ALL GENRES

WEEK STARTING 26 Feb

A Winged Victory for the Sullen, the composer collaboration between Stars of the Lid founder Adam Wiltzie and L.A. composer Dustin O'Halloran, release new album ‘Invisible Cities’, the stunning score to the critically acclaimed theatre production directed by London Olympics ceremony video designer Leo Warner. Released on their own Artificial Pinearch Manufacturing label, the album comes as part of an agreement with A Winged Victory for the Sullen’s current label, Ninja Tune.

Premiering in July 2019 at the Manchester International Festival, the duo was commissioned by Warner’s 59 Productions to score the music for the 90-minute multimedia theatrical stage show, adapted from Italo Calvino’s 1972 novel, ‘Invisible Cities’. Described by The Sunday Times as “a beautiful frenzy of movement”, it fuses theatre, music, dance, architectural design and visuals and brings to life a series of fantastical places and disparate worlds, centred on the tense relationship between Kublai Khan, the volatile head of a vast empire, and explorer Marco Polo. Originally conceived as a touring project, it’s last performance was in Brisbane, Australia before COVID-19 changed the world as we know it.

“Four months is not a lot of time to create 90 minutes of music for a production using classical theatre, dance, & high res video mapping on a stage the size of 2 football pitches. It was a pleasure to work with 59 Productions, unlike other producers, they left the micro-managing at home, and let us get on with it. Early on in discussions with director Leo Warner it was realised that the human voice would take a central role in the score as it was essentially the only instrument we could see evolving over 600 years with a storyline that would not have the listener screaming “its Zimmertime”…,” says Wiltzie.

Transformed into 45 minutes of breathtaking beauty, ‘Invisible Cities’ opens with the numinous ‘So That the City Can Begin to Exist’, as Wiltzie and O'Halloran draw breath from distinctively enthralling and vastly expansive worlds. The ominous soundscapes of ‘The Dead Outnumber the Living’ contrast with the new beginnings that are presented in ‘Every Solstice & Equinox’, while the jagged and uneasy ‘Thirteenth Century Travelogue’ is one of tension and dread.

Elsewhere, ‘The Divided City’ captivates and intrigues while ‘Only Strings and Their Supports Remain’ and ‘There Is One of Which You Never Speak’ are bold roars for survival before the choral ambience of ‘Desires Are Already Memories’ and piercing drones of ‘Total Perspective Vortex’ bring down the curtain on a spectacular and incredibly emotive body of work.

Releasing their self-titled debut album in 2011 (Erased Tapes), A Winged Victory for the Sullen has developed something of a cult status over the past decade and alongside artists such as Max Richter, Hauschka, Hildur Guðnadóttir and Tim Hecker, are the vanguard of the neoclassical and ambient world and can count the likes of Jon Hopkins as fans.

The duo has gone on to release two further studio albums; ‘Atomos’ (Erased Tapes, 2014) and most recently ‘The Undivided Five’ (Ninja Tune, 2019) and were asked to perform at the BBC proms in 2015 by 6 Music presenter Mary Anne Hobbs. A Winged Victory for the Sullen also scored the music for the independent film ‘Iris’ (2016), directed by Jalil Lespert.

Wiltzie is best known as founding member of drone legends Stars of the Lid, The Dead Texan and Aix Em Klemm and has scored multiple film projects including ‘American Woman’ (2019) starring Sienna Miller, ‘Salero’ (2016) and The Yellow Birds (2017). In 2018, he also scored ‘Whitney’ (2018), the estate-approved documentary about the life of the late Whitney Houston, directed by Kevin Macdonald. Elsewhere, his original music has featured in Hollywood films including ‘Transformers: Dark of The Moon’ (2011), ‘Godzilla’ (2014), ‘Like Crazy’ (2011) and acclaimed TV shows including ‘House M.D’, ‘Nip/Tuck’ and ‘Top Boy’. He also collaborated with the late Jóhann Jóhannsson on his scores for ‘The Theory of Everything’ (2014) and ‘Arrival’ (2016).

O'Halloran, a self-taught pianist from the age of 7, began his musical life as a guitarist and formed the much-loved indie rock outfit Dévics with Sara Lov, releasing four albums on Bella Union. As a solo artist, he has composed music for numerous film and television projects including Sofia Coppola’s ‘Marie Antoinette’ (2006) and Drake Doremus’ ‘Like Crazy' (2011) starring Felicity Jones. Demand for his film scores is high and in 2015, he won an Emmy for theme music for the Golden Globe-winning Amazon series ‘Transparent’, starring Jeffrey Tambor. He has also collaborated with film composer Hauschka on numerous films, including ‘Lion’ (2016), with the score nominated for an Oscar, BAFTA and Golden Globe. Most recently, he co-composed the music for the film ‘Ammonite’ (2020) with Volker Bertelmann, directed by Francis Lee and starring Kate Winslet and Saoirse Ronan.


STAFF COMMENTS

says: There are few experiences I treasure more than popping some slow moving ambient business on the stereo and sitting down, and there are few bands that do that exact business better than AWVFTS. One of my all-time favourites return for another gorgeous suite of swelling pads and tentative piano.

FORMAT INFORMATION

Dinked Edition LP Info: • ‘Deep purple’ coloured vinyl. *
• Alternate sleeve artwork. *
• Double-sided art print designed by Davy Evans. *
• Numbered edition. *
• Limited pressing of 600.
*exclusive to Dinked Edition.

Coloured LP Info: Pressed on standard weight transparent ‘beer’ coloured vinyl, housed in a gatefold sleeve, and is exclusive to indie stores.

LP Info: Pressed on standard weight black vinyl, housed in a gatefold sleeve.

Aili / Transistorcake

Dansu

    Making her debut Belgian-Japanese artist Aili teams up with one of Eskimo Recordings' most exciting new Belgian acts Transistorcake for the mesmerising ‘Dansu’. Sung in a mixture of Japanese and English, ‘Dansu’ is a hymn to dancing the night away, the track’s taut Motorik rhythms and lambent washes of synths blending perfectly with Aili’s hushed vocals to create a hypnotic, languorously funky, track with echoes of artists like Can or Stereolab.

