer (Cello). Notable contributions also come from new-found musical inspirations, Blythe Peppino (vocals), Bill Banwell (bass) and Miguel Andrews (drums). The result is a work of utterly beautiful, layered compositions with lush orchestral arrangements, subtle electronic textures and heartfelt performances.

                                                                    There is a broad and grand sense of scale to these songs, but they never lose the intimacy or devotion we’ve come to expect from Pete Josef.

                                                                    On the album’s creation, Pete explains: „This is an album about reconciliation, connection, and space and balance in life. I‘ve had a long and deep attachment to music, you might even say music has defined me. So a few years ago when I started to lose my way with it, I found it disorientting. I felt like I lost some of my soul. I stopped even listening to music, and so I put my energy into other things - I built stuff, I started a family and made a home, and I learned a lot about other things. And it was nice, healthy even, so intense is the art of music making. Happily, I rekindled my love, in a big part through making this album...and it has been a complete joy. I have travelled to record some very special musicians in the natural beauty of Carinthia, southern Austria, and I returned home to make music with some of my closest friends. I have loved once again being the artist, and playing engineer, performer, producer and arranger. This album has been my gift to myself at the dawn of a new chapter. I hope you will receive it as a gift too. So here‘s to reinvention, and finding love again.“ Throughout “I Rise With The Birds” placid and the jaunty moments balance each other perfectly.

                                                                    Launching with “Night Eyes”, the opener provides a wake-up call following a long night. With his most accomplished piece of work to date, Pete’s pedigree as a singer-songwriter comes into full bloom, with songs like “Friend On The Line”, “Lavender” or the bittersweet “Snatching Time”. On tracks such as the beautifully melodic “This Sun” Pete‘s soft vocals flowing effortlessly over a soulful river of sound, a perfect track for hazy summer evenings. Constantly shifting the dynamics, dancefloor ready tracks like “Mainframe” (co-written by Alex Barck from Jazzanova and Sebastian Damerius) or “Giants” show the versatility on display with this incredible album.


                                                                    Rilo Kiley

                                                                    Rilo Kiley - Coloured Vinyl Reissue

                                                                      For the first time on vinyl, Rilo Kiley’s rare original self released record from
                                                                      1999. Originally only a home made cd only sold at shows, this release features
                                                                      the same artwork in a gatefold package with Cream colour vinyl.

                                                                      FORMAT INFORMATION

                                                                      Coloured LP Info: Cream Colour Vinyl

                                                                      King Gizzard & The Lizard Wizard

                                                                      Live In San Francisco '16

                                                                        Just under a month after delivering their award-winning 2016 album Nonagon Infinity, King Gizzard & The Lizard Wizard took the stage at San Francisco’s The Independent for a set both wildly frenetic and meticulously executed. In one of their final club gigs before bursting onto the international scene—soon selling out amphitheaters and headlining festivals—the Melbourne septet laid down a breakneck performance that, in the words of SF Weekly, “made every organ ache just right.” Multi-tracked and impeccably mixed, Live in San Francisco ’16  simultaneously channels the massive energy of King Gizzard & The Lizard Wizard’s set while echoing the sweaty intimacy of the 500-capacity venue.  

                                                                        Newly unearthed by ATO Records, Live in San Francisco ’16 captures an extraordinary moment in the band’s increasingly storied history, a 13-song spectacular likely to leave every listener awestruck and adrenalized.

                                                                        STAFF COMMENTS

                                                                        says: King Gizzard are without a doubt one of the busiest bands on the planet, and by all accounts, one of the greatest forces on the live circuit too. This is a true to life and superb sounding document of a band at the height of their powers. LONG LIVE KING GIZ.

                                                                        FORMAT INFORMATION

                                                                        2xColoured LP Info: The deluxe double LP on “Golden Gate Sunburst” & “Bay Fog” colored vinyl with rainbow foil wide-spine jacket, printed on recycled board. Custom inner-sleeves, printed on recycled board. The product will be packaged in recycled brown paper bag in lieu of plastic shrink wrap

                                                                        King Hannah

                                                                        Tell Me Your Mind And I'll Tell You Mine

                                                                          Sometimes a band arrives out of nowhere, with a fully formed sound ready to fill a stadium. King Hannah are one of those bands. The Liverpool band led by the creative force of Hannah Merrick and Craig Whittle have arrived with ‘Tell Me Your Mind and I'll Tell You Mine’, an EP that is both soothing in its moods and intoxicating in its rushing soundscapes, containing a sound that is both brand new and completely mature. Their neon guitar lines and intimate torchlight vocals put the everyday on a pedestal, lifted by melodic licks that swell into dense and swirling atmospheric textures.

                                                                          ‘Tell Me Your Mind and I'll Tell You Mine’ sounds like late nights and early mornings, from the beauty and closeness of acoustic guitar in opener "And Then Out of Nowhere, It Rained", to the final immersive thicket of distorted guitars in “Reprise (Moving Day)”. In between, "Meal Deal" is smoky backroom Americana transposed onto the precarity of finding somewhere to live; "Bill Tench" feels like melancholic euphoria of travelling in fast cars at night – drums flash past like lines on the asphalt with angular guitars. "Crème Brûlée" is a moody fugged-out ballad for the everyday, and "The Sea Has Stretch Marks" conjures a whirling post-rock exploration of cinematic memories. King Hannah lean in to immersive moments in their music.



                                                                          FORMAT INFORMATION

                                                                          Coloured LP Info: Indies exclusive crème-white coloured-vinyl.

                                                                          Coloured LP includes MP3 Download Code.

                                                                          Rahsaan Roland Kirk

                                                                          Blacknuss

                                                                            From its opening bars, with Bill Salter's bass and Rahsaan's flute passionately playing Bill Withers' "Ain't No Sunshine", you know this isn't an ordinary Kirk album (were any of them?). As the string section, electric piano, percussion, and Cornel Dupree's guitar slip in the back door, one can feel the deep soul groove Kirk is bringing to the jazz fore here. As the tune fades just two and a half minutes later, the scream of Kirk's tenor comes wailing through the intro of Marvin Gaye's "What's Goin' On", with a funk backdrop and no wink in the corner -- he's serious. With Richard Tee's drums kicking it, the strings developing into a wall of tension in the backing mix, and Charles McGhee's trumpet hurling the long line back at Kirk, all bets are off -- especially when they medley the mother into "Mercy Mercy Me". By the time they reach the end of the Isleys' "I Love You, Yes I Do", with the whistles, gongs, shouting, soul crooning, deep groove hustling, and greasy funk dripping from every sweet-assed note, the record could be over because the world has already turned over and surrendered -- and the album is only ten minutes old!

                                                                            "Blacknuss", like "The Inflated Tear", "Volunteered Slavery", "Rip, Rig And Panic", and "I Talk To The Spirits", is Kirk at his most visionary. He took the pop out of pop and made it Great Black Music. He took the jazz world down a peg to make it feel its roots in the people's music, and consequently made great jazz from pop tunes in the same way his forbears did with Broadway show tunes. While the entire album shines like a big black sun, the other standouts include a deeply moving read of "My Girl" and a version of "The Old Rugged Cross" that takes it back forever from those white fundamentalists who took all the blood and sweat from its grain and replaced them with cheap tin and collection plates. On Kirk's version, grace doesn't come cheap, though you can certainly be a poor person to receive it. Ladies and gents, "Blacknuss" is as deep as a soul record can be and as hot as a jazz record has any right to call itself. A work of sheer blacknuss!

                                                                            “Fourteen Years” is the first of three 10”s comprising Charlotte Courbe’s third album. It marks her return to Honest Jon’s after two decades. Recently, Charlotte joined Noel Gallagher’s High Flying Birds, singing and playing scissors. Her recording “Born To Lie” featured prominently in the TV series Killing Eve. Spotify has just voted her track “Rusty” amongst the best of the last decade. After a cancer diagnosis last year, Charlotte felt the urge to produce and release new music. ‘It became like a vital thing.’ “MRI Song” and “Planet Ping Pong” were recorded during chemotherapy. “Mind Contorted” is a duet with Terry Hall, also featuring Terry’s son Theodore, and Noel Gallagher on guitars, in a cover of Daniel Johnston. The song “Fourteen Years” is the oldest inclusion. Meant for LVC’s second album “I Wish Dee Dee Ramone Was Here With Me” it announces a fresh, freer direction. The sleeve exclusively presents new work by the celebrated English artist John Stezaker, in the first of a triptych. This EP is laced with surprise and subversiveness. Its refreshing candour sets it apart. It’s a unique, compelling listen.

