100 Hz

Whisper / Funkin

Released in 2000 on London's cult Oblong label, 100HZ's sublime "Whisper / Funkin" is back via Mint Condition. If you were doing the rounds in Soho back in the day, you will have undoubtedly copped some fine records from Berwick Street's Vinyl Junkies shop. The Oblong label was heavily connected to the shop and to Bushwacka's equally cult Plank record label. 100HZ were one part of a pool producers connected to these crews and the burgeoning tech-house scene that was making waves at the turn of the millennium in the capital. Deep, sparse, taut and melodic production, strange sounds and left-field sonics, these were the ingredients of these extremely inventive and original UK sounds. Elements of breaks, garage, Detroit techno and more all fused to create a truly groundbreaking sound. Since '89, 100HZ's Lee Renacre and James Chapman managed to craft a few classics, "Whisper" and "Funkin" are just two of them! The A-side is a sleek, melodic cut with phased, AM-radio vox, an internal monologue touching on the stresses of modern city life and escapism. Side-B is some ultra hyper electronic funk. Stripped back production, killer drum programming and THAT bassline sequece: the sound of gliding through a futuristic metropolis in cruise control! Highly polished and progressive late-night house sounds right here. Essential all round! The real sound of London circa the millennium. Check it.

A Sagittariun’s third album chronicles the journey back to Telepathic Heights; an expedition that encounters many obstacles along the way. The feuding parties of the two planets make for a journey of determination and self-discovery for our techno lone ranger that will ultimately deliver him to the sacred site on which Telepathic Heights stands.
Conceived as a space western soundtrack to the cinematic interpretation of this tale, "Return To Telepathic Heights" delivers ten chapters that journal the ultimate mission to reach the imposing tower of Telepathic Heights, where dream telepathy has become the primary communicative tool amongst its peaceful and harmonious community who have opted out of the planetary war that continues to rage, seemingly with no armistice anytime soon.
The score fittingly winds its way through the trials and tribulations of this journey, blending minimal and harmonic rhythms, industrial funk, dreamy synthwave and transcendental techno into the rich tapestry of music that documents the Return To Telepathic Heights.


Patrick says: If you're one of the few lucky customers who bagged a Space Dimension Controller LP a couple of weeks back, or one of the many customers bearing a grudge, you should check this beauty from A Sagittariun out. Not only do you get plenty of bass synth squiggle, percussive snap and icy leadlines from this floor filling set, you also get the bona fide E-funk smash "Lazer Battle At The OK Coral".

The masterful, supergroup of Phreek lead by Patrick Adams, sees three of its sought-after masterpieces, two of which have never been on a 12 inch, officially reissued and remastered on a label that’s fast becoming a go-to for in demand reissues, South Street Disco.

A pure classic, ‘Weekend’, was born back in ‘78 written by Leroy Burgess and James Calloway and produced by Patrick Adams and Burgess, they lead an expertly curated troupe for this massive Paradise Garage staple and Larry Levan favourite. That late ‘70s sound where synthesisers rose to prominence, sees a combination of cosmic keys, freakish strings and power-play funk guitars, tied together with tight percussion, bold basslines and Christie Shire’s lead vocals, that whole heartedly captures the spirit of disco. Famously remade into a house anthem 10 years later by Todd Terry, ‘Weekend’ is a timeless slice of celestial magic.

In a similar fashion ‘Everybody Loves A Good Thing’ does another blast around the cosmos - a Universal Robot Band feel emanating from the buzzing synths and awe-inspiring vocal prowess of Leroy Burgess, coupled with ‘Shining’ star, Venus Dodson. As uplifting as it gets, complete with a killer piano breakdown to draw out every ounce of anticipation.

Flip it over and a whole side is devoted to the greatness of ‘I'm a Big Freak [R*U*1*2]’. A mesmerising, fast-paced, disco workout with sensuous groans, sleazed up, supernatural keys and a heavy bass that just goes and goes and goes! Favoured by the biggest and best out there, from Ron Hardy to Theo Parrish, it’s got the power and energy to light up even the most demanding of dancefloors. 


Matt says: Three big'uns here for fans of that original Patrick Adams sound. "Weekend" and "Everybody..." for the Saturday nite disco party, "I'm A Big Freak" for the sherm-stick powered Ron Hardy / Members Only adoration society! ;)

The Aints!

5 6 7 8 9 EP

    The Aints! comprise Ed Kuepper, Peter Oxley, Paul Larsen Loughhead, Alister Spence & Eamon Dilworth.

    Formed in 2017 The Aints! original brief was to recreate the sound and energy of The Saints, the band co-founded by Kuepper in 1973, as they celebrated 40 years since the release of that band's groundbreaking debut (I’m) Stranded in 1977. With such talent at play though, it wasn’t long before this inspired five piece created material of their own. An album The Church of Simultaneous Existence, comprised entirely of Kuepper originals written in the period 1969-1978, was was released internationally to much fanfare and was a hit with fans and critics alike.5-6-7-8-9 is the next release from The Aints!

    A 5-track mini-LP comprising alternate versions of album tracks Goodnight Ladies (single edit) and Country Song in G (acoustic) plus reworked versions of tracks from Kuepper’s 50 album strong catalogue including Memories Are Made Of This (The Saints, 1978) Laughing Clowns (Laughing Clowns, 1980) and Hang Jean Lee (Ed Kuepper & The Kowalski Collective, 2007).

    Another classic remastered Italo Disco / Cosmic Classic from Best Record Italy, originally released on Musix Records in 1982, produced by legendary Italian producer Maurizio 'Sangy' Sangineto. (Change, Armed Gang, Firefly).
    If you've never heard this mirrorball missile, imagine dropping the tempo on Debbie Jacobs' "High On Your Love", sticking a super smooth chorus in the middle and replacing the Hi-NRG elements with the smoothest, smooching groove possible and a super low slung bassline. Here we get the original mix and instrumental on the B-side, while the A-side boasts the special electronic cosmic version with totally tough snares, bubbling bassline and outrageous space other words..utter Italo joy! 


    David says: Oooft. Italo disco records don't come any better than this absolute BANGER. 6 minutes of ecstacy that probably had a young Silvio Berlusconi sleazing his way to success across any dance floor that came to hand.

    Extremely hard-to-obtain album from the Ghanaian master composer, producer and musician. Originally released in 1982 by the WEA International label and then again in Germany in 1985 by Ambolley himself; this is one of his finest albums in our opinion.
    Ambolley fuses Highlife, disco and boogie sonics perfectly and features the anthemic club cut, Highlife, that we have spinning for a while - always does the job!  Official Mr Bongo reissue. Licensed from Gyedu-Blay Ambolley.

    Lily Ann

    Going Crazy

      Ciao ragazzi e ragazze! This is Piccadilly's resident Italophile, here to spice up your dancefloor life all over again. As Best Records continue to take us on an official tour of essential Italo reissues, the label raid the (now defunct) Eyes Records archive to treat us to a remastered rerun of the finest boogie bomb to come from Il Bel Paese. The work of signori Carugati and Greico, "Going Crazy" first flipped the dancefloor in 1984, turning the tide on the flow of cheesy BS with sheer bassline power, raw white funk and pure sex appeal. Silly, synthetic and partially robotised, this is club music for the sophisticated dancefloor. Alongside the vocal and instrumental of the original release is a brand new (old) dub, unearthed during tape transfer. Though it doesn't stray too far from the original mix, the brain shredding fx abuse may well make this the mix to pick! Gustare!


      12" Info: I COPY FOUND!

      Aperture Science Psychoacoustics Laboratories

      Portal - Original Video Game Soundtrack

      The music to Portal by Aperture Science Psychoacoustics Laboratories (Mike Morasky) is incredibly dense, featuring super atmospheric ambient soundscapes that you can literally get lost in, recalling such ambient pioneers as Brian Eno and Tangerine Dream. It also features the incredible ear worm of 'Still Alive', an absolutely charming pop song that once heard is never forgotten! This limited edition record is housed in a deluxe, debossed, 'Magic Wallet' style jacket designed by design wizard Alan Hynes (Fight Club, Anomolisa).


      Live And Direct

        Aswad’s 1983 album Live and Direct was recorded at the Notting Hill Carnival. Accompanied by a powerful horn section they created an energetic show, in which they let the listener hear the depth of their music. It’s an amazing journey with highlights like “Drum & Bass Line”, “Soca Rumba”, and the fantastic “Rocker’s Medley”. This British Reggae classic is fully packed with their unique rhythm and funky grooves. Amazing beats and wobbly bass lines marks this as one of the greatest live albums from the Reggae scene.

        The long-lasting British reggae group Aswad recorded over 20 albums, released several charting hit songs, and are still performing live. 


        Andy says: Early 80's UK reggae, classic live album, recorded at the Nottinghill Carnival, no less. Aswad I'm talking about!

        Golden-era, 1977, Brazilian jazz-funk-fusion album from the legendary Azymuth. Lush Rhodes, soaring synths and fusion guitars from Malheiros and Bertrami combine with the inimitable drum grooves from Ivan “Mamao” Conti that create the signature Azymuth sound. The album moves from mellow soulful moods, into screaming disco-jazz-fusion, samba funk, synth boogie and ends with a tough 160bpm Batucada workout.

        Bad Breeding


          Bad Breeding announce new album, Exiled. A group with a keen eye for social injustice and establishment venality, expressed in hollered tones over a full-throttle, enervating soundclash of anarcho punk, hardcore and noiserock, their third album ‘Exiled’ was fuelled by the last 12 months in (primarily) British politics: a nation circling the drain while forever eyeing the plughole.

          Topics on this 12-song, 32-minute album also include some hardy perennials of left-wing hardcore punk: war, imperialism, the police, the press. Topics which, at a time where the political landscape could change tectonically between this being written and you reading it, maintain a grim relevance. 


          Daughters Of The Sky

            BAMBOO (Nick Carlisle - keyboards, production, also of Peepholes / Katy & Nick) & Rachel Horwood (vocals, electric banjo, also of Trash Kit / Bas Jan) announce their third studio album "Daughters Of The Sky", on Upset The Rhythm.

            The album was written and recorded over a two year period where ideas and arrangements were allowed to slow-cook and develop over time, in contrast with the last album "The Dragon Flies Away" which came together relatively quickly for the duo. The music comprises the usual (for Bamboo) mix of Horwood's flawlessly resonant folk cadence and Carlisle's pristine synth production, whilst TR808 drum machines and samples lock together with acoustic drums, themselves often given the "Tony Visconti" Eventide Harmoniser treatment of Berlin-era Bowie albums. Ancient ARP synthesisers and Mellotron flutes and horns sit next to contemporary digital sounds and samples in a hauntological tapestry over which Horwood can intone her sometimes mournful, often uplifting vocals.

            The first single taken from the album, "Weeping Idols", reflects upon a recurring theme of religious dogma and spiritual entrapment, and is accompanied by a stunning video shot by Jack Barraclough around the North Coast of Northern Ireland, taking in the Giant's Causeway and the Kinbane Castle ruin. Carlisle's infectiously colourful synth riffs and pop production, featuring sun-burst harp playing from Brighton-based singer/multi-instrumentalist Emma Gatrill, contrasts sharply with the darker tone of Horwood's lyric, jarring in a way reminiscent of "You Have Placed A Chill On My Heart" by The Eurythmics.

            Although "Daughters Of The Sky" breaks away from the storybook concept format of The Dragon Flies Away, in that sense being more similar to Bamboo's debut album "Prince Pansori Priestess" (2015, ★★★★★ - Record Collector Magazine), there are still recurrent themes that run through the album such as motherhood, the cyclical nature of life, emancipation and liberation. "Branches dancing, bud stems growing, fibres swaying, arms unfurling" Horwood sings in The Deku Tree, a song which roots motherhood in nature's eternal cycle of birth and death. In the title track we see two perspectives of women spanning time and geography, Horwood drawing inspiration from the personal and also political. In 1917 a Russian match stick worker looks out of her window dreaming for a better life; in 2019 a Filipino maid in Hong Kong yearns to return to the children she has left behind. Both share a revolutionary spirit, protesting and fighting for a new world.

            What might be the centrepiece of the album, "East Of The Sun / West Of The Moon", an 11 minute epic, begins with a serene, desolate ambient intro which eventually transports us over the waves to some unknown land. Here we track the journey of a displaced people who are rejected from pillar to post, prevented from crossing over political lines, judged by fellow humans by their few differences over their myriad similarities. "And we all walk a different pace, though we end up in the same place" sings Horwood, as the song's new-found rhythm seems to break apart again and slowly splinter away in different directions, the fragments hanging in the air as a new section emerges featuring a rare lead vocal from Carlisle.

            Bar the brief instrumental coda "Tenebrae", the album ends on an optimistic note with "A World Is Born", an upbeat song of renewal. Horwood sings of the creation of a new world for a new generation, out of the ashes of a society stagnating under the collapsing weight of late capitalism. Saxophones provided by Emma Gatrill (her second guest appearance on the album) answer each vocal line in call and response style over more harmonised drums reminiscent of Bowie's "Low". Carlisle originally wrote the music following the death of Bowie, and Horwood added some Prince-like backing vocals (Prince having been name-checked in the title of the first Bamboo album). Although her lyric makes no reference to the loss of these giants, their influence hang over the song in a way which can only add to the sense of hope and rebirth, a sense which is indeed felt throughout the album.


            Coloured LP Info: 180 gram gold vinyl – 500 only for the world.

            When you listen to the love songs of LA-based Bedouine, you will be reminded of Karen Dalton’s world-wise voice or the breathy seduction of Minnie Riperton's vocals, the easy cool of French ye-ye singers, and the poetry of Joan Baez. Her folk is nomadic, wandering across time and space, and on the likes of new song “Dizzy” meander into danceable jams.

            On first discovery you may ask whether they're dated to 2019, or whether you've uncovered some forgotten classic. It makes sense that singer-songwriter Azniv Korkejian's arrival – both musically and personally – on her second record has been influenced by her own wanderlust, displacement, and curiosity. “It's called Bird Songs of a Killjoy, and I'm the killjoy,” she smirks over the phone from Sonoma, California. Azniv is based in LA, but is often travelling for the sake of musical inspiration.

            Her album title is something she's still trying to decipher. “I'm figuring it out,” she says.

            STAFF COMMENTS

            Andy says: Lovely, mellow, West Coast folk from Matthew E. White's impeccable Spacebomb label. Class.

            While Chelsea may have bid farewell to Maurizio Sarri (who I personally think is a genius), the Belpaese crew come the opposite way, crossing the continent to land in store with the fifth edition of their Italian edit odyssey. As ever, the team dig deep into jazz fusion, disco, Mediterranean funk and rare groove to keep us moving and grooving until way after the prosecco's run out. 
            "Navigando" opens the set in low slung funk mode, locking in a deep bassline, big hands aloft vocal and stella synth vs guitar solo battle. Undeniably Balearic, and made for hot summer nights, this leads us perfectly to "Peripatetico" a smoothly grooving jazz funker with slick Santana guitar, totally coastal bassline and yacht friendly sophistication. 
            Flip it for the dramatic, climactic and probably cinematic "Maledetti", a disco funk workout with rock attitude, AOR energy and soundtrack strings. It's great from the start, but the vocal takes this jam up about 15 notches - very good. 
            Finally the pastoral, proggy and organic jazz fusion of "Sa Sa Sa" serves up a scat-led cool down for afternoon DJs and poolside pow wows.

            Jehnny Beth / Johnny Hostile

            XY Chelsea - Original Soundtrack

              Original Soundtrack for the Showtime produced movie based on the history of the whistleblower Chelsea Manning. Composed by Jehnny Beth & Johnny Hostile (singer and producer of post-punk band Savages).

              In 2018, director Tim Hawkins contacts Jehnny Beth and her life-long collaborator Johnny Hostile to ask if they would like to write the entire score for his new documentary about Chelsea Manning. For Hostile and Beth, this is an opportunity they have been preparing for. Hours of practicing instrumental compositions in Johnny Hostile’s Pop Noire studio could finally be put to great use. May 2018 and the pair starts working relentlessly until the end of summer.

              The relationship with Hawkins is fluid and easy. Same generation, same references, the director gives total freedom of interpretation to the musicians while offering a constructive frame of work to allow efficiency. Hawkins even admits to have lengthen his last scene in response to the enchanting piano track written by Johnny Hostile for the film’s ending.

              Manning’s portrait by Hawkins reveals the character’s humanity, her flaws, her doubts and her triumphs. Hostile and Beth have spent months looking at Manning on screen hit extreme high and low points while they try to transcribe as faithfully as they can all her emotions into sounds. The avoidance of manichean stands and predictable clichés in the film inspire the duo to write music with nuances, concentrating on deciphering the mysterious persona of one of the most important historical figures of our time.