    "I left Tokyo for Belgium when I was 7 years old. In many ways my Japanese stayed at that level. When I sing in Japanese it puts me into this naive, almost childlike mindset that allows me to express what I feel right away. You don’t need to understand the words just the feeling that they convey." - Aili

    More futuristic warmth from the AD 93 camp FKA Whities. Amandra (A. Eymery) is a French artist with a smattering of very different releases over a variety of labels. Occupying the same dark, coaital corners as Smagghe and Ivkovic et al; "035" is centred around hazed fractals, encroching tension and tribal to the point of ritualistic drumming. There's plenty reliance on the electricity that powers life on Earth whislt grasping for something decidedly more ethereal and intangible. Destined for late nite play when inhabitions are at an all time low; losing yourself in the smog never sounded so good

    STAFF COMMENTS

    says: If and when the clubs re-open there'll be a heady outpouring of energy I reckon - big piano tracks, mainroom bangers etc etc; but what happens post 4AM when everyone's in a writhing mess of xtc-soaked-eroticism?! You need tracks like this of course!

    Black vinyl pressing of the now sold out RSD 2020 reissue.

    The Amorphous Androgynous unite their award winning psychedelic compilation series 'A Monstrous Psychedelic Bubble (Exploding In Your Mind)' with their symphonic new single 'We Persuade Ourselves We Are Immortal' (taken from the forthcoming album 'Listening Beyond The Head Chakra') to create this latest installment of the Monstrous Psychedelic Bubble series. Featuring a host of luminaries such as Peter Hammill -vocals (Van Der Graaf Generator), Paul Weller -piano and guitar and erstwhile members of the Spencer Davis Group / Ian Gillan Band And Soft Machine on lead guitar and sax among a plethora of other musicians (including the Chesterfield Philharmonic choir and a full string section!) alongside collaboration & remixes with a host of bands (Atomic Simao / Higher Peaks / Regal Worm / Cobalt Chapel plus others) to create one helluva progtronic psychedelic trip through the Amorphous Androgynous samplerdelic multiverse.

    Culminating at 430m of altitude, mount Aïdour has been looking over the city of Oran for centuries. Legendary tales and myths are born in this place that have been inspiring writers through generations. It is there that the seeds and the roots of this record were planted, inspiring me to tell a story as well. 4 tracks about 4 destinations through a country of splendor. From North to South, East to West, from one century to another. Based on local field recordings associated with modern machines, this is the continuation of the legends started generations ago.

    Bab is a member of French collectives 404 and Pardonnez Nous. He's currently making a documentary about Algerian Raï music which led him to visit the country multiple times recently and inspired him to do this dark and haunted EP, reminiscing of Muslimgauze.

    STAFF COMMENTS

    says: For fans of tribal electronics, shamanic shit and witching hour weirdness! Bab from 404 takes a little inspiration from Algerian Raï and early Muslimgauze to create the loose, lysergic and low tempo pulse of this solo EP.

    Julien Baker

    Little Oblivions

      Preorder the album and get a link to an EXCLUSIVE IN-STORE VIRTUAL SESSION on March 2nd.
      (Links will be emailed the day before the session).
      NPN.


      Little Oblivions is the third studio album by Julien Baker. Recorded in Memphis, TN, the record weaves together unflinching autobiography with assimilated experience and hard-won observations from the past few years, taking Baker’s capacity for storytelling to new heights. It also marks a sonic shift, with the songwriter’s intimate piano and guitar arrangements newly enriched by bass, drums, keyboards, banjo, and mandolin with nearly all of the instruments performed by Baker.

      STAFF COMMENTS

      says: Julian Baker returns for another beautifully rich set of crescentic rock, coloured with an unmistakeable country hue. It's a delicate balance and is accomplished here with a beautiful warmth and comforting melodicism. Another wonderful journey, full of emotional duality and songwriting genius from Baker.

      FORMAT INFORMATION

      Coloured LP Info: Golden yellow indies only LP.

      Ever since he debuted on Origo/Apollo with the groundbreaking ’Microgravity’, now thirty years ago, Geir Jenssen has been a major force in ambient techno, steadily building a catalogue that’s rivalled only by few.

      After three wonderful albums on Biophon (2018’s ’The Hilvarenbeek Recordings’, that has Jenssen samplng a broad palette of Dutch farm sounds is a total store favorite) the Norwegian maestro has now landed on AD 93 with a thoroughly unique album.

      Originally composed in 2019 for Uncoordinated Dog, a dance production by the Norwegian Ingun Bjørnsgaard Prosjekt, It features twelve tracks based on Beethoven’s infamous String Quartet No. 14 - a piece that Beethoven himself considered to be one of the best works he ever composed.

      Jenssen manipulates and morphs the classical masterpiece into something entirely his own, giving the string harmonies a thin veil of Northern light on the first four parts before catapulting the German giant into space on the fifth and sixth movements.

      Proceedings get downright depressed on the heavy-hearted seventh movement ‘As Pale As A Pearl’ (which is, of course, not necessarily a bad thing), before Jenssen loops up some of the fourteenth most recognizable micro-melodies into two of the most striking pieces on the album in a way that resembles Akira Rabelais’ approach on the classic ‘Spellewauerynsherde’ and ‘Eisoptrophobia’ albums.

      It’s those two tracks (‘Faith and Reverence’ and ‘Unclouded Splendor’) that form the heart of this ominous and at times pitch-dark album that has Jenssen successfully crossing over from Nordic ambient to avantgarde postmodern classical. And although ‘Angel’s Flight’ may not be for everyone, it’s one of his most accomplished albums to date and one of the most interesting albums to come out this year so far.