                                                                            The Left Outsides

                                                                            Are You Sure I Was There

                                                                              At last, a new studio LP from superb London duo, The Left Outsides, to follow up on 2018's amazing All That Remains.

                                                                              The basic building blocks remain the same -- half of the sound is Alison Cotton and her viola and keys, the other half is Mark Nicholas with a stunning array of guitars -- but the structures they create this time are darker and more forbidding than their antecedents. This album feels very much a piece of the season in which it is being released, as the leaves strip themselves from trees and the sky grows colder, greyer by the hour. More than once while Are You Sure I Was There spun I was put in mind of the classic Rainy Day LP, masterminded by Kendra Smith back in 1984. The Left Outsides possess the same sure grasp of that place where sorrow, ecstasy and psychedelics meet in a shower of dying stars.

                                                                              The tunes here are wonderful. Most are new, although a few have been heard before in different forms (if you knew where to listen.) “The Wind No Longer Stirs the Trees” (with its glorious blend of backwards and forward motion) was on a 7” lathe, backed with “As Night Falls” (a beautiful ode to the promise of winter.) The track “Seance” was first recorded as part of an celebration of Help the Witch, the debut novel by former music critic Tom Cox (whose words were used for most of the lyrics.) And “My Reflection Once Was Me” (which recalls The Trees' epic tunes by combining massive blocks of raging guitar with Alison's steady vocals) was featured on the live A Place to Hide LP.

                                                                              The other compositions are all-new and utterly great. The tunes that Mark sings tend to evoke a certain '60s whisp. Whether it's the Floydian lilt of “Only Time Will Tell,” the freakbeat pop of “November on My Mind,” or “Pictures of You,” which stacks a dreamy '60s overlay upon contempo pop structuring. Alison's vocals often display a more folky essence. “The Stone Barn” has a vibe very similar to some of Sandy Denny's later solo work, grounded by stately piano chords. “Things Can Never Be the Same” centers on a gorgeous mid-paced vocal performance, encased in spinning webs of very elegant guitar. And the conjoined vocals on “A Face in the Crowd,” sit atop a huge fuzz riff, sounding like the perfect anthem for the new Slow Music Movement. They wont back down!

                                                                              And you shouldn't either. I'm not exactly sure where anyone gets their records these days but wherever that is, you should march there tout de suite (even if only figuratively) and demand a copy of Are You Sure I Was There today. And yes, I am sure. Today! (Byron Coley)

                                                                              Lifeblud

                                                                              Esse Quam Videri

                                                                                Ultra rare £3000+ serene folk inflected progressive rock, cherry red used one song from a poor condition acetate on a recent compilation, 3 acetate copies were made in 1970, we used the only surviving near mint lp thats owned by an ex member as source with great audio. the songs Oakenshade and Waxing of the Moon are poetic genius, using a guitar with a damaged bridge to create a sitar like drone, the vocals have an air of resigned melancholia, and the lyrics connect with a mystical understanding of and reverence for nature. issued with the full co operation of all the band, lifeblud later explored a heavier sound that sometimes hits the level of High Tide, and we have 2 more lifeblud lps scheduled for release. housed in a gatefold sleeve with band history, reproducing the original typed lyric sheets, and repro of the acetate labels.

                                                                                Little Barrie & Malcolm Catto

                                                                                Quatermass Seven

                                                                                Little Barrie And Malcolm Catto Team Up For Seven Tracks Of Breaks And Sci-Fi Fuzz For Maverick Producer Madlib's Label. Quatermass Seven, the meeting of minds between guitarist Barrie Cadogan, bassist Lewis Wharton and drummer Malcolm Catto represents a re-birth of sorts for Little Barrie, with these their first recordings since 2017’s Death Express and the untimely passing of their gifted drummer and friend Virgil Howe.

                                                                                As Lewis explains, the sessions played a part in the healing process, a way to re-connect through music without any intentions to necessarily come away with a finished record. “It was good to get in the studio again after such a long break especially as we didn’t go in with any agenda or expectations,” he explains. There was no preconceptions that we would make a new Little Barrie record, it was just an opportunity to work on some things Barrie had written for fun with zero pressure.” With most tracks recorded live with minimal overdubs, and produced by Malcolm at his Quatermass studios, The Heliocentrics’ main man brings new flavour to the band’s rhythm section by blending his power behind the drum kit and his expansive skills behind the mixing desk to take Little Barrie’s music forward into new territories.

                                                                                Recorded on Catto’s treasure trove of analogue gear, and mastered onto ¼” tape, the overall effect is guitar, bass and drums finding a sweet spot where genres collide, delivering a record that takes the influences of the past and pushes them towards somewhere more contemporary. “I definitely hear in Barrie’s songs a lot of common musical ground’” explains Malcolm. “It felt like a great thing to do, work with Malcolm while we’re figuring out what we wanna do,” Barrie concludes, “let’s just go in and do some playing and see what happens, and we came out with more than we ever intended.” Quatermass Seven delivers a dark, deep and expansive set of grooves, layered with frazzled and flawless guitar and flowing melodies, as well as pointing toward a future of exciting new musical opportunities. “Still here, so fine, just a little darker state of mind” sings Cadogan on ‘Steel Drum’, words which sum up hope in times of uncertainty, whilst unintentionally offering a perfect description of Quartermass Seven. 

                                                                                Loscil

                                                                                Coast/Range/Arc//

                                                                                  Named after the geographic formations of the seismically volatile Cascadian coastal mountains, the coast/range/arc// reissue features new artwork and an additional track.
                                                                                  Remastered by James Plotkin and available on vinyl for the first time. 


                                                                                  Bob Marley & The Wailers

                                                                                  Babylon By Bus - Half-Speed Master Edition

                                                                                    Arguably the most influential live reggae album ever, 'Babylon By Bus' captures Bob Marley & The Wailers during the European leg of their Kaya tour in the spring of 1978. The success of this set was not entirely unexpected, however. If the universal and widespread acclaim of 'LIVE!' was an indicator, all involved knew that a Bob Marley & The Wailers performance contained unique energies and a vibe all of its own. Sharply contrasting the somewhat pastoral grooves of the 'Kaya' album, 'Babylon By Bus' possesses a more aggressive sound - which was a trademark of this particular band. 

                                                                                    Bob Marley & The Wailers

                                                                                    Burnin' - Half-Speed Master Edition

                                                                                      Released just six months after "Catch A Fire", "Burnin'" is the equal of its predecessor in its musical focus and passion, yet it contains, arguably, an even better batch of songs. Leaner, tighter, and simultaneously more hard-hitting and more hook-oriented than the songs on "Catch A Fire", the set list here dazzles. Two tracks in particular, the inspirational civil rights anthem "Get Up, Stand Up" and the story-song "I Shot the Sheriff", are among the best songs Bob Marley ever wrote. The uncompromising tone of the former reveals the band's militant streak and their allegiance to human freedoms, while the latter, on a languid, mid-tempo groove, is an allegory that shows Marley's growing versatility as a first-rate songwriter. "Burnin'" features a number of tunes from the early Wailers' catalogue re-recorded for these sessions, including "Put It On", "Small Axe", and "Duppy Conqueror". This material holds up remarkably well, and fits into the context of the album without a hitch.

                                                                                      Bob Marley & The Wailers

                                                                                      Catch A Fire - Half-Speed Master Edition

                                                                                        'Catch A Fire' was the major label debut for Bob Marley and the Wailers, and it was an international success upon its release in 1973. Although Bob Marley may have been the main voice, every member of the Wailers made valuable contributions and they were never more united in their vision and sound. All the songs were originals, and the instrumentation was minimalistic in order to bring out the passionate, often politically charged lyrics. Much of the appeal of the album lies in its sincerity and sense of purpose - these are streetwise yet disarmingly idealistic young men who look around themselves and believe they might help change the world through music. Marley sings about the current state of urban poverty ("Concrete Jungle") and connects the present to past injustices ("Slave Driver"), but he is a not a one-trick pony. He is a versatile songwriter who also excels at singing love songs such as his classic "Stir It Up." Peter Tosh sings the lead vocal on two of his own compositions - his powerful presence and immense talent hint that he would eventually leave for his own successful solo career. More than anything else, however, this marks the emergence of Bob Marley and the international debut of reggae music. Marley would continue to achieve great critical and commercial success during the 1970s, but 'Catch a Fire' is one of the finest reggae albums ever. This album is essential for any music collection.

