Ahwlee brings us his album Life2 which was originally released in 2016, this gem has taken a long time to reach the spotlight it deserves. The album is filled with flowering instrumental hip hop with structured jazz elements linked together in a lovely hip-hop-jazz marriage. Ahwlee perfectly balances the chilled out composition while keeping it fresh with raw instrumentals.

If you are a fan of Abstract Orchestra, MF Doom Instrumentals and Dilla-esque, you will need to hear this and have it in your life. 


Millie says: I have fallen head over heels for this album, it’s everything I want wrapped up in one perfect package. From the instrumental hip hop in a laid-back effortlessness, and the swoonful soft vocals edging in add an extra something, really lovely!

Ambienti Coassiali

Vol. 1 - Room 1-6

Ambienti Coassiali began in the '80s as a parallel project of Capricorni Pneumatici, in Milan and surrounding areas. Ambienti Coassiali's debut release, simply titled Vol. 1, was self-released as an incredibly limited cassette in 1988. The compositions were recorded solely with a Yamaha DX7 and two track Revox A77 tape machine, creating straight-to-tape minimalist ethereal FM synthesis compositions. Both the name of the project and the title of the pieces, numbered 1 to 6 corresponding to as many rooms (stanze), recall the concept of ambient music that underlies Vol. 1 - it is music that gradually reveals itself in its surreal development, and aims especially at the subconscious of those who do not listen carefully.
Parallel to the musical project Ambienti Coassiali, a video project has developed - not by chance called "Empty Heads" - which is based upon the same concepts. Originally prepared as ambient "video wallpaper", the video project incorporates synthetic images generated with analog electronic television equipment. Empty Heads participated in video festivals around the world in the late 1980s and the project has evolved over the last 30 years, realizing the finished Ambienti Coassiali Vol. 1 visual project in 2017. Remastered and issued on DVD, the Vol. 1 video project will be released for the first time in its entirety through Incidental Music.
With the release of 2017's Spare Rooms on Italy's legendary Artisti Del 900 (ADN) label, Incidental Music's 2018 vinyl re-issue of Vol. 1, and the forthcoming Vol. 2, Ambienti Coassiali continues to surprise with new compositions nearly 30 years later.

During the days of Dingwalls' legendary jazz-dance and rare groove nights in the 1980s, it wasn't uncommon to hear Nancy Ames "Caracara" surging from the speakers. An infectious Latin Jazz/Easy Listening floor-filler first released on the American singer's 1966 album Latin Pulse, it has long been something of a favourite amongst both DJs and dancers. Here, it gets the reissue treatment on 7" from the cool cats at Dynamite Cuts, backed with 1967 gem "Pow, Pow, Pow", a killer, bi-lingual cover of Sergio Mendes' favourite "Mas Que Nada". This, too, is simply superb.


Millie says: Pure brilliance from Nancy Ames as she dominates the jazz scene with this fast and energetic seven inch!

Brendon Anderegg


    The music of Brendon Anderegg is a hall of mirrors, multi-layered and self-obscuring. Largely filtered through Mountains - his pioneering electronic project with Koen Holtkamp - Anderegg emerged as a solo artist in the late 90s. He returns now with ‘June’, a vinyl-exclusive release on Thrill Jockey.

    The music on ‘June’ is a complex network of layers, paradoxically a calm and soothing listen. Collapsing history into its own contemporary sonic movements, Andregg’s methodically created work falls in the lineage of electronic pioneers like Bernard Parmegiani and early ambient projects like Tangerine Dream, Popul Vuh and Cluster and puts his solo work in the realm of New Age figures like Michael Stearns and JD Emmanuel. ‘June’ is a singularly beautiful and challenging work that marks the long overdue re-emergence of Brendon Anderegg as a solo voice.

    Brendon Anderegg is a Brooklyn-based, Emmynominated composer with clients ranging from Pitchfork to ESPN.

    Available only on vinyl, ‘June’ is pressed on virgin vinyl and includes a free digital download coupon.

    On her Thrill Jockey debut, acclaimed guitarist Marisa Anderson’s music is boundless. Anderson is undeniably a master of the North American traditions of country, folk and blues on guitar. On ‘Cloud Corner’, Anderson expands on those styles as well as instrumentation.

    The solo guitar work of Marisa Anderson owes its familiar tones to her awareness of history and her mastering of her instrument, yet it is completely new. Marisa Anderson filters musical history through her own personal experiences, as a traveller in life and in music. A curious and gifted player, Anderson has spent over 35 years of performing forging her singular, instantly recognizable voice. Marisa Anderson’s ‘Cloud Corner’ is hopeful in the face of any discord, a resplendent diverse sound sanctuary that shines, a mirror of the horizon it looks towards.

    Anderson has contributed to recordings by Beth Ditto (The Gossip), Sharon Van Etten and Circuit Des Yeux among others, as well as creating music for short films and soundtracks.


    Barry says: Reminiscent of the outsider folk-loop work of Alexander Tucker or the more oddball ambient moments of The Books, Marisa Anderson nonetheless inhabits a world of her own, with repeated motifs growing from inauspicious beginnings into hypnotic cacophonies of sound.


    LP Info: LP version pressed on virgin vinyl and packaged with a free download

    Hardware peddlers First Cut return with their forth installment. Gotta love this label's ethos - shining a light on the lesser discovered knob twiddlers and the shadowy DIY electronix scene; offering a platform for producers that would otherwise be buried too deep into their gear to ever get round to actually releasing anything.

    Giles Armstrong has spent years in the so-called 'SCENE' but never actually made a record, until now. Whilst admitting it's not the most polished or technically accomplished; Giles says he's managed to get his personality across through a select but impressive array of synthesizers, noise boxes and rhythm machines.

    With hefty kicks and a steady, deliberate tempo, the tracks unfurl at their own pace, but pack enough punch for the most demanding of club crowds. Non-linear arrangements hint at a producer not bogged down with tradition and in turn, offer up moments of ingenuity and expression. Strong stuff carrying this maverick label forward.


    Ltd 12" Info: Hand numbered & limited to 150 copies. No repress.

    The album was the first (and only) The Art of Noise album to spawn two UK top 20 hit singles; “Peter Gunn” and “Paranoimia”.

    The original album is remastered and this reissue features 17 extra tracks above the very original vinyl LP edition of In Visible Silence. The second LP features some previously unreleased tracks.

    All tracks are taken from the original master tapes and the remastering sessions were overseen by Anne Dudley, JJ Jeczalik and Gary Langan.

    It’s beautiful packed and we went full out for this one: gatefold, coloured, numbered, 4 page insert, 


    2xColoured LP Info: 180g audiophile vinyl, gatefold sleeve, printed innersleeves, 4 page booklet. Remastered and expanded edition of 1500 individually numbered copies on transparent blue vinyl.

    Arthur Buck

    Arthur Buck

      Sometimes the catalyst for creating great art is simply being in the right place at the right time. For Arthur Buck, the new collaboration between singer-songwriter Joseph Arthur and guitarist Peter Buck, that place was Mexico and that time was the fall of 2017. Specifically, a little town off the Baja coast named Todos Santos, with the Sierra de la Laguna mountains to the east and the bright blue Pacific stretching out infinitely to the west. It is here that Buck has held the Todos Santos Music Festival for the last several years, which he created in 2012 with his wife, Chloe Johnson, shortly after R.E.M. called it a day.

      Among the many artists who have played the festival is Joseph Arthur, who also happened to leave behind a guitar - a Dobro, specifically - after his last appearance there. And so last year he made the trek down to Todos Santos to pick up the instrument. Which is where he ran into Peter Buck. That was the beginning of Arthur Buck.

      The creative result of this relationship is a vibrant 11-song collection that captures the spontaneity at the heart of the project - right down to the 1-2-3-4 count off from Buck that opens the record - with sounds and styles meshed together in an easy, almost playful manner.

      Tchad Blake was brought in to mix the proceedings and the product is the new Arthur Buck - the outcome of a shockingly productive burst of inspiration.


      Coloured LP Info: Indies exclusive split coloured (transparent blue / transparent red) vinyl.

      In 1975, the prolific and multi-talented Brazilian comedians Chico Anysio and Arnaud Rodrigues recorded an album based on the protagonist of one of their most celebrated TV series.
      Sporting a dodgy moustache and an equally troubling haircut, Carioca conman Paulo Mauricio Azambuja (played by Anysio) would flog his own mother’s leg if he could, and his ever-ridiculous scams are inevitably always destined to fail. This soundtrack/musical re-imagining of the series combines jazz-funk with samba soul and MPB, with the help of cult Brazilian trio Azymuth. Keyboard maestro Jose Roberto Bertrami, who arranged the album alongside renowned conductor and composer Jose Menezes, elevates the groovy oddball sound to another dimension, with his set up including Fender Rhodes, Arp Strings, Arp Omni, Clavinet and Hammond organ. Remaining Azymuth members Ivan Conti (drums) and Alex Malheiros (bass) provide the signature Azymuth foundation, and saxophone prodigy Victor Assis Brasil and legendary multi-instrumentalist producer Durval Ferreira also feature.
      As well as its distinctly comedic character, what makes the music so special is the coming together of traditional samba roots, and Azymuth’s ahead-of-itstime psychedelic funk influence. Each side ends with a comedy monologue, complete with live audience laughter, but before that you get seven tracks of weird and wonderfully emotive Brazilian groove music.

      Baiano & Os Novos Caetanos was a band formed by prolific and multitalented Brazilian comedians Chico Anysio and Arnaud Rodrigues. Satirising Brazil’s Tropicalia movement in the 1970s, the duo took a friendly crack at the likes of Caetano Veloso and psychedelic rockers Novos Baianos, with their righteous tropicalista alter-egos ‘Baiano’ and ‘Paulinho Boca de Profeta’ poetically denouncing the dictatorship while simultaneously mocking those who took themselves too seriously.

      Jazz funk legends Azymuth play backing band with keyboard maestro Jose Roberto Bertrami also responsible for the arrangements on the album. Azymuth’s free and funky psych sounds combine with accordion, harmonica, brass and plenty of rural Brazilian rhythms, for a hugely varied album drawing on MPB, funk and soulful samba rock.

      The album also features Orlandivo who co-wrote many of the songs, and renowned multi-instrumentalist and producer Durval Ferreira.

      Clubbing is a source of euphoria: a weekly, often daily escape, a respite from the grind. That culture and its landmarks – some of London’s best venues and many countless pubs - are slowly disappearing for good. Benin City address this most relevant issue across their new album, entitled: "Last Night". With a sound and mood that locates itself in a small sweet spot between Faithless, Metronomy and early Stromae, the album’s narrators draw on the last decade of their collective experiences as ravers, bar workers and observers. These reflections are primed for the dancefloor: a hook-laden blend of Afro-dance pop, hip-hop, spoken word and electronica that is both infectious and poignant.

      Speaking of the record, Joshua said:

      'London nightlife has been our way out, our release, our daily escape. We’ve been clubbers, barmen, part / full-time drinkers. We’ve served cocktails and downed shots. We’ve found ourselves on dancefloors and lost our dinners on nightbusses. We’ve laughed, we’ve cried, we’ve engaged in dumb drunken squabbles and we’ve found ourselves in strangers’ houses. We’ve danced to songs we didn’t know the name of. We made landmarks out of hidden corners of London: Passing Clouds, Ghetto, Trash Palace, Plastic People, Vibe Bar, Cable, Crucifix Lane. Those places, and the stories they held are gone for good as London becomes pricier and ever more grey. On this album are some of those stories: this is an ode to London’s nightlife.'

      Big Black

      Headache (Remastered)

        Remastered By Steve Albini And Bob Weston At Chicago Mastering. The Players: Dave Riley - Bass, Santiago Durango - Guitar, Vocals, Steve Albini - Vocals, Guitar, Roland Drum Machine - itself. Big Black was started by Steve Albini in 1982 while he was attending Northwestern University in Evanston, Illinois. Lungs, the first Big Black release was recorded by Steve on a borrowed 4-track. He played everything on the EP himself - except the sax bleating courtesy of pal John Bohnen and the drums courtesy of Roland. Soon after, Steve recruited Jeff Pezzati (Naked Raygun) on bass, and Santiago Durango (also Naked Raygun) joined them on guitar. In 1983, together with live drummer Pat Byrne, they recorded the Bulldozer EP.

        By 1984, the band had done some touring and recorded the Racer X EP and the start of the Il Duce 7”. After that, Jeff returned to Naked Raygun and was replaced by Dave Riley. In 1985, Big Black recorded their first full-length, Atomizer, as well as finishing the Il Duce 7”. Atomizer was released in 1986 along with the release of the Hammer Party compilation CD. In 1987, the Headache EP and Heartbeat 7” were released. That same year, the band recorded and released the 7” of The Model/He’s A Whore as well as their second full-length album, Songs About Fucking. They toured extensively (for Big Black). And they broke up. “We liked to think we were ahead of our time. Now that time has caught up with us—well, this isn’t such a swell place, and having gotten here first doesn’t make it any nicer.” Steve Albini… 


        LP includes MP3 Download Code.

        Black Deer

        Baseball Shorts / Lasso

        I've been all over each one of these little 7" treats from R=A, and their latest release is just as crunchy, corrosive and strangely funky as the others. Taking a suitably psychedelic approach, Black Deer dives deep into the machine world for "Baseball Shorts", layering buzzing synth drones over a wavey beat while stuttering guitars put a pagan spin of proceedings. Over on the flip, 'Lasso' sees the producer chucking a CR-78 bossa through milky tape hiss, glooming around with a square bass and topping it all off with a little spicy guitar noodle.