              Jehnny Beth (Savages)
              Considered as one of the most powerful woman in rock music, Jehnny Beth founded the label Pop Noire in 2011 alongside Johnny Hostile, with whom she moved to London in 2005. Front singer in the band Savages, she champions sexual exploration and self-empowerment while challenging the cliches surrounding what it means to be a woman in a band. In addition to having traveled the world with Savages and performed on stage with the XX, LCD Soundsystem, Suicide or Primal Scream, she has recently collaborated with artists such as Gorillaz, Julian Casablancas, and Trentemøller. From 2016 to 2018, Jehnny Beth hosts the weekly radio show "Start Making Sense" on Beats 1 (Apple Music) where she has received an impressive list of artists from the international independent musical scene: Brian Eno, St Vincent, Johnny Marr, David Byrn, Anna Calvi, Damon Albarn, Peaches, Alison Mosshart, Massive Attack... She is currently working on new projects that will see the light in 2019/2020, including her awaited debut solo album. Returning to Paris two years ago, Jehnny Beth has also been acting again, first in CatherineCorsini'sU nAmourImpossible in 2017, for which she was nominated for a Césars in January 2019. Jehnny Beth is currently working on other film projects in France and abroad.

              Johnny Hostile (Savages, Lescop)
              Johnny Hostile is a French composer, producer, musician and founder of Pop Noire. After graduating from the conservatoire in electroacoustic and musique concrète fields, he moved to London in 2005 with his partner Jehnny Beth. Two years after the creation of Pop noire in 2011, J. Hostile unveiled his solo work as a support on Savages’ world tour. In 2015, he invited Julian Casablancas and Jehnny Beth to sing on the cover of ‘Boy/Girl’, produced several French artists such as Lescop, Izia Higelin and Etienne Daho. From 2016 to 2018, he produced the 'Start Making Sense' weekly radio show on Beats 1 (Apple Music) presented by Jehnny Beth. He directed the musical line-up for the show concentrating exclusively on contemporary music, with an impressive list of guests from the international independent music scene. With his debut album ‘(dys)function’ released on Pop Noire in 2018, he emancipated himself from any genres of music that he had been producing for over a decade. He decided to compose the music that had been at the center of his life for years: ambient and experimental. He now lives and works in Paris where Pop Noire studios are based. Hostile is currently working on new projects coming up in 2019, including new Pop Noire artists and Jehnny Beth's album.

              black midi -- Georgie Greep (vocals/guitar), Matt Kwasniewski-Kelvin (vocals/guitar), Cameron Picton (vocals/bass), and Morgan Simpson (drums) -- have a dynamic energy, playing as a musical unit that’s constantly in a state of flux and development.

              Schlagenheim was recorded with Speedy Wunderground producer Dan Carey, who the band praises for his quick, unfussy approach. black midi laid down eight of the record’s nine tracks in just five days. The process was one of refining and rebuilding tracks around the initial structures. Five hour jams would sometimes yield a riff that then became a few bars of a song. As anyone who’s been lucky enough to catch black midi live over recent months will testify, black midi’s songs are slippery creatures.

              STAFF COMMENTS

              Barry says: Much like the fervour that accompanied Battles' 2007 outing 'Mirrored', Black Midi have managed to make an indefinable and thrilling collection of angular post-punk, avant math-rock and percussive glitch without so much as a glance into their stylistic forebears. Singular in artistic scope and as forward thinking as they come, they are sure to have a loyal and enthusiastic following through their use of unexpected rhythms and off-piste stylistic flair.


              LP Info: LP is pressed onto 180 gram vinyl and housed in a gatefold sleeve. Includes a download code.

              CD Info: CD includes fold out poster of the colour collage and lyrics.

              Black Pumas

              Black Pumas

                Sometimes, a mystical, life-changing connection can be closer than you think. In 2017, Grammy Award-winning guitarist/producer Adrian Quesada had recorded some instrumentals in his Austin studio, and he started looking around for a vocalist—he knew a lot of singers, but he wanted something different. He reached out to friends in Los Angeles, in London, but nothing seemed right. Meantime, Eric Burton had recently made his way to Texas. Born in the San Fernando Valley, he grew up in church and then got heavily involved in musical theater. He started busking at the Santa Monica pier, where he brought in a few hundred dollars a day and developed his performance skills. Burton traveled through the Western states before deciding to settle down in Austin—setting up his busking spot on a downtown street corner, at 6 th Street and Congress, for maximum exposure.

                A mutual friend mentioned Burton to Quesada, saying that he was the best singer he had ever heard. The two musicians connected, but Burton took a while to respond (“My friends were like ‘Dude, you’re an idiot, you need to hit that guy back!’ “) Finally, he called Quesada, and started singing to one of the tracks over the phone. “I loved his energy, his vibe, and I knew it would be incredible on record,” he says. “From the moment I heard him on the phone, I was all about it.” The results of that inauspicious beginning can now be heard on the self-titled debut album from Black Pumas, the group that Quesada and Burton assembled, which has become one of the year’s most anticipated projects. Described as “Wu-Tang Clan meets James Brown” by KCRW, Black Pumas were the winner of Best New Band at the 2019 Austin Music Awards.

                Quesada has a storied reputation from playing in bands like Grupo Fantasma and Brownout, accompanying artists from Prince to Daniel Johnston, and producing such acclaimed projects as 2018’s Look At My Soul: The Latin Shade Of Texas Soul. For the tracks that kicked off this project, though, he had a different direction in mind. “I was looking for somebody with their own identity,” says Quesada, “who liked Neil Young as much as Sam Cooke.” Burton’s taste, range, and experience proved to be exactly what Quesada was seeking. “We just take to the same kind of music,” he says. “I listen to East Coast hip-hop, old soul music, folk music. When Adrian sent me the songs, it was like I had already heard them before. We were on the same wavelength from the get- go.”

                The first day they got together in the studio, they recorded the dusty funk that would become the Black Pumas’ first two singles, “Black Moon Rising” and “Fire.” Quesada had written the music for “Black Moon Rising” on the day of the 2017 solar eclipse, and Burton took that concept and ran with it. “Right away, the hair stood up on the back of my neck,” says Quesada. “I knew, ‘This is it—this is the guy.’ ”

                Burton sensed the potential, as well. “When I saw that Adrian played with Prince and had a Grammy,” he says, “that he was a serious, respected artist, I knew that I would do my best not to squander that. If you can do it on the street, for a long time, without making yourself crazy, you can do it with a guy who’s won a Grammy.”

                The duo also knew that they didn’t want their sound to be too retro or imitative. “We didn’t want to just do throwback soul and pretend that hip-hop never happened,” says Quesada, nothing that it was listening to Ghostface Killah that initially triggered him to start writing this material. “It had to feel sincere coming from us. I have a certain aesthetic in the studio, Eric has a voice that evokes a certain era, but I don’t think we reference that too directly.” “Adrian has had the time and the interest to really dive into a specific sound, to recreate something he heard on a Motown record,” adds Burton. “And because of that specific knowledge, he provides an interesting sandbox for me, whose background is in theater, to do something super-unorthodox—to be an art student and play with all the colors I have, but to put it on something that’s more familiar to listeners’ ears.”

                With Black Pumas having evolved from an idea to a session to an album, they decided to put a band together and see how this music sounded live. They booked a residency at C Boys (a sister venue to Austin’s famed Continental Club), initially playing every Thursday for a month. “We only rehearsed twice, we had no idea what we were getting ourselves into,” says Quesada. “But with the first show, we knew it was unique, special—the chemistry and fire were there immediately. And what Eric could do as a frontman was like nothing I’d ever seen.”

                As word got out, the C Boys shows turned into a local phenomenon (“the hottest party in town,” according to the Austin American-Statesman), with lines around the block despite the fact that the band had only released one song. The reaction to the group’s recent South by Southwest appearance helps explain the mania—the Chicago Tribune called Burton’s performance “a whirlwind of movement and gesture,” while Rolling Stone, in naming Black Pumas “One Of The 30 Best Bands We Saw In Austin,” wrote that “the hometown six-piece’s grooves were funky in a thick, viscous way, oozing out in ambitious jams that wandered into heady territory without meandering” and praising Burton’s “tireless, charismatic energy.”

                The other, unexpected result of the C Boys residency was that Burton presented more of his own songs to help fill out the set, which led Black Pumas into new territory. “Eric had all these other songs based on other styles, going back into what he was doing when he was busking,” says Quesada. “It was a real spark that we could huddle around him and his songs, too, and get a real sense of what our sound was.”

                In fact, the final song recorded for Black Pumas was “October 33,” a tense, pleading ballad by Burton. “I didn’t feel like we had the right last song,” says Quesada, “we needed something with more of Eric on guitar. I said ‘I want to put down one more, do you have anything?’ and he texted me back exactly what I was imagining—it was almost unspoken.”

                Quesada and Burton both return, over and over, to this almost mystical connection they felt from the beginning. It’s this sense of common purpose, of shared vision, that gives Black Pumas its focus and power—and that points to great things ahead.

                “It’s so seamless, it’s like we’re musical brothers to some degree,” says Burton. “It feels so easy to meld together that what’s most important for us now is to continue to look for new sounds—to make sure we’re feeding ourselves the knowledge to continue to evolve. Every time we get together, it’s better than the last time.”

                STAFF COMMENTS

                Barry says: A beautiful groove-led juxtaposition of classic soul and simmering low-key funk, brimming with tenderly plucked guitars and phased Wurlis, all working their way around the momentum-filled majesty of Burton's perfectly fitting vocals. Stunning stuff.

                FORMAT INFORMATION

                Coloured LP includes MP3 Download Code.

                "Chapter 1: The Black Godess (AΦOR)” is the latest work from the DJ and producer Blake (aka Will Blake) released on his new label Triton featuring the Detroit legend Scan 7.

                Detroit artist Abdul Qadim Haqq (Third Earth Visual Arts), designer of historical releases of among others: Underground Resistance, Metroplex and Transmat, has conceived, curated and realized the entire artwork project.

                If vintage Derrick May and Jeff Mills DJ sets are your thing, then the five tracks here are certainly gonna cause some commotion. After "Tribal Transmissions" first major breakdown, you're catapulted into an Axis-era techno trust. "Hysteria" also utilizing long, tension-fuelled breakdowns before that Motor City stream train comes juddering thru unabashed. Title track, "The Black Godess" carries on like some lost UR / Galaxy 2 Galaxy number. Musical as hell with elastic synthlines and rubbery bass perfectly moulded around swung drum machines and ethereal melodies before a soul drenched female vox takes us off into the stars. Scan 7 take time to remix this crowning glory, turning out a very Detroitian, stadium pleasing techno cut with killer handclap patterns and detailed bass part.

                If you're a fan of vintage Detroit techno you need this in your life right now!

                STAFF COMMENTS

                Matt says: Phwoooar! I'd somewhat turned my back on Detroit of late, but Blake's reinvigorated my interest immediately with this authentic addition to the cannon... We almost lost Detroit? Well it's back baby!

                Blue Orchids

                The Magical Record Of Blue Orchids

                  While recording of last year’s “Righteous Harmony Fist”, Blue Orchids messed about with a few covers of insanely obscure low-fi garage / psych tunes. The influence of drug-addled oddities from the previous generation’s underground has been apparent in the work of Martin Bramah since the start of The Fall, due in part to the influence of the real-life subject of “No Xmas For John Quays”, whose record collection was so packed with US garage classics that the song about him was borne of a sort of jealousy on Mark E. Smith’s part - with a collection like that, every day’s Christmas!

                  Few casual aficionados of rock music will know more than a song or two from this set - the likes of The Penny Saints and The Aardvarks and their kin not exactly being household names. In fact, of the seven ‘60s acts with songs covered here, none lasted more than a handful of singles. Complementing those songs are covers of songs by two more recent groups. The swirling keyboards of The Growlers’ Pavement And The Boot is distilled back to its fundamental garage essence, while Crystal Stilts’ two-minute original, Love Is A Wave, is slowed down and channelled back to the melodic pop wonder lingering beneath its Reid brothers buzzsaw and pays respect to the band, who’d themselves covered Blue Orchids’ Low Profile a few years back.

                  Of special interest will be Addicted To The Day, the album’s key song, the words for which were recently found in a 1977 notebook of Bramah’s which at Mark E. Smith had borrowed and then scribbled down the ‘poem’ in thanks, to which Bramah added music. The haunting lines, “How could I have suspected my abysmal future / A doom which has haunted me / And turned me into a wreck and a parody”, are the centrepiece of the album, a concept compiled of bits and pieces of esoteric tunes, telling a tale of Faustian doom in a pact with forces of evil.

                  The Magical Record Of Blue Orchids is released in a strictly limited edition while the band works on their next album of originals. 

                  STAFF COMMENTS

                  Barry says: 'The Magical Record...' is indeed magical, holding some of the most stylistically varied and texturally interesting pieces in the Blue Orchids considerable back catalogue. Dark, brooding covers like 'I'm a Living Sickness' mix perfectly with the more upbeat offerings, showing the true talents of a band who can turn their hand to anything, without any sign of faltering. Lovely stuff.

                  Stanley Brinks And The Wave Pictures

                  Tequila Island

                    Stanley Brinks is joined by The Wave Pictures for their fifth album together; and their first since 2015’s “My Ass”. That’s not to say either have been slacking in that time, both are notoriously prolific: The Wave Pictures have turned out 5 albums and Brinks 7 since they last came together in the studio. Stan arrived at the studio with several CDs worth of unrecorded songs on a balmy North London night and instructed The Wave Pictures to pick out some favourites to jam during the following three nights of recording sessions.

                    To anyone familiar with Stanley Brinks' huge discography - more than 100 albums - it might sound more raw in a way, less sophisticated than some of his other recordings. It's still rich in jazzy sounds and original structures however, the songs looser and full of playfulness, with the lyrics carrying the essence of the songs. Tequila - the drink - was obviously the inspiration for the album. While writing, and while recording. Stanley Brinks was born in Paris, France, in 1973. He studied a bit of biology and worked as a nurse for a while. Half Swedish, half Moroccan, strongly inclined to travel the world, he soon began spending most of his life on the road and developed a strong relationship with New York. By the late 90s he’d become a full time singer-songwriter – André Herman Düne – as part of three piece indie-rock band, Herman Düne.

                    Several albums and Peel sessions later and after a decade of touring Europe, mostly with American songwriters such as Jeffrey Lewis, Calvin Johnson and early Arcade Fire he settled in Berlin. The early carnival music of Trinidad became a passion, and in the early 21st century he became the unquestioned master of European calypso, changing his name to Stanley Brinks. Under this moniker he has recorded more than 100 albums, collaborated with the New York Antifolk scene on several occasions, recorded and toured with traditional Norwegian musicians, and played a lot with The Wave Pictures.

                    The Wave Pictures are David Tattersall, Franic Rozycki and Jonny ‘Huddersfield’ Helm. Formed in 1998 when Franic and David lived in a village called Wymeswold, the band played with several drummers until Jonny became a permanent member in 2003 replacing Hugh J Noble. In the beginning the band learned to play together by covering Jonathan Richman songs but soon David was writing lots of original material. They have since released six studio albums to critical acclaim and played numerous sessions on BBC 6 Music, Radio 1 and Xfm. Interest generated from these recordings has enabled The Wave Pictures to play shows all over the world with artists including Jeffrey Lewis, Darren Hayman, Stanley Brinks, Freschard and Herman Düne. 

                    FORMAT INFORMATION

                    Coloured LP Info: Tequila and agave splatter coloured vinyl with download code.

                    CD Info: Digipack CD with lyrics booklet.

                    Bronnt Industries Kapital


                      British multi-instrumentalist Guy Bartell returns with his fifth LP under his BRONNT INDUSTRIES KAPITAL moniker. ARSENAL, a newly commissioned soundtrack for the 1928 film by Oleksandr Dovzhenko, will be released on 12th January 2018 via I OWN YOU on limited edition teal coloured vinyl, CD and download. The release will mark the 100-year anniversary of the Kiev Uprising, depicted in the infamous silent film.

                      Oleksandr Dovzhenko’s 1928 classic film 'Arsenal' has recently been restored by the Oleksandr Dovzhenko National Centre (ODNC) in Kyiv. The British Council and ODNC commissioned Bristol-based producer and multi-instrumentalist Guy Bartell (Bronnt Industries Kapital), to compose a new soundtrack for the film. The restored version was screened (and the new soundtrack performed live by Bartell) on 22 April 2015 at Kyiv’s Fifth International Book Fair, at Mystetksyi Arsenal.