                                                                                        Bob Marley & The Wailers

                                                                                        Confrontation - Half-Speed Master Edition

                                                                                          A posthumous collection produced by Rita Marley, based on work left behind by Bob upon his death. Some of his best post-Wailers work is here, with songs like "Buffalo Soldier," "Chant Down Babylon," and "Blackman Redemption." Given that he wasn't alive to do the production that he usually helped in, this album seems remarkably true to the general vision of Bob Marley's albums.

                                                                                          Bob Marley & The Wailers

                                                                                          Exodus - Half-Speed Master Edition

                                                                                            The masterpiece that was Bob Marley’s ‘Exodus’ was originally released on Friday 3rd June 1977. He recorded the ‘Exodus’ album in exile in the UK, having escaped an assassination attempt in Jamaica.

                                                                                            ‘Exodus’ transformed Marley’s career. A recording of extraordinary creative maturity, the album resonated with audiences around the world. In the UK alone in stayed on the chart for 56 consecutive weeks and included three massive hit singles. Bob Marley was established as the Third World’s first superstar, a legacy that survives thirty years after the album’s release.

                                                                                            Bob Marley & The Wailers

                                                                                            Kaya - Half-Speed Master Edition

                                                                                              "Kaya" continues what has become an unspoken tradition in the evolution of Bob Marley & the Wailers discography - blending western sounds and motifs with the icons and traditions from the very core of Jamaican society. In fact, the very word "kaya" is synonymous with marijuana in Rastafarian culture. Likewise, the album "Kaya" could be easily construed as an open love letter or musical paean to the lifestyle that Marley so eagerly embraced and promoted. Themes of commonality and unity pervade this release more so than previous albums. Likewise, the overt political stances that had become somewhat of a moniker for Marley and the Wailers are temporarily replaced by timeless compositions, such as the eternally optimistic "Easy Skanking" and "Is This Love." Marley had not - as some proclaimed - gone soft, however. The light, at times practically giddy, rhythms on "Satisfy My Soul" contrast the darker brooding sonic and lyrical images on "Running Away." The most pressings issues Marley deals with concern ever-increasing spiritual consciousness. Throughout "Kaya", humble thanks is offered to, as well as guidance sought from, Jah - evidence that the spirituality that permeates the Wailers music is real and not lip service. "Kaya" could be considered the oasis before the political and personal eruptions that would inform and influence Marley and the Wailers next studio releases "Survival" and "Uprising".

                                                                                              Bob Marley & The Wailers

                                                                                              Legend - Half-Speed Master Edition

                                                                                                As greatest hits collections go, 'Legend' is an utter gem. Every song is inspired, in a class of its own, whether that's the original version of "I Shot the Sheriff", the hymn-like "No Woman, No Cry" and "Redemption Song", righteous roots of "Exodus" and "Get Up Stand Up", soulful "Three Little Birds" and "Waiting In Vain" or the sheer joy of "Jamming". Even allowing that Marley never wrote any bad material, 'Legend' really does feature the best of the best, the heart and soul of Jamaican music spread across four sides of JA red, gold and green coloured vinyl. 

                                                                                                Bob Marley & The Wailers

                                                                                                Live! - Half-Speed Master Edition

                                                                                                  Recorded live at The Lyceum, London, 18th July 1975, on the last leg of the tour to promote the 'Natty Dread' LP. 'Live!' captures the point where both roots reggae and Rastafarianism finally entered popular culture. Featuring backing vocals from the I Threes and a killer band (minus original members Bunny Wailer and Peter Tosh who had been ditched after 'Catch A Fire'), the set is packed with Marley classics, and features much audience participation.

                                                                                                  Bob Marley & The Wailers

                                                                                                  Natty Dread - Half-Speed Master Edition

                                                                                                    'Natty Dread' is a 1974 reggae album by Bob Marley & The Wailers. An important transition in Marley's discography, Natty Dread was the first album released as Bob Marley & the Wailers (as opposed to The Wailers) and the first recorded without former bandmates Peter Tosh and Bunny Wailer. It is also the first album recorded with the I-Threes, a female vocal trio that included Bob's wife, Rita Marley, along with Marcia Griffiths and Judy Mowatt. 'Natty Dread' is a spiritually charged political and social statement featuring classics such as 'Lively Up Yourself', 'No Woman, No Cry', 'Them Belly Full (But We Hungry)' and many more.

                                                                                                    Bob Marley & The Wailers

                                                                                                    Rastaman Vibration - Half-Speed Master Edition

                                                                                                      Following their 1975 live tour (captured at the Lyceum on the 'Live!' LP), Bob Marley & The Wailers returned to Jamaica to record their next set of songs. The tracks were laid down at studios run by Harry Johnson and Joe Gibbs. At the mixing board for the sessions were Sylvan Morris and Errol Thompson, Jamaican engineers of the highest calibre. The album features Marley essentials like 'Positive Vibration', 'Crazy Baldhead' and 'Who The Cap Fit'.

                                                                                                      Bob Marley & The Wailers

                                                                                                      Survival - Half-Speed Master Edition

                                                                                                        Released in 1979, 'Survival' is considered Marley's most defiant and politically charged statement to date. Some speculate that this was due in part to criticism Marley received for the laid-back, ganja-soaked atmosphere of his previous release, 'Kaya', which seemed to sidetrack the urgency of his message. Clearly influenced by the likes of Fela Kuti & Africa 70, the album incorporates plenty of brass. The message of this album is clearly a call to arms for those wanting to abolish the subjugation and tyranny of not only Africans, but all humankind.

                                                                                                        Bob Marley & The Wailers

                                                                                                        Uprising - Half-Speed Master Edition

                                                                                                          Recorded in 1980, 'Uprising' was Bob Marley & The Wailers final studio album, released a year before Marley's untimely death from cancer the following year. A deeply spiritual offering nearly every song addressing his Rastafarian beliefs, culminating in the acoustic classic, 'Redemption Song'. Never has an artist unknowingly written such a beautiful and apropos living epitaph. The album also includes the uplifting 'Could You Be Loved'

                                                                                                          Rob Mazurek - Exploding Star Orchestra

                                                                                                          Dimensional Stardust

                                                                                                          Commissioned by the Chicago Cultural Center in 2005 to assemble a group representing the diversity of the city’s avant-garde, Mazurek began composing for what became his Exploding Star Orchestra (ESO). Including musicians from the often-segregated North, South, and West sides, ESO debuted in the urban epicenter of Chicago’s Millennium Park and, shortly after, recorded We Are All From Somewhere Else (Thrill Jockey, 2007). By the time of Galactic Parables Vol. 1, ESO’s 2015 triple LP on Cuneiform Records, Mazurek reflected to Pop Matters that “Exploding Star Orchestra is the conceptual, compositional and philosophical center of all my work... a life star of musical and visual and ideas."

                                                                                                          In 2018 JazzFest Berlin invited Mazurek to present a new iteration of ESO. Meeting the commission with the boundless ambition characteristic of his approach, he imagined a jubilee of musicians – true to ESO’s essence in their widely diverse backgrounds and voices, but more tightly arranged than ever before. Mazurek’s debut was an ecstatic and wholly original program that marked a pinnacle in his distinction as a composer and conductor of Contemporary Music. When he returned to Chicago, International Anthem took the opportunity to capture these new ESO compositions with a cast of collaborators from their collective constellation of artists. In the studio between August 2019-March 2020, Mazurek channeled his arrangements through 11 musicians – Nicole Mitchell, Jeff Parker, Jaimie Branch, Joel Ross, Mikel Patrick Avery, Tomeka Reid, Chad Taylor, Ingebrigt Håker Flaten, Macie Stewart, Angelica Sanchez, and John Herndon – and commissioned his long-time collaborator Damon Locks to do lyrics and vocals. After 3 months of rigorous post-production, editing and assembly, Mazurek completed Dimensional Stardust.

                                                                                                          Somehow swirling adventurous elements of avant-garde jazz and contemporary classical into the most universal attractors of pop music, the cosmic opera of Dimensional Stardust is a pure spiritual extension of Exploding Star Orchestra’s unifying ethos, and a peak in the prolific creative career of Rob Mazurek.

                                                                                                          FORMAT INFORMATION

                                                                                                          Coloured LP Info: Indies exclusive 'Cosmic moment' blue and white splatter vinyl.