      STAFF COMMENTS

      says: Stark & chilling ambiance from a well-regarded stalwart of the scene. Could have done with being released about a month ago if you ask me - when that Winter darkness is all-encompassing and impossible to escape. However, there's some neo-classical flurries here that should pair well with the rising optimism of Spring...

      Blanck Mass

      In Ferneaux

        What is the utility of pain? Can it do anything but fester? In Ferneaux explores pain in motion, building audio-spatial chambers of experience and memory. Using an archive of field recordings from a decade of global travels, isolation gave Blanck Mass an opportunity to make connections in a moment when being together is impossible. The record is divided into two long-form journeys that gather the memories of being with now-distant others through the composition of a nostalgic travelogue. The journeys are haunted with the vestiges of voices, places, and sensations. These scenes alternate with the building up and releasing of great aural tension, intensities that emerge from the trauma of a personal grieving process which has perhaps embraced its rage moment.

        An encounter with a prophetic figure on the streets of San Francisco presented the question of “how to handle the misery on the way to the blessing.” This is the quandary of the impasse we now all find ourselves in, trapped in our little caves, grappling with the unease of the self at rest – without movement, without the consumerist agenda of “new experiences.” The possibility of growth, always defined by our connections with others, held in limbo. Sartre said that “Hell is other people,” but perhaps this is the Inferno of the present: the space of sitting with the self.

        A blessing is often thought of as a future reward, above and beyond the material plane. With In Ferneaux, Blanck Mass wrangles the immanent materials of the here-and-now to build a sense of transcendence. Here, the uncanny angelic hymn sits comfortably beside the dirge. The misery and blessing are one.

        STAFF COMMENTS

        says: If you know Blanck Mass, you know that his uncompromising mix of hypnotic synthy OPN business oft turns into an all-encompassing wall of tectonic noise and spine-tingling euphoric washes. Those of you who don't will find exactly that here, but constantly and perfectly progressing in both timbre and scope. It's intoxicating and unmissable stuff, Blanck Mass is never anything but.

        FORMAT INFORMATION

        Coloured LP Info: Magenta LP.

        Coloured LP includes MP3 Download Code.

        LP includes MP3 Download Code.

        As a prelude to the singles LP Athens of the North drop a 7” reissue of Brief Encounters most popular modern / disco side against possibly their best ballad, deep soul spin. A stone cold classic all the way. Get a Good Feeling does what it says on the tin, ultimate disco groove to get you out of a funk. Equally as good, Just a Little Notion is ultra smooth soulful vibes. 

        STAFF COMMENTS

        says: Beautiful soulful tracks from Brief Encounter here, drenched in pure silky smooth soul each side is a joy to listen to. An absolute must for any Athens of the North collectors!

        “Do you feel what I feel too?” Brijean Murphy floats the question at the start of Feelings, the full-length Ghostly International debut from Brijean, her collaborative project with Doug Stuart. Guided by a lush mix of charismatic keyboard chords, grooving bass lines, and radiant bongo-driven rhythms, the “Day Dreaming” lyric doubles as an invitation and a statement of intention. Brijean want you to move, physically, mentally, dimensionally; this is dance music for the mind, body, and soul. With Feelings, they’ve manifested a gentle collective space for respite, for self-reflection, for self-care, for uninhibited imagination and new possibilities. The album cultivates a specific vibe, a softness Murphy has come to call “romancing the psyche.”

        Growing up in a family immersed in jazz, Latin and soul music, Murphy would become an accomplished DJ, session and live player in Oakland’s diverse music scene and one of indie’s most in-demand percussionists (Poolside, Toro Y Moi, U.S. Girls). In 2018, she began recording songs with multi-instrumentalist and producer Doug Stuart, who shares a background in jazz and pop in bands such as Bells Atlas, Meernaa, and Luke Temple. Following their first sessions, which resulted in the mini-album Walkie Talkie (released in 2019 on Native Cat Recordings), the duo continued freeform hangs in Oakland, inviting friends Chaz Bear, Tony Peppers, and Hamir Atwal. “We improvised on different feels for hours,” says Murphy. “Nothing quite developed at first but we had seeds. We re-opened the sessions a couple months later, after returning from tours, and spent a month developing the songs in a little 400 square foot cottage.”

        Aforementioned album opener “Day Dreaming” is a dynamic celebration of newness: the excitement in finding deeper understandings of yourself as you get to know someone, something, or somewhere new. “Wifi Beach” drops a pin in pure psych-pop exotica. With Atwal on drums, Stuart on bass, Peppers on keys, and Bear engineering, the group impro- vised the track’s intro sequence based on the vision of a lavish 1970s pool party. Establishing the scene is a mid-frequency drum kit disco shuffle augmented by tight congas and timbale effect, as Murphy sings in spurts: “I want to be / Deep in love / I want to be / Say you love me too / I want to be / Honey.” The stanzas cut between “reflective moments of wants and being overwhelmed by feelings of the present,” she explains. “A lot of the ‘love songs’ I write are to my psyche, self-reflections on how to encourage tender perspectives and make more time for the sweet stuff.”

        Though there is a loose, dance-oriented motif throughout, the material gives way to somnolent turns. On “Ocean,” Brijean’s anodyne lyrics, remi- niscent of Astrud Gilberto’s airy croon, float atop a brushed drum pattern, sparkling rhodes lines, and pittering and softly funky woodblock bops. The opening line sets up the rest, “In this gentle space we lay” — among the album’s propensity for movement, tracks like “Ocean” stand out by leaning back for momentary sways of blissful introspection. Murphy calls the charming “Hey Boy” a “psychedelic guide — the exploration of finding what feels good — through sorrow, anxiety, apathy.” This mentality ap- plies to Feelings on the whole: in these nebulous and verdant worlds of hazy melodies, feathery hooks, and percussive details, the songs simply want us to feel alive. They radiate in wonderful abandon and with a sense of devotion to the self.