                      The second film in Dovzhenko’s ‘Ukraine Triology’ (together with Zvenigora and Earth), Arsenal was released in 1929. The film focuses on an episode of the Russian Civil War (1918) in which the Kiev Arsenal January Uprising of workers supported the Red/Bolshevik Army against the Ukrainian nationalists (who ran the country at the time). The American National Board of Review chose Arsenal in its list of top 5 films of 1929 (Carl Theodor Dreyer’s Joan of Arc was also on the list). Exploring a narrative that stresses the tragic nature of civil war, Arsenal is regarded by film scholar Vance Kepley, Jr. as "one of the few Soviet political films which seems even to cast doubt on the morality of violent retribution". 

                      The hardest working man in showbiz, godfather of soul, funk and possibly fuck, James Mu'Fuckin' Brown dropped this masterpiece back in 1972 and it's slapped suckers silly ever since. Now we get a f-f-f-fresh double vinyl reissue of "Get On The Good Foot" with new and improved sound quality for 2019. The album's title track was issued as a two part single on its release and predictably topped the Billboard's R&B chart at the time. Elsewhere "The Whole World Needs Liberation" takes a conscious direction while "Cold Sweat" just gets down and dirty for the dancers.


                      Peace Moves - Inc. DJ Normal 4 Remix

                        Piccadilly favourite, video game fanatic and former breakdance champ Jan Schulte makes his Dekmantel debut with "Peace Moves", an EP of percussive soul, that captures the Salon Des Amateurs resident in full, tribal swing. Blasting out the A-side with tough body moving breaks, rasping vocal idents and skewed synth riffery, the main mix of "Peace Moves" harnesses the 5 a.m. insanity of a mushroom fuelled romp, deploying a Tri Atma style 12 string riff to totally trip the hippie dancers out. Breakbeat king and previous collaborator DJ Normal drops by on the A2, taking the intensity up a notch with a 'back to the oldschool', 'carpark in North Manchester', 'pocket full of pingers' 'ardcore mix complete with nagging bass, synth strings and more energy than a whizzed up all nighter at R&S HQ, 1993. Over on the flip, Bufi brings the euphoria with a medicated, manipulated dream-house flip on "Peace Moves", infusing the OG with doped up sequences and sultry incense tinged pads. Saving my personal favourite til last, Jan hits us with "Graffiti Moves", a kaleidoscopic vision of cut up funk breaks, tribal percussion, ring modulated leadlines and well wonky fx abuse. Expect to hear this on the Talking Drums dancefloor very soon.

                        FORMAT INFORMATION

                        12" Info: 1 COPY FOUND!

                        Rob Burger

                        The Grid

                          R.I.Y.L. Harmonia, Roedelius, Cluster, Dustin O’Halloran, Goldmund, Popol Vuh, Brian Eno.. Rob Burger’s talents as an arranger, composer, and keyboardist have been nurtured by morethan two decades of contributions to a diverse roster of recognizable names, at the very least including John Zorn, Laurie Anderson, and Iron & Wine with whom Burger presently records and tours.

                          His new album The Grid combines neo-classical soundscapes, ‘70s kosmische, and jaunts of 20th-century exotica into a completely unique genre-quilt that synopsizes his long musical trek through multiple cities, scenes, and sounds. A lifelong musician, Rob began learning piano at age four and would go on to study under jazz luminaries Max Roach, Archie Shepp, and Yusef Lateef at the University of Massachusetts. As if his formal education weren’t impressive on its own, his informal one consisted of frequent visits to New York City creative hubs The Knitting Factory, and The Kitchen, where Burger became a fly on the wall to the likes of Arthur Russell, David Byrne, and Laurie Anderson (Burger would go on to contribute to Anderson’s 2010 album Homeland). Anderson appears on The Grid’s ninth track “Souls of Winter”).

                          With the avant-garde door having long been kicked open, Burger relocated to the Bay and made a lasting impression upon the area’s music scene with his group Tin Hat Trio, while furthering his session and film-score work adjacently. When that group disbanded in the early ‘00s Burger found himself back in NYC where playing a Neil Young tribute show would entwine his path with that of Sam Beam (Iron & Wine). From then on, Burger has been an inextricable component of Beam’s live band and discography. Somewhere in the interim the growth of Burger’s family and his yearning for quieter climes led him to Portland, Oregon, where he built a studio, amassed an enviable collection of vintage keyboards, and began sowing the seeds of The Grid. Burger’s mysteriously upturning chord-changes express depth and melancholy without ever fully straying from a sense of curiosity and charm making the somber moments believable and palatable, as indicated in the album’s first moments. The Grid rolls in on a cloud bank of old-world sorrow with its piano and accordion prologue “Alternate Star,” but by the initial note of the second-track “Harmonious Gathering” all the sonic elements, dusty drum machines, choral keyboard patches, and rubberized synth bass seem to be smiling in glorious unison. This song, as well as the title track that shortly follows it, hint at what it might sound like if Harmonia had stayed intact and were scoring A24 films. 

                          FORMAT INFORMATION

                          Coloured LP Info: Cosmic clear vinyl exclusive for indie stores only.

                          C Cat Trance

                          Screaming Ghosts

                            In an international merger certain to send the stock market into a headspin, Emotional Rescue and Malka Tuti join forces to bring us a collection of the mind blowing music of C Cat Trance. Drawing on the rhythms and melodies of Africa and the Middle East, the Nottingham outfit brought an outernational style to the post punk dancefloor. In their ten year lifespan the group released 6 EPs and 4 LPs, the best moments or which are drawn together for this a special double LP compilation. From the legendary "Shake The Mind" to the percussive, ethno-club cuts "Sudaniyya" and the previously unreleased "Some Day Soon", the album highlights a project that stood out from the post-punk haze with striking scales and time signatures to develop a unique sound.
                            Formed by world music fan and multi-instrumentalist John Rees Lewis upon leaving post post-funk pioneers Medium Medium, the group retained the intensity of the former, but in a considerable new direction. Teaming up with fellow ex-band member Nigel Kingston Stone, together they formed the backbone of the band around a continual stream of guest players.
                            Exotic, dense, tribal rhythms propel a mixture of club, pop and world music, creating an atmospheric fusion that can be heard across the 12 pieces. The alt-industrial feel of "She Steals Cars" and "Screaming (To Be With You)" is countered by avant-percussive "Dalbouka" and "I Looked At You" or the Balearic vibes of "Take Me To The Beach" and "They Made Them Up".

                            Together they perfectly showcase a dark and moody world music with a shamanic spiritual underbelly that has gained admirers from collectors and latter-day producers. In that spirit a set of re-edits, remixes and reversions from latter day heads including Red Axes, Prins Thomas, JD Twitch, Khidja, Die Orangen, Jamie Paton and more will follow.

                            FORMAT INFORMATION

                            2x12" Info: ONE COPY FOUND!

                            Twenty years on the heels of their debut with 1999, established cornerstone of the French Touch sound, duo Philippe ‘Zdar’ Cerboneschi and Hubert ‘Boom Bass’ Blanc-Francard announce their fifth opus "Dreems". This album sees Cassius trawl their myriad influence - moving between dreamy electronic soundscapes to playful pop-house jaunts always with a keen and crisp ear for hi-def, radio-friendly production and shiny, polished sounds.

                            Back to basics, then, both in the design and influences, they worked during long sessions spent at the Motorbass’ studio, where the disc was largely imagined. A magical place causing an organic heat into the sound power (with a new subtlety that the initiates will appreciate, the use of a Korg synthesizer, last acquisition of Zdar and Boom Bass).

                            STAFF COMMENTS

                            Matt says: Remembering quite clearly when "1999" burst onto the scene all them years ago, it's nice to see Cassius return to that crowd pleasing formula for "Dreems". I can't think of any legitimate reason why the kids won't go absolutely crazy for them once again - and what's wrong with that?! Not everyone has to grow up you know... mega fun this.

                            The Chi Factory

                            The Kallikatsou Recordings

                              Hanyo van Oosterom lived in the small cave of the Kallikatsou in the early eighties, finding inspiration there for the Chi project (1983-1986). From the nineties to 2006 he created drones, loops, samples and soundscapes, traveling numerous times annually back and forth to the Kallikatsou for fine-tuning. With the Original Recordings and Bamboo Recordings, both strongly connected to the Kallikatsou, creating the perfect timeframe, 'the circle [is] closed. Together these recordings reflect and express the different aspects of the experience. A trilogy of random dream-catching over 30 years.'

                              STAFF COMMENTS

                              Matt says: Fans of Chi Factory's "Original Recordings" and "Bamboo Recordings" can finally get some closure as the final record in the triptych lands this week. More unfathomably esoteric sounds from a true witch doctor.

                              FORMAT INFORMATION

                              Ltd LP Info: ONE COPY FOUND!


                              C'est Chic - Signature Edition Remaster

                              Disco lovers rejoice! Chic's first three albums are back on wax in wonderful remastered form. These versions of Chic, C’est Chic and Risqué feature the Nile Rodgers’ Signature Edition Remasters, which debuted last year as part of The Chic Organization 1977-1979 boxed set.

                              Each album was remastered from the original Atlantic stereo tapes by Miles Showell at Abbey Road Studios. Rodgers served as executive producer and supervised the remastering with the approval of Bernard Edwards’ estate. To ensure exceptional sound quality, the albums were mastered at half-speed and pressed on 180-gram vinyl.

                              Hot on the heels of their 1977 debut, "C'est Chic" continued Nile and Bernard's assault on the disco, and DJs and dancers can delight at "Chic Cheer" (Big up Fatman Scoop), "Le Freak" and "Savoir Faire".

                              Disco lovers rejoice! Chic's first three albums are back on wax in wonderful remastered form. These versions of Chic, C’est Chic and Risqué feature the Nile Rodgers’ Signature Edition Remasters, which debuted last year as part of The Chic Organization 1977-1979 boxed set.

                              Each album was remastered from the original Atlantic stereo tapes by Miles Showell at Abbey Road Studios. Rodgers served as executive producer and supervised the remastering with the approval of Bernard Edwards’ estate. To ensure exceptional sound quality, the albums were mastered at half-speed and pressed on 180-gram vinyl.

                              The group's 1977 debut, self titled of course, introduced the world to the majesty of America's premier disco ensemble, and a whole load of happy people glued to the floor thanks to the sublime "Dance, Dance, Dance (Yowsah, Yowsah, Yowsah)" and "Everybody Dance". 


                              Risque - Signature Edition Remaster

                              Disco lovers rejoice! Chic's first three albums are back on wax in wonderful remastered form. These versions of Chic, C’est Chic and Risqué feature the Nile Rodgers’ Signature Edition Remasters, which debuted last year as part of The Chic Organization 1977-1979 boxed set.

                              Each album was remastered from the original Atlantic stereo tapes by Miles Showell at Abbey Road Studios. Rodgers served as executive producer and supervised the remastering with the approval of Bernard Edwards’ estate. To ensure exceptional sound quality, the albums were mastered at half-speed and pressed on 180-gram vinyl.

                              Originally released in 1979, "Risque" housed the uber-hit "Good Times" along with mega movers "My Feet Keep Dancing" and "My Forbidden Lover". 

                              Chocolate Buttermilk Band

                              Head Games

                              Founded by Larry Akles in 1971 in Fayetteville, North Carolina, The Chocolate Buttermilk Band, has been one of the busiest and most successful cover and backing bands in the Southern United States for the last 5 decades. While they’re little known outside the region, their handful of singles from the early 1980s are, for record collectors, among the best and most desirable in Modern Soul and Boogie Funk.
                              Alongside their double LP retrospective of the group, Past Due also treat us to this 7" single featuring the group in full cosmic funk mode on "Head Games" and bedroom boogie mode on "No Way" - so something for the peak time AND the erection section ;)

                              Chocolate Buttermilk Band

                              Head Games (The Story Of Larry Akles & CBM Records)

                              Founded by Larry Akles in 1971 in Fayetteville, North Carolina, The Chocolate Buttermilk Band, has been one of the busiest and most successful cover and backing bands in the Southern United States for the last 5 decades. While they’re little known outside the region, their handful of singles from the early 1980s are, for record collectors, among the best and most desirable in Modern Soul and Boogie Funk.

                              Jerome Derradji & Past Due Records present “Head Games (The Story of Larry Akles & CBM Records)”. Released on a double LP with printed inner sleeves (or booklet) that include never seen before pictures of the band and a story written by Jacob Arnold. Artwork is by the mighty Al Kent. 

                              This compilation includes every song released by the Chocolate Buttermilk Band, remastered and reissued for the first time. Needless to say, this is an essential release for fans of Boogie, Soul and Funk as the Chocolate Buttermilk Band releases are known to fetch thousands in the collectors market.

                              In Larry Akles own words, “This girl in Atlanta told me one time, she said ‘Larry, I heard on the radio that Chocolate Buttermilk was going to be on the show, and I told my girlfriend, Oh, it’s gonna be onnnn if Chocolate Buttermilk on there, ’cause whoever come behind them, they got to go!’” He continues, “When we hit the stage, boy it’d be some fire. We wouldn’t have to get warmed up. We’d start off hot!”

                              Max Cilla

                              La Flute Des Mornes

                                Open your windows wide and let the summer breeze in, Max Cilla's "La Flute Des Mornes" is simply sublime music from Martinique — free-flowing, mystical roots, with lilting jazz, Latin and Cuban rhythms. Cilla dedicated himself to the revival of the bamboo flute 'of the coastal hills', which he fashioned by hand from a single piece of wood, according to ancient Indian traditions. In this recording from 1981 — a kind of Antillean sister-star to Don Cherry's Mu albums — it is featured alongside the traditional percussion instruments of Martinique. Good for souls and sundays...

                                FORMAT INFORMATION

                                LP Info: ONE COPY FOUND!


                                Tonic Edits Vol 6 (The Japan Reworks)

                                Coeo have been travelling in Japan and discovered the magic of City Pop: That Japanese Disco movement of the eighties. Back then there were amazing dance tracks coming out of Japan. Some with Japanese lyrics others with American vocals. Often so perfectly played and recorded that it was hard to tell if the music came out of NYC basement studios or for real Asiatic studio musicians. Coeo found a lot of rare jams and did edits for their DJ sets. As at the Toy Tonics office everybody is always searching for the rare and unknown the crew was totally excited. And so the decision was made quickly: Put out a few of these rare jams & edits. Here they are.

                                STAFF COMMENTS

                                Patrick says: Coeo take us on a trip to Tokyo on this volume of Toy Tonics edits, serving up a quartet of J-boogie, city pop and Asiatic disco reworks, including a mega female vocal version of Sakamoto's superb "Tibetan Dance".

                                International Feel are back, diving into the mirror world once again for a fresh four track on their Feel International offshoot. This time round the artist is Coombe Harbor, who, with virtually no online presence is possibly another alias of label boss Mark Barrott. Putting my presumptions aside and focussing on the music, I feel the warming vibrations of 'Kyoto Masks' washing over my pleasure centres. Taking one bubbling Fingers-esque bassline, syncopated hats and some gliding, Asiatic leadlines, this is house with depth, rather than deep house - lovely stuff. "Sadness Is A Drug Called Love" loses the kick drum and lays back into a gentle pool of electronic melancholy, achieving a kind of resigned serenity which could work in a warm up, warm down or sunset sesh. The electronic tranquility continues on the A1 with "Abadon Exit", a stately cinematic piece which filters the rich heartbreak of Vaughn Williams through Japanese electronics. Coombe Harbor brings the beat back for the final track, bending wild sine waves around a simple beatdown drum track and timing those piano chords just right.

                                The River's Edge is a mythical place. A scene of tranquillity or the start point of a journey. Nothing stays the same. Life passes by. The river widens then retreats. The River's Edge doesn't exist...

                                Nev Cottee is back with fourth solo album... 'After all these years it feels like I finally know what I'm doing. For some reason I had this image of the River's Edge in my head - a promised land where I wanted to be.'
                                The album oozes with confidence as Nev takes his low barritone vocal into new areas and - dare we say it - even breaks into song!

                                The dream-like Waitsian lullaby 'Nightingale' opens the record, perfectly setting the scene. Lee Hazlewood inpired doomed love duet 'Roses" follows featuring the mysterious Veronica - a Nicoesque chanteuse Nev discovered singing in the backstreets of Madrid. 'The minute I heard her voice I knew she was perfect. She has an ethereal quality. Not of this world'.