                                                                                                          Anna McClellan

                                                                                                          I Saw First Light

                                                                                                            The third album from Omaha, NE-based songwriter, Anna McClellan entitled I saw first light obliquely relates a tumultuous year in the life of its composer. Moving, geographically, from the heart of New York City to a bucolic retreat upstate, and finally back to her midwestern hometown of Omaha, NE, Anna also traversed emotional states - from the restless frenzy of urban life, to the enforced, depressive rumination of the country. Her vision - one artist's reckoning with her forebears and coevals, along with her ongoing obligation to use art as a tool for connection and understanding - coalesced, upon her return to Nebraska, with the help of local friends, into the album.

                                                                                                            Anna McClellan began performing original songs in her hometown of Omaha, NE at the age of seventeen and has been actively recording and touring ever since. Her debut, Fire Flames, earned her an opening slot on a Frankie Cosmos tour. Through the doors that tour opened, McClellan eventually met Father/Daughter Records which led to the release of her second full-length record, Yes and No, in 2018. After a stint in NYC, several subsequent tours and meandering, Anna returned to Omaha and recorded I saw first light, her latest effort for Father/Daughter. The album was recorded over two weeks with a multitude of local cohorts, and it documents Anna’s journey from the Midwest to the east coast and back again, probing both the roots of her creative impetus and her ongoing commitment to social issues. The process of composing and recording I saw first light has both reformed and renewed her dedication to exploration, be it inward or external, and to her own boundless creative energy

                                                                                                            FORMAT INFORMATION

                                                                                                            Coloured LP Info: Limited pink vinyl LP.

                                                                                                            Merzbow

                                                                                                            Pulse Demon - Reissue

                                                                                                              "Pulse Demon" is one of the most celebrated releases of Masami Akita's storied 4-decade long career. Composed entirely by live noise concrete and the use of a fuzz box, "Pulse Demon" eschews all overdubs and studio trickery, laying Merzbow bare. What follows in these recordings is the pure essence of unfettered noise. The rawness in "Pulse Demon" is palpable; praised as "genuinely extreme, downright torturous sounds that are strangely compelling in their shredding intensity" (A.V. Club) upon its original release in 1996. Remastered by James Plotkin (Isis, Electric Wizard, Full Of Hell, and more), the "Pulse Demon" reissues features "Extract 1", a never-before released track that was recorded as part of the original "Pulse Demon" sessions.

                                                                                                              Limited edition ruby red colour vinyl reissue of the smashing album from Germany's finest funk ensemble to celebrate its 5th anniversary. 11 cinematic deep funk instrumentals, celebrated b-boy breaks and vocal dancefloor killers with special guests Afrika Bambaataa, Charlie Funk, Deejay Snoop, DJ Hektek, Donald D., DeRobert, Nichola Richards, Peter Thomas, Guillaume Metenier & Shawn Lee.

                                                                                                              "The Mighty Mocambos' new album "Showdown" sets another cornerstone in their prolific career as a globally active instrumental funk outfit. While maintaining their organic approach of recording real musicians live on tape, the group has refined their trademark sound with a dramatic edge, a hard hitting production and ventures into less obvious musical territories. While highly enjoying themselves as the tight unit they are, The Mighty Mocambos invited an exciting list of guests to contribute to their musical "Showdown": German film composer icon Peter Thomas, hiphop godfather Afrika Bambaataa, rap legends Charlie Funk aka Afrika Islam (member of the original Rocksteady Crew) and Donald D (of Ice-T's Rhyme Syndicate), plus Nichola Richards, Shawn Lee, DeRobert from peer label GED Soul in Nashville, Zulu Nation MCs Deejay Snoop & DJ Hektek and organ genius Guillaume Metenier all joined the group for their new musical adventure."

                                                                                                              FORMAT INFORMATION

                                                                                                              Coloured LP Info: Limited edition ruby red colour vinyl reissue

                                                                                                              Mountain Caller

                                                                                                              Chronicle I: The Truthseeker

                                                                                                                New Heavy Sounds are extremely stoked to announce that our newest signings Mountain Caller are ready to engage hyper-drive and launch their debut album into the riff time continuum. Mountain Caller are El, Claire and Max and hail from London. They describe themselves as a heavy progressive instrumental three-piece, who are driven to tell stories with music and want listeners to conjure up cinematic scenes in their minds. And that they do … in spades. If one needs a sonic ballpark, think the infectious jamming of Elder and the dynamic cinema-scapes of Mogwai, underpinned by the mantric riffs of Sleep.

                                                                                                                A rich amalgam of Progressive Rock, Post Metal and Doom. Nevertheless, Mountain Caller do succeed in weaving their own unique spell. The band are already buzzing, pricking up the ears of those in the know, and now after two years honing their chops with a clutch of immersive live performances under their belts (including a slot at Desertfest) Mountain Caller are ready to bring you their debut album. Chronicle I: The Truthseeker. Recorded in January of 2020 at No Studio in Manchester by producer Joe Clayton of Pijn, and mastered by Magnus Lindberg of ‘Cult Of Luna’. For the band, it’s a labour of love; the fruit of three years of jamming, crafting, and conceptualising; a collaborative piece, where each instrument takes centre stage, within a heady mix of chasmic riffs and panoramic, reflective soundscapes.


                                                                                                                Chronicle I: The Truthseeker is a feminist allegory created in tandem with the music. As the band describe it … In The Truthseeker, we join The Protagonist at the edge of the Twilight Desert, compelled by an indefinable but urgent need to set forth on an Odyssean journey to rediscover her memory and her voice. Over the course of 42 minutes, we travel from barren wastelands to mysterious cities, encountering trials of both body and spirit. It is indeed a 6 track instrumental journey. Full of winding roads, brooding valleys and strange encounters, all vividly evoked by a canny grasp of dynamics, melody and heavy, but hooky riffs, executed with peerless playing. 'Journey Through The Twilight Desert' opens the album in soundtrack mode, and develops in weight and riff (as if Goblin have taken up the baton) and closes in a full wide screen Mogwai trip .... and that's just the opening track. Elsewhere Mountain Caller pushes to noisier, heavier groovier places. Whether it’s the chiming guitars on the Krautrock/post-rock groove of 'I remember Everything' or 'Trial by Combat' and its doom meets Deftones vibe. To album closer 'Dreamspirals' with its melodic hooks and huge earworm riffs, it’s an album that more than stands up to listening on repeat as there plenty to discover. 

                                                                                                                FORMAT INFORMATION

                                                                                                                Coloured LP Info: First vinyl pressing is Ltd to 500 copies on Red and Purple galaxy swirl vinyl, gatefold sleeve with DL.

                                                                                                                Jack Name

                                                                                                                Magic Touch

                                                                                                                  "His songs sound like memories, as familiar as they are foreign. I’m addicted to this record.” - Cate Le Bon. In a time rife with alienation, Magic Touch, the third album by the ubiquitous and mysterious Jack Name, offers the comfort of contact. With a body of work that ranges from the catchy to the cacophonous, Name has earned the reputation of a musician who’s difficult to define. For over a decade, he’s been a fixture in the Los Angeles underground. His songs have appeared on albums by U.S. Girls (Heavy Light, 2020) and White Fence (Family Perfume, 2012); he’s produced recordings for Cass McCombs and collaborated with Ariel Pink; and his experimental music has been performed at the Museum of Contemporary Art in Los Angeles.

                                                                                                                  Magic Touch reveals yet another side of Jack Name. While it’s every bit as intricate as his previous releases, 2014’s Light Show and 2015’s Weird Moons, here he’s done away with the dense production of his earlier work to make a record that feels stark, personal, and effortlessly natural. With Magic Touch, Name brings his lyrical and conceptual focus away from the dream worlds of his first two albums and back to Earth: a simpler place, or so it seems, where humans are falling in and out of love, struggling with loneliness, reaching for connections to each other, and, for better or worse, affecting each other. In a year like 2020, it’s a place that feels familiar and far away all at once. The almost subliminal story arc of Magic Touch reminds us that touch itself is magic.

                                                                                                                  The 1975

                                                                                                                  Facedown EP

                                                                                                                    12" Clear Vinyl in a paper jacket - includes 4 tracks. 

                                                                                                                    The 1975

                                                                                                                    IV

                                                                                                                      12" Clear Vinyl in a paper jacket - includes 4 tracks.