        FORMAT INFORMATION

        Coloured LP Info: Lava lamp - blue and pink swirl vinyl. Limited to 200 copies.

        Vashti Bunyan

        Just Another Diamond Day - Repress

          Vashti Bunyan’s legendary debut album from 1970 finally gets a UK vinyl repressing. Produced by Joe Boyd for Witchseason Productions and originally released on Philips in 1970, the album features contributions from Fairport Convention’s Simon Nicol and Dave Swarbrick and The Incredible String Band’s Robin Williamson.

          The songs mostly concern the events that took place when Vashti and her lover travelled to the Hebrides in a horse and cart to join up with Donovan’s artistic community but by the time they got there that community had all left. 


          FORMAT INFORMATION

          Coloured LP Info: Repress of 1000 copies on clear vinyl.
          Deluxe replica gatefold sleeve with lyric inner sleeve and restored artwork.

          Ltd LP Info: First UK vinyl pressing since 2000.
          Limited edition of 1000 180g black vinyl.
          Deluxe replica gatefold sleeve with lyric inner sleeve and restored artwork.

          Cabaret Voltaire is Richard H. Kirk and "Shadow of Fear" was the band’s first studio album in 26 years and was released in 2020 to critical acclaim.

          The single "Shadow of Funk" delves deeper into Cabaret Voltaire’s arsenal of 'vocal samples, harsh rhythms and threatening detonations' (Classic Pop).

          Industrialized dancefloor darkness for the shadow lurkers and futurist primates.

          Limited edition coloured vinyl with hi-def downloads as accompaniment.


          FORMAT INFORMATION

          Coloured 12" Info: Curacao coloured Vinyl.

          Camera

          Prosthuman

            With the band’s tenth anniversary in their viewfinder, CAMERA release “Prosthuman”, their fifth studio album. As befits an age in which realities can change in the blink of an eye, from one day to the next, the Berlin band never tire of changing themselves, their music or personnel.

            As Karlheinz Stockhausen noted: “New methods change the experience. New experiences change man.”

            Taking this as their lead, Michael Drummer (the drummer) and CAMERA surprise us once more on “Prosthuman” as they reinvent and reformulate their sound without sacrificing the project’s identity which has matured over the past decade. Less surprising is the fact that some record stores give CAMERA their own section, alongside Krautrock pioneers like NEU!, Can and La Düsseldorf. “Emotional Detox”, the predecessor to this album, was distinguished by the presence of two keyboard virtuosos (Steffen Kahles and CAMERA founder member Timm Brockmann). Finding replacements for “Prosthuman” was, as Michael Drummer stresses, “a difficult process.” The two keyboardists had – in different creative periods – formed the backbone of a band structure otherwise prone to fluctuations. Decisive input came from an unlikely source: Tim Schroeder, who first teamed up with CAMERA as a performance and video artist on their six-week tour of the USA in 2017.

            Over the course of various jams and recording sessions, he was able to offer ample proof of his synthesizers skills. Alex Kozmidi, a musician and composer with a flair for experimentation, completed the triumvirate on guitar, with Michael Drummer adding his own guitar riffs here and there. Change and friction can be useful allies in pursuit of creativity, something to which Drummer has grown accustomed as the only ever-present member of CAMERA. The pleasures and pain of isolation – suddenly a mass phenomenon in pandemic times – are well known to the quasi frontman of the group. Over the years, he has spent many hours alone or with a shifting cast of co-musicians in the band’s basement studio, beneath a former factory site in a less than hip southern district of Berlin. Virus-induced social distancing and quarantine measures that came into force during the recording process (June 2019 to June 2020) thus posed no great challenge.

            STAFF COMMENTS

            says: It's always a delight when something hits the shelves from Bureau B. This time sees Camera revisiting their familiar heady kosmische groove, albeit with different staff. Drummer and Schroeder here perfect the warmingly organic duality of synthesiser and live percussion, resulting in a fluid but cohesive build and release narrative and a hypnotic, rhythmic nod.

            FORMAT INFORMATION

            2xDinked Edition LP Info: • Orange vinyl *
            • Exclusive bonus 12” with remixes by Lloyd Cole, The Telescopes, Love-Songs, Dead Skeletons, Extnddntwrk (Andrew Fearn of Sleaford Mods) *
            • Neon orange print sleeve *
            • Limited pressing of 400 *
            * Exclusive to Dinked Edition

            Don Cherry

            Cherry Jam

              Standard edition release but with all the usual Japanese elements, including obi-strip and liner note translations. 4 tracks of previously unreleased Don Cherry material, including 3 new compositions, all recorded in 1965, Copenhagen, Denmark.True AAA pressing from the original tapes (analogue recording, analogue mix, analogue master) A Gearbox Cut, meaning a premium pressing courtesy of Gearbox Records' vintage and modern mastering house, 45rpm for optimised sound quality.

              Cheval Sombre

              Time Waits For No One

                Cheval Sombre releases his third album, Time Waits for No One. It is his first solo release for more than eight years, following 2018’s critically acclaimed collaboration with Galaxie 500 and Luna frontman Dean Wareham, and the first of two new albums scheduled for 2021, both of which have been produced by Sonic Boom. Cheval Sombre is the nome d’arte of Chris Porpora, a poet from upstate New York whose otherworldly psychedelic lullabies on his self-titled album from 2009 and its follow-up, Mad Love (2012), won him a cult following. Time Waits for No One ushers in his most prolific period, and serendipitously the world has finally slowed down to his pace. This is no lockdown record, but Cheval Sombre’s reclusive, reflective music is its perfect soundtrack.

                “I’ve always said that what I really want to do with music is to give people sanctuary,” he explains. “Pandemic or not, the world has always felt as though it were spinning out of control to me, and so if folks have slowed down, I do see it all as an opportunity to discover vital realms which have always been there, but we’ve been too rushed and distracted to encounter.” Time Waits for No One is also his finest and most fully realised body of work to date and, appropriately enough for a record that has taken so many years to come to fruition, across eight original songs, an instrumental and a closing cover of Townes Van Zandt’s ‘No Place to Fall’, its overarching theme is time itself; what it is and what role it inevitably plays in all of our lives.