        Leeds' casuals (in the horizontal, grooving by the palm trees sense - Andy Pye is NOT a hooligan) Balearic Social signpost the summer with a sumptuous split EP from Bonnie & Klein and BlackBush Orchestra. Slow as Viduka but steady like Nigel Martyn, these three cuts conjure stunning coastlines and the deepest azure - slip the needle into the groove and dive deep (like Harry Kewell?).

        Putting aside the football references, (World Cup season init!), we can enjoy the lilting excellence of "Motmot", a beautiful bit of sundowner Balearic courtesy of Greek duo Bonnie & Klein. The time-honoured combo of melancholy pads, bossa beats and a winding double bass bring to mind "My Boss" before the echoing Spanish guitar, delicate pianos and evocative organ come on like Knopfler and Richard Wright jamming at Aptera. Lush as you like and bare Balearic fam. We stick with the cradle of civilisation for A2's "Iris", as B&K bring us an audio embodiment of the rainbow goddess. As befits the west wind's wife, the track is a breesy affair, all limber bass sounds, gentle percussion and sublime melody - the well read out there might even find flavours of Mulatu at play...

        In this case the B stands for BlackBush, with the Beauty & The Beat affiliated Orchestra expanding our mind and moving our bodies with a folkloric life changer inspired by Cedric Woo, Jeremy Gilbert and Cyril Cornet's extraordinary party. Suitably psychedelic, the track opens with the gentle clatter of organic percussion, backwards guitar licks and panning rainforest idents. A spheric kick signals a move from the bean bag to the dancefloor, nestling seemlessly into the Brazilian rhythm section like a carnival veteren. Haunting strings and heartwrenching guitar remenisce like childhood friends and suddenly the track's so pretty it hurts. Lysergic bass swells, hallucinatory sound design and an endless supply of soul offer sensory immersion for around fifteen minutes, with the latter stages building into something truly ecstatic.

        Broken Arrows are Sudeep Menon & Bill Ambrose, both long time affiliates of Magic Waves radio and Cyber Dance records. Here they don 4 new tracks for the Vivod imprint which makes up their second EP. A slight departure in style from their first outing on Giallo Disco a couple of years ago, these tracks still have that unique mechanic box jam sound they are becoming known for. "Female Predator" kicks things off in a techno fashion. Charging drums lead the way with a cool throbbing bassline. "Fear Eats the Soul" is more of an instrumental 80s wave track with its laid back pads and structure looping away with ease. Title track "Edge of Darkness" is the stand out track on this EP and won't fail to hypnotize. Meandering pads in a kosmische style with rock solid drums, simply awesome! "Basic Structures" finishes the EP off and this is more towards their jamming style from their previous EP, more aggressive, blistering hats, slamming kicks etc.


        Matt says: Sterling stuff as ever from Ali Renault's cult techno / hardware imprint. Broken Arrows bring the hardware crunch and technoid hum brilliantly across four head-turning tracks.

        Twenty-eight years ago, pissed-off twelve-year-olds around the universe discovered a new planet, a Black Planet. Public Enemy’s aggressive, Benihana beats and incendiary lyrics instilled fear among parents and teachers everywhere, even in the border town of Laredo, Texas, home of the future founders of the Latin-Funk-Soul-Breaks super group, Brownout. The band’s sixth full-length album "Fear of a Brown Planet" is a musical manifesto inspired by Public Enemy’s music and revolutionary spirit. Chuck D., the Bomb Squad, Flava Flav and the rest of the P.E. posse couldn’t possibly have expected that their golden-era hip hop albums would sow the seeds for countless Public Enemy sleeper cells, one that would emerge nearly three decades later in Austin, Texas.

        Greg Gonzalez (bass) remembers a kid back in junior high hipped him to the fact that Public Enemy’s “Bring the Noise” is built on James Brown samples, while a teenaged Beto Martinez (guitar) alternated between metal and hip-hop in his walk-man, and Adrian Quesada (guitar/keys) remembers falling in love with Public Enemy’s sound at an early age. 'When I got into Hip hop, I was looking for this aggressive outlet . . . and I didn’t even understand what they were pissed off about, because I was twelve and lived in Laredo . . . but I loved it and I felt angry along with them.' Joseph Abajian (Fat Beats’ owner) must have sensed the deep hip-hop well lying beneath the versatile band’s Latin-Funk veneer. 'I thought their sound would work covering Public Enemy songs,' Abajian says, and, 'it was good to know they were P.E. fans . . . We came up with a track listing and they went to work.' Despite the band’s eagerness to work on new original material (an album of original songs is slated for next year), they couldn’t pass up the opportunity to pay homage to this iconic and influential posse.

        Translating sample-based music to a live band turned out to be more of a challenge than they anticipated. Adrian tried to get inside the Bomb Squad’s [Public Enemy’s producers/beat-making team] head in order to find the inspiration to reinterpret P.E.’s songs: 'imagine the Bomb Squad going back in time and getting the J.B.s [James Brown’s funky backing band] in the studio and setting up a couple analog synths and then playing those songs.' While some songs closely follow the original musical blueprint, others use the source breakbeats as jumping-off points later sweetened by Trombonist Mark 'Speedy' Gonzales’ horn arrangements, synth wizardry courtesy of friend-of-the-band Peter Stopschinski, and DJ Trackstar’s turntable scratches.

        For the last decade, Argentina has become the epicenter of a musical explosion that characteristically blends folk music from the surrounding Andes and electronic beats. The artist arguably responsible for its emergence on a global platform is one named Chancha Via Circuito- a Buenos Aires native named Pedro Canale whose first album Rodante (2008) opened the floodgates by pushing the borders of Cumbia listeners weren't even aware existed. He's gone on to release other highly acclaimed albums such as Rio Arriba (2010), which Resident Advisor described as 'aural magical realism', and Amansara (2014), which catapulted him onto acclaimed international stages and received praises from Pitchfork to the New York Times.

        Four years later, in the midst of some very notable global turbulence, Chancha Via Circuito brings us his highly anticipated new album Bienaventuranza- a word that essentially means bliss. Replete with his signature touches of Andean instruments (think lots of flute and charango), the folkloric elements on this album blend fluidly with danceable and digestible electronic beats. He's been cooking this record slowly, with unprecedented amounts of care and in a much more collaborative manner than his past albums.

        Appearing on the album are heavy hitters in the digital cumbia scene, including Mateo Kingman, Kaleema, and Lido Pimienta, all of whom contribute their highly distinguishable sounds to the natural flow of the album. Most of these collaborations came about almost effortlessly. La Victoria is a track that blends cumbia, dancehall, and a bit of mysticism- carried by Lido Pimienta's luminous voice, Colombian Dancehall wizard Manu Ranks happened to be in town and slipped into the song naturally. Kawa Kawa came from an improv jam during rehearsal one day with Kaleema (Heidi Lewandowski) and Federico Estevez (percussionist in Chancha Via Circuito). Niño Hermoso, which is lyrically a fable, sounds the way it does because Pedro saw a video of Gianluz (Gianluca Zonzini), who he knows from dance classes, singing a Pocahontas song on Youtube.

        As dancefloor-friendly as it is mystical, Bienaventuranza is as Chancha as it gets- with elements from Cumbia to Dancehall to Andean Folk to Global house, crystal clear production, and collaborations that are evidently natural and genuine, the record holds true to the sound that Canale has played such a huge part in creating. Since the release of his last album, the digital folk scene has also grown exponentially. From a new generation of producers to more listeners in unassuming parts of the globe, Pedro has been humbled to see the sound develop- and proves with this album that he's grown swiftly alongside it.


        Tusk / Aku

        Cleveland is forever in search of the brown note. This is his second offering for the ESP Institute. Side A’s "Tusk" is a beautiful paradox—rhythm programs that churn like the inner workings of a grandfather clock, unmistakably mechanical, yet fashioned through muted analogue instrumentation that paints a deceptively organic picture. The crystallized jangle of FM synth voices toy with the softened drum patterns and vibrant animal-like chord gestures over nearly seven minutes of splendor. On side B, "Aku" digs further into mysticism, manifesting digital jungle themes, cleverly abstracted through erratic bleeps, distant tribal drums, atonal flutters and synthetic bird calls. The cinematic quality of Clevelands production shines through both tracks, but its "Aku" that sweeps us from reality to embark on a moonlit expedition in search long lost treasures, proving Cleveland a virtuoso skilled in building complex narratives with sound. These two songs will modulate your frequencies.


        Patrick says: Cleveland's back on ESP with more ritualistic business for the club, skirting round the fringes of minimal techno and micro house to offer something hypnotic, exotic and esoteric that we like to call rainforest house.


        Foreign Affairs

          Fifth album from the beloved Columbus, OH band and first for TiM, after four albums on Columbus label Anyway Records. Features former members of 84 Nash. Since 2013, Columbus, Ohio's Connections have made four nearperfect albums of lo-fi pop majesty for the seminal Midwest label Anyway Records, and "Foreign Affairs" - their latest album (and first for Trouble In Mind), continues that winning streak with fifteen songs packed with sardonic tunefulness and Buckeye bombast, firmly planting them in the canon of the Ohio Sound.

          Connections sprung forth from the ashes of Nineties pop band 84 Nash, infamous for being the only non-GBV related band released on Robert Pollard's own Rockathon Records and comparisons to the Indie Rock underdogs seem inevitable, if not a little shortsighted. Connections' brand of indie rock definitely has one foot in The Nineties but maintains a classicist's penchant for nuanced & timeless rock'n'roll. Many songs use
          classic pop structures (see "Love Me Still"s quiet/loud/quiet power ballad-isms) but subvert them with a clever melodic twist, a bonkers twinguitar solo or unexpected synth squiggle underneath.

          These guys have done their homework, but nothing feels studied - they've drunk from the waters of the Ohio Underground and the tunes flow forth naturally, with nods to their Nineties brethren (GBV, Breeders, Gaunt) as well as idiosyncratic Midwest legends like Mike Rep and The Quotas or Thomas Jefferson Slave Apartments. For every obvious, life-affirming hit on 'Foreign Affairs' (the bouncy "Good Cop" or bombastic "Low Low Low") there are equal numbers of stealthy earworms like the chiming "Short Line" (with it's humming anti-chorus), or the yearning, organ-drenched "Downtown" to name
          a few. The sixteen songs ooze familiarity and an instant lyrical relatability, with singer Kevin Elliot's lyrics reveling in the everyday's little details; good friends, love and rock 'n' roll with restlessness and desire in a harsh, unforgiving but still beautiful world. 


          Coloured LP Info: Limited red vinyl version.

          The Creation

          Creation Theory

            Alan McGee was such a big fan of The Creation that he named his record label after the band, and named his own band after one of their songs – Biff Bang Pow. The Creation was formed in 1966 from beat combo The Mark Four, and was quickly signed to a production deal with Shel Talmy, The Who’s producer. The first release was the urgent “Making Time”, which featured guitarist Eddie Phillips playing his guitar with a violin bow, two years before Jimmy Page started doing so. Whilst very popular in Germany, UK success largely eluded the band, and after a number of noncharting singles and line-up changes (including Ron Wood), the band broke up in 1968 without ever having released an album in the UK. Bizarrely, Boney M had a huge hit in 1979 with the band’s composition “Painter Man”.

            Phillips and lead vocalist Kenny Pickett recorded an album in 1987 that remained unreleased until 2004, and in 1995, following reunion concerts at Harlesden’s Mean Fiddler, Alan McGee and Joe Foster managed to persuade the original line-up to record a new album, for release on Creation Records.

            This 4 LP box set has been designed by Phil Smee and the album sleeves feature photos from his collection. The four LPs include all of The Creation’s legendary recordings for Shel Talmy (the 2016 stereo mixes appear on LP for the first time), “We Are Paintermen” replicating the 1966 German LP, the only Creation album released anywhere in the 60s. “How Does It Feel To Feel “rounds up the remainder of the 60s recordings, and the 1987 album “Psychedelic Rose” and the 1996 Creation Records album “Power Surge” complete the set.

            Not much info on this one. Two serious cuts on a hand stamped red record with a D2B logo. Think fast, these won't hang around for long and both tracks are sounding super!

            "My Love" pairs proper techy stabs with a gritty, slightly lo-fi technoid beat which should appeal to everyone from MCDE & Red Axis to Jackmaster and Dennis Sulta.

            "Never Ending" has a similarly grating beat to which it marries elastic synthlines and a barrage of mid shelved snare hits. Proper club tackle on both tracks and more than worthy of your attention. Check!

            STAFF COMMENTS

            Matt says: Mystery secret weapon business finding us fully in the thralls of festival season. More suited to the indoor environment, I can see this going down a storm at Barbarellas or in one of Berlin's heady nightclub spots.

            Special Printed deluxe sleeve / Limited to 500 copies / Featuring Villi Odilli from Lagos, Nigeria Tracklist A. To Fela's People feat. Villy B1. Afro Stomp B2. Baba Shortinfo: Giovanni Damico keeps amazing things coming and takes it with this release on the mighty label Kalakuta Soul Records to the next level. Joining forces with the mighty Gabriele Spagnuolo and Francesco Di Domenico on guitars and Saxophone, the italian boogie doctor brings to life three filthy stompers inspired by amazing artists from the african continent who have shaped what we now call (dance) music. To Fela's People is one of three stompers delivered for this joint teaming up with Mr. Villy Odili - Lead singer of the amazing nigerian band Villy and the extreme Volumes - who's precise lyrics and drifty voice joins forces with a charging afrobeat rhythm hailing from Giovanni Damico's bad ass laboratory. Afro Stomp and Baba on the other side come with the most furious drums and bassline one could ever imagine accompanied by a celestial instrumentation that hits the mind, the soul and the hips. Vital Sales Points: - Limited to 500 copies - Great feedback from Nomad, Lakuti and Antal

            The songs on Some Waking Woman come up like ragged wildflowers in the unnameable heel of wasteland between the end house of the terrace and the already-dated concrete and plastic of the new business park. The songs come up from the hot gap between the weird dissociative dreamscape and the phone-alarm of a slate Tuesday morningtime. They look out from the record with a gaze that's lost between doe-eyed affection and a murky voyeurism. They're made of a music caught between the battered nylon-string and a layered orchestration turning between lush and gritty.