                                                                                                                      The 1975

                                                                                                                      Music For Cars EP

                                                                                                                        12" Clear Vinyl in a paper jacket - includes 5 tracks. 


                                                                                                                        The 1975

                                                                                                                        Sex EP

                                                                                                                          12" Clear Vinyl in a paper jacket - includes 5 tracks, but the track "Milk" isn't mentioned on the jacket. 


                                                                                                                          Oaagaada

                                                                                                                          Oag-ada / A Swimming Trip

                                                                                                                          We Jazz Records continues their 7" series with a new release by Oaagaada, a fresh quartet from the rural parts of Southern Finland. "Oag-ada / A Swimming Trip" appears on 30 October and presents the band's ability to create fiery and flowing jazz music with strong avantgarde leanings. Think Art Ensemble Of Chicago on their groovy mode and add a strong DIY mentality, four people in a room creating music in the now. The lows are low and the highs are high, with the trumpet firmly on the red, adding just the right amount of blurriness into the picture. Perhaps it's not "lo-fi jazz" per se, but rather music which is more concerned with other things than the cleanest of hi-fi imagery. This is "real jazz for real people".

                                                                                                                          The quartet includes Tuure Tammi (trumpet), Sami Pekkola (sax), Tero Kemppainen (bass) and Simo Laihonen (drums). Laihonen has recently appeared on We Jazz Records with Stanley J. Zappa and previously with Black Motor, and more Oaagaada can be heard on the recent "We Jazz Live Plates" album "Lonna 2019".

                                                                                                                          True to We Jazz style, the 7" single comes with old school heat-pressed labels and a plain brown paper sleeve.

                                                                                                                          Paisiel

                                                                                                                          Unconscious Death Wishes

                                                                                                                            Porto-based experimental duo Paisiel comprise Portuguese drummer João Pais Filipe and German saxophonist Julius Gabriel. Both full-time musicians across several genres and disciplines, with Rocket Recordings having just released a collaborative album between João and Salford hit squad Gnod titled ‘Faca De Fogo’, the vibe Paisiel achieve across their second album ‘Unconscious Death Wishes’ sounds specific, singular and ultimately unique.

                                                                                                                            The pair first met in 2014, began recording as Paisiel in 2017, released their first, self-titled album on cassette through local label Lovers & Lollypops in 2018 and had it pressed onto vinyl in 2019 courtesy of Rocket Recordings, who have maintained the partnership for this follow-up. A progression from what was already forward-facing music, ‘Unconscious Death Wishes’ is a single 39-minute piece recorded using improvisation based around composed structures, or what the drummer calls “instant composition”.

                                                                                                                            Beginning quietly and mournfully, an array of percussion, avantelectro synths (think Cabaret Voltaire or Muslimgauze) and expansive sax swiftly takes hold. At times, this could be a late 60s proto-Krautrock cafeteria jam, early 70s New York loft jazz happening or Brazilian street parade from whichever decade takes your fancy.Listeners might read all kinds of emotions or states of mind into this music: Paisiel themselves play to transcend such earthly concerns. ‘Unconscious Death Wishes’ is their way of evoking, in Julius’ words, “landscapes, shapes, colours, proportions and movements”.

                                                                                                                            FORMAT INFORMATION

                                                                                                                            Coloured LP Info: Red / Black vinyl.

                                                                                                                            Piccadilly Records

                                                                                                                            Antique Mustard Beanie

                                                                                                                              Antique mustard beanie with Piccadilly Records logo embroidered in silver grey.

                                                                                                                              Piccadilly Records

                                                                                                                              Roll Top Record Bag - Grey Marl

                                                                                                                                Super stylish roll top record bag. 

                                                                                                                                Holds 25/30 records.

                                                                                                                                Padded laptop compartment.

                                                                                                                                padded back and base.

                                                                                                                                Front zipped pocket.

                                                                                                                                Padded adjustable shoulder straps and sturdy grab handle.

                                                                                                                                Adjustable clasp closure.

                                                                                                                                Made from tough polyester fabric.

                                                                                                                                Dimensions 32 x 44 x 13cm.

                                                                                                                                FORMAT INFORMATION

                                                                                                                                Record bag Info: Grey marl with orange embroidered logo.

                                                                                                                                Pink Floyd

                                                                                                                                Delicate Sound Of Thunder - 2020 Reissue

                                                                                                                                  Delicate Sound Of Thunder encapsulates a band at their best. The 3-LP 180-gram vinyl set includes 9 songs not included on the 1988 release of the album.

                                                                                                                                  In 1987, Pink Floyd made a triumphant resurgence. The legendary British band, formed in 1967, had suffered the loss of two co-founders: keyboardist / vocalist Richard Wright, who left after sessions for The Wall in 1979, and bass player and lyricist Roger Waters, who had left to go solo in 1985, soon after the 1983 album The Final Cut. The gauntlet was thus laid down for guitarist/singer David Gilmour and drummer Nick Mason, who proceeded to create the multi-platinum A Momentary Lapse Of Reason album, a global chart smash, which also saw the return of Richard Wright to the fold.

                                                                                                                                  Originally released in September 1987, A Momentary Lapse Of Reason was quickly embraced by fans worldwide, who flocked to attend the live tour dates, which started within days of the album’s release. The tour played to more than 4.25 million fans over more than two years, and, as a celebration of the enduring talent and global appeal of David, Nick and Richard was unsurpassed at the time.


                                                                                                                                  The Pretty Things

                                                                                                                                  Parachute - 50th Anniversary Edition

                                                                                                                                    The Pretty Things, iconic 1st wave R&B cult heroes, created some of the most exciting and innovative records of the sixties and early seventies. Winners of the Hero award at the 2009 Mojo Honours, the band have been a massive success and a huge influence on artists as diverse as David Bowie, Aerosmith, The Ramones, Bob Dylan, The Sex Pistols, The White Stripes, Kasabian and many, many more. 2018 saw the release of a 50th-anniversary ‘S.F. Sorrow’ box set and the band’s final and extensive UK & European tour, which included a performance of ‘S.F. Sorrow’ in full at the Isle of Wight Festival and ended at a farewell show in London at Indigo at the O2 with an impressive supporting line-up of David Gilmour and Van Morrison. Following the now legendary and critically acclaimed ‘S.F. Sorrow’, the psychedelic ‘68 classic, the band returned to Abbey Road Studios and started work on ‘Parachute’.

                                                                                                                                    PVA are a new genre-melding 3-piece from London’s Brixton Windmill / Speedy Wunderground scene consisting of Josh Baxter, Ella Harris and Louis Satchell. They are the exciting new signing to the Big Dada roster with new EP ‘Toner’.

                                                                                                                                    With influences across the musical spectrum, their music traverses a fistful of genres, throughout rapturous live sets. Incorporating techno landscaped Balearic euphoria and industrial miasma within the same songs, the band’s unique energy combines with blocky synths, deadpan vocals and motorik drum loops to earmark the group as one of the capital’s foremost new bands.

                                                                                                                                    The EP is produced by Speedy Wunderground’s Dan Carey (Kate Tempest, Squid, Black Midi).

                                                                                                                                    The EP also features remixes from Mura Masa, an early fan of the trio, Lynks and Daniel Fox of Girl Band. Remixes by INK (of Squid) and DJ Dairy to follow in 2021.

                                                                                                                                    PVA initially formed in the aftermath of a house party in 2018 and have since earned a fearsome reputation as one of the capital’s premier live outfits, garnering hardcore support before even setting foot inside a studio.

                                                                                                                                    The band have headlined The Windmill in Brixton with regular shows at The Five Bells and the Bunker in Deptford, defining PVA as a big part of the local music community in their early career. Support slots have included Franc Moody, A Certain Ratio, HMLTD, The Orielles, Dry Cleaning, Black Midi and Squid. They have played an enormous string of festivals in the UK and Europe, including Great Escape, Wide Awake, Visions, Valkhof, End Of The Road, Bluedot, Midi, Visions, Noroeste, Sur Le Lac, Into The Great Wide Open, Fuzz Club, Manchester Psych Fest and Sonic City Festival.

                                                                                                                                    For fans of Black Midi, Squid, Working Men's Club, Black Country, New Road, LCD Soundsystem. 


                                                                                                                                    STAFF COMMENTS

                                                                                                                                    says: Swarve, urgent electro-indie-dance here from a group who certainly seem to know their onions. It's been a while since anyone gave The Juan Maclean and LCD a run for their money, but I believe these could well do it!