                But the record is also timeless, contrasting the musical simplicity of Cheval Sombre’s open-tuned acoustic guitar curlicues with the beautiful, sweeping and ornate arrangements of Sonic Boom’s keyboards and Gillian Rivers’ and Yuiko Kamakari’s strings. The end result is something akin to Daniel Johnston backed by the Mercury Rev of Deserter’s Songs. Elemental and earthbound, but simultaneously and very subtly shooting for the stratosphere.

                STAFF COMMENTS

                says: A brittle but beautiful combination of folky guitar and heavily echoed vocals, falling somewhere between traditional 60's psych and slow shoegaze mixed with a dash of modern classical. It's tender and haunting, a wonderful journey.

                FORMAT INFORMATION

                Coloured LP Info: White Vinyl.

                Cloud Nothings

                The Shadow I Remember

                  For a band that resists repeating itself, picking up lessons from a decade prior is the strange route Cloud Nothings took to create their most fully-realized album. Their new record, The Shadow I Remember, marks eleven years of touring, a return to early songwriting practices, and revisiting the studio where they first recorded together.

                  In a way not previously captured, this album expertly combines the group’s pummeling, aggressive approach with singer-songwriter Dylan Baldi’s extraordinary talent for perfect pop. To document this newly realized maturity, the group returned to producer Steve Albini and his Electrical Audio studios in Chicago, where the band famously destroyed its initial reputation as a bedroom solo project with the release of 2012 album Attack on Memory.

                  Another throwback was Baldi’s return to constant songwriting à la the early solo days, which led to the nearly 30 demos that became the 11 songs on The Shadow I Remember. Instead of sticking to a tried-but-true formula, his songwriting stretched out while digging deeper into his melodic talents. “I felt like I was locked in a character,” Baldi says of becoming a reliable supplier of heavy, hook-filled rock songs. “I felt like I was playing a role and not myself. I really didn’t like that role.” More frequent writing led to the freedom in form heard on The Shadow I Remember. What he can’t do alone is get loud and play noisily, which is exactly what happened when the entire band— bassist TJ Duke, guitarist Chris Brown, and drummer Jayson Gerycz—convened.

                  The band had more fun in the studio than they’ve had in years, playing in their signature, pulverizing way, while also trying new things. The absurdly catchy “Nothing Without You” includes a first for the band: Macie Stewart of Ohmme contributes guest vocals. Elsewhere, celebrated electronic composer Brett Naucke adds subtle synthesizer parts.

                  The songs are kept trim, mostly around the three-minute mark, while being gleefully overstuffed. Almost every musical part turns into at least two parts, with guitar and drums opening up and the bass switching gears. “That’s the goal—I want the three-minute song to be an epic,” Baldi says. “That’s the short version of the long-ass jam.”

                  Lyrically, Baldi delivers an aching exploration of tortured existence, punishing self-doubt, and the familiar pangs of oppressive mystery. “Am I something?” Baldi screams on the song of the same name. “Does anybody living out there really need me?” It’s a heartbreaking admission of existential confusion, delivered hoarsely, with an instantly relatable melody.

                  “Is this the end/ of the life I've known?” he asks on lead single and album opener “Oslo.” “Am I older now/ or am I just another age?” Despite the questioning lyrics, the band plays with more assurance and joy than ever before. The Shadow I Remember announces Cloud Nothings’ second decade and it sounds like a new beginning.


                  FORMAT INFORMATION

                  Coloured LP Info: Spectral light whirl vinyl.

                  Of the many 1000s of reggae versions, Derrick Cross' version of Never Too Much has got to be one of the sweetest. Unfortunately, with a price tag of 500 euros plus, it's a local Hackney record that has become inaccessible to most.

                  Fully licensed by our man Sam Don and released on 7 inch for the first time, this late night melter provides a taste before the second instalment of our 'For the Love of You 2' compilation coming later in 2021 compiled by Sam and locked down during lockdown.

                  STAFF COMMENTS

                  says: Who could resist this lovers rock version of Never Too Much? First time released on 7" this is the ultimate cover of the truly iconic track.

                  “Sex Miami”. Let those words melt into your soul like creamy, creamy pink ice cream in on your tongue. This album by Deux Control is a smooth genre crossover paradise of 808s, Yamaha keyboards and deep mesmerizing vocals side by side with more hardcore synth elements found in bands like DAF or Nitzer Ebb.

                  Deux control’s sound is a mix your favourite soundtracks of electronic music with a large portion of body synth. It is sexy, cool, and a bit frightening. The music on “Sex Miami” is familiar and goes out to all listeners of all ages but especially to those in the French/Italian disco fandom out there. This is the kind of music an eighties international business traveller would listen when kicking back and clubbing after landing a fat new contract.

                  Deux control is the act that got bumped from the Miami Vice soundtrack last minute because being a bit to edgy for mainstream USA. They are the group that Gorigio Moroder tried to copy when he wanted to update his sound. Deux Control are the new rulers of psychedelic electric body-disco!

                  STAFF COMMENTS

                  says: A little weird, a little sexy, very cosmic and very dark - what more could you possibly want (from Hoga Nord)? One for the dark and dingy night clubs - not long now peeps!

                  Self-styled ‘house husband, record producer’, DMX Krew, continues his effortless stretch of releases that date back to the early 90s, with a new album for Hypercolour.

                  His deft melodies and mechanical, electro-tinged beats have made for some classic albums in his repertoire, from his incredible run of albums for Rephlex Records, up to 2020’s ’Ghost Bubbles’ long player for Terrestrial Funk. And so ‘Loose Gears’ marks DMX Krew’s fourth album for British stalwarts, Hypercolour, and fans will not be disappointed.