            It's between the pottery and the calcified dogshit, between the filthy rebels and the eerie loyalists, between the probable cause of an action not quite either the Frenchman's crime of passion or the English barfight. It's a record of between-ness - like, this is just between us, right It's the same gap between the ballad and the mumbled apology, the love song and the exasperated sigh. My trousers have been pulled down in the playground again. Tsk. I love you and all of love turns out to be a colossal shitshow. Tsk.

            Some Waking Woman isn't an anthem nor an elegy, although it has moments of both. It isn't quite in the gutter, but it's sure as hell not looking at the stars - the album has its gaze locked on the school playground, or the overgrown tarmac country-road corner, or another identical dawn colouring in the PVC windowframes. In the hands of O. D. Davey, the ordinary surfaces of a life like the one everyone actually has are made to glimmer weirdly with the inevitable love, misery and resignation underneath them.

            These are touching, intricate ballads with melodies of nursery-rhyme sweetness, as reimagined by a failed gameshow host humming his old theme-tunes as he staggers back home pissed after closing time. But they're songs of love, for all that, his daughters haven't called in months. The sense is that these narrators have more love than they know what to do with, move love than they can trust themselves to handle, more love than they can believe in. Davey handles the flaws and imperfections and fractures of day-to-day living, finds the gap and digs in. This is an attention paid to the agonising and lovely awkward corners of life that don't get talked about. This is a record as in an LP, but a record too in the sense of a setting down of something true.


            LP includes MP3 Download Code.

            "Detroit Rising..." is an unprecedented project created by universally respected musicians, including current and original members of the archetypal funk band Parliament-Funkadelic, along with a selection of world class talent from across the country—is going to bring a new style of funk to audiences this spring.
            The hybrid jazz-funk and R&B-flavored album is a collaboration between highly sought after young P-Funk artists and writers, and is supported by legendary industry veterans, including members that have performed with artists such as Beyonce, Lady Gaga, Mary J. Blige, Herbie Hancock, Bootsy Collins, Bernie Worrell, Theo Parrish and Red Hot Chili Peppers, in addition to their regular work with Parliament-Funkadelic. Key figures in the group also played regularly with late, great artists such as Prince and Miles Davis, among others.
            The 10-track album—conceived and overseen by creative producer David Schwartz over the past three years—opens with the saxophone and keys-heavy “Lashing Out” followed by “Little Bit,” one of multiple tracks that musically stretches out over nine minutes in length. Elsewhere is the soulful “Rocket Love,” the sexy ode of “Gorgeous” and the groovy unity-themed anthem“With Peace & Harmony.” *See below for the full track listing.
            DETROIT RISING was recorded live at the world famous Motown affiliated United Sound Studios in Detroit, as well as at renowned studios in New York, Los Angeles, Las Vegas and the Swamp Funk studios in Florida, and mixed and mastered by some of the best engineers in the business, including Richie Beretta (Beyonce), Tatsuya Sato (A Tribe Called Quest) and Mark Santangelo (Childish Gambino). The result is a highly skilled, vibrant and progressive album that combines elements of funk, jazz, soul, hip-hop and rock ‘n’ roll to capture a live sound that genuinely represents the next best thing to having the full band performing live in front of an audience.
            After years of honing their performance skills on worldwide stages, the current touring musicians of Detroit Rising now take center stage, performing original compositions that shine a light on the true extent of their talent and creativity.


            Coloured LP Info: LP pressed sea green colored vinyl.
            Extra heavy print board, metallic ink jacket.
            Comes with digital download and extra tracks, instrumentals, dance remixes, ability for DJ’s to remix.

            Will DiMaggio returns to Future Times with debut LP, "At Ease." Recorded 2016-17 at the now-illustrious Fairview Ave spot alongside roommates DJ Python, Anthony Naples, and the Exotic Dance crew, "At Ease" is equal parts dizzy street beats and live keyboard action. DiMaggio has a keen sense of dance music and how it gets to dancers, as evidenced in his stellar DJ mixes. “At Ease” is no different, navigating listeners through a lush array of sounds that hints at DiMaggio’s love of 90s hybrid techno, jazz(tronica) and deep house, all inna very now, very psychedelic fashion.

            Drums juggle around the beat constantly during opener "Fairview Jam," before DiMaggio's synth work takes the tune to space. "Steppin W Friends" is pure mellow heat. "All Good (Jazz Mix)" and "UH UH OH" are two opulent, soulful cuts, funky in a way most can't do. On the second disc, "O God Dam (Sus Mix)" and "Ooze Mix" go in and out of fidelity, tape hiss giving way to clarity and back again, gritty drums and crystal pads, biting synths and soft keys. "Could Be The Look," in that mysterious D1 spot, turns inside-out with cascading synth work and impossible-to-grab kicks that slam in and out, while "For T" closes with hi speed but horizontal lovers techno. A proper record, detailed, thorough and concise - but most of all - enjoyable! Most recommended.

            Matt Says: Reflecting the sweaty, claustrophobic heat of New York in the summer, yet still managing to hammer out a tune or two in the process. This new LP from Dimaggio epitomizes the street-beat sound with Future Times' level 5 psychedelia. Breakthrough guaranteed.

            STAFF COMMENTS

            Matt says: Reflecting the sweaty, claustophobic heat of New York in the summer, yet still managing to hammer out a tune or two in the process. This new LP from Dimaggio epitomizes the street-beat sound with Future Times' level 5 psychedlia.

            From deep inside of Berlin’s 24/7 darkrooms, here comes DJ City’s debut maxi single. Two house trax made out of body fluids, pain and laughter after, to accompanize the teenage sex drive that want never ever fade away. 

            Some funky-ass DnB for you good folks here, fresh for festival season and sounding super crisp. Double A-side release with DLR joined by Break and Randall on one side while on t'other he's joined by Ulterior Motive.

            "Song And Dance" pairs system-tickling wub-wub bass with a frenetic, militant DnB pattern and the odd sound system ident. Half way through we half the tempo and uncover the trickski little sample that underpins it all, allowing the dancers a moment of respite before we double-up the BPMs and kick back for the final furlong. On the flip, "Modules" sees Ulterior Motive join DLR for a technologically focused outing; airtight, vacuum packed DnB that really packs a punch. Gangsta shit. 

            A thoroughly UK offering here from Dream Cycle who stylishly constructs a three track EP that traverses breakbeat, garage, bass and techno with a cocky swagger and artistic flair that leaves everyone else scratching their heads wondering where they went wrong....

            Offering up 3 distinct moods across the EP - “Influence" is a stripped back, technoid stepper, "Afters (3am mix)" explores the dubbier side of UKG while "DCYX 5" takes things into more uplifting territory - a skippy piano roller arriving just in time for Summer. Classy stuff indeed - you need.

            Eddie C

            Atlantic Jam / Ponderings

            Canada's king of the groove lets his engine idle and coasts the Red Motorbike back into Piccadilly, delivering another hand stamped 7" for all the yacht-rockers, head nodders and sundowners. On the A-side "Atlantic Jam" finds Eddie in frisky form, chopping and dropping an unknown slice of optimistic jazz funk into a shuffling groove that screams summer. Over on the flip, "Ponderings" flicks and finger pops into the funker end of the soul spectrum, delivering BBQ friendly grooves, nimble guitar licks and a tasteful amount of FX abuse. Tasty stuff.

            STAFF COMMENTS

            Patrick says: As a wise woman once said, "I don't wanna go to work, I wanna see Eddie C"! The Canadian groove expert is back with another pair of precise edits, working his hypnotic magic on two sun kissed jazz funk jams.


            Official 180g reissue of this hard to find and seriously under-the-radar Italian disco album. The only LP by Electric Machine and the only vinyl to be released on the obsucre Sparrow records.

            Pre-order essential! 

            "Dust of Stars" is the latest album from ambient extraordinaire, Roger Eno. This album was very much a collaborative piece of work between Roger Eno and legendary producer, Youth. "Dust Of Stars" serves as the first release from Youth’s new label Painted Word, focusing on an eclectic mix of artists exploring ambient, jazz, and electronic music. The pairing of Roger’s melancholic piano lines and Youth’s cinematic production gives the album a deeply moving quality. Wistful piano melodies twist and turn through vast, yet sparse, soundscapes, dipping through a myriad of influences. Orchestral swells rise throughout the mysterious track, Velvet Minute, whilst Salty Tears brings out a soft and sombre side to jazz, and closer Forgotten Song showcases an inspired take on merging Roger’s minimalist piano with Youth’s organic and synthetic sound design.
            Roger Eno is a composer, multi-instrumentalist and sound artist who cannot be easily categorised. He is hard to pin down and slippery as a fish, yet creates lush, emotive soundscapes which quite easily swallow you whole.
            Dust of Stars is the latest addition to a powerful and versatile body of work with a cinematic quality, and is frequently used in, TV, theatre and film. (Danny Boyle's 'Trainspotting' and 'Mr Wroe's Virgins' - for which Roger was BAFTA nominated, Dario Argento's 'Opera' and Trevor Nunn's NT production of Betrayal.)


            LP Info: Limited pressing of 500 of Crystal Clear LP

            After another short hiatus, the OG crew are back with another bomb. Side A sees Bristol’s Mr. Fantastic put the knife to Joe Farrell’s all time classic, “Upon This Rock” and cuts it down from the 12 minute original to a dancefloor friendly 3m50s – a perfect fit for our favourite format. On the flipside, we have chosen The Artifacts “Whassup Now MuthaFucka” from their 1994 debut LP “Between A Rock And A Hard Place” which is kinda where we at right now! Don’t sleep – doubles essential!

            STAFF COMMENTS

            Millie says: Joe Farrell and Artifacts teamed together to be side by side on this funk induced 7”, the sound between them both has an incredible bass and ingenious beats alongside. This is golden stuff!

            Fiery Furnaces

            Blueberry Boat

              Reissue of the second Fiery Furnaces album. Originally released in July 2004, just over 10 months after their debut album ‘Gallowbird’s Bark’.

              In a rave review, Chris Dahlen of Pitchfork described ‘Blueberry Boat’ as “a record for the overgrown part of our brain that craves engrossing complexity.” Heather Phares of AllMusic wrote that the album “can be appreciated in the same way you would a puzzle box with intricate, endlessly shifting parts: you can spend a lot of time trying to unlock (or describe) its riddles, or just enjoy the artfulness behind them.”

              Fruit Merchant

              Logo T-Shirt

                Fruit Merchant Label logo t-shirts available in M, L and XL

                It stands to reason that many vital albums come critically close to never being made. The eight-track upshot of doubt, upheaval and financial strain, Stains on Silence by Girls Names is one such release. Following 2015’s blitzing Arms Around a Vision, and the parting of drummer Gib Cassidy just over a year later, the Belfast band suddenly found themselves facing down a looming void. “There was a finished – and then aborted – mix of the album, which was shelved for six months,” reveals Girls Names frontman Cathal Cully. “We then took a break from all music and went back to full-time work. We chilled out from the stress of rushing the record and not being happy with it, as well as being skint with no impending touring on the cards and constantly having to worry about rent.” The stumbling blocks that proved a strain became the album’s defining breakthrough. Recorded in various locations including Belfast’s Start Together Studio with Ben McAuley, Cully’s home and the band’s practice space, spontaneous creation, cut-up techniques and self-editing took centre-stage for the first time.

                "We started tearing the material apart and rebuilding, re-editing and re-recording different parts in my home in early Autumn last year,” says Cully. “When we got them to a place we were happier with we went back into Start Together Studio with Ben McAuley to finalise the mixes to what they are now." Where AAAV proved a brazen statement of intent, Stains on Silence bounds forth as its feature-length comedown. What could have seen the band buckle became an opportunity for approaching things tabula rasa. During its two-year transmutation, Cully, bassist Claire Miskimmin and guitarist Philip Quinn had a single aim for their fourth album: to make an old-fashioned record clocking in around 30 to 35 minutes in length that made the listener reach straight for repeat. From the Bang Bang bar-summoning swoon of opener '25’ and the submerged disco doom of ‘Haus Proud’ to the rapt, dub-leaning ‘Fragments of a Portrait’, Girls Names have excelled in their goal by forging an LP of synchronous nuance and defiance.

                Marked by the presence of drum machines and programming throughout, these eight masterfully-woven tales are once again commandeered by founder Cully, whose words, understated yet defiant, mine purpose and meaning from the mire ("I want to bathe again, I want to swim again / In a pool of twisting bodies, blackened gold." — ‘25’). But while Stains on Silence came critically close to never being made, having lived with it, reconfigured it, and guided its metamorphosis from flickers of inspiration and half-formed schemes, it’s both a statement of pure perseverance, and a head-on confrontation with ambivalence that couldn’t be more assured. (Brian Coney March 2018)

                STAFF COMMENTS

                Barry says: Channeling the gothic spirit of 80's new-wave into a hazy filter of chorused guitars and flickering electronic drums, Girls Names have constructed a visceral and evocative landscape of lovecraftian atmospherics and simmering gothic melodicism.

                FORMAT INFORMATION

                Coloured LP Info: Limited to 300 copies for UK Indies only it has a black sleeve with orange vinyl.