                                                                                                                                    FORMAT INFORMATION

                                                                                                                                    12" Info: 140g black vinyl in printed card inner sleeve inside a 3mm spine printed sleeve. Digital download code included.

                                                                                                                                    Quantic & Denitia

                                                                                                                                    Nowhere

                                                                                                                                    World-renowned British producer, musician and DJ Will Holland aka Quantic launches his own record label Selva Records with the release of new 7" single ‘Nowhere’ with Denitia. The smouldering soul track features Will on guitars and keys, Joe Blaxx on drums and an intimate vocal from Denitia.

                                                                                                                                    "We wrote ‘Nowhere’ hot on the heels of ‘You Used to Love Me’. The song has a minimal approach, leaving a lot of space for emotion. I think Denitia and I both had a new confidence about working together and were excited about the new sounds we were building. This song has a very particular energy that I love." - Will Holland, Quantic

                                                                                                                                    Quest Ensemble

                                                                                                                                    The Other Side

                                                                                                                                      London-based trio Quest Ensemble present a distinctive twist on the traditional piano trio format. A collaboration between three powerful performers/composers, ‘The Other Side’ sees musical styles woven together into a lyrical tapestry of sound, blending improvisation with co-created original compositions. A truly unique ensemble in compositional process and performance style.

                                                                                                                                      On 5th June, Quest Ensemble will release their sophomore album ‘The Other Side’. With nods to influences as broad as the contemporary minimalism of John Adams and Steve Reich, the experimental melancholic textures of Radiohead to the progressive jazz precision of Brad Mehldau, ‘The Other Side’ inhabits its own soundworld somewhere in the gaps between chamber, jazz, folk and contemporary classical music.

                                                                                                                                      From the emotive ‘Moments’, the elasticated melodies of ‘Pendulum’, to the fluid lines and compelling urgency of ‘The Boatman’ and ‘Pedal Down’, Quest Ensemble’s compositions fuse layered melodies and rhythmic patterns to create contrapuntal webs of sound. The process involves sharing improvised ideas, building up layers of music on each instrument to create a patchwork of musical themes with a rich vein of surging Reichian rhythms underpinning each.

                                                                                                                                      Fusing their backgrounds in western classical, Indian classical, jazz and improvisational technique, Filipe Sousa (piano), Tara Franks (cello) and Preetha Narayanan (violin) are all graduates of the Guildhall School of Music Leadership Programme.

                                                                                                                                      In May 2014, Quest Ensemble released their much-lauded debut album ‘Footfall’, a collection of part-composed and part-improvised original compositions, steeped in the sense of place that inspired the sound and imagination of their stories. From an ancient leper hospice in Oxford to a stark urban underground rehearsal space, each piece poetically reflects a moment in time, a passing footfall.

                                                                                                                                      Since 2009, Quest Ensemble have regularly worked with schools, colleges, youth and community groups across the UK, leading creative music projects with musicians of all ages and backgrounds, transferring their collaborative composition methods to community settings, enabling others to experience their way of working. Most recently, the trio were commissioned to create a show with visual artist Somang Lee that was premiered at Centro Cultural de Belém, Lisbon, Portugal as a part of the Big Bang Festival 2018.


                                                                                                                                      Much about “Beat Bop” is shrouded in mystery. Who really produced it? Why was Jean-Michel Basquiat relegated from rapper on the track to drawing the cover and labels? What are they actually rapping about for most of the ten-minute length? These questions, however, are all part of the enigma and rich legend surrounding a song that is an undisputed piece of true hip-hop genius. The combination of graffiti artist Rammellzee and rapper K-Rob is a potent one, with each MC adopting a persona - hustler and B-Boy respectively - that they maintain against an unusual swirling backdrop that must be one of the best instrumentals ever committed to wax.

                                                                                                                                      The original Tartown Record pressing was limited to 500 copies, a mere test pressing in the eyes of the assembled artists, with scarcity further driven by Basquiat’s rising rep in the art world. Those few hundred copies - and a subsequent re-release on Profile Records (the same label where K-Rob played out the rest of his brief career) - punched well above their weight in terms of lasting influence.

                                                                                                                                      Consider the early vocal tones of the Beastie Boys (who also sampled the track), or the huge part it played in the sound of Cypress Hill and B-Real. His voice is almost homage to Rammellzee’s on “Beat Bop”, while they also lifted the chorus of “Shoot ‘Em Up” and even a sample of ‘Cypress Hill’ from the track too. It’s unsurprising - this is a multi-layered, complex song that reveals a little more of itself each time you play it but remains damn funky. This reissue boasts the vocal and instrumental versions in full, as well as both the full cover and label artwork from the original Tartown Release.


                                                                                                                                      FORMAT INFORMATION

                                                                                                                                      Coloured 12" Info: Limited edition black & white splatter vinyl.

                                                                                                                                      Michael Rother

                                                                                                                                      Dreaming

                                                                                                                                        First new album in over 10 years from legendary German krautrock pioneer Michael Rother (Kraftwerk, NEU!, Harmonia). 

                                                                                                                                        The ‘Dreaming’ album was part of the lavish 7CD box set ‘Solo II’ containing the solo catalogue of Michael Rother. It was also issued on vinyl and is now finally available as a standalone CD. 

                                                                                                                                        “A soothing balm, ethereal and magical in the main and definitely worth the wait... ‘Dreaming’ feels like a culmination and one hopes Rother won’t take as long over the next one.” - Music Tech

                                                                                                                                        Ryuichi Sakamoto

                                                                                                                                        Aile De Honnêamise

                                                                                                                                          Synth wizard Ryuichi Sakamoto was a composer and arranger since the mid-70s and burst into the world’s greater consciousness in Yellow Magic Orchestra. After working on the Merry Christmas Mr Lawrence soundtrack (and shortly before scoring The Last Emperor), Sakamoto became musical director on the 1987 anime project Royal Space Force: The Wings of Honnêamise, a sci-fi drama set in an alternative world. The film was seen as ground- breaking for its portrayal of human alienation and social conformity, and Sakamoto’s funky spacy synth soundtrack feels ground-breaking too.

                                                                                                                                          This deluxe edition includes 4 bonus tracks and an exclusive full color 60x60cm (24x24 inches) poster!

                                                                                                                                          This is Ryuichi Sakamoto’s landmark 1981 album reissued for the first time in decades outside of Japan. The album is superb blend of Electro, funk and ambient. All remastered by Bernie Grundman with new introduction by British Journalist Anton Spice. Wewantsounds reissue of Ryuichi Sakamoto’s third solo album “Hidari Ude No Yume” (Left Handed Dream), originally released in 1981 on the Alfa label. Save for a small-scale Dutch vinyl release in 1981, it is the first time the album’s original Japanese edition is released outside of Japan (the European release on Epic Records included significantly different tracks and mixes).

                                                                                                                                          FORMAT INFORMATION

                                                                                                                                          2xDeluxe LP Info: Limited double LP indie exclusive edition with the 2nd LP featuring a full instrumental mix never released on vinyl.

                                                                                                                                          Sandalwood

                                                                                                                                          Changeling

                                                                                                                                            Utterly beguiling folk rock trio with two beautiful girls at the helm writing and singing mesmerising faeirie-like folk rock, only clive the bassist could be found, the two girls vanished in 1971 after making the lp and abandoning music to start families, clive has not heard from them since the moment they gave him his 3 copies of the 50 copy srt pressing in a folk club that night in ‘71. tracks like “sleepy rain” and “changeling” are understated and gorgeous, with insistent and addictive guitar strumming under gentle sandy denny-esque vocals. the whereabouts of the girls remains a mystery and the lp is issued with clive the bassist’s blessing. only 50 were made, not 99, and the lp is extremely rare, every copy was given away to friends, the originals are valued at £2000-4000