                                The classic songwriting continues with lush soundscape production once again provided by the great Mason Neely (Wilco/Edwyn Collins). Long time friends contributing their unique skills include legendary guitarist Nick McCabe (The Verve), pedal steel virtuoso Chris Hillman (Ethan Johns/Billy Bragg) & James Walbourne (The Pretenders/The Rails) to name but a few. Cellos and violins combine with vintage synths to create Nev's now familiar sonic landscape. 'To have Nick contributing was a real honour.. The guy is THE guitarist of his generation. Not many musicians have their own unique sound but Nick does.'

                                Inspired by the late Scott Walker, Neil Young and the aforementioned Waits, River's Edge is a unique sounding record blending beautifuly crafted songs with the cinema scope production values of Spiritualized and Morricone. It's a nod to the mythical Canyons of LA but through a very English lens. ' There is a pastoral quality to the songs on this album 'Local Hero', ' Hello Stranger' 'Scattered Leaves' they're all about the hidden places I love discovering in the English countryside.'

                                Describing the recording process Nev explains, 'For this album we met up in Manchester for 2 weeks and got it all down. We just went at it workman-like from 9-5 every day. I love the whole process - writing, demoing at home, the studio. It's very gratifying to see an idea come to full fruition.'

                                'I want to be unlike anything else out there at the moment. I don't see anyone doing what I do. I'm on my own. Good.'

                                So where is The River's Edge...?! 'The songs are my way of working out what's going on in the world. Finding some sense in all the crazy madness. I hope people can come and join me in this special place and find some repose.' 

                                STAFF COMMENTS

                                Andy says: Another beautiful record from Nev Cottee with proper classic songwriting and one of the richest voices in pop at the moment. This record features the incredible Nick McCabe of The Verve!


                                Distant Images

                                  Fresh off the back of an exceptional collaboration with Suzanne Kraft for Melody As Truth, the mighty D.K. returns to his usual Antinote haunt for a sublime LP of serialist textures, esoteric electronics and exotic ambience. His fourth release on the label, "Distant Images" sees Dang Khoa Chau heading deeper into his own sonic world, refining his palate, defining his palette as a unique blend of new age pads, fourth world influences and minimalist arrangements. Despite these heady influences and fractal obsessions, "Distant Images" is also D.K.'s most organic album to date - the most attentive ears will hear seagulls on the title track while rain falls softly on "Leaving" - and slightly departed from the digital universes that his
                                  previous records seemed to set in motion. From the most abstract songs, like the Reich-ian "Shaker Loops", to the most evocative ones, the five compositions on Distant Images are like stained glass, gently filtering natural light. It is therefore no coincidence if, of all the senses, the titles of the songs mostly refer to sight: close your eyes while listening to the cinematographic "Days Of Steam" and visions of an industrious city might appear before you. Put this on your player and let your mind be free, there's beauty in the world after all.

                                  STAFF COMMENTS

                                  Patrick says: Simply put, this is breathtaking. Not only is it D.K.'s finest release, but also an arguable highlight of the whole Antinote catalogue. 'Distant Images' sees the Paris based producer combine minimalism, new age and 80s jazz into a kaleidoscopic slow listening masterpiece.

                                  It seems somehow fitting that on a day when we said goodbye to one of the disco house innovators (Philippe Zdar R.I.P.), Daphni returns with his festival-ready addition to the canon, "Sizzling". Built from Bermudan disco banger "Sizzlin' Hot" by Paradise, the title track of this highly anticipated EP races out the blocks with hot horns, nipple-high bass and plenty of polyrhythmic punch, looped to perfection for hands aloft summer fun. Soon enough the vocal, with its ever excalating energy joins the fray and we're merrily bopping along in nu disco mode - punchy enough to power up a party, but polite enough for the cocktail crowd. That is until Daphni drops a huge side-chained kick and takes us straight back to the pilled up summers of 1999 - MASSIVE! On the A2, "If" throws an early jazz piano feignt, before clocking us right in the chop with a slamming drum program a la Gemini or Paul Johnson. 
                                  Flip it and the frisky, frothy and frenzied filter disco fun continues unabated, as "Romeo" cuts through the crowd and begins to spin in the very centre of the dancefloor. Working up from the foundations of slick bass and a growling synth sequence, Daphni gradually lets loose with the dramatic, climactic and largely Latin strings and swoons of his source material, pulling the club through ballroom disco and into a narcotic sweat box. Finishing with a bang, "Just" takes us tired dancers into a world of hands aloft, heads high and hugs. Harps, flutes and vocal harmonies drift out of a jazz/folk/soul O.G. and cascade around reinforced percussion, providing a euphoric mood, which takes a deeper turn in the middle third before powering back towards the ecstatic truth for the finale. 

                                  STAFF COMMENTS

                                  Patrick says: Daphni is back with a banger! This summertime number is a red hot refix of Bermudian disco banger "Sizzlin' Hot" by Paradise, and it's coming to take over a soundsystem near you. Elsewhere the maestro takes disco, jazz and soul elements and samples at will, dropping festival friendly bombs throughout.

                                  Mark De Clive-Lowe

                                  Love Will Save The Day / Love Supreme

                                  Mark De Clive-Lowe gets busy with some classic soulful house action here, delivering two big cuts for the dance.

                                  "Love Will Save The Day" utilizes a disco-flavoured vocal part, pairs it with anthemic piano chords, twinkling keyboards and a MAW-styled B-line. The result - a hand-aloft burst of feel-good energy and maximum grins guaranteed. The kinda track you can pop out at the end of a long session to unite the whole crowd under an umbrella of endorphins.

                                  "Love Supreme" places a saxophone line at the focus of this expansive house jaunt while grand atmospheres and rushing sweeps add a captivating, almost cinematic quality. Abstract and just slight proggy, it's the kinda track big room DJs like Francois K and MCDE would use to devastating effect. 

                                  Hot Casa hit us with a fantastic and rare album by Manu Dibango, the Afro Soul Maestro!
                                  These tracks were recorded in 1971 at Pathé-Marconi studio (Boulogne Billancourt) for professional sound illustration intended for the cinema, television and advertising. The jazzman experimenting with all genres was then beginning to convert solely to what soon to be called “Rare Groove” somewhere between Soul, Jazz and Afro-Funk, with a hint of Latin clave.
                                  In 2019, these tunes have not aged and the sound can be considered as “Huge” by many crate-diggers. These recordings were not supposed to reach the club or radio audience, it was more free sessions, a moment during they can open their imagination and test their “Afro something”, like Manu Dibango call it. Theses recording sessions included the best of the french soul scene at this time, Yvan Julien (Trumpet), Slim Pezin (Guitar), Jacques Bolognesi (Trombone), Lucien Dobat (Drums), Emile Boza (Percussions, Manfred (Bass) and the conductor himself at the vibraphone, marimba, saxophone, organ ...
                                  This album is a wonderful return to the future and should satisfy the need of the Afro-Soul aficionados! We're very happy to celebrate the 86th anniversary of the best French musician in history with one of his best recording reissue!

                                  STAFF COMMENTS

                                  Sil says: Hot reissue in a hot label! This is Dibango at its finest. The pressing is excellent with a heavy and rich sound. This is a collector's item and will fly pronto!

                                  Divino Nino


                                    RIYL: Mild High club, Helado Negro, Juan Wauters.

                                    Divino Nino's new album Foam feels like catching up with a lifelong friend. There's undeniable songwriting chemistry between guitarist Camilo Medina and bassist Javier Forero, who met as kids in Bogota, Colombia and years later reconnected by sheer happenstance after their families had both moved to Miami. Both studied at the School of the Art Institute of Chicago where they met guitarist Guillermo Rodriguez and eventually Drummer Pierce Codina. Now Chicagoans, their rhythmic, soulful - and at times bilingual - Latinx punk songs are a reflection of their continent-spanning bond and proof that Divino Nino couldn't have formed without unlikely but happy coincidences.

                                    The ten tracks on Foam feature wistfully romantic lyrics like the yearning plea on the title track ("I really wanna run away with you"), and sunny, honeyed arrangements. Songs like "Quiero" trade-off between English and Spanish with woozy guitars and harmonies anchoring the sweetness of the lyrics. The quartet's Latin American roots seep in throughout the LP's silky psychedelic flourishes but especially on single "Maria," which is sung entirely in Spanish. Inspired in equal parts by Argentine punk and the narratives of Mexican telenovelas, the personality-filled track is one of the most memorable on the record. 

                                    FORMAT INFORMATION

                                    Coloured LP Info: Orange vinyl exclusive to indie stores only.

                                    Coloured LP includes MP3 Download Code.

                                    Firecracker’s dwarf constellation Unthank thaws down from a small cryogenic suspension and delivers its first 12”!

                                    Tracks from the vault from Cardiff’s DJ Guy (Other World Music / Cejero / All Caps) who’s been busy since 1992. All tracks designed to be played loud and with the dance in mind whilst taking in all sorts of melancholy, euphoria and pastoral, acid soundscapes. DJ Guy's production is instantly recognizable, - combining a plethora of vintage hardware with an M25-informed, free-party spirit; a renegade with a synthesizer and a dream.

                                    RIYL Dream 2 Science, Autechre, Unit Moebius, μ-Ziq, RX-101, vintage AFX etc.

                                    STAFF COMMENTS

                                    Matt says: A mid 90s selection from Carfiff's Guy Evans. Brutalist in parts, harmonic in others; with a view to motorway bridges and abandoned buildings. Smiley face not included.

                                    Polish septet EABS apply an innovative approach to jazz, distilling it through the prism of hip-hop, blending it with elements of soul, funk and electronic music. ‘Slavic Spirits’ was 2 years in the making and contains 100% original material. They are joined by 22a head-honcho Tenderlonious who lends his exceptional soprano saxophone and flute playing to all seven tracks.

                                    After their very well-received 2017 debut album ‘Repetitions (Letters to Krzysztof Komeda)’, focusing on the lesser-known works of the legendary Polish composer, the Wroclaw-based EABS decided to further expand this lead and released two more vinyl records, ‘Live At Jazz Club Hipnoza (Katowice)’ and ‘Kraksa / Svantetic’, the latter recorded directly on tape and released via 22a, which crowned the “Komeda triptych”. The astounding reception of these releases built up loyal following outside of their native Poland and whet listeners’ appetite for completely new recordings. For this LP the musicians turned to Slavic mythology and Polish demonology, while pondering upon the contemporary spiritual condition of Poles. The enigmatic “Slavic melancholy” remains the main inspiration, as the band tried to extract it from their own DNA. ‘Slavic Spirits’ is an endeavour to get in touch with the world of a long and brutally llost culture which, due to lack of sources, will never be thoroughly explored.

                                    STAFF COMMENTS

                                    Millie says: EABS continue to impress with their unique jazz sound on the 22a label, paving the way on the nu jazz era.

                                    Ennio The Little Brother / Campfire Social

                                    Split EP

                                    Limited edition EP from Ennio The Little Brother & Campfire Social. On a kinda downbeat tip that harks back to DJ Shadow / Unkle / Solid Steel era but with perhaps a poppier inflection that lends itself to intimate, bedroom-based listening and rainy day contemplation.

                                    Sparse beats, storytelling poetry with strong dialect and regional nuances.

                                    DIY released with full picture sleeve. 

                                    Evans Pyramid

                                    Never Gonna Leave You - Joakim & Max Pask Remixes

                                    Joakim: "About a year ago, I had dinner with a special group of friends obsessed with food like me, we call it the Yum Yum Club. Max Pask is a member and while we were preparing a decadent meal, he played me that Evans Pyramid song « Never Gonna Leave You » that I didn't know of. It blew me away and I immediately tried to integrate it in my DJ mixes. But that proved to be a challenge as the beautiful song is very lo-fi in its production with very quiet beats. OK for a very end of a night, but I wanted to play it more than that, so we decided to make an edit with Max that quickly turned into something closer to a remix. Here it is now. There's a house mix for the pumping hours and a disco mix that is closer to the original. Very glad to introduce you to the amazing music of Evans Pyramid (if you never heard of him), a forgotten genius from Boston, the missing link between Shuggie Otis and Prince."

                                    STAFF COMMENTS

                                    Patrick says: The absolutely amazing soul / funk / disco unclassic, Evans Pyramid's "Never Gonna Leave You" gets a resolution tweaking rework from Joakim and Max Pask, in two different variations. Finally the DJ has a definitive, high def version of this bomb to flip in the mix.

                                    Corroded digital shrapnel contained within an amorphous metallic groove pool with an acidic core. 
                                    Degraded and corrupted club tools for the adventurous DJ.
                                    All tracks recorded in Chicago, 2014-2016.

                                    Exael is Naemi, and all references to them should use they/them pronouns.

                                    STAFF COMMENTS

                                    Matt says: Suuuuper tight, advanced dancefloor electrix here. Chi-town black voodoo, charged and refracted through the space/time continuum. Special.

                                    Fabio & Grooverider have been at the forefront of UK dance music for over 3 decades. This is the roots of their story told through music.

                                    The 2 London DJ's are part of the DNA of the global Jungle / D&B movement and they have remained relevant, cutting edge, authoritative and essential to this truly underground art-form since it's inception. RAGE could arguably be the ground zero of Jungle. The party was started at London's cavernous Heaven club by Fabio & Grooverider in 1988, at the height of Acid House fever that was making it's way up and down the motorways, slip-roads, fields and warehouses of the M25 and further beyond every weekend, troubling the nation, the police, your parents and the press as it went. RAGE was a different beast, it certainly channelled some of that Acid energy but pitted it against the new and exciting sounds emanating from Belgium, Amsterdam, Detroit, Sheffield, Essex and Hackney and in turn created a new style, a new sonic attitude and energy in the process. Rumbling bass-lines, narcotic synth rushes and roughly chopped and sped-up breakbeats all merged into a style that we now know as Jungle. Nothing like this had been heard before, this was a brand new style and it was coming out of London's West End and Fabio & Grooverider were the people firmly behind it.

                                    RAGE is approaching its 30th anniversary. Its sonic and cultural legacy is still being felt today, Fabio & Groove are still shutting down raves and festivals every weekend all over the world with their superior DJ sets and musical knowledge guided by their pioneering spirit. This musical selection you hold in your hands, the first of 4 parts, sees them delve into their prodigious memories and record boxes to select a true musical representation of the very beginning of one of the UK's most unique and influential musical movements of the last 50 years. Across a 2 x CD compilation we are taken on a journey through the sounds of RAGE, accompanied with personal track by track notes from Fabio & Grooverider. Music from London, Detroit, Sheffield and beyond features, with tracks such as 33 1/3 Queen's rave banger 'Searchin' sitting shoulder to shoulder with Debbie Malone's underground classic 'Rescue Me' and sublime Detroit Techno from Yennek (aka Kenny Larkin), whose 'Serena X' features. This will be a true masterclass in the sound of the underground, from the inside out.

                                    This is a masterclass in the old-school. The roots. There is no filler here, it's simply ALL killer. Lovingly selected and programmed by the masters - 'The Living Shock' & 'The Ladies Choice'. Produced in conjunction with Above Board distribution and Fabio & Grooverider. All tracks mastered from original sources and fully licensed. Mastering by Optimum, Bristol. Artwork and design by Atelier Superplus. 2019

                                    Fat White Family

                                    Feet - Parrot And Cocker Too Remix

                                      Remix of ‘Feet’ by Sheffield legend DJ Parrot and other legend Jarvis Cocker.
                                      Vocal version on the A side and instrumental on the B.

                                      White labels, stamped on both sides.

                                      Very limited run.

                                      Lee Fields & The Expressions

                                      Wake Up / You're What's Needed In My Life

                                      Following up on the massive success of Lee Fields recently released full length "It Rains Love" we drop another 45 for the DJs and collectors. This time showing off two different sides of Lee & The Expressions range. The A side "Wake Up" is Lee's heavy duty, drum driven, anthemic tune for the times. Fields calls out the highly over-used and abused term of the current presidency "fake news." Over a hard as nails sound bed courtesy of The Expressions he goes on asking people to wake up and not let this propaganda sway them from knowing what is right and wrong.

                                      The B side "You're What's Needed In My Life" is a gushing testament to the beauty of love. Solidifying his title as the Professor of Love it's almost like he's writing your girl's valentine for you. Going beyond how happy the woman he is singing to makes him and telling of how she makes everyone she meets happier. This two-sider is about as classic as possible, a heavy duty funk banger on the A side, and nothing but love on the ballad B side. Another classic and timeless offering from the one and only Lee Fields. 