                Taken from Gabe Gurnsey’s upcoming debut solo LP, "Physical" (also out on Phantasy), "Eyes Over" zones in on techy, intricately constructed electronic groove; comprised of interwoven synth stabs, a growling analogue snarl and darting elasatic lines. Gurnsey's vocal reminds me of Green Velvet - all drugged out and warbling; and sounding super paired next to these narco-beats.

                The stripped back, jugular hitting, "Extended Dub" takes more precise aim at the dancefloor, allowing each disparate, analogue element more room to attack across that bassline throbb. Specialist tackle from Gurnsey here...

                Dave Harris & The Powerhouse Five

                Dinner Music For A Pack Of Hungry Cannibals

                  Recorded in 1958, Dave Harris's only release as a band leader was a magnificent tribute to Raymond Scott, the legendary forerunner of space sound and author of many classics referenced by jazz to pop/rock musicians and engraved in millions of minds through their use in countless cartoons and movies during the years. Harris was a highly considered studio musician and played tenor sax in Scott's legendary Quintette during the late 1930s.

                  All through the 12 themes that compose the album, Dave Harris and the Powerhouse Five make the listener part of a joyful trip in which Scott's "portraits in music" come back to life filled with a new manic energy, a playful spirit and an undeniable love for Scott's repertoire. Long out of print it was about time for this space-age-gem and its amazing cover art to be released again.

                  Ltd to 300 copies.

                  Here Lies Man took the music world by storm in 2017 with their self-titled debut positing the intriguing hypothesis: What if Black Sabbath played Afrobeat?

                  This June, the L.A. band comprised of Antibalas members quickly follow their auspicious debut with the even more thoroughly realized album You Will Know Nothing. Its 11 tracks expand upon the band’s exploration of heavy riff-based rock and psych within the ancient rhythmic formula of the clave.

                  “We’re very conscious of how the rhythms service the riffs,” explains founder and vocalist/guitarist/multi-instrumentalist Marcos Garcia (who also plays guitar in Antibalas) of the band’s sound. “Tony Iommi’s (Black Sabbath) innovation was to make the riff the organizing principle of a song. We are taking that same approach but employing a different organizing principle: For Iommi it was the blues, for us it comes directly from Africa.”

                  Sonically, on You Will Know Nothing the dynamic range is thicker, crisper and more powerful. It glistens as much as it blasts. The songs are even catchier, more anthemic, and the production reflects that of a band truly come into its own. Lyrically, it’s an equally more conceptualized effort that reflects upon states of being and consciousness — a driving force that carries throughout the words and moods of all of the band’s releases, interconnected to their trancelike music. Here Lies Man have honed their sound and their focus, and soon, you will truly know Nothing.

                  “We wanted to go deeper with the sonic experience,” says Garcia. “Even though it sounds more hi-fi than the first record, it was important that it didn’t sound too polished.”

                  While You Will Know Nothing certainly maintains its gritty grooves, there’s an interesting conceptual mathematics to the entire proceedings. “There are interludes between each song that are 2/3 to 3/4 of the tempo of the previous song,” Garcia says. “The reason it breaks down to 2 over 3 or 3 over 4 is that everything in the music rhythmically corresponds to a set of mathematical algorithms known as the clave. The clave is an ancient organizing rhythmic principle developed in Africa.”

                  “We dove deep into the texture of the music, beyond the groove and the riff,” says HLM cofounder and drummer Geoff Mann (former Antibalas drummer and son of jazz musician Herbie Mann.) “Although something might sound like one instrument, there are subtle layers shifting through. It’s definitely a headphone album.”

                  Garcia and Mann recorded the album much like they did the debut, at their own L.A. studio on a Tascam 388 8-track tape machine. Congas were later recorded by percussionists Richard Panta and Reinaldo DeJesus. Then, Garcia went to NY to record interludes with former Antibalas keyboardist Victor Axelrod. Mixing took the most time in order to find the proper sonic space for each layer of musical detail, with first album engineer Jeremy Page mixing the drums and the band tackling the remainder while also juggling a hectic touring schedule.

                  STAFF COMMENTS

                  Barry says: Bringing the frantic, almost percussive snapping guitars over the top of galloping toms and distorted, psychedelic vox, Here Lies Man have presented a fascinating and head-nodding stoner throb to the masses. 'You Will Know Nothing' pits nuanced stoned heft against swooning, psychedelic groove to great effect.

                  FORMAT INFORMATION

                  Coloured LP Info: UK indies stores only exclusive light blue clear vinyl edition of 300 copies.



                    Immersion are Malka Spigel and Colin Newman. Although best known for their work with, respectively, Minimal Compact and Wire, the duo’s work as Immersion provides an outlet for their ongoing fascination in crafting enthralling, unique musical soundscapes. Sleepless is Immersion’s latest album, a suite of ten distinctive, unpredictable instrumentals that effortlessly encapsulate a range of emotions and energies.

                    Infinite Music

                    A Tribute To La Monte Young

                      Infinite Music is an entrancing drone experience. A breathtaking live collaboration between Spacemen 3’s Sonic Boom, Zombie Zombie’s Etienne Jaumet and Celine Wadier, a master of Indian Dhrupad singing and tanpura. Recorded live at Teatro Maria Matos, Lisbon in September 2017, the performance is released on magenta vinyl. Young was an inspiration on John Cale and original Velvet Underground drummer Angus MacLise, Philip Glass, Steve Reich, George Harrison, Brian Eno, Jarvis Cocker, Stereolab and the classic Spacemen 3 album Dreamweapon. La Monte’s influence in the hands of this eclectic trio is timeless and beautifully evocative. “I’m not suited for these times but I am suited for the world I created.” La Monte Young. 

                      FORMAT INFORMATION

                      Coloured LP Info: Limited Magenta colour vinyl LP, download card included

                      Stupendously limited, but really quite good edits twelve here from the newly established Sosilly Edits camp. 

                      JB Edits the edit project of Sydney, Australia based house DJ & producer Jerk Boy. He’s now turned his focus to vinyl only, dancefloor edits of all his favourite boogie, Balearic, funk, soul & disco tunes cut, sampled, tried and tested for lower lights, bright nights and the ultimate dancefloor jiggathon.

                      This first installment contains a glitzy and bolshy set, "Alovera" strutting in with all the style and glammer of late 70s New York disco; with a rich, brass-led and authentic sound. "Boogie Stars" pairs an infectious B-line with rolling congas before swamping the stems in dazzling boogie instrumentation for a feel-good future classic just waiting for the Full Beam! crew to discover its joys. "Junior Mint" concludes proceedings, taking us back to raw disco with galvanized bass, funky clavs and epic piano chords; keeping us dancing till the very last groove on the record. Top stuff this; look out for more to come.  

                      Wilko Johnson

                      Blow Your Mind

                        "There are moments when you could be forgiven for thinking you're listening to excerpts from a great lost Dr Feelgood album from their mid-70s peak. The tales of good love, bad love, uppers and downers are all there, yet there's an energy to them which surely comes from the man and his band being back from the brink, enjoying what they do best."

                        Wilko's first album of new material in over 30 years. Recorded at Rockfield Studios, where famously Wilko and the Feelgoods parted company back in '77. Guests are Mick Talbot on keyboards and Steve Weston on harmonica, both of whom featured on the last record with Roger Daltrey. Produced by Dave Eringa who also produced Going Back Home (Manic Street Preachers, The Who). Photography by Lawrence Watson (Liam Gallagher, Grace Jones).

                        FORMAT INFORMATION

                        Ltd LP Info: 180 gram flipback format with download codes.

                        CD Info: Digi-pack sleeve.

                        Kazufumi Kodama & Undefined

                        New Culture Daus

                        Tasty AF new addition to the dub-tech cannon here on scrumptious 10" vinyl - just the way we like it!

                        Hailing from Japan, trumpet player Kazufumi Kodama has been active since 1984 (!!!), releasing a number tracks, often with Lloyd 'Wackies' Barnes and his Wackies Rhythm Force.

                        For newdubhall Kodama is joined by Undefined (formed by Sahara (keyboards and programming / ex The Heavymanners ) & Ohkuma (Drums Soul Dimension). Together they present "New Culture Days", a fathoms deep dub-tech hybrid which tips its hat heavily to the Rhythm & Sound duo. Stripped back and heady, Kodama's eerie trumpet decorates the track whilst monstrous spring and plate reverb snap and echo all over the sparse, airy mix. The dub, on the flip, does away with the trumpet to revel in the rootsical echo chamber that holds the whole track together. For lovers of Rhythm & Sound, Deepchord and Echochord, this is essential.

                        Limited copies! 

                        After a string of stunning archival releases (Pablo's Eye anyone?) Belgium's tastemaking Stroom turn to the contemporary with their thirteenth release, inviting Jason Kolar to take us into his unique sonic world. Gently oscillating between the glassy synths of Satoshi & Makoto, the coastal cool of CFCF and the ephemeral ambient landscapes you get from Johnny Nash and Suzanne Kraft on Melody As Truth, Kolar creates an immersive ambient experience tinged with the emotional resonance of the New Age movement. Close your eyes and take off that tie, it's time to slip your mooring...

                        STAFF COMMENTS

                        Patrick says: Stroom step into the here and now with a killer set of contemporary ambient recordings from Jason Kolar. Optimism meets melancholy as we explore the spaces between Melody As Truth and the ambient arm of Growing Bin.

                        Edinburgh's Theo Kottis trails his new album "Beautiful Strangers" with this classy four track sampler on his own label. ‘Reasons' kicks off the record with a slice of disco tinged house music - overlaying infectious guitar and string loops, with slick piano flurries to make for a sure-fire summer winner. The A2 houses 'The Get Down' - a more heavy hitting workout packaged for the dancefloor, with a percussive bassline over the top of a choice breakbeat, tied together by a thumping kick. Flip it over and you unearth the lovechild creation of a 303 coupled with a Brazilian classic in the form of 'Acid Disco'. A driving kick / hat combo, squelchy acid and pitched down Brazilian vocals offer up a raw but energetic stomper. Finally, 'U Need To Keep It Simple' takes you on a more emotive and powerful acid trip. The sweeping synths building throughout the track coupled with soaring strings, alongside an alluring acid line….proper!

                        Stockholm rascal Kornél Kovács is at it again, making some racket on DJ Haus' taste making label, Unknown To The Known. Famed for injecting fun back into house music, Kovács is an obvious choice for UTTU; the go-to label for pissing off the parents and causing a rukus.

                        Title track "Metropolis" wraps a sexy female vox around clipped synth lines and pumping side chained beats before introducing a rounded bass and tight hats. "Babasonic" is a more experimental offering, layering niave melodies over a glitchy, technoid soundbed but still including those tight, shuffled hats that keep it flowing on the dancefloor. Final track, "Panda" sees late night stabs paired with a brilliant mid-range hook and study B-line. Like the tracks that preceded it, it should turn heads and move bodies whilst keeping its tongue gentle protruding into cheek throughout. We heart Kornél Kovács! Recommended. 

                        Kevin Krauter

                        Toss Up

                          “Useful Solitude” is the phrase Kevin Krauter uses to describe Toss Up, his upcoming full-length debut, both the conditions in which it was created and the prevailing theme of these nine iridescent indie-pop songs. In between tours the Indiana musician spent long hours in his basement, guitars and vintage keyboards his only company, and tested out ideas, explored new sonic avenues, savored new sounds, and taught himself how to play a few instruments.

                          ‘Toss Up’ builds on the sonic worlds of Krauters’ first releases, conveying a similar mood with a greater array of instruments and influences. An insightful songwriter with a lyrical style that is both economical and evocative, Krauter crafts unique soundscapes that scramble a range of influences—‘60s flower pop, ‘70s easy listening, ‘80s New Wave, ‘90s alt-radio, ’00s indie rock. The secret tension on Toss Up, the engine that drives these songs: melody propelled by rhythm, melancholy fended off by the exuberance of simply creating art

                          FORMAT INFORMATION

                          Coloured LP Info: Clear green vinyl.

                          Coloured LP includes MP3 Download Code.

                          'Second up on Sour Edits is the Polish sample wizard Marcin Krupa with three breezy summery house jams for sweaty basements and sun drenched terraces worldwide..'

                          Succinct and direct sales notes from the Sour Edits camp as they introduce another fun loving and totally essential record just in time for party season. Much like Xxxy's opening EP, the three tracks contained within epitomize that feel-good house spirit, unimposing, highly infectious and full of optimism. If you've ever caught yourself smiling unapologetically as crepuscular rays beam down on your drug-addled face whilst the DJ of your dreams pumps it outta some high powered stacks as hordes of techno pixies dazzle your eyes, you're gonna be feelin' this one... Limited copies as per the last one - move quick!

                          Multi-instrumentalist, composer and producer Adam Gibbons (aka Lack of Afro) is back in some style with 'Back To The Day', a beautifully produced summer sizzler crammed full of infectious hooks, top musicianship and most importantly, vibe by the bucketload! Taking a nod from classic material by artists such as The Jackson 5, Earth Wind & Fire (and more recently Vulfpeck), 'Back To The Day' is Lack of Afro doing what he does best and then some – blending the old and new with big drums and heavy percussion to come up with a crossover classic that's entirely his own, whilst all the while developing his abilities as a songwriter.

                          Providing a dynamite vocal once again is regular collaborator Elliott Cole. Not just the voice of the track, he also plays guitars and bass, whilst ably backed up by some stellar musicians including George Cooper (Haggis Horns) on keys, Rory Simmons (Blur, Jamie Cullum) on trumpet, string and horn arrangements and Harry Harding (Yola Carter) holding down the backbeat on drums.

                          Keeping the dancefloor packed and turning the party vibes right up to 11, 'Take It Up A Notch' (featuring the brilliant Wax & Herbal T and taken from the critically acclaimed 'Back In Business EP') completes what is arguably one of the strongest single packages of the year!