                                                                                                                                            By 1980 when this was originally released Pharoah Sanders was solidly entrenched with his own voice on tenor. The passing of John Coltrane and Sanders's fruitful years of playing with the prolific saxophone genius resulted with an unmistakable influence on his sound and explorations of the instrument. Beginning with "Greetings to Idris" the structure of the music is one that follows tradition yet opens up for the musicians to improvise within the arrangements. "Greetings to Idris" is in reference to the featured drummer Idris Muhammad who also played with Coltrane during his late period. Always interested in other instruments from other cultures, much like Trane, he incorporates the Japanese instrument the koto, a beautifully harmonic stringed instrument to counter his soft rich blowing on tenor with only wind chimes and a harmonium for a delicious peaceful bit of music on "Kazuko"(Peace Child) that has the qualities of a meditative offering. Most of the music, eight tracks, is composed and arranged by Sanders and demonstrates his leadership. There is one John Coltrane composition entitled "After The Rain" that gets the Tranesque treatment by Sanders that makes it hard for even the most discerning listener to distinguish between the original version and Sanders impression. It is a bluesy duet featuring only sax and piano and leaves you wanting to hear it over and over again because of it's simple and haunting melodies. Another song that Coltrane recorded entitled "Easy To Remember" has a gentle swing to it built around a classic quartet (drums, bass, piano, sax) like that employed by Coltrane that results in a superb standard. Sanders incorporates the use of another "foreign" instrument to jazz by working in a tabla and sitar on "Soledad " that takes center stage before Sanders joins in on the music. The result is a thing of genius as the East and West merge and interface for composition that is peaceful. Sanders music on this LP fluctuates between the tranquil sounds of his mellow horn to the outer limits where he left off with the explorations of Trane's late period. What separates this LP from others is that it is a group playing under his leadership where he gives all others close to equal billing. The uptempo, "You've Got To Have freedom" is one such song where Sanders gets out there on some of his solos but works within the group structure as the other musicians, most notably Eddie Henderson on flugelhorn, bring the music back home. There is a chorus sung much of the time throughout where the the proclamation ‘Ya gotta have peace and love, ya gotta have freedom’ is presented in Manhattan Transfer style but with much more soul. The use of vocalists is done again on the track entitled "Think About The One." The chorus features vocalese specialist Bobby McFerrin. This LP shows the different sides of Pharoah Sanders, a man always willing to explore the music, explore his soul and share it with you. The closing track "Bedria" is a mellow exploration of the various ranges of the tenor. It is a ten minute song that displays all the grace of his being, a gentle giant who can manipulate the horn to do extraordinary things, reverberating out and back in undulating waves of harmonic bliss.

                                                                                                                                            Albert’s Favourites co-founder Adam Scrimshire is set to release his fifth album 'Believers Vol. 1’, featuring guests And Is Phi, Bessi, K.O.G., Omar, Xana & Faye Houston, Penya, Stac and Tamar Osborn. The album draws from Scrimshire's passion for jazz, soul and electronic music of all styles; from energetic Afro-disco through lushly orchestrated neo-soul to harmonious jazz experiments.

                                                                                                                                            'Anadwo' opens the album, a bright, Afro-disco inspired groove written with Ghanaian artist K.O.G., and is possibly Scrimshire's most extroverted track to date. Regular collaborator Stac and Brighton singer and producer Bessi sing on snappy neo-soul tracks ‘Where Are We’ and ‘Lost In Space And Time’ respectively. And Is Phi brings an eclectic mix of jazz, poetry and improvisation to ‘Chance Me’ while ‘Transformation’ stars acclaimed saxophonist Tamar Osborn. Genre-defying quartet Penya feature on global-jazz epic ‘Tanto Tiempo’ and the incomparable Omar joins with Xana and Faye Houston on album highlight ‘Love Is Loving’. Cosmic-jazz instrumental ‘Peaceless Peace’ closes out ‘Believers Vol. 1’, ending a bold and positive album filled with creativity and joy.

                                                                                                                                            “Writing and producing my last album, ‘Listeners’, opened the floodgates for me. I’ve written more in the last 18 months than in years. Practicing for the live band levelled up my playing and opened up possibilities in writing I couldn’t find before. Since then I’ve written more than two albums worth of “Scrimshire” songs. But I really wanted to try and focus the experience and separate between music that represented the positivity and optimism I’ve experienced in recent years against my more introverted and angrier instincts.

                                                                                                                                            ‘Believers Vol.1’ represents warmth and hope. Everyone I worked with early in lockdown, seemed to want to express those longings for physical and emotional connection too. The whole album reaches out, I think it’s full of long embraces. But it is also, for me personally a love letter to black music and the black artists that shaped everything I care about sonically, from my very first memories of music until now. It draws from sounds I grew up around in the early to mid eighties, classic records from the seventies that I’ve never tired of, but important dance records from the late nineties and early 2000s that celebrated and subverted those ideas too.”

                                                                                                                                            STAFF COMMENTS

                                                                                                                                            says: An eclectic mixture of soul, afro-disco and electronic synth funky-goodness, it’s hard to believe it has improvisation featured on the album as it’s so put together and effortless. This one is sure to get you moving.

                                                                                                                                            Secret Machines

                                                                                                                                            Awake In The Brain Chamber

                                                                                                                                              In a world turned upside down, The Secret Machines are back, and looking for light in the chaos. Awake In the Brain Chamber, the band's fourth LP and first recorded output in more than ten years, is the sound of things falling apart, with the hope of dawn touching the horizon. If there is a crack in everything, Curtis and Garza are more interested in the light coming in. Curtis' darkly prophetic lyrics speak of isolation and fear, while Garza's frenetic, pounding drum beats sound of the four horsemen. But just when things look their worst, the Machines' beautifully ethereal space-rock takes us away to a different, safe destination: A place with angels, where dreaming is alright, and life blooms from a new disaster.

                                                                                                                                              After 2008's album "Secret Machines", Brandon joined Interpol as t heir touring keyboard player. Original guitarist Benjamin Curtis died of lymphoma in 2013 at the age of 35, but despite having left the band in 2007 to focus on his other project School Of Seven Bells, his influence remains on the duo of brother Brandon Curtis and drummer Josh Garza and their space-rock and "krautrock, but with choruses".

                                                                                                                                              Sleaford Mods

                                                                                                                                              Mork N Mindy (Ft. Billy Nomates)

                                                                                                                                                Mork n Mindy is the first track from Sleaford’s forthcoming new studio album, following their Top 10 hits & rarities collection, All That Glue & phenomenal global live stream from London’s 100 Club. It features acclaimed British singer Billy Nomates and premieres on Seth Myers TV show in US in Oct. Full of incendiary vim, vigour, attitude & observation, it sees Sleaford’s expanding their sonic palette, adding poppy touches courtesy of Nomates vocals and additional textures to their searing electronics.

                                                                                                                                                "Mork n Mindy is the sound of the central heating and the dying smells of Sunday dinner in a house on an estate in 1982. Concrete, dinted garages, nicotine. Where beauty mainly exists in small cracks on the shell of your imagination. Captured perfectly in Ben Wheatley’s video for the song." - Jason (Sleaford Mods)

                                                                                                                                                The B-side features an instrumental by Andrew Fearn.

                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                Ltd 7" Info: Indies only clear vinyl 7" limited to 1000 copies.

                                                                                                                                                The Specials

                                                                                                                                                More Specials - 40th Anniversary Half-Speed Master Edition

                                                                                                                                                  The second album from The Specials, originally released 1980, moved away slightly from the frenetic ska infused energy of their debut, exploring more varied musical styles. Lyrically it paints a bleaky realistic picture of Britain at the time. 40 years on, it still stand up as one of the best albums of the era.

                                                                                                                                                  This 40th Anniversary Edition has been mastered and cut at half-speed by Miles Showell at Abbey Road Studios using the original production tapes.

                                                                                                                                                  For this edition, the album has been split across 2x 12” vinyl running at 45rpm for optimum audio quality.

                                                                                                                                                  Also include is a bonus 7” single, also cut at half-speed, which originally came with the initial run of the album in 1980.

                                                                                                                                                  Last year The Specials celebrated a UK Number One with a new album, ‘Encore’ and concluded a 40th Anniversary World Tour. 


                                                                                                                                                  John Strang

                                                                                                                                                  The Masterpeace

                                                                                                                                                    25 copies were privately made in 1968 by the 17 year old strang, who carried them home from the studio several miles in a rucksack on foot. very few survive today, and it is a little understood lp. the title refers to nuclear armageddon and the total death of all life, not a hippie idyll, and the songs are apocalyptic poetry that confront the cold war, hiroshima and nagasaki, platonic forms and the nature of reality, there are also a few explicit drug references to lsd and amphetamines. this darkness of intent makes the lp exceptional for the time, and seminal. musically it draws from donovan and the incredible string band , at times becoming experimental, and yet with an air of fragility that predicts vashti bunyans lp made two years later. john strang continues to compose privately to this day, but walked away from a Transatlantic Records deal in the early 70s to pursue a career in Psychiatry, for which he was knighted. A concept lp about mental illness was due for release on Transatlantic, which we are currently restoring from surviving tapes and cassettes, entitled “Shame and Stigma” it is forthcoming. Full lyrics included which demand careful reading, plus an insert explaining the lp written by the artist himself.