                  Armed with an arsenal of hardware, and a head full of futuristic visions, ‘Loose Gears’ collects eleven tracks of the customary quality we have come to expect from DMX Krew.

                  From the funk laden ‘Solar Transit’ to bleepy chugger ‘Dejected Ambient Twerp’, the vibrant synths and spongy rhythms of ‘Torpedo Tube’ to the beatless wiggle of ‘Xpansion 2’, there’s much in store to be savoured on ‘Loose Gears’, as DMX Krew serves up another fine selection of electronic goodies.

                  STAFF COMMENTS

                  says: Producers as prolific as Ed DMX are a rarity; but often have the luxury of simply dipping into their hard drives when a label come knocking for releases. It's more a question of curation than actually mining for content. Here, Hypercolour have done an excellent job of sequencing a plethora of tracks across an extensive period resulting in a tasty double pack from this industrious workhouse.

                  Dubstar

                  One

                    It was the end of a century, and as the 1990s inevitably applied its brakes, Dubstar were sent flailing through the windscreen of popular music. Their third album, the unfortunately-titled Make It Better, lay bleeding at the side of the road, itself a casualty of one-too-many personal and professional traumas.

                    In the following years there were some half-hearted attempts to record more music- even the occasional, low-key live appearance here and there- but it wasn’t until 2015 that Sarah Blackwood and Chris Wilkie found themselves formally reconstituted and writing new material in dedicated earnest. Not because it was expected, but because they couldn't help it.

                    With the support and encouragement of legendary producer Youth, they began sessions for One, which represented the beginning of a new chapter in the Dubstar story, and one which has audibly benefitted from the passing of time. The album is generally considered to be the first worthy successor to their platinum-selling debut Disgraceful, and serves as generous compensation for the wilderness years, while promising even better things on the horizon.

                    Elephant9

                    Arrival Of The New Elders

                      Ståle Storløkken – Rhodes piano, Hammond organ, grand piano, Eminent 310, Mellotron, Continuum Nikolai Hængsle – Electric bass, electric and acoustic guitars Torstein Lofthus – Drums, percussion. After a solid run of five studio albums and 2019´s two double live albums, Psychedelic Backfire I and II, Elephant9 had taken their groovy mix of high energy rock and power jazz as far as they could. In this respect Arrival Of The New Elders comes as a welcome and most timely addition to their recorded output. More varied, mature and reflective, don´t let the self-ironic (?) title mislead you, they are as groovy as ever, but more structured and less jam oriented, with the longest track clocking in around the seven minute mark. Rather short, by their standards.

                      Having built a solid live reputation even before their brilliant 2008 debut Dodovoodoo, the trio boasts what is probably the strongest rhythm section in Norway, complemented with keyboard magician extraordinaire, the one and only Ståle Storløkken. And boy, does he excel himself on this album, notably with more focus on the Rhodes than before. That said, this is nothing if not another strong group effort from what has been a very tight unit straight from the outset. Seven brand new compositions from Storløkken and one from Hængsle make way for what we consider to be their finest and most cohesive album to date. Arrival Of The New Elders was recorded by trusted stalwart Christian Engfelt, with early Dungen producer Mattias Glavå handling the mixing duties.Ståle started his musical journey in Veslefrekk with Jarle Vespestad and Arve Henriksen in the 90s, soon morphing into Supersilent with Helge Sten on board. He´s also a member of Møster! and Humcrush, and have collaborated with a number of artists, most notably Motorpsycho. Nikolai is also a member of Bigbang, Needlepoint and Band Of Gold and have appeared on a couple of hundred records. The same goes for Torstein, an associate member of numerous bands ranging from pop and soul to free jazz. But Elephant9 has always been their special baby.

                      Dominique Fils-Aimé

                      Three Little Words

                        Dominique Fils-Aim is a Juno Award winning singer-songwriter from Montreal who draws inspiration from soul icons of the 40’s and 60’s such as Billie Holiday, Etta James, and Nina Simone. While her musical roots are grounded in early soul and jazz, her voice transcends contemporary urban soundscapes.

                        Her 3rd album Three Little Words is a startlingly self-reflective look at affecting societal change while reminding the listener that it is equality and love which feeds the soul and inspires us to do better. Fils-Aim has a disarmingly literal interpretation of soul music as music that comes from the soul, and the album pays homage to a plethora of musical genres that fed and nurtured her love of lyric-driven jazz and soul music. Love and loving oneself is the common link throughout, and Fils-Aim is certain that love is the key that will provide us with a path to equality. We need to, and deserve to, fight for the right to love both ourselves and each other

                        Fire!

                        Defeat

                          Mats Gustafsson - Flute, baritone sax, live electronics, Johan Berthling - Electric bass, Andreas Werliin – Drums with Goran Kajfes – Quartertone trumpet, Mats Aleklint – Trombone, sousaphone, horn arrangements. Not the most optimistic title for pressing times, but the music sees Fire! tracking new paths and reaching new levels of excellence, still honoring their 12 year old vow of presenting a fresh approach to improvised music. Their debut album, You Liked Me Five Minutes Ago, was released in 2009 to wide international acclaim. “The basic strategy of pairing the expressive energy of free jazz with a sturdy sense of groove has yielded something potent and self-contained” (New York Times). Between this and Defeat there´s been five albums, including collaborations with Jim O´Rourke (Unreleased?, 2011) and Oren Ambarchi (In The Mouth A Hand, 2012).

                          No two Fire! records sound the same, but with Defeat they have taken their biggest leap so far, with Gustafsson giving the flute a prominent place in the sound image, a surprising and most successful move, his both expressive and ornamental approach given ample room to breathe, especially on the two long tracks bookending the album. In places more subdued than on previous efforts, but with the distinctive bass figures and hypnotic mood fully intact. There are some lively stretches with guests Goran Kajfes and Mats Aleklint, bringing to mind their big band offshoot Fire! Orchestra, albeit on a smaller scale. For over 20 years we have made a habit of releasing music that is beyond easy classification, in later years typified by Hedvig Mollestad, Elephant9 and Krokofant, but cemented by Fire! and their exploratory curiosity and deep love of music in general. We, and many others, have tried to compare the trio to other groups, but listening to Defeat we realize how futile this is. Given the above there´s no doubt there are many influences at play, but the resulting brew is in a class by itself.