                          Lack of Afro continues to go from strength to strength. 2016's 'Hello Baby' (released on his own label LOA Records) picked up a BBC 6 Music 'Album Of The Year' nomination & appeared in the Top 10 of the iTunes R&B / Soul chart in 21 countries worldwide. More recently, Adam's music continues to be used across all aspects of film & TV by networks such as ABC, Fox, NBC, Sony Pictures & the BBC whilst he also has released music on Universal & Warner Brothers Records.

                          Both tracks are taken from the new album 'Jack Of All Trades', released on LOA Records in May 2018 and supported by a live band UK tour in May & throughout various festivals throughout the summer.

                          Four years on from Lay Llamas’ Rocket Recordings debut Østro, this Italian-based astral-voyaging collective, led by Nicola Giunta - have manifested a revelatory official follow-up in the form of Thuban - a travelogue powered by a pan-global fascination with rhythmic hypnosis and an unquenchable experimental mindset. Dwelling in the night sky of the Northern hemisphere, Thuban was the star closest to the North pole from the fourth to the second millennium BC. For Giunta. this mysterious stellar icon offers pause for thought. “A polar star is something that drives the travellers towards a safe place. But in the age we’re living now it seems hard to recognise a polar star.” Indeed, his mission has been as much one of discovery for himself and listener alike “Everything around us is transforming, always!

                          You know, I’m not a proper songwriter, I consider myself a sound crafter. An experimental alchemist of sounds and visions” True to form, Thuban maps out terrain in which collaborators from Clinic and Goat contribute to the air of earthy vibrancy and fertile exploration. Moreover, Mark Stewart of The Pop Group’s spoken-word contributions to the searing ‘Fight Fire With Fire’ (styled by Nicola as ‘dystopian afrobeat’) steers the album to new pinnacles of intensity informed by science fiction yet with explicitly political force “Thuban talks about ancient sea travels, ancient cultures, ancient rites, but also about today’s travellers, travellers from all ages” Nicola surmises “Travellers that are still looking for their Thuban, for their polar star to reach a safe place to live with their family.” 

                          STAFF COMMENTS

                          Barry says: It's pretty baggy this, so i'm just going to say this like it's Andy's words 'Eyy, it's proper good this lykk'

                          Ranging from swaying, swaggering psychedelic indie to pulsating, hypnotic grooves, Lay Llamas have crafted a wonderfully fascinating journey, a joy from beginning to end. (that bit wasn't as Andy)

                          FORMAT INFORMATION

                          Indies Exclusive LP Info: Indies exclusive incandescent orange colour vinyl.

                          Lay-Far & Phil Gerus

                          Solitary High Social Club

                          Two of Russian electronic music’s rising stars, Phil Gerus and Alexander Lay-Far, invite you to join them at the Solitary High Social Club. While table service is provided, they’d much rather you throw caution to the wind and head to the dancefloor.

                          Before joining forces in the studio, both Moscow-based musicians have delivered a string of memorable solo productions. Lay-Far has previously released a wealth of material on such labels as Local Talk, City Fly, Lazy Days and 4Lux Black, while synthesizer fetishist Gerus has showcased his electrofunk and disco-fired cuts on Futureboogie Recordings, Sonar Kollektiv, Public Release and Superior Elevation Records.

                          The five tracks that make up Solitary High Social Club deliver a perfect marriage of the two producers’ distinctive solo styles, combining the rich musicality of Lay-Far’s house productions with the spacey, intergalactic electronics of Gerus’s discoid adventures. In many ways, it’s a marriage made in heaven – or in Lay-Far’s celebrated In-Beat-Ween Studio, at least.

                          The duo’s spacey and melodious musical fusion is arguably best exemplified by lead cut “City 2 City, Star 2 Star”, a widescreen, mid-tempo disco epic rich in tactile Rhodes riffs, supernova synth solos, delay-laden drum beats, tumbling melody lines and heavy analogue bass. Fittingly, the track returns in “Reprise” form – think sweeping, weightless ambient bliss – to round off the EP.

                          Elsewhere, the duo provides further proof of their combined musical talents. Check, for example, the gentle drum machine electro beats, cascading new age melodies and sparkling, stretched-out synthesizer chords of the impeccably beautiful “Am I Tripping”, or the devilishly percussive, mind-altering brilliance of “Love Life”, where mutant electro bass, wide-eyed chords and alien melodies rise above a heavy, Afro-influenced groove.

                          As for “Snowflakes On Her Lips”, you’ll struggle to find a more confident and positive dancefloor workout all year. Blessed with killer piano parts, darting analogue synth-bass and a range of disco-tinged musical flourishes, it’s by far and away the most celebratory moment on an already happy-go-lucky EP. It confirms, too, our initial hunch: at the Solitary High Social Club, life is always good. 

                          STAFF COMMENTS

                          Patrick says: On the eve of the World Cup, Leng line up two of Russia's hottest producers for a 5 tracker of smooth grooving dance music flavoured by funk, boogie and disco.

                          It’s safe to say that Steven Legget has been somewhat measured in his approach to releasing music. The Newcastle native was behind the Four Hands moniker, with releases alongside iconic industrial figures Zoviet France on Signals From The North and the classic "Hizou" on Claremont 56 back at the turn of the decade.

                          Now, this Firecracker Recordings release highlights a fully realized body of work, only hinted at by the aforementioned projects. Starting life as a performance in Turkish Baths located in Newcastle upon Tyne’s City Pool, one of the last remaining civil saunas in the country, Legget has created a textured, melodic and immersive eulogy to the woozy, slow motion, drug free endorphin rush of the bath house. Pieces from this performance, alongside field recordings collected on the islands of Paxos and Loutro, South Crete are reimagined as a luscious ambient music. Accompanied by cello and electronics with real attention paid to musicality, vast and gaseous cinematic compositions are submerged beneath waves and drenched in steam and condensation.

                          All profits from the sales of this LP will be donated to the charity Waves for Water:

                          Futureboogie reach another milestone - their 60th release; and they've enlisted super talent Elliot Lion, producer, keyboardist and chief electronix whizz for Editors, to drop three tracks that ditch the guitars for synthesizers and drop the indie swagger for reckless house hedonism.

                          In its original form, "Ectsasy" combines looped congas, house beats and soaring strings for an epic and driving piece that's somewhere between The Field, Fuck Buttons and James Holden. Roman Flügel delivers a remix of equally epic proportions, stretching and dubbing out the original over the course of eight tantalizing and telepathically charged minutes. A future Barbarellas classic in the making for sure!

                          Otherworldly atmospherics, grating rhythms and a forward looking perspective are at play in "I Can’t Forget You", as Lion packs in a fizzing, phosphorescent synth section into this monumental techno snarler. The darker vibes and dubwise sirens are as intoxicating as they are disorientating and this is gonna sound just mega firing out the speaker stacks of your tropical outdoor rave-a-thon come 4am in the morning.

                          Highly recommended!

                          For their third release, Akoya Circles label boss and modular synth whizz-kid Look Like serves up 3 tantalizing tracks with which to tease and test dancers.
                          The South America via Zurich producer’s minimalist style lets him forge simple elements together into highly effective arrangements that allow lose beats and wonky synth squelches to punch in next to pristine melodies. With not a beat wasted, the tracks have a versatility rarely found across one EP.
                          "Dreamwaterz" is as apt a title as you could wish for. It is comprised of three fluid and nebular tracks, each with an initial dreaminess that belie deeper and irresistible currents of funk, perfect for 5am witching hour moments. Nowhere is this more apparent on the title track.
                          On first inspection A2 "Amnesia" is a fat bottomed production with a loose, jazzy feel but there is a crafty rhythm just below the surface that cycles effortlessly from breakbeats to surging 4/4. The track is adventurous without losing sight of the dancers, guiding and teasing them between a pair of club standards.Given the B side all to itself, "World Below" is a highly musical track with only the softest hint of drums. While lending itself to club spins as a tool for layering it stands as an introspective and ethereal piece of music in its own right.
                          The ideas present in The Dreamwaterz EP and ice cool efficiency of their realisation makes this a must have EP for the working DJ, and with Look Like still an unknown quantity to most, potential secret weapon status.

                          Suave, sophisticated and immaculately dressed in pastel and cream, 'Sul Tempo' is far and away the most Italian record of the year. Supremely stylised and conceptually complete, 'Sul Tempo' was the first and only album composed by the Lorad Group, originally released on CD in the heady days of 1988. Working with the classic DX7 + DR-606 combo, as well as a healthy dose of found sounds and tape manipulation, the ensemble presented a musical rendering of the contemporary work-day. The resulting set cycles through the meditative ("L’Aldila", "Sogni D’ufficio"), the Mediterranean ("Autobus", "Flirti Di Notte" and the minimalist ("Risveglio All’alba") while incorporating jazzy flourishes, brief snatches of fusion and a new age approach. Is it esoteric?

                          STAFF COMMENTS

                          Patrick says: Wonderfully turned out in cream and pastel, this immersive 1988 LP from the Lorad Group walks right off an Armani catwalk and onto your turntable, filling your life with meditative sounds from the Med. Composed at the crossroads between Balearic, New Age and Ambient, this is currently top of my pops.

                          Main man Adam Dublock proves his killer cuts on Disco Deviance were no fluke or flash in the pan with another powerplay of edit heat, this time for GAMM. Slapping on his elbow patches and slipping into a freshly pair of farahs, Love Drop gets all kinds of frisky with a jazz / disco / boogie offering that's hard to resist. On the A-side Lesette Willson's jazzy boogie classic gets a proper deep rework, extended to perfection with well placed loops and topped off with a little spiritual spoken vox on top. Jumping to the B-side and Jupiter Beyond's jazz-disco monster "The Universe" gets a heavy club edit, complete with additional percussion punch and wild fx abuse, before Johnny Hammond's swashbuckling jazz-funk classic gets a vocal treatment that!

                          After making waves on the deep house circuit with the generally anthemic "Feel So Good" last year, Lovebirds got busy on Muff Wiggler and set about collecting as many analogue synths as he could reasonably afford. Adopting the Pasta Paul approved diet of 11p noodles and the occasional bacon butty, our main man filled his studio with such slick circuitry as the Arp 2600 and the Prophet 5 (somewhere on the other side of the shop Barry's pulse is quickening...). Surrounded by his new toys, the gear glutton set about making the finest emotional Italo jam this side of 1983. Doffing his cap in the direction of Club House, Rago & Farina and Roberto Gasparini, Lovebirds marries sturdy beat, simple bassline and atmospheric chord progression, finally peaking with stunning, sparkling keys. Since Adriano Celentano was not available he just skipped it in finding a replacement and recorded his own vox! Contemporary maestro ROTLA steps up on remix duties, stripping away some of those Italo flavours and transforming the track into a super boogie groover with loads of additional instrumentation. Finally the SIRS Cut sees the label head apply a little subtle pressure to the original by way of a tweaked arrangement and a little extra percussion pilfered from "Stop Bajon". 

                          Magic In Threes

                          Work Tapes EP - Inc. Fouk / Patchworks / Lay-Far Remixes

                          Nashville's dusty funkateers Magic In Threes return to RNT Reserve with a triptych of low-strung grooves, each complimented by a superlative remix. "Chupa Cabra", a sweet soulful joint, is reimagined as a devilishly pulsating and funky burner by RNT mainstays FOUK on their remix. Parisian Patchworks takes the 70s-cop-show funk of "Work Tapes" straight to Nigeria with a beautifully crafted highlife remix. Finally there's "Come On Down", reminiscent of classic Donald Byrd in the Larry Mizell days, which is beefed up and readied for the dance floor by analog wizard Lay-Far. A lovely package for listening, or bumping!

                          FORMAT INFORMATION

                          12" Info: Blue vinyl.

                          22 year-old South London artist Matt Maltese today released Bad Contestant, his long awaited debut record via Atlantic Records. The record, a culmination of 12 days spent in Foxygen instigator Jonathan Rado’s Los Angeles studio and many hours of sessions with Londoner Alex Burey, displays a no-less-than stunning leap forward in songwriting confidence from the already critically acclaimed young musician.

                          Credited with steering the lush sounding debut albums from Whitney, Weyes Blood and the Lemon Twigs, as well as Father John Misty’s critically acclaimed new album God’s Favourite Customer, Jonathan Rado has helped drench the record with Californian atmospherics, drawing out Matt’s sweetly drifting vocals over a swell of jubilant guitars, brass and drums. Featuring reworked versions of fan favourites and previous singles ‘Strange Time’ and ‘As The World Caves In’ amongst nine beautiful new tracks, Bad Contestant is a grand coming-of-age album packed with Matt’s typically complex, witty melancholy and uplifting melodies.

                          British but born to Canadian parents, and a focal point of the vibrant South London scene which includes Shame, HMLTD and Goat Girl to name but a few, Matt Maltese’s acerbic, witty songwriting has won admiring glances on both sides of the Atlantic around the release of Bad Contestant. The record has received rave reviews with four stars coming from CLASH, Dork, The Line Of Best Fit, NME, and Q, and five from DIY. NPR crowned Bad Contestant “love songs for the end of the world”, and Noisey labelled Matt a teenage Jarvis Cocker, “if he’d spent more time at The Windmill pub in Brixton and was in a better mood.” While Wonderland said “the songs twinkle with sincerity and hopefulness” just as Another Man lauded the record’s “to-the-bone depictions of young life.”

                          Fresh from his biggest headline show to date at London’s Scala, which saw Matt’s band fleshed out to six members including two backing vocalists, and a gloriously debonair ‘70s lounge stage set - he further highlighted the joyful and knowing pathos that skewers the entire record to a packed-out room. 