                                      Kelly Finnigan

                                      Catch Me I'm Falling

                                      “Catch Me I’m Falling” featured in prominent Bose ad all fall of 2018. The lead single that kicked off Kelly's solo career. Ultra-sweet, super mellow, just one of the most tender moments on Kelly Finnigan's solo LP The Tales People Tell. Utilizing the pocket playing of Max and Joe Ramey from The Ironsides, Kelly's falsetto shines bright for all to hear. For fans of Lee Fields, Thee Lakesiders and Durand Jones. B-side is exclusive to this 7-inch and will not be on LP.

                                      FORMAT INFORMATION

                                      Ltd 7" Info: Very limited Pink coloured vinyl is exclusive to Indie stores.

                                      House music royalty right here! Brookside Music enlist Chicago’s Ralphi Rosario, founding member of the influential Hot Mix 5, to work his magic on First Choice’s ‘Ain’t He Bad’, with an extended disco mix and a reprise dub, alongside the original version.
                                      The extended disco mix kicks things off with a DJ friendly, beefier, quantized drum pattern, echoed vocal refrains and heavenly swooping pads for a touch of Rosario style and added atmosphere. A refreshing update to this classic, purpose built to blast out on big systems worldwide.
                                      Next up, Rosario offers a reprise dub adding spiritual stabs to the original piano, as First Choice’s whispers feed in and tension building strings gather momentum. Gradually elements of the percussion are added before the full force of the beat takes hold. The vocals, for the most part, are left to those delicate “Ain’t He Bad” phrases and rising harmonies, letting the expert instrumentation and arrangement sing. Another sure-fire, hands-in-the-air staple for the locker.
                                      Last but not least, the original First Choice version completes the package, offering a third and final way to light up the dancefloor this summer.


                                      So Glad / I Feel Him Moving

                                      What's this? MORE heat from Floorplan? the biblical father-daughter techno monolith that is Robert and Lyric Hood?! Yup, suurre is!

                                      Why change the formula when it yields such alchemical fire like "So Glad"? A steamtrain Hood™ groove ushering forth vocal chants from the church of Detroit while that rotary bassline just ticks over and over, tightly rooted to the factory line aesthetic that characterized early Detroit techno. Meanwhile, flipside "I Feel Him Moving" is harder edged and tracky with a tough Chicago twist under its preacher sampling. The release coincides with their first live show at this year's Movement in Detroit and finds the duo as crucial and urgent as ever. True ambassadors for Detroit techno past, present and future, Robert & Lyric Hood continue to fly the banner for Detroit innovation through techno.

                                      Emerging from the flourishing house scene in Århus, Forte is one of the most exciting producers to make his debut in Denmark in the past years. Having produced and released music under various monikers, Forte debuted in 2017 as Forte with the excellent mini album "Techne" on 12recs and the standout EP ”Away” onØEN Records. "Intermissions" is Forte’s first full length album. Composed and recorded in Århus during 2018, "Intermissions" consists of six tracks and five interludes and is a study of, and tribute to, intermissions.

                                      Across the albums eleven cuts, Forte effortlessly traverse between ethereal dreamy vibes, intricate electronica and bustling rhythmic explorations. Stretching far beyond the traditional house music boundaries, Forte’s layered and intricate compositions constantly balances melancholic and elevating atmospheres. Perfectly suited whether you are lounging in the living room, standing on a train platform or at discerning and esoteric dancefloors. 

                                      Forty Seven Times Its Own Weight

                                      Cumulo Nimbus

                                      Fable is a small independent record label started in Austin, Texas in the early 1970s by a young trombone player named Michael Mordecai. In autumn 1975 he debuted a trio of albums on Fable by Austin bands 47 Times its Own Weight, Steam Heat and Starcrost. With only 1000 of each pressed, and each carrying a different emphasis on soul, funk or jazz, all 3 have gone on to become highly sought after by collectors and DJs around the world.

                                      We meet with Michael at our UK offices and over several hours he tells us the highs and lows of running Fable Records, leaving no stone unturned and with success and tragedy in equal measure. We also speak with members of all 3 bands, and they share with us interesting stories and cool anecdotes of the wild times in the mid '70s when their records were made. We acquire informative press cuttings and some awesome posters & flyers, and all of this we publish in a booklet included with each LP which are housed in a US-style tip-on sleeve. Jazzman Records - We Dig Deeper.

                                      Scott Fraser

                                      Together More - Andrew Weatherall Remix

                                      Been a while for cult imprint Birdscarer, and with Scott Fraser and Andrew Weatherall fronting up number seven on the buy-on-sight series this is certain to cause a twitch in the circuit boards of all the robo-dancers and cybalearic lovers out there...

                                      It's another love to outerspace, as vocalist Louise Quinn mutters sweet utterances over a rotary, acid-flecked nu-cosmic chug. That familiar arpeggiated twinkle and gentle low end throb perfectly compliment the angelic phrasings of Quinn's ethereal vocal style.

                                      Wevvers is on hand offering up a remixed version; utilizing the vocal to its full potential but adding a darker and more nocturnal instrumental behind it. Top drawer stuff as always; get them orders in quick 'cos they always sell out! 

                                      STAFF COMMENTS

                                      Sil says: Weatherall signature all over the place on the B Side. You know the drill with this genre pioneer on this mega sought-after label. Balearic with a twist I say.

                                      Led by Chris Hazelton, The Freedom Affair is a freight train of Kansas City soul! Dirty, funky drums, gritty horns, and the combined vocals of Misha Roberts, Seyko Groves, and Paula Saunders to put this band over the top. Politically charged soul music for the dancefloor!

                                      FORMAT INFORMATION

                                      Ltd 7" Info: Very limited Blue vinyl 7” is exclusive to Indie stores.

                                      Fruit Bats

                                      Gold Past Life

                                        Gold Past Life marks both an end and a beginning. It’s the end of an unintentional thematic trilogy of records that began with 2014’s EDJ (a solo record by name, but a Fruit Bats release in spirit) and hit a peak with 2016’s Absolute Loser. They encompassed years of loss, displacement, and the persistent, low-level anxiety of the current political climate. They were written in the wake of friends who left these earthly confines and families that could have been. “I wrote music to comfort myself,” says Johnson of those times. “It was a soothing balm.”

                                        But these salves, these songs on Gold Past Life, also represent new beginnings the journeys that await after making it through troubled times. In fact, the notion of getting in a van to move on—literally and metaphorically—is exactly what Gold Past Life is all about. It’s about rejecting notions of idealized nostalgia (“Gold Past Life”) and the process of grounding oneself in the present, both geographically (“A Lingering Love,” “Ocean”) and spiritually (“Drawn Away”). Musically, says Johnson, “I put myself into a lot of scary situations last year.” He curated a set at Newport Folk Festival, participated in an artist residency as part of the Eaux Claires Music & Arts Festival, and workshopped music at the PEOPLE Festival in Berlin. These experiences helped coax out new sounds and styles for Fruit Bats. Of course, Johnson’s falsetto still shines atop the bopping folk-rock of Gold Past Life.

                                        However, the new record also features more keyboard influences and a range of guests including Greta Morgan (Springtime Carnivore, Vampire Weekend), Neal Casal (Circles Around the Sun), Trevor Beld Jimenez and Tim Ramsey (Parting Lines), Meg Duffy (Hand Habits), and more. According to Johnson, “Fruit Bats has been a cult band for a long time.” With Gold Past Life, he hopes to bring more immediacy to the music and share positivity, hope, and motivation to keep on keepin’ on with a wider audience. “Fruit Bats makes existential make-out music,” he describes with a chuckle. “But you’re also welcome to dive into it deeper if you want. Good pop music should be sublime like that.” 

                                        FORMAT INFORMATION

                                        Coloured LP Info: Aqua vinyl with a black vinyl 7”. Exclusive to indie stores only.

                                        Coloured LP includes MP3 Download Code.

                                        Fruit Tones is a rock and roll band from Manchester. Nothing artificial - this is the real deal. Real music played by real people for real reasons. No budget. No gimmicks. No nothing. We’re talking one steam-rolling-mondo-garage thud here folks! Stomping drums, choogling guitars, the vocals bite. They’re the kind of guys The Shangri-La’s sing about - true professional amateurs!

                                        Recorded over three freezing cold December days in an old Manchester cotton mill by Samuel Stacpoole (Holiday Ghosts / The Black Tambourines), it’s all here - the sass of The Dolls, the fizz of Four Loco, the Stones-esque looseness, juiced into 14 tracks knocked out in just over 30 minutes.

                                        There’s no lies in there - the rough and ready, impromptu nature of their work serves to let out something raw and primal rather than strive for tech accuracy. True rock & roll takes the mundane and turns it into something exotic, this is what Fruit Tones do well - they don’t pretend you’ve never heard rock & roll music before, they remind you why you need it in your life.

                                        STAFF COMMENTS

                                        Matt says: If you're feeling the need for some wholesome, honest rock n roll - with the wind in your hair and the accelerator down hard, then look no further than Fruit Tones - Manchester's latest addition to rock n roll's legacy. These young chaps are quite the musicians, knocking out inspired riffs and solos like it ain't no thing! The vocals are authentic, garage-rock howlers with tons of energy. Yes mate.

                                        The Gardener

                                        Views From My Shed EP

                                          After a run of club-ready 12”s, the fifth No Bad Days release slows the pace right down. On the "Views From My Shed EP", long-standing friend of NBD James Booth breaks in new alias The Gardener with an easy-going record inspired by nature and sure to inspire relaxed, repeat listens. A suite of biotic ambience and wonderfully bucolic atmospheres opens the EP, with "Lilac Moor"'s four parts fluttering on a garden breeze, gentle strings undulating against synthesized wind instruments and tranquil, serene musical scales. It's an absolute delight on the ear and totally transportative - you get instantly get the 'view from my shed' from where the title (and inspiration) for the EP comes from. On the flip, The Gardener gets a little more spring in his step, dishing out some fully synthetic soundbeds rich in meditative, calming frequencies and gentle, lapping grooves. There's even some elevating kraut arpeggio business to unravel the mind... Top stuff here, a fully realized EP beautifully executed. Recommended! 

                                          STAFF COMMENTS

                                          Barry says: Chilled out hazy garden vibes, full of pastoral charm and pseudo-balearic melodies. Percussive interludes break up the swooning synthplay before segueing into found-sounds and blissful scenic 'tron. Ace.

                                          Mort Garson

                                          Mother Earth's Plantasia - Reissue

                                          In the mid-1970s, a force of nature swept across the continental United States, cutting across all strata of race and class, rooting in our minds, our homes, our culture. It wasn’t The Exorcist, Goodbye Yellow Brick Road, or even bell-bottoms, but instead a book called The Secret Life of Plants. The work of occultist/former OSS agent Peter Tompkins and former CIA agent/dowsing enthusiast Christopher Bird, the books shot up the bestseller charts and spread like kudzu across the landscape, becoming a phenomenon. Seemingly overnight, the indoor plant business was in full bloom and photosynthetic eukaryotes of every genus were hanging off walls, lording over bookshelves, and basking on sunny window ledges. The science behind Secret Life was specious: plants can hear our prayers, they’re lie detectors, they’re telepathic, able to predict natural disasters and receive signals from distant galaxies. But that didn’t stop millions from buying and nurturing their new plants.

                                          Perhaps the craziest claim of the book was that plants also dug music. And whether you purchased a snake plant, asparagus fern, peace lily, or what have you from Mother Earth on Melrose Avenue in Los Angeles (or bought a Simmons mattress from Sears), you also took home Plantasia, an album recorded especially for them. Subtitled “warm earth music for plants…and the people that love them,” it was full of bucolic, charming, stoner-friendly, decidedly unscientific tunes enacted on the new-fangled device called the Moog. Plants date back from the dawn of time, but apparently they loved the Moog, never mind that the synthesizer had been on the market for just a few years. Most of all, the plants loved the ditties made by composer Mort Garson.

                                          Few characters in early electronic music can be both fearless pioneers and cheesy trend-chasers, but Garson embraced both extremes, and has been unheralded as a result. When one writer rhetorically asked: “How was Garson’s music so ubiquitous while the man remained so under the radar?” the answer was simple. Well before Brian Eno did it, Garson was making discreet music, both the man and his music as inconspicuous as a Chlorophytum comosum. Julliard-educated and active as a session player in the post-war era, Garson wrote lounge hits, scored plush arrangements for Doris Day, and garlanded weeping countrypolitan strings around Glen Campbell’s “By the Time I Get to Phoenix.” He could render the Beatles and Simon & Garfunkel alike into easy listening and also dreamed up his own ditties. “An idear” as Garson himself would drawl it out. “I live with it, I walk it, I sing it.”

                                          But as his daughter Day Darmet recalls: “When my dad found the synthesizer, he realized he didn’t want to do pop music anymore.” Garson encountered Robert Moog and his new device at the Audio Engineering Society’s West Coast convention in 1967 and immediately began tinkering with the device. With the Moog, those idears could be transformed. “He constantly had a song he was humming,” Darmet says. “At the table he was constantly tapping.” Which is to say that Mort pulled his melodies out of thin air, just like any household plant would.

                                          The Plantae kingdom grew to its height by 1976, from DC Comics’ mossy superhero Swamp Thing to Stevie Wonder’s own herbal meditation, Journey Through the Secret Life of Plants. Nefarious manifestations of human-plant interaction also abounded, be it the grotesque pods in Invasion of the Body Snatchers or the pothead paranoia of the US Government spraying Mexican marijuana fields with the herbicide paraquat (which led to the rise in homegrown pot by the 1980s). And then there’s the warm, leafy embrace of Plantasia itself.

                                          “My mom had a lot of plants,” Darmet says. “She didn’t believe in organized religion, she believed the earth was the best thing in the whole world. Whatever created us was incredible.” And she also knew when her husband had a good song, shouting from another room when she heard him humming a good idear. Novel as it might seem, Plantasia is simply full of good tunes.

                                          Garson may have given the album away to new plant and bed owners, but a decade later a new generation could hear his music in another surreptitious way. Millions of kids bought The Legend of Zelda for their Nintendo Entertainment System back in 1986 and one distinct 8-bit tune bears more than a passing resemblance to album highlight “Concerto for Philodendron and Pothos.” Garson was never properly credited for it, but he nevertheless subliminally slipped into a new generations’ head, helping kids and plants alike grow.

                                          Hearing Plantasia in the 21st century, it seems less an ode to our photosynthesizing friends by Garson and more an homage to his wife, the one with the green thumb that made everything flower around him. “My dad would be totally pleased to know that people are really interested in this music that had no popularity at the time,” Darmet says of Plantasia’s new renaissance. “He would be fascinated by the fact that people are finally understanding and appreciating this part of his musical career that he got no admiration for back then.” Garson seems to be everywhere again, even if he’s not really noticed, just like a houseplant.

                                          FORMAT INFORMATION

                                          Coloured LP Info: Green vinyl.

                                          Grupo Pilon

                                          Leite Quente Funaná De Cabo Verde

                                          At home, in the islands of Cabo Verde, there was grog, or grogu, a strong sugarcane moonshine copiously consumed at Funaná parties. In the diaspora, in Europe, there was leite quente (hot milk). “I can still remember the taste of the first leite quente I drank in Lisbon,” says Antonino Furtado Gomes, Pilon’s drummer and current band leader.

                                          Following "Synthesize the Soul", Ostinato Records’ second compilation, Grupo Pilon represents the second chapter of the Krioulu diaspora story. In smaller pockets, second generation musicians were independently contributing to one of the most lush periods of cultural innovation by immigrants in Europe.

                                          In Luxembourg, in 1986, a group of teenagers formed the largely unknown (outside of Cape Verdean circles) but consistently brilliant band named after the blunt instrument used in the islands to pound corn for the country’s national dish, cachupa.

                                          Pilon combined searing estilo Krioulu drumming and the hybrid ColaZouk style with blissful synth work and rugged guitar licks, creating a stripped-down, addictive sound that masterfully straddled two worlds, a seductive electro-Funaná carnival born from the first few sips of hot milk. Today, Antonino and what remain of the original quintet are slowly piecing back together the puzzle of their once mighty outfit from an unlikely pocket of Europe.

                                          In its heyday in the 90s, Pilon serenaded audiences in Paris, Lyon, Marseille, Lisbon, Rotterdam and Frankfurt, securing their reputation as a respected and unifying cultural force. This LP, drawing from the six most powerful songs from Pilon’s three-album catalog, is the serving of still fresh leite quente to spice the summer.