                                                                                                                                                    T.P. Orchestre Poly-Rythmo De Cotonou - Rep Pop Du Benin

                                                                                                                                                    Segla

                                                                                                                                                      Acid Jazz Records are proud to announce an exclusive licensing agreement with Albarika Store, the legendary record label that defined the sound of Benin and influenced the entire region of West Africa and beyond.

                                                                                                                                                      This is the first exhaustive trawl of the archive and will see the label presented in a way that ensures its historical importance is recognized.

                                                                                                                                                      ‘Segla’ is a hens’ teeth-rare Poly Rythmo album from 1978 that was originally released without a sleeve as ALS059. Recorded at EMI Lagos, Nigeria, as per most of the Poly Rythmo recordings for Albarika, the sound quality is from the tapes is dynamic and fresh.

                                                                                                                                                      Transferred from the original tapes and remastered by Grammy award-winning engineer Frank Merritt at The Carvery, the album is presented with beautiful artwork and packaging to match the sonics. This is the music as it should be heard.

                                                                                                                                                      Tambourinen

                                                                                                                                                      Wooden Flower

                                                                                                                                                        Centripetal Force (North America) and Cardinal Fuzz (UK/Europe) are excited to announce the upcoming release of Tambourinen’s Wooden Flower, a vinyl edition of the much lauded and sought after cassette released earlier this year through Avant-Unity Music. Tambourinen is the project of Grant Beyschau, a multi-instrumentalist and part of the braintrust behind The Myrrors. Beyschau recorded, performed, and mixed the entire album himself. The album is dominated by deep grooves, entrancing rhythms, and a massive swirl of sound that recalls the Kosmische era of German music and takes on an almost spiritual tone.


                                                                                                                                                        FORMAT INFORMATION

                                                                                                                                                        Ltd LP Info: Pressed on 500 copies of heavyweight black vinyl, and the cover is printed on heavy kraft cardstock.

                                                                                                                                                        Teletronix is a musical alter ego of British producer Will Holland aka Quantic. Side A ‘Metropolitan’ was composed, performed and mixed entirely on the famed OP-1 mini synthesizer made by Teenage Engineering. The track mangles 8-bit Afrobeat rhythms with vapor wave montunos, supplying heat for a virtual dance floor in a Zoom side room near you. Side B is a DJ tool of assorted sirens and sound effects for use in DJ sets, largely made up of siren sounds produced with the OP-1. Use them sparingly to spice up a mix, season lightly or sound the alarm in your neighborhood for your next houseparty broadcast.

                                                                                                                                                        FORMAT INFORMATION

                                                                                                                                                        7" Info: Limited to 183 copies.

                                                                                                                                                        Emma-Jean Thackray

                                                                                                                                                        Ley Lines

                                                                                                                                                        As a musician, composer, singer, producer and DJ, Emma wrote, recorded and played every note on the "Ley Lines" EP. Originally released in 2018 in a limited run of 500 copies, which flew off the shelves and became an instant classic.

                                                                                                                                                        "Ley Lines" was championed by DJs including Gilles Peterson and Jamie Cullum and earned Emma-Jean Thackray a nomination for Breakthrough Artist Of The Year at Jazz FM Awards and Jazz Album Of The Year at WorldWide Awards in 2019. It shines out as an unhurried, slightly melancholy body of work that feels a natural product of both its author and geography.Thackray's nuanced and highly expressive trumpeteering the work of true genuis - able to convey messages and emotions effortlessly. 

                                                                                                                                                        Originally self-released in 2016 and picked up by DJs such as Theo Parrish and Mr Scruff, ‘Walrus’ has achieved cult status among fans and shows the beginnings of Emma’s journey through her early experiments in fusing the brass-band sounds of her youth with psychedelic jazz grooves, establishing her trajectory as one of the most talented young musicians whose ambitions go far beyond narrow genre tags. It's no wonder two of Detroit and Manchester's most prolific outsider artists dug this girl - she's freakishly excellent! If you've a penchant for Moon Dog and Sun Ra you simply gotta get this down your ears pronto! Languishing in dissonance and awkward meter, melodies do occassionally permeate through the madness; and there's a slouchy, stoned, carefree atttitude to the piece which actually makes it a lot more enjoyable to listen to than one might expect! A leftfield masterpiece. 


                                                                                                                                                        Tourists

                                                                                                                                                        Another State

                                                                                                                                                          Following their signing to Modern Sky, Torquay five-piece Tourists are releasing their long-awaited debut album Another State, produced by Daniel Schlett (The War On Drugs, DIIV, Here We Go Magic). Another State is an album exploring the shadowy recesses of the human mind and existence, across eleven darkly compelling and utterly immersive dreampop songs, drawing on shoegaze, Krautrock, post-post and synthpop influences. The brooding, multi-faceted soundscapes of Another State offers an often melodic, sometimes knife-edged, and always enveloping backdrop to the album’s lyrical themes of control, manipulation and escapism, observed with a needle point astuteness, and an overriding message that all is not what is seems on the surface.

                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                          Coloured LP Info: White vinyl.

                                                                                                                                                          The Twelve Hour Foundation

                                                                                                                                                          Six Twenty Negative

                                                                                                                                                            Bristol's Twelve Hour Foundation return to Castles in Space with their first new LP since 2018's long sold out "tree little mile egg book...and other non sequiturs". Their blend of musique concrète, treated field recordings, library music, early electronic pop and the Radiophonic work of John Baker and Paddy Kingsland has never sounded better.

                                                                                                                                                            The initial inspiration for the album is a journey - regularly taken by Jez Butler (Yamaha CS-10, flute, vocals, field recordings) until the end of the 70s, from Cleethorpes to Hull, by diesel multiple train and British Rail paddle steamer, hence track titles like "Lincoln Castle Engine Room", "New Holland Pier" and "Chalk Factory" - a reference to a small production plant viewed from the train window that rendered the neighbouring landscape white. The ferries and pier were scrapped following the opening of the Humber bridge.
                                                                                                                                                            As with the previous album, the idea behind most of the music is to draw on abstract childhood emotions and their associated memories. It's an incredibly warm and evocative listening experience.

                                                                                                                                                            The majority of tracks are expertly underpinned by a musique concrète backing, drawing on the band's recordings of houshold objects. In most cases, the bass was derived from a length of ribbed plastic tubing, the cymbals from a metal kitchen draining rack, and the pads/chords from the filtered sound of an electric hair clipper. This is overlayed with vintage analogue synthesizers, treated field recordings and - on a couple of tracks - the odd vocal or flute line. The track "Polivoks" takes it's title from the Soviet analogue synthesizer of the same name which was manufactured throughout the 1980's.

                                                                                                                                                            The album's sleeve was designed in keeping with the scholastic nature of much of the music, incorporating Polly Hulse's (Moog Rogue, Korg Volca Keys, concrète sequences) photos from the University of Bristol's School of Chemistry.

                                                                                                                                                            The album's title, "Six Twenty Negative" refers to the film used in the Kodak Brownie Box camera. Famous for producing slightly wooly prints from large individual negatives.

                                                                                                                                                            FORMAT INFORMATION

                                                                                                                                                            Coloured LP Info: Heavyweight brown vinyl.

                                                                                                                                                            Reinhard Vanbergen

                                                                                                                                                            Ubuntu, Stringworx, Presents For Friends

                                                                                                                                                            Melodies seem to sprout from the hands of Reinhard Vanbergen. The multi-instrumentalist releases a bundle of no less than three new albums. Has he been seized by some kind of spirit, channeling higher creative forces through his body? Or does everything he plays around with just seem to work? Whatever it is, we’re digging it. The first album, Presents For Friends, consists of piano pieces, Stringworx is string pieces and Ubuntu dives into the world of the computer, as a mode of production and instrument in itself. A release that resists categorizing. It flies from bliss to whim, flirts with the sensational and the silly. An immersion and a playdate, with beautiful melodies, masterful harmonic shifts, eccentric fusions and little moments genius scattered throughout. 


                                                                                                                                                            FORMAT INFORMATION

                                                                                                                                                            3xLP Box Set Info: Limited to 300 copies.


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