                          STAFF COMMENTS

                          Barry says: The superb Matt Maltese brings the languid, symphonic indie vibes for his newest album, sounding like a mix between the dulcet drawl and synthy bliss of John Grant and the nuanced indie stomp and chord progressions of Ariel Pink, Maltese has yet ANOTHER killer LP on his hands, and now it can be in your hands too. Superb.

                          FORMAT INFORMATION

                          LP Info: SIGNED COPIES, include illustrated zine and full-colour inlay.

                          MASSIVE SIGNING SESSION NEWS!!!!
                          We’re pleased as punch to have JOHNNY MARR with us from midday on Monday June 18th - he'll be here all afternoon (we shut at 6pm) to sign copies of his new album 'Call The Comet' – no wristband required, but pre-order now to secure the ltd purple vinyl edition. ‘Call The Comet’ is released on the Friday (15th) prior to the signing so you have all weekend to pick it up – or you can buy it on the day.

                          Recorded with his band in Manchester at Marr’s Crazy Face studios, ‘Call The Comet’ is the third solo record from the Smiths guitarist and follows 2013’s critically acclaimed The Messenger and 2014’s Playland; both of which made the UK top 10. “Call The Comet is set in the not-too-distant future” says Marr, “and is mostly concerned with the idea of an alternative society. It’s my own magic realism.” Songs include Actor Attractor, Walk Into The Sea, Bug, and recent live favourite Spiral Cities. “The characters in the songs are searching for a new idealism, although there are some personal songs in there too. It’s something that people like me can relate to.” Says Marr.

                          STAFF COMMENTS

                          Barry says: Johnny Marr brings his most accomplished and forward-thinking album to date, brimming with cleverly penned lyricism, addictive hooks and his uncompromisingly immersive songwriting style. A stunning continuation of form, and a future classic.

                          Andy says: Easily his best solo album.

                          FORMAT INFORMATION

                          Coloured LP Info: Limited purple coloured vinyl.

                          Coloured LP includes MP3 Download Code.

                          LP includes MP3 Download Code.

                          Brother and sister Eric and Arrontette MCclinton had been recording for many years. Around 1976 they did a 45 release together on Honey records called "where you are" under the their Christian names, although Eric was spelled Eryke! The single didn't have much success but both brother and sister still went on to be amazing backing singers working for legendary producers Mike Theodore and Dennis Coffey. Whilst they were under the watchful eye of the production team they recorded some material again and a duo for theo/coff in a bid to get them another record deal and show their capabilities. These songs never got releases. Eric became and prolific song writer and also joined the group High Fashion. We are super pleased to finally release the shelved songs from 1978. This in one of two releases by the duo.

                          Melody’s Echo Chamber’s second album finally arrives more than five years after Melody Prochet’s debut, and it’s certainly been worth the wait. Bon Voyage is a mind-blowing mini-opus full to the gunwales with surprises. It’s a capricious trip that builds majestically upon what Pitchfork in 2012 called “enchanting, psychedelic-tinged pop with just the right amount of thematic darkness”. Made up of seven expansive new tracks, it marries Melody’s breathless soprano to the wildest sonic excursions, always pinned to an emphatic, clattering groove.

                          STAFF COMMENTS

                          Barry says: Brilliantly effervescent indie-pop from MEC, sporting chunky melodic riffage, bright soaring solos and stunningly perfect production. Amazing stuff.

                          FORMAT INFORMATION

                          Coloured LP Info: Heavyweight violet 180g vinyl, comes with bonus phenakistiscope insert.

                          LP Info: Comes with bonus phenakistiscope insert.

                          Miss Kittin & The Hacker

                          Lost Tracks Vol. 2

                          Miss Kittin & The Hacker are the electro duo of Caroline Hervé and Michel Amato from Grenoble, France. The pair met during the early 90s at a rave and soon after bought turntables and began DJing. In 1996, they started writing music heavily influenced by 1980s synthpop and post-punk bands like Fad Gadget, DAF, Liaisons Dangeuresues, and Yazoo, as well as Italo disco. Bored by the techno scene at the time, they set out out to lighten the serious tone and bring a campy sexiness to the dour musical landscape. Upon hearing their demos DJ Hell signed them to his Munich-based International DJ Gigolo label and released their first 2 EPs in 1998 and 1999. Their debut album ”First Album" was released in 2001.

                          “Lost Tracks Vol. 2” contains 4 previously unreleased demos recorded between 1997 and 1999. The duo fused 80’s European new wave / Italo disco with 90’s Detroit electro acts like Le Car and Dopplereffekt. By utilizing verse-chorus structures, they playfully shook up the loop based hard techno and electro that was popular at the time. Their studio set up at the time was a Korg MS-20, Roland SH-101, TR-606, TR-808, Siel DK80, and Boss DR-660 drum machine. The songs are direct, spontaneous, seemingly improvised in places. Miss Kittin sings about falling in love in the new millennium, snuff movies and controlling the unknown trip to death, all in her cheekily derisive French accent. All songs have been transferred from the original DAT tapes by the band and remastered for vinyl by George Horn at Fantasy Studios. The vinyl comes housed in a glossy jacket featuring a black and white photo of the duo taken in 1996. Each LP includes a postcard with liner notes from Miss Kittin and The Hacker designed by Eloise Leigh. As Miss Kittin says of these demos, 'We were naive, innocent, adventurous and we didn’t expect anything in return'


                          Sorpresa Familia

                            Catalonian quartet MOURN stormed onto the scene in 2014 with their self-titled debut - a work of angular indie rock and pointed lyricism delivered with confidence well beyond their teenage years. Two years later, they returned with the equally superb Ha, Ha, He. and proved themselves worthy of the early praise, squashing any remaining questions of fleeting hype. But with seemingly endless opportunities in front of them, MOURN found themselves caught in a legal dispute with their former Spanish label, rendering them unable to tour or effectively support their sophomore effort.

                            Facing the sort of obstacles that might, understandably, derail a fledgling band’s career, MOURN instead forged ahead, and in typical fashion managed to harness their swirling anger, frustration, and passion from the past 2 years into new music. Now, only just recently freed from their legal binds, MOURN is back in full force to share their 3rd full-length album, Sorpresa Familia.

                            Ironically, the obstacles and injustice MOURN have faced in recent years has provided a fertile foundation for new songs that display a palpable maturity and evolution, while retaining every bit of the fiery angst and attitude that has shaped their sound from the start. Chock full of tension and pent up frustration, Sorpresa Familia feels tonally right at home within MOURN’s catalog. But it also feels distinctly separate - more refined, more intentional. Railing against greedy businesses, exploitation, fake friends, dishonest figures of authority, and ever complicated global politics, it’s an album of decidedly higher stakes than their past outputs, delivered with the newfound poetic grace of a band rising up out of the ashes of those who stood in their way.

                            STAFF COMMENTS

                            Barry says: Sorpresa Familia lurches from familiar but brilliantly executed angular indie-rock into more introspective moments, only to break out once again into rhythmic percussive madness. A superb maelstrom of driven anthemic guitars and aggressive vocal swathes.

                            FORMAT INFORMATION

                            LP includes MP3 Download Code.

                            Idris Muhammad

                            Could Heaven Ever Be Like This - Inc. Late Nite Tuff Guy Remix

                            They don't get much more anthemic than Idris Muhammad's 'Could Heaven Ever Be Like This' and who better to rework it than edit royalty, Late Nite Tuff Guy. Though subtle in his touches, the Australian producer incorporates a more DJ friendly, dancefloor orientated beat and tension building intro which teases elements of this classic, before that instantly recognisable bass riff and staccato guitar chords come into play. That subtlety is key when it comes to handling a record as epic as this, elements are accentuated and looped, delicate effects are woven in, but the soul and feeling of Idris' music is lovingly maintained by LNTG.
                            And for the purists out there, the flip houses the original mix so you've got two paths to heaven to choose from.

                            Johannesburg's best known vinyl spot continues its evolution into essential label here with a mega six-track anthology of South African singer Ntombi Ndaba, featuring 2 songs from 3 of her solo albums, "Mina Ngiljaji" (1988), "Mama Nature" (1989) and "Why Me" (1991).
                            Ntombi Ndaba first rose to fame in 1985 with Ntombi & Survival, becoming one of the most popular singers of the bubblegum era. After setting up the independent label Anneko with her producer A.T. ‘Rubber’ Khoza in 1988, she went solo. Following Khoza’s death in the early 1990s, Ndaba never recorded again.
                            Kicking off with the in-demand banger "Tomorrow", the six tracker serves up humid synthlines, infectious rhythms and smooth bass, all topped by Ntombi's mega vocals. Incorporating elements of early house, late disco and bubbling electro funk, this piece of SA dancefloor history is every bit as essential as it ever was.

                            Coming at you hard with a brand new release, thats moved away from or usual unissued releases. DJ Rude Lead played me a demo he and Tom Noble from Superior Elevation cooked up whist Tom was in Denmark deejaing.
                            They approached in indemand vocals of Jay Nemor from the states., who layed over some killer sultry lyrics and tones.
                            The song was only in demo form, so Super Disco Edits in house engineer Matt Fletcher and Owner of Super Disco Edits Russell Paine gave the song the boost and heaviness it desired! We really are pleased with the result, thats cut super loud and sounds awesome over a big system. Promos will be available this week. 

                            Alanis Obomsawin

                            Bush Lady

                              A re-issue of the rare, legendary and long out-of-print album recorded by First Nations and Canadian cultural icon Alanis Obomsawin in the mid-1980s. Remastered from the original analog tapes, now on CD for the first time. Bush Lady is the only record ever made by Obomsawin, rising to cult status in recent years, while Obomsawin has meanwhile received Canada’s highest accolades for her 50-year career as an activist documentary fillmmaker, including the Order Of Canada.

                              Alanis Obomsawin is a member of the Abenaki Nation and one of Canada’s foremost activist documentary filmmakers. Based in Montréal, she has directed 50 films with the National Film Board of Canada (NFB) that explore the lives and concerns of Canada’s First Nations, receiving some of the country’s highest accolades, including The Order of Canada, the Governor General’s Award in Visual and Media Art, and most recently the 2017 Order of Montréal.

                              Before establishing herself as a filmmaker, Obomsawin began her artistic life as a singer-songwriter in the 1960s, as Indigenous artists from across North America were rallying in new assertions of cultural identity, consciousness and political rights, calling for reckonings with oppressive colonial history. She was invited by Folkways to perform at Town Hall in New York City in the early 1960s and spent most of that decade primarily identifying as a musician and social activist, channeling traditional First Nations songs hand-in-hand with modern composition and arrangements. Obomsawin kept her musical output percolating alongside her burgeoning documentary film career, with performances at the legendary Mariposa Folk Festival among others. In the mid-1980s Canada’s national broadcaster (CBC Radio) invited Obomsawin to record an album; unsatisfied with these recordings, she reclaimed the master tapes, remixed the material, re-recorded the title track from scratch, and issued the ensuing Bush Lady album on her own private press in 1988 complete with her own artwork and liner notes.

                              Lacking formal distribution – and with Obomsawin focused primarily on her documentary film career – only a portion of this pressing was sold at the time, the remainder occupying a closet in her Montréal home. The album has grown to become an increasingly legendary rarity ever since. Bush Lady is a unique and magical record by any definition. It’s an invaluable example of contemporary First Nations music that blends traditional folkways with avant-garde composition. 

                              The Moscow duo is back with another dose of haunted industrial techno punches. 
                              We start proceedings with 'Incident', a relentless, menacing and not so dystopian end of world scene plagued with metallic, industrial and machine ridden sounds that create a soporiphic and dense atmosphere. Is it techno, or is it breakbeat? I think it sits at the crossroads rather comfortably. 
                              Flip this monster and it becomes clear that at the end of the day this is a techno record. 'Haunted Tales' prolongs the narrative from above and makes it darker and that slight breakbeat aura is left behind. Menacing, hard and unforgiving tonalities swim in and fade out in this 'metal' techno track. 
                              Things do not change much on 'Navy Fit Republic', This is perhaps the most dancefloor oriented track, with a blatantly dark bassline being the engine. Aggressive, dark and futuristic. It can cause serious damage on the dancefloor but you need the right crowd to make it effective. 
                              Another super 12" by the always solid Born Free.

                              STAFF COMMENTS

                              Sil says: Every Born Free 12" deserves attentive listening as they are almost always bangers. This one is no exception.

                              New York Jazz ensemble Onyx Collective release their debut album ‘Lower East Suite Part Three’ via Big Dada. It has been included in The Guardian’s Ones To Watch For 2018, the new album follows two acclaimed EPs released on Big Dada in 2017. Isaiah Barr, leader of Onyx Collective, has frequently collaborated with other New York musicians such as Dev Hynes (Blood Orange), Nick Hakim, Julian Soto and Wiki (Ratking). Onyx Collective were also featured in Gilles Peterson’s Best Of 2017 list at Number 16. They will be supporting Kamasi Washington on his UK tour this May including London’s Roundhouse. For fans of Nick Hakim, Ezra Collective, Yussef Kamaal, BadBadNotGood, Shabaka Hutchings, Moses Boyd. Isaiah accompanied Ibeyi for their debut performance on The Late Show with Stephen Colbert in March. He also features on David Byrne’s 2018 album ‘American Utopia’.

                              STAFF COMMENTS

                              Millie says: Big loud jazz, this hits the spot for any keen jazz-listener. With the list of names associated with supporting Onyx Collective like Dev Hynes, Giles Peterson and Kamasi Washingston you know you’re in save hands.

                              The conjectural wedding band OTTO is expanding its organ soundtrack madness. With its third record, it delivers sonic solutions for all sorts of moods, ranging from dark and stormy to smooth and suave. “Rhythmus” stands out with abstract, repetitive vocals in German, ready to land in a club somewhere near you. This project is supported by Orgaton, the society for the promotion of organ music.