                                          For the making of ‘Keepsake’, the Brisbane-bred musician otherwise known as Harriette Pilbeam recorded in a home studio in Melbourne and worked again with John Castle - the producer behind ‘Sugar & Spice’, a 2018 release that prompted Pitchfork to dub Hatchie the “dream-pop idol of tomorrow.” And while the album begins and ends with two massively catchy pop tracks - the brightly defiant ‘Not That Kind’ and the euphoric and epic ‘Keep’ - many songs drift into more emotionally tangled terrain, shedding light on experiences both ephemeral and life-changing.

                                          Throughout ‘Keepsake’, Hatchie’s kaleidoscopic sonic palette draws out distinct moods and tones, continually revealing her depth and imagination as a musician and songwriter. On lead track ‘Without A Blush’, jagged guitar riffs and woozy rhythms meet in a sprawling piece of industrial pop, with Hatchie’s gorgeously airy voice channelling loss and longing, regret and self-doubt.

                                          Another industrial-leaning track, ‘Unwanted Guest’, unfolds in wobbly synth lines and fantastically icy spoken-word vocals, along with lyrics about “being dragged to a party I don’t want to be at, then getting at a fight at the party, and kind of hating myself for it but hating everybody else too.” Meanwhile, on ‘Her Own Heart’, Hatchie presents a radiant jangle-pop gem that puts a singular twist on the post-breakup narrative. “I’d seen people in my life go through breakups and end up with no idea what to do with themselves,” she says. “I wrote that song from the point of view of a girl who winds up on her own and embraces having to figure out who she is, who doesn’t let her life get turned upside-down like that”.

                                          On ‘Stay With Me’, Hatchie offers up ‘Keepsake’s most utterly rhapsodic track, all incandescent synth and unstoppable rhythm. “At first I thought I could never put that on my album - it felt too dancey and pop, and I figured it could really shine on someone else’s record,” she says. “But then I realized: I’m the one dictating what my sound is; what I put on my album is up to me.”

                                          That self-possessed spirit infuses all of ‘Keepsake’, which ultimately serves as a document of a particularly kinetic moment in Hatchie’s life. “I’m not much of a nostalgic person when it comes to memories, but I do have a tendency to hold on to certain things, like tickets from the first time I went someplace on holiday,” says Hatchie in reflecting on the album’s title. “It made sense to me to call the record that, at a time when I’m going to probably end up with a lot of keepsakes - and in a way, this whole album is almost like a keepsake in itself.”

                                          STAFF COMMENTS

                                          Andy says: Shoegaze goes pop and it's a total joy. Great songs.

                                          FORMAT INFORMATION

                                          Coloured LP Info: LP pressed on clear vinyl with digital download code.


                                          Last Light Of Future Failure

                                            Cardinal Fuzz are proud to present to you Hawkeyes’ second full-length LP, Last Light Of Future Failure.

                                            The follow-up to 2015’s Poison Slows You Down, Last Light Of Future Failure is a different Hawkeyes. Though four long years have passed between long-players, those keeping score could have charted the band’s growth over the course of sporadic split-releases with psych-brethren Shooting Guns, Radiation Flowers, and their Morricone-esque contribution to the Return Of The Son Of Gutbucket compilation. No longer are Hawkeyes merely a punishing, claustrophobic, maelstrom of doom. 2019 Hawkeyes have no such limits.

                                            Heavy still reigns, but subtlety, texture, and myriad other ancillary instruments colour these four swirling tracks in ways previously unheard. The marching, eastern-tinged “The Lickening” brings listeners back to the classic stoned-nod before the quicksilver freak-out, “Look At ‘Em Scramble”, levels all in its path. “Nude Karate” is legitimately danceable, its fuzzed phasers racing to the finish, battling for air with whirring synths. “Full Of Secrets”, the cinematic full-side closer, reveals itself slowly, like a Kubrick-directed nightmare.

                                            Recorded in their northern headquarters, the Order Of The Ape, by guitarist Ryan Allen, Last Light Of Future Failure is Hawkeyes’ finest work. Without fear or pretense, they have finally delivered on the panoramic interstellar overdrive they’ve been not so quietly mastering since their debut.
                                            Hawkeyes are Ryan Allen (guitar), Ron Cybulskie (guitar), Patrick Finch (guitar), Chris Gardner (guitar), Rob Keith (bass), and Stacey Schmitt (drums).

                                            FORMAT INFORMATION

                                            Coloured LP Info: Presented in a 350gsm Gloss Laminated Sleeve with full sized 2 sided colour insert and with a download code.

                                            Charles Hayward

                                            Begin Anywhere

                                              Charles Hayward is an English drummer and was a founding member of the experimental rock groups This Heat and Camberwell Now. He also played with Mal Dean's Amazing Band, Dolphin Logic, and gigged and recorded with Phil Manzanera in the group Quiet Sun project as well as a short stint with Gong. He was a session musician on The Raincoats' second album, Odyshape, and on one occasion played drums for the anarchist punk band Crass.

                                              Since the late 1980s he has concentrated on solo projects and collaborations, including Massacre with Bill Laswell and Fred Frith. Begin Anywhere is his brand new solo album and shows a different side to the Charles Hayward we know. The drum set is left in the corner, and instead we get fragile yet powerful songs on piano and voice. A very personal Hayward album, let yourself be surprised. 

                                              FORMAT INFORMATION

                                              Coloured LP Info: 300 copies only on ECO coloured vinyl.

                                              Coloured LP includes MP3 Download Code.

                                              His Name Is Alive

                                              All The Mirrors In The House: Home Recordings 1979 - 1986

                                                Transcendental tape loops and bedroom ambient dream states from the teenage mind of Warren Defever aka His Name Is Alive. ‘All The Mirrors In The House’ is the first of three projected releases of very early works by the Detroit-based savant, prior to signing to 4AD in the late-1980s.

                                                With help transferring ageing cassettes and annotating the results from Shelley Salant of Tyvek, the unearthed results are revelatory - a gorgeous sequence of gently decaying tone float made with an incredibly primitive DIY set up.

                                                As Defever recounts in the liner notes: “By age ten, I had a tape recorder and was using it to capture the sounds of nearby lakes, thunderstorms, and my older brother’s LP collection played at the wrong speeds. As a teenager, I got deep into all kinds of music - punk, new age, blues - and played bass in the high school jazz band, as well as studying Bach chorale harmonization and counterpoint. My first album consists of rhythm tracks made of loops of the next door neighbour raking leaves and shoveling the driveway with echoey guitars and vocals with lyrics about ghosts.”

                                                Innersleeve essay and interview by Mike McGonigal, the founder of Chemical Balance magazine and YETI publishing and the author of acclaimed books on My Bloody Valentine and Galaxie 500.

                                                For fans of Eno’s Ambient series, William Basinski, Kranky Records.

                                                His Name Is Alive has had over a hundred releases since their first cassette in 1986. His Name Is Alive spent 13 years recording for the legendary label 4AD and sold over 100,000 records, toured the world, received gold and platinum records for soundtracking Tom Cruise’s nervous breakdown in the movie ‘Jerry Maguire’ and collaborated on two short films with famed animators the Quay Brothers and name-checked by David Bowie as one of his favourite artists.

                                                Warren Defever continues to live and work in Detroit - he has recently recorded ‘Universal Eyes’ for Lower Floor Music and is one of the engineers heading up Third Man’s recently opening mastering studio.

                                                Justin Hopper & Sharron Kraus With The Belbury Poly

                                                Chanctonbury Rings

                                                  A spoken word and music project by writer Justin Hopper and folk musician Sharron Kraus. It also features Ghost Box's own Belbury Poly. Based on live performances of Hopper's 2017 book The Old Weird Albion (publ. Penned in the Margins), it’s a poetical, autobiographical and psychogeographical account of his experiences at Chanctonbury Ring on the West Sussex Downs.

                                                  The album is a blend of folk, electronic music, poetry, prose and environmental sound. Kraus’s electro-acoustic soundscapes and songs interweave with Hopper’s rich, intimate narration. Musically it moves effortlessly from the traditional to the avant-garde with Belbury Poly contributing music and production throughout and bookending the work with a memorable theme tune.

                                                  Finding its spiritual home on Ghost Box, the project is reminiscent of a lost era of poetry and music albums, like David Cain and Radiophonic Workshop's The Seasons. It comes artfully packaged in a style that recalls a poetry and music for schools LP, with a nod towards 1960s Topic folk anthologies.

                                                  Everyone's favourite electro-pop imps, the stadium shaking, body moving, high-note hitting Hot Chip are back with a BRAND NEW ALBUM. Dripping in lyrical references to the halcyon days of rave and the sleek synth-funk they've perfected over the past fifteen years, "A Bath Full Of Ecstasy" is primed to make you dance, dream and catch more than a few feels.

                                                  Switching up their workflow to collaborate with outside producers from the outset, Hot Chip enlisted the dancefloor clout of Philippe Zdar (the French touch legend who's added club dynamics to Cat Power, Beastie Boys and Phoenix, and makes up one half of Cassius) and indie expert Rodaidh McDonald (famed for his work with The XX, Sampha and David Byrne). The result is the perfect combination of classic Hot Chip, the bold flavours of Zdar's ouvre and the emotional impact of McDonald's productions. 

                                                  The record is a celebration of joy but recognises the struggle it can take to get to that point of happiness. You can hear the pleasure Hot Chip had in creating this album and they want to pass on that feeling to the listener. It is time to get lost in "A Bath Full of Ecstasy".

                                                  FORMAT INFORMATION

                                                  2xColoured LP Info: Double LP pressed on crystal clear vinyl in limited edition black and white sleeve, designed by Jeremy Deller and Fraser Muggeridge studio.

                                                  2xLP Info: Double LP pressed on heavyweight black vinyl in full colour sleeve, designed by Jeremy Deller and Fraser Muggeridge studio.

                                                  CD Info: Mini-gatefold CD pack with 8-page booklet, designed by Jeremy Deller and Fraser Muggeridge studio.

                                                  Welcome to the deeper end of the Hugh Mane spectrum. Mane’s third outing on Running Back captures his love for the spirit of early Detroit techno, IDM’s ambient aspects, the philosophy of the acid house experience and a natural production flow. Four tracks for fans of Larry Heard, Jungle Sounds, Nu Groove and the very early British response to that. Emotions electric, vintage voodoo with modern spells. You need.

                                                  STAFF COMMENTS

                                                  Matt says: It takes a super strong acid house pastiche to get me interested these days. But Hugh Mane's nailed it here, delivering four dusty box jams that growl, fizz and spit. A beauty!

                                                  “Built By Humanoid” is Humanoid's second album, a mere 30 years after the debut, though Brian Dougans claims the first album wasn't really him anyway. Humanoid's classic acid house single, "Stakker Humanoid", highly regarded as one of the key tracks from the era (Richard James sights the Stakker project as a major influence), enjoyed massive success in 1988. Reaching No.1 for 5 weeks in the UK dance charts, performances on Top of the Pops, a John Peel session for the BBC and European tours eventually led to an album deal. Whilst all this was happening, Brian Dougans (one half of electronic legends Future Sound of London) claims he was returning to his squat in Kings Cross with no electricity or water. He not only became disillusioned with the business, but also became increasingly ill from the conditions he was living in. Around 6 tracks into the album, he left London and record label, Streetsounds, returning to Manchester to recover and regroup his thoughts. However, Steetsounds pressed ahead with the album and it was finished in Brian’s absence with guest performers.

                                                  Brian left Humanoid behind and went on to create FSOL with Gaz Cobain becoming leading lights in the burgeoning ambient scene, scoring a top 10 album "Lifeforms" on Virgin Records. In 2003 Rephlex (Aphex Twin’s label) released a posthumous album of 1988 out takes compiled by Brian. Recently Humanoid tracks have been popping up on modern compilation albums (Touched Music / Gasman, etc) signaling a possible return. “Built by Humanoid” is a brand new nine track album of future acid cuts, breaks and electronics, a lot of which is credited to 2 synthesisers co-designed by Brian Dougans and English Electronics company Digitana. It is this innovation that has helped usher Humanoid back into the limelight and consequently the album has a rather new and unique sound and style. The track "Polymath" is created using a possibility / probability theory that results in a track which at no point repeats itself - 303 tinged acidic bubbles. Meanwhile "Traktion" is a break beat, pulse laden, bass heavy monster. "Fu*k It’ is the future sound of 303. Fast, frantic and beat driven. Whilst "Post Humans" combines thumping 909 and 303 into an acid hallucination. 

                                                  Waella’s Choice return with their fifth release, made in Detroit, remixed in Melbourne and London.

                                                  Adding to a growing stable of leading house artists who have already released on the London label, Detroit singer, producer (and dancer) Javonntte presents "Drumma EP", traversing the deep and soulful spectrum with two original productions.

                                                  The title track has the same instant magnetism as Hanna’s "Stranger", which helped inaugurate Waella’s Choice in 2017. "Jazzpianodance" takes a more broken approach, incorporating Javonntte’s love for jazz fusion. Something that would have felt right at home in the old Co-Op dances at Plastic People.

                                                  The B-side presents remixes from two young producers with a bright future. Melbourne-raised and now London-based, Crown Ruler member Winters follows up his 2018 debut for Parallel People with a low-slung RnB version. Touching Bass family Romaal Kultan ups the tempo with a weightier sucker-punch of breaks and broken percussion, primed for peak time impact.

                                                  Jimi Bazzouka

                                                  Volume 5

                                                    Jimi Bazzouka AKA Joakim Bouaziz is back, packing nothing but heat on this weapons-grade platter. The savior of the international dancefloor community, Jimi laughs in the face of North Korean nuclear tests, shrugs at ferocious weather patterns and briskly unfollows even the most vicious internet troll. Volume 5 of his inimitable edit series sees the big man barrel through the soundtrack section, to serve up the sweetest synthwave hits, mechanical movers and future primitive freakouts. "Poursuite" starts the party with snapping synth drums, whooshing filter sweeps and a roving keyboard riff, eventually building into a little new-wave/jazz-funk glitz. Next up, "Brainwashing" bleeps and bangs its way through slow-and-low "I Can't Believe It's Not Detlef" territories, locking us into the Fairlights and mallets of an Asian-industrial winner. Flip it for "Countryman Pt.1" a tapey, mechanical funk cut which sounds a bit like a YMO B-side played backwards from the spirit world and "Countryman Pt.2" a percussive powerhouse tailor made for midnight in the mangroves. If you dug on Ruffy's "Midnight Sativa Dance", this one will be right up your strasse. Bag it!

                                                    STAFF COMMENTS

                                                    Patrick says: Joakim launches another dancefloor missile here, raiding the soundtrack section to blur the lines between synth-pop, industrial, new wave and proto-house. #moonlightmusic

                                                    Jimmy Rouge

                                                    Jimmy Rouge Edits

                                                    Irishman Jimmy Rouge of Orange Tree Edit fame joins the Razor-N-Tape team with a 2-track EP of bumping edit heat.
                                                    On the A-side “So Long” flips a cheeky hook over a rub-bery bass-line, with tension-building synth interludes that release into an ear worm of a vocal riff. On the flip, “Movin'” is a deep uptempo burner with piano stabs, rhythmic guitar plucks and an unstoppable groove. RNT takes it back to their OG format of a single track per side, running loud and proud…one listen to these belters and you’ll see why!


                                                    Maps And Territory

                                                      Juju's third album Maps And Territory reaffirms and at the same time transcends Juju's unique formula. A blend of Neo-psychedelia and Mediterranean Folk, New Wave and African tribalism, the sound of Juju is now deconstructed, reassembled and expanded, even bordering Jazz territories with the contribution avant-garde composer and improviser Amy Denio. The album also featuring guest appearance by Goatman from Goat. The album is beautifully wrapped in the artwork of Marco Baldassari (one half of Sonic Jesus), where the liquidity and movement of the Mediterranean blue (the territory) is counterpoised to the soily colour of the ground (the map). 

                                                      FORMAT INFORMATION

                                                      Coloured LP Info: 180-gram coloured vinyl.

                                                      Jump Source (Priori & Project Pablo), kick off their new catalogue with a trio of tasty tracks.

                                                      "Fabric Of Trust" glimmers and shines with a space dust, twinkling arps, darting fx-vox and laser beams all coercing us to get down in the cosmos. Add some lush pad sweeps and a banging beat and you've got a bit of a slammer on your hands...

                                                      "Slip" shimmers with dub-flecked pad stabs, fluttering beautifully against a perfectly built dub-techno groove before adding reverberated 303 and a techy Juno preset into the mix - again, constructed beautiful and sounding super nice on the wax.