                          Flyying Colours

                          Fantasy Country

                            Flyying Colours- hints of early 90’s shoe-gaze and grunge, which fans of Ride & MBV will connect with.

                            Australian four-piece Flyying Colours are set to release their sophomore album; taking inspiration from the early 90s UK psych/shoegaze scene, 'Fantasy Country' is rich in sonic texture and shimmering atmospherics with a heavy dose of melody. From the swooning, sludgy 'Goodtimes' and urgent noise-fest of 'Big Mess', to the gorgeous melodic pop of 'OK', Flyying Colours look to redefine noise within the context of pop music. Elsewhere, 'It's Real' is perfect, summery dreampop while the crushingly loud 'White Knuckles' and chugging 'Boarding Pass' is a hazy, echo-laden spaced-out affair.

                            FORMAT INFORMATION

                            Coloured LP Info: Limited edition colour LP.
                            Two colour variants – green & blue phase & yellow & pink spinner.
                            Colour will be supplied at random.

                            Frànçois & The Atlas Mountains

                            Banane Bleue

                              ‘Banane Bleue’ (French for blue banana), the brand new album from Frànçois & The Atlas Mountains, is a nomadic and truly European record, hailing from rented workspaces in some of the continent’s key cities - Berlin, Athens and Paris - and recorded with instruments that were often borrowed from likeminded musicians.

                              Written solely by Frànçois Marry himself, close collaborator and Weird World artist Jaakko Eino Kalevi was enlisted for production duties whilst Renaud Letang (Feist, Gonzales, Connan Mockasin) mixed the album.

                              The title of the album is taken from the ‘blue banana’ concept, a geographical theory that groups together a corridor of Europe’s biggest cities, originally conceived in the 1980s. The theory states that the blurring of these cities’ boundaries has resulted in the formation of one massive, interconnected megalopolis.

                              Expanding on the theory, Frànçois poetised it, picturing a luminescent blue banana shape that you can see from space with vibrant, ethereal currents that surround and bind us. It explores common cultural and romantic ground, creating an album full of missed meetings and misunderstandings.

                              FORMAT INFORMATION

                              Coloured LP Info: Indies exclusive transparent blue vinyl.

                              Coloured LP includes MP3 Download Code.

                              Aretha Franklin

                              Maybe I'm A Fool

                                Not content with furnishing our collections with excellent compilations of soul, disco, funk and jazz, Wagram now take a deep dive into the discographies of individual artists, in this case the exceptional Aretha Franklin. Focusing on the early years of her career, this sixteen track set takes us through the likes of 'Won't Be Long', 'Blue Holiday' and 'It Ain't Necessarily So' and serves as a reminder of just how special a talent she was.

                                Frits Wentink & Erik Madigan Heck

                                Safe Passage

                                It is often said that the best art comes out of adversity, and so it is that producer Frits Wentink, photographer Erik Madigan Heck and actress Tilda Swinton have collaborated on Safe Passage, a fascinating audio-visual project born out of loss. Consisting of classical, choral, and electronic music in three movements, the gatefold album presented with a 40 page booklet of additional photographs and paintings.
                                Dutch producer and renowned innovator Frits Wentink helms the Will & Ink and Bobby Donny labels, builds synthesizers and beautiful controllers, and puts out always experimental, left of centre house music that pushes at the boundaries. This project initially started out as him attempting to musically illustrate the photography of American visual artist Erik Madigan Heck. The internationally renowned Heck is known for a lavish and experimental use of colour that has won him the prestigious International Center of Photography’s Infinity Award as well as make him a regular contributor to high profile media such as The New York Times Magazine, Vanity Fair, and Harper’s Bazaar.

                                Midway through the project, Eriks mother was hospitalised due to breast cancer complications before also contracting Covid-19. By her bedsides and as a means to ease her passage, he repetitively played the first portion of the score, and then, once she passed, he decided to commemorate the music's function as a soundtrack for her transition to afterlife by naming it Safe Passage. The involvement of Academy Award–winning Scottish actress Tilda Swinton has lent the music an extra dimension of spirituality: throughout the album, she interjects whispered fragments of Heck’s poetry, blurring the lines between one phase of music and the next.

                                The music has three movements across two sides: Side A, Safe, has a sense of hope and reflection as it undulates from minimalist string and brass arrangements to ambient and dissonant classical piano. Side B, Passage, then depicts the start of the transition into the afterlife as the voices of a choral madrigal ensemble gradually diverge, then break down entirely before a grand tonal expansion leads into a frenzied crescendo of choral vocals, hardened dub techno and anxious rhythms that convey the violence of the soul’s exit from this world. Finally, a cathartic Epilogue resets and bids farewell with the gentle sounds of a piano.

                                Because of the global on-going loss of life as a result of Covid-19, Safe Passage has become a soundtrack in which many people will find solace as they remember the sad transitions made from this life to the next during this unprecedented time in history.

                                Black vinyl pressing of the now sold out RSD 2020 reissue. 'Cascade' was first released in 1993 reaching a chart position of 27. A whopping 26 years later FSOL rebuilt and created 10 new compositions inspired by the original to celebrate RSD 2020. Now, due to popular demand, this superb LP is back on vinyl - so don't miss out again!