                              FORMAT INFORMATION

                              12" Info: Insanely limited tackle from cult cosmic heroes OTTO. Don't sleep!

                              The franchise goes one cut deeper as Parasols AKA Ali Renault and Antoni Maiovvi team up on this dark as hell during an eclipse set of grime soaked grease sleazers. Parasols throws forth two sharp as blades numbers with a guest appearance by the one and only Unit Black Flight with his first ever remix. Antoni Maiovvi closes things with something from the vaults, the 808 and sub bass sleekness of Shivers, remixed by Black Metal EBM overlord Equitant. Guaranteed nightclub nightmares as we put on the gloves one more time…

                              John Parish

                              Bird Dog Dante

                                John Parish, the twice Ensor-nominated composer and Mercury Prize-winning producer delivers a brand new collection of songs, including a duet with his longtime musical partner PJ Harvey.

                                “John taught me everything about playing guitar” - PJ Harvey

                                “John Parish, a proper Englishman that knows how to rock” - E (Eels)

                                ‘Bird Dog Dante’ was completed in a busy year for Parish. On top of being the musical director of the extended PJ Harvey band on their ‘Hope Six Demolition Project’ world tour, he produced acclaimed albums for Jenny Hval, This Is The Kit, Nadine Khouri and Aldous Harding.

                                ‘Bird Dog Dante’ features duets with both PJ Harvey and Aldous Harding, as well as drumming from Harvey’s bandmate Jean-Marc Butty.

                                In addition to touring with his own band in April, Parish is playing a commemorative show of Nick Drake’s music at St George’s, Bristol in what would have been Drake’s 70th year.

                                “Together, Parish and Harvey sound confidently experimental, like two soldiers daring each other to ever more stupendous feats of bravery.” - Uncut

                                FORMAT INFORMATION

                                LP includes MP3 Download Code.

                                Pharaohs is a live band from Los Angeles including blossoming producers Suzanne Kraft, Ale Cohen (from the legendary Dublab) and surfer / synth-geek, Sam Cooper. One might assume these lot are in search of their sound, dabbling in various sub-genres, loosely citing a mixed bag of references… but any listener with a refined palette will acknowledge these three as Renaissance Men of the highest order. They simply know what sounds nice and strive to execute their vision with taste, regardless of what inspiration fuels them at any given moment. Side A leads with "Ahumbo" (named after Sam's dream beach in Zanzibar), blending a dry and simplistic rhythm section with swelling synth chords, a cheeky vocal and a vibrant surf guitar. Following "Ahumbo" is the title track "Island Time," a bouncy jungle vibe with chant about tropical fruits, a reminder that its always Summer somewhere! Last, but not least, Side B doles out "If It Ever Feels Right," a percussive House jam that is literally a JAM… Its on this track, with its live percussion, saxophone and drum programming, that the band capacaity of Pharoahs shines.

                                Piccadilly Records

                                Slipmat - Cityscape

                                  Piccadilly Records logo and white 'Cityscape' print on black felt slipmat. Designed by Mark Brown (, the design is a features a graphic representation of the Manchester cityscape, which also looks like an electronic waveform created by music.

                                  Dark wave techno / goth / electro-punk business here from Poison Arrow on the seductively named Pleasure District. A-side tracks, "If You Don't Love Me" and "Casa Show" both pair skeletal drum machines with gothy, pitch black female vocals and eerie metallic washes. A little Chris & Cosey, a little Massive Attack and a little Tropic of Cancer all thrown into one heady, black eye-linered muse.

                                  Side B sees two remixers, Konrad Black and Razor take turns on the lead track. KB keeps "If You Don't Love Me" deeply in the sex dungeon, soaked in amyl nitrate and scarily carnal. Meanwhile, the Razor dub of said track sees it strung out into a highly taut bubbler, smothering the vocal in tape delay and allowing the various elements plenty of room to make their impact.

                                  Causing an immediate stir around Piccadilly HQ this afternoon this is a beautifully dark and arresting record and one that should more than stand the test of time. Highly recommended! 

                                  FORMAT INFORMATION

                                  Ltd 12" Info: 12" with full picture sleeve.

                                  As everyone obsesses about all things related to the decade following 1990, there was one pioneering video game character from the 80s which rave culture held onto and made its posterboy. The manic, pill-munching lead protagonist in cult game 'Pacman' became one of the lasting emblems of smiley culture with early Cornish free party pioneer Aphex Twin, amongst others, remixing tracks from the game and aligning themselves with the ident.

                                  We've come a long way since then, but it seems that the clubbers of 2k18 are resorting back to our old tricks, as traces of rave culture and 90s fashion once again rear their head across the dance music omniverse.

                                  Mystery release that seems to tick all the above boxes, "Powerpill 1" contains four untitled tracks that hark back to a golden age of dance culture. Before GPS and I-phones, when illegal raves and free parties were free from corporate sponsorship and difficult to find; yet life changing in their execution.

                                  'Acid-tekno-ket-bangers' a famous Mancunian raver once said, and its yet to be beaten. If your idea of fun is consuming too many empathegens as loud repetitive music shakes the ground beneath you, against a backdrop of humans that look like they've just missed the casting for Mad Max and Total Recall, then this is the record for you folks! Very big in Pomona! 

                                  STAFF COMMENTS

                                  Matt says: Big ups all party line posse, HS2-Cru, Smarties Factory massive, Trafford mental asylum (and all the crack heads that showed up to jack us...), Snake's Pass free parties and the Stoke / Hebden Bridge OGs..


                                  Decksanddrums Androckandroll - 20th Anniversary Edition

                                  20 years ago Propellerheads released "Decksandrumsandrockandroll" - the only ever album from the band! Stuffed with hit singles "Spybreak!" "Bang On!", "Take California" and the extraordinary "History Repeating" timeless featuring the only true James Bond songstress - Shirley Bassey. 

                                  As said at the time, "Decksanddrumsandrockandroll" is something very special. Funky music and a little crazy, it’s music for good and bad times, for those dirty moments when drugs are no longer effective but the party refuses to stop. An effective groove filled with hints of humour and a little kitsch. It sat beautifully next to fellow breakbeaters Fatboy Slim, Midfield General, Jacques Lu Cont and Mint Royal.  20 years later Propellerheads are now back with this reissue. The charm has remained intact and it stands the rest of time. A living room classic, brought to life once again!

                                  Protomartyr's ‘Consolation EP’, was recorded in part with friend Kelley Deal of The Breeders.

                                  The release features four brand new tracks, delivered in their usual brusque uncompromising style, and follows last year’s superb ‘Relatives In Descent’ album.

                                  STAFF COMMENTS

                                  Barry says: Protomartyr are one of those bands that elicit a chorus of head-nods and a flurry of 'Who is this?' from anyone near enough to hear, and this EP will surely be no different. A Galloping and driven EP, led by Joe Casey's unmistakeable snarl, and buoyed by the perfectly precise and ferocious instrumental backing. A great vision for the future.

                                  FORMAT INFORMATION

                                  Coloured LP Info: Indies exclusive on yellow
                                  vinyl with 4 page booklet and digital download code.

                                  Back at the turn of the millenium, multi-instrumentalist and producer Will Holland, a.k.a. Quantic, emerged out of darkest Worcestershire, and attracted a lot of attention as a fully-formed purveyor of ‘cinematic breaks’-cum-electronica with the 2001 LP The 5th Exotic. Now, a million albums later, he’s a globe-trotting purveyor of everything from cumbia to drum n bass and lives in New York. But there’s always been a ‘dance element’ to his music as a few tracks on The 5th Exotic revealed and, indeed, the two cuts that make up both sides of this 45 (re)release which originally came out on the Breakin Bread in 2000. The tracks of course are the big horns-toting, funky boom-bap of We Got Soul (in it’s Rob Life remix form) and the similarly hip-hop set-friendly instro Fresh Rhythm which chugs along like an ATCQ instro. And you can’t argue with that.

                                  Riotous nu-roots here on Lionvibes featuring prolific vocal artist Ras Teo and digi-dub producer extraordinaire, I David. Two vocal tracks on one expert riddim plus one bonus dub.

                                  Featuring big bold brass, low bass and a skilled drum section, Ras Teo gets pretty spiritual on steppas cut, "Gi Dem" whilst I David's work behind the dials in more than competiant, adding inspired dub flurries, plumes of flange and exiting kill switch action on his lively dub version. "Honor" sees that empowering brass line return once again with an alternative vocal cut which gets dubbed out in typical style to the previous track. Sterling stuff here from this new camp. 

                                  Damien Rice


                                    O, originally released in the summer of 2002, was one of the last albums to build a true word-of-mouth following before widespread streaming. Peaking at #8 in the UK, the seminal “O” will be available on vinyl for the very first time on June 1st.

                                    This version is extended to 16 tracks, and includes four additional recordings:

                                    ‘The Professor & La Fille Danse’ and ‘Moody Mooday’ were both originally B-sides to ‘The Blower’s Daughter’ – ‘Moody Mooday’ also appeared alongside ‘Lonelily’ as a limited edition 7” single release in 2004. ‘Woman Like A Man’ was recorded live in session at Galway Bay FM and was the lead track for the song’s single release. ‘Prague’ and ‘Silent Night’ (featuring Lisa Hannigan), which were hidden bonus tracks after the album’s closing song ‘Eskimo’, are also included.

                                    All three of the singles from the album went on to chart upon release, with ‘The Blowers Daughter’, ‘Cannonball’ and ‘Volcano’ peaking at #27, #9 and #29 respectively. Along with being gold certified, ‘Cannonball’ has been subject to multiple cover versions, most notably by Little Mix after they won The X Factor in 2011.

                                    “O” will comprise of 2 x 180g vinyl housed in a gatefold with lyrics and album artwork, including 4 additional tracks not on the original album.


                                    Campfire Creepers: Original Music From The Oculus Rift Virtual Reality Game

                                    From master of horror Alexandre Aja, the director of films such as The Hills Have Eyes, Piranha, and Horns, comes an original anthology series that brings classic campfire stories to life in stunning Virtual Reality. Produced by Oculus and Future Lighthouse, "Campfire Creepers" invites viewers to join the fire circle at a summer camp called Camp Coyote as a group of kids take turns telling spooky stories in the vein of cult classics like Creepshow and Tales from the Crypt.
                                    The score by ROB carries on the incredible work he started on Maniac, loading the soundtrack with super heavy synths, techno influenced beats and tons of melodies it really does feel like a sister piece to Maniac. 

                                    STAFF COMMENTS

                                    Barry says: As is thoroughly my bag, Rob brings us machinated beats and beautifully saturated synth throbs, simmering Carpenterian progressions and snappy, syncopated drum machines. It's no secret i'm a massive fan of all things Ghost Box, PCA, Death Waltz etc, and this fits the bill perfectly. Straight in my 'To Buy' pile.

                                    FORMAT INFORMATION

                                    10" LP Info: Limited edition red vinyl.


                                    Revenge: Original Motion Picture Soundtrack

                                    Debut director Coralie Fargeat announces her stunning arrival, painting a crimson canvas of hypnotic beauty and bloody retribution in this razor-sharp feminist subversion of the revenge-thriller.
                                    The score by ROB (Maniac, Horns, Campfire Creepers) is an equally intense tour de force mixing traditional horror synth tropes alongside techno, brooding ambience and an almost industrial style assaults on your senses. He manages to deliver something that is brutal yet beautiful, unsettling yet melodic and ultimately masterful that proves he is working on a different level to almost every composer using synthesis today.

                                    STAFF COMMENTS

                                    Barry says: Another killer outing from Rob, but this time on a BEAUTIFUL double LP from the DW massive. Saturated saw waves and twinkling arps atop snappy, flickering drum machines and chorused synth strings. Absolutely superb soundtrackery from the mysterious Rob.

                                    FORMAT INFORMATION

                                    2xColoured LP Info: One sand and one blood red coloured vinyl.
                                    Artwork by Sara Deck.
                                    Includes a download of the entire score.

                                    It's rare that a band's debut album sounds as confident and self-assured as Rolling Blackouts Coastal Fever's Hope Downs. To say that the first full-length from the Melbourne quintet improves on their buzz-building EPs from the last few years would be an understatement: the promise those early releases hinted at is fully realized here, with ten songs of urgent, passionate guitar pop that elicit warm memories of bands past, from the Go-Betweens' jangle to the charmingly lo-fi trappings of New Zealand's Flying Nun label. But don't mistake Rolling Blackouts Coastal Fever for nostalgists: Hope Downs is the sound of a band finding its own collective voice.

                                    The hard-hitting debut album is a testament to Rolling Blackouts C.F.’s tight-knit and hard-working bonafides. Prior to forming the band in 2013, singers/guitarists Fran Keaney, Tom Russo, and Joe White had played together in various garage bands, dating back to high school. When Rolling Blackouts C.F. started, with Joe Russo [Tom’s brother] on bass, Marcel [Tussie, Joe White's then-housemate] on drums, the chemistry was immediate. After a split EP with You Yangs (another Russo brother's band), released in the form of a frisbee, they self-released Talk Tight in 2015, which Sydney-based record label Ivy League gave a wider release the following year. Talk Tight garnered plaudits from critics, including legendary rock scribe Robert Christgau. In 2017, Sub Pop released The French Press EP, bringing the band's chugging and tuneful non-linear indie rock to the rest of the world as they settled into their sound with remarkable ease.