                                                      "Radiant Shift" exudes that expansive, blissed-out vibe, closing off the EP with a bouncy beat, post-XTC exuberance and a come-down state of sedation that lends itself to all being sat on the sofa around 5AM, fist-pumping or body-gurning to the beat as the Sun breaks through the morning mist and the neighbors are wondering if you'll ever go to bed...

                                                      The return of…KiNK. His first original record after the latest album and a few bits here and there, is an ode to the miraculous grip that a piano still holds over almost any dance floor. Unmistakably titled “Piano Power Ep“, the Bulgarian hit factory does what it does best: infectious melodies, moving bass and gnarly acid lines as well as the ill beats around. Born out of studio rehearsals for live sets, “2 love U” is a freestyle jam with regular collaborator Rachel Row (see Hand Made EP or “Follow The Step“): KiNK on keys and Rachel in the vocal booth results in pure positivism, energetic hooks and a certain pop magic. Think Rozalla, Bizarre Inc. or any other sign long and you are almost there. Instrumental included for the faint at heart.
                                                      “I Remember“ on the other hand, which is also available as one of KiNK’s beloved video workouts, is presented here as a “303 Mix“ that loses the classic house sample of the first version, in favour of - well, another classic dance music ingredient - the squelchy sound that DJ Pierre invented.
                                                      Last, but not least. “Raw“ is the kind of happy-go-lucky piano-bazooka that revokes the spirit of Baltimore’s production outfit Basement Boys in today’s pagan parties. Using the minimum amount of music tools (lack of effects, volume changes creating dynamics and no more than four instruments), it all feels like KiNK’s reply to Herbert’s infamous dogma. If the ingredients are good enough, you don’t need any spices.

                                                      Le Superhomard Feat. Xavier Boyer


                                                        "Meadow Lane Park" made it clear that there is more to Le Superhomard than inspiration. What versatility. The ease with which they play with styles, the way the move from the most psychedelic, martial kraut-rock to synth-pop and the most addictive euro-disco, makes them one of the juiciest options to appear on the European scene recently. That is why their joining forces with Xavier Boyer, the singer from Tahiti 80, to release this Single called "Domino" is such wonderful news. 

                                                        FORMAT INFORMATION

                                                        Ltd 7" Info: Limited edition of 500 copies on white vinyl, plus download.

                                                        Levin Goes Lightly


                                                          Take off all your clothes. Shed your armour. Get naked. Everything could have stayed the same, but you can rely on Levin Stadler to break with the norm. His Levin Goes Lightly project has earned a plethora of plaudits in recent times - a cover of Iggy Pop's Nightclubbing made it all the way to the master's headphones and straight onto the aforementioned's BBC radio show. Latterly, Trentemoller was curating a compilation and put in a request to include Levin's song 1989. Levin Goes Lightly has thus transcended the barriers which usually stand between German pop music and a wider audience.

                                                          Fenne Lily

                                                          On Hold

                                                            In a time of over-production and over complication, Fenne Lily brings a rawness and open honesty to the equation which is both refreshing and compelling in equal measure. Fenne wrote and recorded the material that would form her debut album ‘On Hold’ between the ages of 15 and 20, while touring the continent with and lending her dulcet tones to the releases of rising alt-stars such as Aldous Harding, Charlie Cunningham, and Marlon Williams. Leaving school to spend her formative teenage years on the road, Fenne walked an uncertain path, playing truant from art college to immerse herself in a life of self-taught musicianship. The result is a tapestry of heartache and comprehension, realised in record form with the help of friend and musical ally Tamu Massif, members of Champs and legendary producer John Parish. The latter helped add permanence to ‘Brother’, a song written in a drunken black-out and nearly lost to the ether, devoted to the one boy who’s never let her down.

                                                            Sample based housey numbers influenced by 70’s NYC and the movies of that time. If you've liked recent Eddie Danielle & Bastien Carrara records, and in the past enjoyed Pal Joey, Harvey and the Golf Channel cartel, then this maybe the record 4 U!

                                                            "Electric Drama" perrr-fectly loops up an orchestral disco groover that's smoldering hot and adds a tasty 'think' break for good measure! Seriously, if you don't catch yourself loosing it next to the speaker stacks, talking to wheelie bins (that's you Pharoah Brunson!) jiving to this joint soon - you're not spending enough time in the dance! Destined for extended plays and repeat performances this summer fo' sho'.

                                                            "American Hustle" hooses up some more funky licks; guitar, clav and keyboard all working in tight unison to deliver to nocturnal, Loft-y disco bizniss - ace!

                                                            "Tomorrow" concludes, ditching any allegance to 70s disco and instead re-alligning itself with late 90s house by sampling Armand Van Heldon's never-beaten soulful house classic "Flowers" (!!!). Skillfull blended with plenty other elements, this is a clever curveball with just enough whiffs of AVH's original number to keep us on the edge of our dancing shoes. So good!

                                                            STAFF COMMENTS

                                                            Sil says: Four cuts of disco house with some heavily recognisable samples. A loopy loop festival to dance the night away. By the way, the four tracks are superb, pay special attention to 'Tomorrow', a St. Germain cum Blueboy beauty.


                                                            Red Sleeping Beauty

                                                              Part of The Optic Sevens Reissue Series

                                                              Originally released in 1986 on Pink Records. This was arguably McCarthy’s finest moment. This issue has a different B side to the original “The Fall” .

                                                              By the time McCarthy appeared on the NME’s C86 cassette they had already been playing together for a couple of years and released two excellent singles.Their debut “In Purgatory” and the indie masterpiece “Red Sleeping Beauty” The following year McCarthy released the brilliant “Frans Hals” before unleashing their debut album “I Am A Wallet”

                                                              Now recognised as an indiepop masterpiece it has gone on to achieve cult status, receiving praise from the likes of Nicky Wire (Manic Street Preachers) . Known by todays indie accolites as the band that spawned Tim Gane and Leititia Sadier (who of course went on to form Stereolab).

                                                              FORMAT INFORMATION

                                                              Ltd 7" Info: Limited to 500 copies on Red Vinyl Includes Poster & Postcard.


                                                              Crow Hill

                                                                Formed in 2006 and led by singer-songwriter Neil Pennycook, Meursault's name is a reference to the main character of L'Etranger, the absurdist novel by Albert Camus. The band's musical style has been categorised as folktronica, alternative rock and indie folk, while the band themselves have described themselves as "epic lo-fi" A collection of 'urban horror' vignettes set to music, with each song telling the story of a particular inhabitant of the titular town.

                                                                The Skinny - 5***** - Album Of The Month - "Crow Hill offers a sublime tonic for these bizarre and frustrating times."

                                                                George & Glen Miller


                                                                After furnishing us with a fine reissue of the Rebbles' take on "Sweetest Taboo", Soundway stick with the Caribbean, bringing us another soca-tinged treat from music's forgotten past. Long since a holy grail for dance floor diggers, George & Glen Miller's 1979 groover "Easing" perfectly encapsulates the melting pot of late seventies NYC, fusing disco, soul and soca into a swooning, soaring triumph. Restored, remastered and cut loud for the dancefloor, the 12” single features the original vocal on the A-side and the essential instrumental on the flip.

                                                                The Miller brother’s musical journey began in Trinidad and Tobago in the early 70s. During their teenage years they formed The Groovy Millers - a five piece band made up of George, Glen and their three siblings. After a chance meeting with Lord Shorty, they went on to collaborate with one of the Soca stars of the time and firmly plant their feet in the Soca scene of the musically rich Caribbean island.

                                                                Of the five siblings it was George and Glen that pursued a career in music, and in the late 70s the two brothers made the move to North America to develop their music style. Disco dominated the airwaves at the time and a studio session with the prolific Frankie McIntosh resulted in the masterpiece that is ‘Easing’.

                                                                Drawing influence from the blossoming disco and soul scene, George and Glen added Caribbean flavour to the New York sound to startling effect. Soft, subtle keys and guitars are punctuated with layered trumpet and violin riffs, complimenting George’s silken, restrained vocal. Frankie McIntosh’s arrangement shines through with what might be his finest work, placing this track on the mantle with other New York classics of the time.

                                                                The Montgolfier Brothers

                                                                Seventeen Stars

                                                                  After a short label hiatus, Caroline True Records bring US a limited vinyl edition of a classic Salford / Manchester album. The Montgolfier Brothers, Mark Tranmer (GNAC) & Roger Quigley (At Swim Two Birds) initially released “Seventeen Stars” on the Salford-based Vespertine label in 1999.
                                                                  Much critical acclaim & appreciation from pop dynamo Alan McGee led to a 2000 rerelease on his nascent post-Creation Poptones imprint.

                                                                  “So we ended up pressing records as usual. Our first record was Seventeen Stars by the Montgolfier Brothers, a baroque, cinematic classic that almost no-one has ever heard.” Alan McGee (On Poptones in “Creation Stories: Riots, Raves & Running A Label” 2013 )

                                                                  Since that moment, “Seventeen Stars” has gathered universal plaudits & affection, along with occasional live performances from the group. To mark the 20th anniversary of the original release, CTR have remastered this brilliant work for vinyl. The sleeve expands the original Vespertine CD release artwork to LP size. Beautiful, memorable, fragile ... An album that proves the longevity of great songwriting, tunes and textures that stay with you. 
                                                                  For lovers of Felt, The Durutti Column, Jacques Brel, Blue Nile & François de Roubaix

                                                                  STAFF COMMENTS

                                                                  Laura says: One of the real hidden gems of Manchester music history, The Montgolfier Brothers' debut album, originally released on Vespertine Records back in 1999, gets a much needed reissue. Their intricate melodies, combined with a cinematic lushness, and heartfelt songs were never easy to pigeonhole and consequently, despite being championed and re-released by Alan McGee on his Poptones label in 2000, this album never received the acclaim it deserved.

                                                                  FORMAT INFORMATION

                                                                  Ltd LP Info: Fully Restored Vinyl Remaster & Restored Original CD Release Artwork For Vinyl With Memorabilia Assemblage Full Colour Inner-Sleeve

                                                                  Møzaika returns to Public Possession with another four track EP of varied dancefloor styles and musical moods. For the titular “Drive”, he collaborates with Australian Sui Zhen, who you may recognize from her previous work with Tornado Wallace, Andras Fox and No Zu. Together they produce a beautiful, mystic synth pop track, which sounds a little bit like The B52's soundtracking a John Hughes movie which only exists in Gwen Stefani's grade school daydreams. A dub version of that track completes the A-Side, splintering fragments of vocal over a beefier, DJ friendly variant of the title track. Over on the B-Side we find the mellow cowbell boogie / new age dance of “Crépuscule”, and the utterly ethereal “Never see You again”, which should be of particular interest to the Balearic DJs out there.

                                                                  Swedish producer Rudolf Nordström aka Mr. Tophat's debut album “Dusk to Dawn”, a three LP dark-disco odyssey that features live instrumentation from some of Sweden’s finest classical musicians (Mats Bergström, Per-Erik Adamsson) as well as appearances from his friends and collaborators Robyn, Axel Boman and Kleerup. “Dusk to Dawn” is an epic collection of underground disco and house tracks, synthesising Western classical with contemporary club music. It’s an album that rewards multiple listens, a sprawling, ecstatic climb to the sublime, layered and full. It’s an album that pushes out into new uncharted territories.

                                                                  To capture the sublime on "Dusk to Dawn" Mr. Tophat brought Sweden’s finest classical musicians into the studio. At the same time, some of the 25 tracks on the record are pure synth driven trance, while “Balearic Moonwalk feat. Kleerup” is on a pop-house tip. The result juxtaposes experimental textures with pure rhythmic momentum. On LP highlight "Hedonism" he collaborates again with Robyn (having first worked together on the "Trust Me" EP in 2017).

                                                                  Mr. Tophat was an avid clubber as a teen, way before making his name as a cult DJ; 'everything started when my childhood friend Kalle and I first visited Berghain. It was 2008 and we were 18 years old. We had found each other being two individualists with our own nerdy interests. Together we plunged into them, Kalle in hairstyling, me in electronic dance music, computer games and cyber-punk. With borrowed fake ID’s, platform shoes, blue-dyed hair and like our idols from 'Party Monster' we overdressed and started raving in the forests and clubbing in the city of Stockholm. Berlin and Berghain became a place we went and visited almost once a month during a two year period. Ever since those days I’ve always loved and felt a big passion for the rave and club scene. As a space where you can freak out, be yourself, queer and believe in hedonism. It shall and should be about freedom. I guess that’s why the scene and the music attracted me.'

                                                                  The hours from “Dusk to Dawn” signify a time when you can cast off your inhibitions and be free for Tophat. 'The history reminds me of why I’m even creating music, about my past, my feeling of techno-punk, then and now and everything in-between which has been of significance to this album and my artistry'. It’s this refusal to conform, working in tandem with his sonic perfectionism that makes “Dusk to Dawn” such a compelling, neo-romantic soundscape, a free-associating moon-walk through time and space. Thinking back to the time in Ibiza, Mr. Tophat remembers 'the turquoise sky and the coloured sea in peach were faded together into a seamless vision, the horizon was impossible to navigate; meanwhile the bright dusk was filled with hate, darkness and mayhem. Nature - so simple, but still so complex.' “Dusk to Dawn” tells the tale of those nights.

                                                                  STAFF COMMENTS

                                                                  Matt says: Me and Barry both been feeling this. For me it recalls the delicate, ethereal brilliance of Moritz Von Oswald Trio or Carl Craig and Moritz' "Deutsche Grammophon" reworkings. Mr. Tophat issuing an incredibly mature and detailed LP that belies his still young age. Top marks.

                                                                  FORMAT INFORMATION

                                                                  2xLP Info: Part III.

                                                                  3xCD Info: Part I-III.

                                                                  Modeselektor revived their Seilscheibenpfeiler Schallplatten label around this time last year, and have since delivered nine top drawer releases traversing new and vintage vibrations from the vast world of underground electronic music.

                                                                  Toronto based producer Graham Bertie aka Nautiluss returns for his second outing and the label's 10th overall release.

                                                                  Contrasting technically proficient, rhythmically intricate production with the kinda of tactile, body pleasing playfulness often associated with the label's leading duo, "Guccifer" is a fierce, whiplash breaks roller that's riddled with a gnarly attitude.

                                                                  "Snakes & Ledgers" is a dreadlocked steamline techno track, combining rastaman vox, jungle subs and incessant 4/4 to devastating effect.

                                                                  "Wi-Fi Oasis" cleverly deploys gated and panned stabs to create a shimmering jungle odyssey that's dreamy, cinematic and heavily indebted to Photek's vast songbook.

                                                                  "Moment Of Clarity" completes the set, a track with a unique rhythmic footprint, you can tell why Modeselektor would enjoy playing this out due to it's head-turning, attention grabbing form. Cerebral, evocative and picturesque, it could soundtrack many a moment of blissed out, serene conclusion; the crown joining together to reconcile the epic DJ that that's played out before it.

                                                                  STAFF COMMENTS

                                                                  Sil says: Megatronic release here. A side is dancefloor bliss with its dark undertones and merciless bass whilst B side invites you to chill a bit still brandishing some industrial aesthetics. Highly recommended.



                                                                    This was more a project than an actual band formed by German jazz drum legend Klaus Weiss. He formerly worked with another jazz legend from his mother country, Klaus Doldinger and gained fame in the German jazz circuit of the 60s and 70s. His 1971 output with Niagara was the result of the vision to create an orchestra made entirely of drummers and percussionists. Despite the fact that there are no regular melody instruments to be heard on this album, the two lengthy compositions are arranged in such an enthralling way that they have a rather catchy and memorable feel. Among the cult drummers featured on this album are Udo Lindenberg (yes, this icon of German rock and pop started as a drummer!) and session hero Keith Forsey. Both compositions offer an ever pulsating rhythm inferno, a maelstrom of different grooves and sounds which enchant and hypnotize in equal measure. Open your mind for the ultimate rhythm experience and join in if you dare.

                                                                    The Oh Sees

                                                                    Graveblockers (Reissue)

                                                                      Encased in a brown paper wrapping like a forgotten bit of smut from behind the beaded curtain, this unassuming disc is a time-capsule back to John Dwyer’s early SF days, janglingly fingerpicked wisps of melody and electronics baking in the all-too anemic sunshine of San Francisco’s elusive summer. Like a seashell to the ear, one can hear within it Baker Beach bike ride excursions, holding court and gently harassing passers-by on a Haight street stoop, and midnight rambles with friends from out of town, daring the sun to come up.

                                                                      Somewhere chronologically between the folky whisper of Songs About Death And Dying and the recently reissued Cool Death Of Island Raiders, this one’s been vexing to find for way too long and Castle Face has decided to give it “the treatment”. May it awaken the gentle glow of possibility dappled with the dancing shadow of danger that it stirs around this castle.

                                                                      STAFF COMMENTS

                                                                      Mine says: Much anticipated reissue of this low-key/lo-fi The(e) Oh Sees EP from 2006, now available on green vinyl. Don't snooze!

                                                                      FORMAT INFORMATION

                                                                      Coloured LP Info: Limited edition green coloured vinyl with insert.

                                                                      Coloured LP includes MP3 Download Code.

                                                                      Okinawa Delays Feat. Satoko Ishimine

                                                                      Nariyama Ayagu - Inc. Phil Mison Remixes

                                                                        Blink and I missed it! After the highly sort after and supremely limited first run disappeared over the horizon, OBI strip and all, Claremont 56 take pity on schmucks like you and I with a plain sleeve repress of this serene Balearic beauty. Though it may not be the looker it once was, you'll be reassured to know that this gem sounds just as good as ever. Label favourite, Cafe Del Mar hero and all round top talent Phil Mison takes controls on the A-side, rewarding one and all with a pair of pure, ambient bathers. Celestial synthwashes wax and wane beneath gentle acoustic guitar, occasional piano chords ripple through the infinite calm and the fx laden vocal sings sweetly to the siren, leaving us to drift peacefully into a new state of mind. In dub form, Phil omits the vocal and lets his tranquil instrumentation take centre stage, rivalling the superb "69" on Growing Bin for untampered beauty. Over on the flip, original Okinawa Delays cut "Vibration" steps a nimble path between Japanese jazz, mature funk and city pop to take a place at the top table with Eri Ohno, Ruriko Ohgami and Sadao Watanabe. The mix of shuffling percussion, diminished 7ths and rubber-necking bass should keep your body loose and limber, while Satoko Ishimine's smooth vocal soothes your soul to perfection. This won't be around for a long time, so buy a copy and stay cool all summer long. 

                                                                        FORMAT INFORMATION

                                                                        Ltd 10" Info: ONE COPY FOUND!

                                                                        One Thousand Violins

                                                                        Halcyon Days / Like 1000 Violins

                                                                          Part of The Optic Sevens Reissue Series

                                                                          Their first single, “Halcyon Days” was originally released in 1985. The B-side, “Like One Thousand Violins” was voted into that year’s Festive 50 by listeners to John Peel’s BBC Radio 1 show, the band having recorded a session for the show earlier that year. First time on 7”.

                                                                          FORMAT INFORMATION

                                                                          Ltd 7" Info: Limited to 500 copies on splatter vinyl. Includes poster & postcard.

                                                                          "Chocolate City" is the third album by the George Clinton led funk band Parliament, released in 1975. It was a 'tribute to Washington D.C.', where the group had been particularly popular. The album’s cover includes images of the United States Capitol, the Washington Monument, and the Lincoln Memorial in the form of a chocolate medallion, as well as sticker labeled 'Washington DC'. The album was very popular in that city, selling 150,000 copies there.

                                                                          "Chocolate City" features the classic P-Funk lineup with George Clinton, Bootsy Collins, Bernie Worrell, and Eddie Hazel. The Brecker Brothers, Michael and Randy, joined the band as did vocalist Glenn Goins. Prakash John plays bass on several tracks. This album also marks the beginning of the pivotal songwriting team of George Clinton, Bootsy Collins, and Bernie Worrell, a partnership that would last until the 1978.

                                                                          The album is full of the uptempo funk that the band would be known for as well as the vocal harmonies of The Parliaments. “Let Me Be” draws on jazz as well as gospel influences. “Together” is a remake of “Together in Heaven” by Bootsy, Phelps, and Gary. Glen Goins makes his debut P. Funk performance on “Big Footin'”.

                                                                          FORMAT INFORMATION

                                                                          LP Info: 180g vinyl.

                                                                          Plastic Crimewave Syndicate

                                                                          Massacre Of The Celestials

                                                                            Cardinal Fuzz are proud to present to you - Plastic Crimwave Syndicate - ‘Massacre Of The Celestials’. Steven Krakow (aka Plastic Crimewave) is a dark sonic visionary whose every output is infused of the deepest psychedelic music (or just plain old music) out there. With Plastic Crimewave Syndicate you are treated to a howling, menacing, throbbing freak-out sthat is never for the faint hearted. Aided by skronkin' sax goddess Taralie Peterson (aka Louise Bock/Tar Pet) of avant musical coven Spires that in the Sunset Rise, Plastic Crimewave Syndicate go into uncharted realms on their 4th new epic album, "Massacre of the Celestials." Recorded over the course of a tumultuous year on this small planet, a concept emerged of a story we all know and love--the rise and fall of humanity, and then the post-apocalyptic rebirth of a new furtherly-dystopian mutated world. PCWSyndicate didn't discriminate with the freaky sonic tools needed to craft this molten behemoth of a LP, utilizing: damaged waves of No Waves, free-festival rave-ups that punters will knock down fences to pogo to, monochord Doom ruminations...and could that be groovy post-post-punkin' Funakdelica? These cosmic cats also go to the roots of all: The Blooz--elemental, drugged, n grungey--and like JAZZ, MAN! (free, not expensive, for thee people). Plastic Crimewave (bellows/guiterror), Kosmik Jru (bass rumble), and Jose "The Beast" Bernal (kit smash), keep the freaks a-rollin and a-tumblin on an LP destined to score the end of this feeble Earthen sphere. 

                                                                            FORMAT INFORMATION

                                                                            Ltd LP Info: Presented in a 350gsm Gloss Laminated Sleeve and comes with a download code. 300 Pressing Worldwide. 150 for Europe & 150 for USA.


                                                                            Mad Radio / New Sensation

                                                                            Following up on their long awaited “Melody” / “Stop Fantasy” reissue from 2016, Mothball return with a lesser known, but no less brilliant, double-sided disco bomb from Plustwo. Lighthearted and infectious melodies on both sides are matched with superb production and unmistakably beautiful vocals - this is no fast food satisfaction but elegant music to enjoy for years to come. For many years a favorite amongst the Italo elite, yet strangely unknown by many, “Mad Radio” and “New Sensation” will put some unexpected spark in your next disco set. Amore a prima vista...

                                                                            FORMAT INFORMATION

                                                                            12" Info: ONE COPY FOUND!



                                                                              Prince will forever be remembered as a commanding live performer, chart-topping recording artist, and music business revolutionary. Yet for all the time he spent in the spotlight over his four-decade-long career, Prince also worked tirelessly behind the scenes to nurture talent and pen songs for the rising artists he respected.

                                                                              Sourced directly from Prince’s vast archive of Vault recordings, ORIGINALS is a brand new 15-track album featuring 14 previously unreleased recordings that illuminates the vital, behind-the-scenes role Prince played in other artists’ careers. These are more than just demos, the production quality has been kept high and the recordings resemble a pristine quality similar to that of Nothing Compares 2 U released last year.

                                                                              By the mid-1980s, Prince was dominating the charts even as a writer/producer with songs he’d composed and recorded for others. In addition to releasing nine of his most commercially successful full-length albums, he also wrote and recorded endless reels of material for proteges The Time, Vanity 6, Sheila E., Apollonia 6, Jill Jones, the Family, and Mazarati. Several of the iconic songs found on ORIGINALS were considerable hits for the artists who recorded them. 

                                                                              FORMAT INFORMATION

                                                                              2xColoured LP Info: Deluxe 2x180g purple vinyl.
                                                                              Hardback 12” gatefold book with glued pocket holding 2x 180g purple LP and 24 page 4 colour booklet.

                                                                              2xLP Info: Standard 2xLP.

                                                                              Old stalwarts of the edit, digging & comp'ing scene, Psychemagik are also a dab-hand in the studio - turning their hand to a whole manner of styles.

                                                                              Here they express some naughty electronic dance moods a la Mr. Scruff, Two Lone Swordsman, Riton etc via the squelchy midtempo breaks roller: "Rattlesnake". A wubbing b-line directs proceedings on this baby while hazed drums and cyberpunk SFX dart around in the background. I can image it finding plenty of favour with DJs like Andy Weatherall, the aforementioned Mr. Scruff and Radioactive Man as well as the natural house and disco camps that already hail Psychemagik as superstars.

                                                                              Two remixes to get stuck into. Magda Blotter Traxion remix further distills the elements in the aural test tube, resulting in a gurgling alchemy that fizzes and splurts like phosphorus on water.

                                                                              Vyvyan on the other hand adopts a gliding bass-tek aesthetic; low register drones paired perfectly with a frenetic break and plenty other synthesized elements. Hard to pick a favourite between this and the OG, both are gonna destroy the dance... TIP! 

                                                                              STAFF COMMENTS

                                                                              Matt says: Warehouse-ready and rave bunker stable constructions here from the well loved Psychemagik pair. The remixes are mega to so lots to enjoy on this Pet!

                                                                              ‘Atlantic Oscillations’ marks the return of world renowned British producer Quantic with his most cohesive and intricate album to date. Bringing together new players and concepts with a dance orientated sound that has enchanted fans and tastemakers across the world for nearly two decades, it showcases Will “Quantic” Holland’s artistry and rare ability to intertwine the electronic with the orchestral.

                                                                              Embracing his own love of albums that travel, taking the listener on twists and turns, with the loss of the album narrative that has occurred in this day of streaming, Holland utilises the space created to explore more creativity as a producer. As he admits, “on the whole, the common theme on this record is that it is probably more intricate and arranged than previous records. I spent three times as long as any other Quantic record and spent a lot of time in the detail”. This meticulous attitude is apparent throughout; each track has been crafted to draw the listener’s attention, with elements of both musical originality and a sense of modernity.

                                                                              'Help Us Stranger' is The Raconteurs' third studio LP and first new album in more than a decade. It sees the mighty combo reassembled, stronger and perhaps even more vital than ever before as they continue to push rock 'n' roll forward into its future, bonding prodigious riffs, blues power, sinewy psychedelia, Detroit funk, and Nashville soul via Benson and White’s uncompromising songcraft and the band’s steadfast musical muscle. With 'Help Us Stranger' The Raconteurs have returned right when they are needed most, unified and invigorated with boundless ambition, infinite energy and a collectivist spirit operating at the peak of its considerable powers, once again creating a sound and fury only possible when all four of its members come together.

                                                                              White and Benson wrote all the songs on 'Help Us Stranger' except one cover, “Hey Gyp (Dig The Slowness),” which was written by Donovan. Recorded at Third Man Studio in Nashville, TN, the album was produced by The Raconteurs and engineered by Joshua V. Smith. Longtime friends and musical collaborators helped make 'Help Us Stranger', including keyboardist/multi-instrumentalist Dean Fertita (The Dead Weather, Queens of the Stone Age) and Lillie Mae Rische and her sister Scarlett Rische. The album was mixed by Vance Powell and The Raconteurs at Blackbird Studios in Nashville.

                                                                              STAFF COMMENTS

                                                                              Mine says: After focusing on his solo career and his label Third Man Records, Jack White is reuniting with his Raconteurs for their first studio album since 2008. They pick up where they left off (ish) and, taking it up a notch, create an album that feels more energetic than its predecessors. Fans of Jack White's latest solo album will probably dig this.

                                                                              FORMAT INFORMATION

                                                                              Coloured LP Info: Indies only white vinyl version with alternate cover and hand-screen-printed sleeve.

                                                                              Andy Rantzen


                                                                                Efficient Space can do no wrong right now, and the Australian label continue to give us the good stuff with a solo 12" from Psychologist-turned-producer Andy Rantzen. After peaking mass muso interest with Oz Waves' resurrection of "Will I Dream", the producer is back on the label with "1/66" - a collection of four dubs from his 1999/2000 archives. Home recorded above a lawyer’s office and next door to a brothel, the retrospective is lead by the earth shattering digi stepper "Rock Steady". Wasting no time fucking about, this rough as fuck rudeboy cut hits us with seismic kicks, sparkling stabs and plenty of dub fx, eventually adding a garbled vocal refrain and seriously subby bassline for full frequency impact. As one batshit breakdown rolls into the next, 'did I spill the bong on the mixing desk?' mayhem ensues, calling to mind the craziest corners of the On-U archive. Next up "Green Man" may satisfy all your breakbeat cravings, coming live and direct with irresistible rhythm patterns, screwy samples and the kind of drugged up downbeat vibe AFX and BOC delivered around the turn of the millennium. Things cool down a little on the flip as Rantzen rocks us with horizontal heaters "Fantasy Dub" and "Green River". The former glides from glacial digi-dub to naive FM synth melodies while the latter lollops from brookside babble to bleep-led bongripper in a few simple steps.

                                                                                STAFF COMMENTS

                                                                                Patrick says: Equally adept in house, techno, lo-fi experiments and digi-dub - we've got ourselves a proto Ruf Dug right here. Rantzen's demented digital skank is currently topping our Piccadilly pops. Grab a copy while you can!

                                                                                The newest outing here from Manchester stalwarts Crocodile Records with the brilliant new 7" from 'Duncan Reid And The Big Heads'. On the A-side we get the trebly pop-punk power and octaved vocal harmonies of 'Kelly's Gone Insane', equal parts single-note surf guitar and fuzzy muted power chords, all topped with crackling Wurlitzer organ squeals. Flip over and (depending on wether you keep it at 45rpm like I did or switch things down to the decidedly less chipmunky but technically correct 33 1/3) you get the equally catchy 'Pretty Little Rachel', all throbbing muted guitar and that unmistakeable but brilliantly implimented power-punk chord sequence, growing from a compact punky snarl into a full-force anthemic Buzzcocks groove. 

                                                                                Last up, and 'Baby Baby' veers much more towards the rock-n-roll doo-wop side of things, with bluesy guitar pulses and flickering guitar trills, accentuated with 'aah's' and 'ooh's' abound. A fittingly catchy end to a brilliantly engineered trio of pieces, and a great outing for Duncan Reid and The Big Heads. 


                                                                                Martin Rev


                                                                                  Martin Rev is best known as one half of the seminal duo Suicide (with Alan Vega). Listening to his solo albums, it becomes clear that Rev was responsible for the group’s music. Suicide mirrored the reductive and radical traits of the contemp- oraneous punk scene that was in the process of emerging, but their electronic, minimalist form of language was so unique, so innovative, that they would become a major influence on the likes of Daft Punk, Air and Aphex Twin. Alongside his work with Suicide, Martin Rev continued as a solo artist, releasing his eponymous debut album in 1980 on New York’s Infidelity label. Rev’s early solo excursions can be traced back to the original ideas which can be found – in modified form – in Suicide songs: as instrumental versions which have been texturally enriched, like a familiar figure which has nevertheless taken on a completely new existence.

                                                                                  Although it was not released until 1991, Martin Rev’s third solo album features a wealth of material from the year 1980. For “Cheyenne”, Rev created instrumental versions of many of the tracks which had formed the basis of the second Suicide LP entitled “Alan Vega / Martin Rev”. The sphere of Martin Rev’s influence and the relevance of his music may well be related to the fact that he was one of the first artists who succeeded in grasping the abstraction of electronic music, infusing it with a sense of immediacy built on raw energy. Whilst the likes of La Monte Young, Terry Riley, Steve Reich, Philip Glass and Kraftwerk were busy digging in the electronic music garden, Martin Rev found inspiration in the streets of New York. Rev’s music is informed by characteristic influences of the city, a place where doo-wop harmonies intermingle with the hiss and hum of the metropolis, dissolving into a collage of noise. So it is that dreamy, chiming melodies blur into ominous whirrs and drones emanating from rhythm machines and layers of distorted synthesizer. This polarity between convergence and alienation describes something deeply American, as reflected in the track names and the cover image of a rodeo rider: “The idea came from the way the tracks sounded as instrumentals. They took on a different visually descriptive dimension, even more so in combination. The visualization was an immediate sound- scape of the American landscape. That’s where the titles and cover came from.” Many of the pieces found on Cheyenne can be traced back to the sessions for the second Suicide album Alan Vega / Martin Rev (1980) which was produced by Ric Ocasek, singer for The Cars. Almost a decade passed before Martin Rev got around to editing and developing the material. “Most of the album was recorded in 1980, but the remaining few tracks from 1988 into the early 90’s. The 80’s tracks all went under a concerted editing process, to make them work for me even better as instrumentals. I didn’t get around to that until there was an offer to release them, which was in the early 90’s as well.” Indeed, Cheyenne plays out like a rural, yet intense road movie, crossing a landscape rich in beauty and contradictions.

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