                                    Hope Downs was largely written over the past year in the band's Melbourne rehearsal room where their previous releases were also written and recorded. The band's core trio of songwriters hunkered down and wrote as the chaos of the world outside unavoidably seeped into the songwriting process. "We were feeling like we were in a moment where the sands were shifting and the world was getting a lot weirder. There was a general sense that things were coming apart at the seams and people around us were too,” Russo explains. The album title, taken from the name of a vast open cut mine in the middle of Australia, refers to the feeling of “standing at the edge of the void of the big unknown, and finding something to hold on to.”

                                    With the help of engineer/producer Liam Judson and his portable setup, the band recorded Hope Downs live, and co-produced ten guitar pop gems over the course of two weeks in Northern New South Wales during the winter of 2017. Hope Downs possesses a robust full-band sound that's all the more impressive considering the band's avoidance of traditional recording studios. If you loved Talk Tight and The French Press, you certainly won't be disappointed here—but you might also be surprised at how the band’s sound has grown. There's a richness and weight to these songs that was previously only hinted at, from the skyscraping chorus of “Sister's Jeans” to the thrilling climax of album closer “The Hammer.”

                                    Hope Downs is as much about the people that populate the world around us—their stories, perspectives, and hopes in the face of disillusionment—as it is about the state of things at large. It's a record that focuses on finding the bright spots at a time when cynicism all too often feels like the natural state. Rolling Blackouts C.F. are here to remind us to keep our feet on the ground—and Hope Downs is as delicious a taste of terra firma as you're going to get from a rock band right now.

                                    STAFF COMMENTS

                                    Laura says: This Melbourne five piece first caught our attention last year when Sub Pop released The French Press, their second EP; catchy, super melodic pop songs that ticked all the ‘indie guitar classic’ boxes. Next up came the re-release of Talk Tight, their debut EP; a bit rougher around the edges but still with the same dreamy melodies and chiming guitars. So, could their first album proper live up to the promise of their earlier efforts? Yes! Is the simple answer to that.
                                    All the same reference points are there, but their sound has evolved. Subtly. It’s hard to put your finger on what’s different, but there’s a richness, an expansiveness to the sound, that was always there to some extent, but now seems more refined. With three guitarists, you’d expect the sound to be cluttered, but Tom Russo, Fran Keaney and Joe White, all play their own intricate melodies that ebb and flow in and out of the songs, colliding beautifully from time to time, and far from being chaotic, this gives the album a lush, layered sound. They also share vocal duties, sometimes solo, sometimes in harmony, sometimes relaying through the songs, providing an energy and momentum throughout, while Joe Russo and Marcel Tussie’s bass and drums hold everything together.
                                    This album might have it’s roots in the city, and lyrically depict the sights, sounds and frustrations of urban living, but these are songs for wide open spaces, big skies, open roads, sunroof down, elbow’s in the breeze.

                                    FORMAT INFORMATION

                                    Coloured LP Info: Loser edition marbled blue / clear vinyl.

                                    Ben Salisbury & Geoff Barrow

                                    Annihilation: Music From The Motion Picture

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

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

                                      FORMAT INFORMATION

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


                                      Schatzi Vol. 4

                                      Faster than my yahtzee quick maths, Schatzi returns with its fourth chapter!
                                      As with those that preceded it, this one's a vinyl-only 12" of... indeterminate provenance. Behind every Schatzi ditty is a dash of homespun crate-digging mischief, a dollop of crunchy, swinging drum loops, and a determination to inject into the tropes of today the carefree heart and funky soul that made the dance music of decades past feel so alive. Though names have been omitted to protect reputations, these five ultra funky disco cuts include a stunner from Margaret Reynolds, a Ron Hardy classic from Made In The USA, some classic NY tackle and a obscure bit of Latin magic. All in all it's a royal flush of raw, untamed disco that desperately wants off this slab of wax and onto fogged-out dance floors and into strobe-lit basements.

                                      Travel agents for inner journeys, Seahawks take us on a voyage ever deeper into the new age vortex. Their last album "Escape Hatch", described by Vice as a ‘modern masterpiece’ only hinted at the transcendent power of Seahawks' music. "Eternal Beams" goes further to create a whole new harmonial experience.

                                      Side one sees the listener immersed in a soft storm of tape saturated raindrops and distant thunder, numinous waves of sound cascading to create whirlpools of womb-like warmth with gentle pulsations. Side two sees new age maestro Laraaji contribute flocculent flows of golden zither, rich vocal vibrations & dolphin tones in phantasy phase, all coalescing generously, bringing feelings of rebirth and light.

                                      To conclude: a wondrous journey of resonant oscillations, inner exploration, a portal to other dimensions. It's Seahawks as we know and love them - entheogenic experts with sound and groove. 

                                      STAFF COMMENTS

                                      Matt says: Our favourite psychedelic sea-farers return, in-toe with new age stalwart Laraaji, for another exercise in deep oceanic meditation.

                                      FORMAT INFORMATION

                                      LP Info: Initial copies come with exclusive 12x12 art print.


                                      Chilli - Inc. Dubwood Allstars Remix

                                        77:78, the new project from Aaron Fletcher & Tim Parkin, card-carrying members of the musical kaleidoscope that is The Bees, release Chilli, the latest track to be taken from their debut album, Jellies, which is released on Heavenly Recordings on Friday 6th July.

                                        There's just 150 copies of this life affirming 7” featuring the original version of Chilli on the A side and on the flip a brilliantly nuts (and soon to be in-demand) remix by Dubwood Allstars. 

                                        Talking about the track, Aaron said:
                                        "Chilli is just us being the sort of 70’s dirty ol’ roadhouse blues band that we always wanted to be....dressed in double denim and playing in a desert bar where the chilli is hot as rockets."

                                        Here’s a quote from Dubwood Allstars:
                                        "Looking forward to seeing 77:78 ...hope they're as good as when I saw them at The Fillmore in '75, managed to capture this stomping version of Chilli on my Nagra, been in the loft ever since…”

                                        FORMAT INFORMATION

                                        Ltd 7" Info: The labels are stamped, the sleeves are wraparound risograph prints, individually numbered and poly-bagged.

                                        When you listen to the Shacks' self-titled debut EP, you might imagine that Shannon Wise and Max Shrager are much older than their respective 18 and 20 years. But when Shannon’s whisper-vocals breeze through the speakers, you hear the youthfulness of their sound which then in turn explains the fearlessness of their songwriting. Both vaguely familiar and completely fresh, The Shacks are one of the most interesting NYC bands to surface in a minute. Since the release of their first single, "Strange Boy," which they recorded with El Michels Affair, The Shacks have been compared to 90’s indie icons like Mazzy Star, Jesus and Mary Chain, and Broadcast. As good as those bands are, you wouldn’t find a single one of their records in Max and Shannon’s music collection. All these bands are drinking from the same well, just 20 years apart. Highlights from The Shacks EP include a cover of the Ray Davies-penned "Strange Effect," which Shannon sings as if it were written for her, giving the song an unnerving edge that’s way more interesting than Dave Berry’s tepid original. Also included on the EP is "Orchids," one of Leon Michels and Max Shrager's first co-productions, recorded at the legendary Diamond Mine studios. "Orchids" is a truly original piece of music that showcases The Shacks’ adventurousness in the studio. "Left It With the Moon" is a lo-fi lullaby written by Shannon and recorded to 4 track cassette at Max’s home studio in Princeton, NJ. And "Hands In Your Pockets" features the Frightnrs rhythm section laying down a pitch-perfect rocksteady backing track behind Shannon’s deadpan delivery a la Jane Birkin. The Shacks' full-length LP is due early 2017 on Big Crown Records

                                        STAFF COMMENTS

                                        Barry says: Twanging indie-rock guitars and 70's influenced fuzzy harmonies interwoven with the soothing and silky vocals of Shannon Wise. A bracing and enchanting listen, full of irresistible hooks and undeniable charm.

                                        Forest Flame is the debut solo effort of the Texas-based Shea McGilvray. His previous works have been featured in compilation and remix releases on labels such as Echovolt, Shimmering Moods, and Bokhari’s Swamp Tapes.

                                        Second release from the KP-approved Online Conversation and a different vibe this time round. Polyrhythmic, neo-tribal vibrations are delivered on EP opener "Redsky Porch" which sees a meandering, echo-drenched lead wind its way through a series of interesting perc hits and tuned metallics. "Terra" sees a swirling, hazy soundbed converge on shuffled lo-fi hats and a half-time kick. The very epitome of shadow-sculling, outsider house; blunted AF and groovy as hell. Yes mate. Title track "Forest Flame" sees deep atmospheres peppered with reverb heavy drum hits, hinting at some evocative and cinematic moods. Final track "Manzanita" sees another heady whirlpool of influences, somewhere between Deepchord's "Hash Bar Remnants", Anthony Naples Proibito output and the delicate poise of Ricardo Villalobos.

                                        Already getting support from Best Available Technology and Will Lister.

                                        STAFF COMMENTS

                                        Matt says: Big label currently on my radar drop record number two. Ditching the lo-fi jungle and uptempo house bangers for a more sedative, hypnotic and shamanic affair. One for the smokers as much as the dancers this one...

                                        The Sisters Of Mercy

                                        First And Last And Always

                                          Signing to WEA in 1984, their debut album ‘First And Last And Always’ went on to chart in the UK Top 20 upon release in 1985. The album featured the singles ‘Walk Away’ (charting at #45) and ‘No Time To Cry’ (charting at #63), with a band featuring future Mission members Wayne Hussey and Craig Adams.

                                          The Sisters Of Mercy


                                            At the end of their US tour in June 1985 the band took a break from music, to return in November 1987 with ‘Floodland’ (UK #9). Still aided by Doktor Avalanche, Eldritch hired former Gun Club and Fur Bible bassist Patricia Morrison to complete the new line-up. Featuring the now iconic hit singles ‘This Corrosion’ (UK #7), ‘Dominion’ (UK #13) and ‘Lucretia My Reflection’ (UK #20), production duties were shared with famed Meat Loaf writer Jim Steinman.

                                            The Sisters Of Mercy

                                            Greatest Hits Volume One: A Slight Case Of Overbombing

                                              ‘Greatest Hits Volume One: A Slight Case Of Overbombing’, was originally released in 1993, and reached #14 in the UK. This elusive, long out of print vinyl features the band’s best-loved and most famous songs from their studio recordings.

                                              The Sisters Of Mercy

                                              Vision Thing

                                                ‘Vision Thing’ (UK #11) was released in November 1990. With a more hard-rock orientated sound, the group was assembled around Eldritch, featuring Doktor Avalanche, former All About Eve guitarist Tim Bricheno and, perhaps more surprisingly, Sigue Sigue Sputnik and Generation X bassist Tony James. Joined again by Jim Steinman, who wrote and produced the lead single ‘More’ (UK #14), the album featured ‘Doctor Jeep’ (UK #37) and ‘When You Don't See Me’, and effectively became the band’s last full, new album.

                                                Slut Magic makes punk rock for a modern era—it’s covered in branded fashion statements, intimate like social media, and eclectic in its influences. New single “Adult Situations” plays as an unabashedly modern confessional where singer/violinist Emma Sky seems to lament over a lover unresponsive to text invites to see Star Wars. There’s a hint of riot grrrl intensity, made clearer by the band name’s reclamation of “slut” and the collage-style artwork, but Slut Magic pulls just as much from a Liz Phair-style lyrical openness and leans musically adventurous with cavernous violin and rumbling, phasey guitars—the violin also takes time to wittily paraphrase the Star Wars theme. 

                                                Craig Smith And Andrew McGroarty Present Sound Signals

                                                Soul Searching Volume 1

                                                Deep house legend Craig Smith (of 6th Borough Project fame) teams up with Andrew McGroaty to finally unleash their long running Instrumental Hip-Hop project into the wider world. Inspired by their love of Soul, ATCQ Jay Dilla, and vintage drum machines, the duo deliver the kind of patchwork hip hop made famous by No-ID and Dilla. Soulful, warm and with way more bounce to the ounce than your average beat tape, this is proper golden era break ya neck shit. Dope.

                                                Alex Somers & Sigur Rós

                                                Black Mirror: Hang The DJ (Music From The Netflix Original Series)

                                                  Late last year Sigur Rós producer and frequent collaborator Alex Somers hooked up with the band once again to deliver original music for ‘Hang The DJ’, one of the flagship episodes of the most recent ‘Black Mirror’ series.

                                                  Now his acclaimed score for the Netflix programme, as well as two new songs made in collaboration with Sigur Rós for the programme, is being released on CD and vinyl by Invada Records.

                                                  FORMAT INFORMATION

                                                  Coloured LP Info: White vinyl.

                                                  Joanie Sommers

                                                  Don't Pity Me / My Block

                                                  From Buffalo, New York, Joanie was primarily a 60s pop singer and actress who recorded numerous singles for Warner Brothers during that decade. “Don’t Pity Me” was recorded and originally released in 1965 and has become her most sought after release. An original has been valued at £400, a rare clip of the song viewed over 200,000 times on YouTube. It’s popularity stems from the Northern Soul scene where in the 70s it was ‘covered up’ under the artist name Yvonne Daniels.

                                                  Carnal tek-booty here from an allstar cast of house music royalty. This outstanding release was produced by L.A. Williams, Roy Davis Jr. and Phuture founder Earl Smith Jr. who died too young in 2016. Four trax that tip their hat to Chicago jack and Detroit booty; matching unrelenting thrust to lascivious vox and endlessly-peaking synthlines. A bit more substance and style than the hundreds of also-rans that populate this genre; this is up there with Poindextor, Drew Sky and DJ Funk and should keep those with a penchant to get down more than happy. Recommended!

                                                  STAFF COMMENTS

                                                  Matt says: Don't ignore these trax!! A cut above the rest of the pack in terms of mixing, mastering and pressing - these sound PHENOMINAL off the wax. Essential trax!

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