                                PJ Harvey

                                Stories From The City, Stories From The Sea

                                  Reissue on vinyl of the fifth PJ Harvey studio album Stories From The City, Stories From The Sea. Produced by PJ Harvey with Rob Ellis and Mick Harvey, and originally released in November 2000, Stories From The City, Stories From The Sea features the singles ‘Good Fortune’, ‘A Place Called Home’ and ‘This Is Love’ and includes a duet with Radiohead’s Thom Yorke on ‘This Mess We’re In’. The album won the Mercury Music Prize in 2001. Reissue is faithful to the original recording and package, cutting by Jason Mitchell at Loud Mastering under the guidance of longtime PJ Harvey producer Head.

                                  PJ Harvey

                                  Stories From The City, Stories From The Sea - Demos

                                    Collection of unreleased demos of every track written for the fifth PJ Harvey studio album Stories From The City, Stories From The Sea, including demos of ‘Good Fortune’, ‘A Place Called Home’ and ‘This Is Love’. Audio has been mastered by Jason Mitchell at Loud Mastering under the guidance of longtime PJ Harvey collaborator Head. Features brand new artwork with previously unseen photos by Maria Mochnacz.

                                    Here Lies Man

                                    Ritual Divination

                                      Four albums in, the convenient and generalized catchphrase for Here Lies Man’s erudite sound — if Black Sabbath played Afrobeat — might seem a little played out. But Ritual Divination is perhaps the best rendering of the idea so far. Particularly on the Sabbath side of the equation: The guitars are heavier and more blues based than before, but the ancient rhythmic formula of the clave remains a constant.

                                      “Musically it’s an opening up more to traditional rock elements,” says vocalist/guitarist/ cofounder Marcos Garcia, who also plays guitar in Antibalas. “It’s always been our intention to explore. And, as we travelled deeper into this musical landscape, new features revealed themselves.”

                                      The L.A. based band comprised of Antibalas members have toured relentlessly following their breakout 2017 self-titled debut. Their second album, You Will Know Nothing and an EP, Animal Noises, both followed in 2018. Third album No Ground To Walk Upon emerged in August 2019. All of them were crafted by Garcia and cofounder/drummer Geoff Mann (former Antibalas drummer and son of jazz musician Herbie Mann) in their L.A. studio between tours. Ritual Divination is their first album recorded as the full 4-piece band, including bassist JP Maramba and keyboardist Doug Organ.

                                      Ritual Divination continues with an ongoing concept of HLM playing the soundtrack to an imaginary movie, with each song being a scene. “It’s an inward psychedelic journey, the album is the trip,” Garcia says. “The intention and purpose of the music is to create a sonic ritual to lift the veil of inner space and divine the true nature of reality.”

                                      Likewise, musically and sonically, the album is self-reflexive. “On this album the feel changes within a song,” Garcia says. “Whereas before each song was meant to induce a trancelike state, now more of the songs have their own arc built in.” Similarly, the guitar sounds themselves herein eschew the fuzz pedals of previous recordings, going for the directness of pure amp overdrive and distortion using an interconnected rig of 4 amplifiers. And, here, the well-versed live band is able to record as a unit, giving it much more of a live and dynamic feel.

                                      Rough Trade named the band’s self-titled debut in their prestigious Top 10 Albums of 2017. BBC 6 & Classic Rock Magazine deemed it among the year’s best, as well as countless other press outlets singing its praises. Each subsequent album furthered the band’s reputation for genre-smashing rhythmic experimentation, topping many year-end lists as well as earning features from countless metal and indie rock outlets, plus cover stories in weekly papers.

                                      “We’re very conscious of how the rhythms service the riffs,” Garcia explains. “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.”

                                      STAFF COMMENTS

                                      says: Here Lies Man amp up the groove on their latest outing 'Ritual Divination', taking them from a more percussion-based sound into the stoner drawl and half-speed Sabbathy grind that suits them so well. Psychedelic and heavy without being wandering, a brilliant step forwards for the band.

                                      FORMAT INFORMATION

                                      Coloured LP Info: Coloured vinyl edition limited to 666 copies.
                                      Includes a blue vinyl 7"

                                      LP Info: Black vinyl.

                                      Horse Meat Disco grace Glitterbox Recordings with their first-ever full-length album “Love & Dancing”, a joyous, 14-track collection of the nightlife titans’ exquisite productions. The four-strong DJ collective of Luke Howard, Severino Panzetta, James Hillard and Jim Stanton started their disco shenanigans on New Year’s Day, 2004 at The Eagle, Vauxhall and over the 16 years since, their nightlife tenure has seen them become a global brand. With residences in Berlin, New York, Lisbon, and their London bedrock, as well as regular appearances at Glitterbox parties across the globe, the group has become one of the most revered and adored acts on the international club circuit.

                                      “Love & Dancing” is the culmination of seven years’ work, fashioned from the demos the four have been working on simply for the love of making music. Free of cover versions and lazy samples, it is documentary evidence that disco has a present and future every bit the platinum-grade equal of its storied past.

                                      Working with an array of A-List collaborators including founding member of Sister Sledge Kathy Sledge, acid jazz pioneer N'Dea Davenport, rising star Fiorious and the inimitable trio Dames Brown. Highlights from the LP include the adored Glitterbox anthems “Let’s Go Dancing” and “Falling Deep In Love”, the laid-back disco jam “Message To The People”, collaboration with The Phenomenal Handclap Band “Sanctuary” and the irresistibly soulful “Home” featuring Atlanta songstress Hadiya George. “Love & Dancing” is an album to get lost in, flawlessly arranged, produced and curated from start to finish.


                                      STAFF COMMENTS

                                      says: A pleasure to see these cats evolve into a global-adored sensation. They've produced a really strong album here; rivalling other pop-disco offerings from Roisin Murphy and Crazy P. Not only is it jam packed with collaborations and pleasantly loaded with tracks there's a depth and variety prevalent across the whole LP proving that HMD are here for a long time to come. One of those records your living room will thankyou for purchasing...

                                      Turbulent synths ooze and oscillate, roaming like searchlight beacons across darkened shores. The experimental and idiosyncratic sound of duo Inkasso explores the feeling of being cast adrift in disorientating, mechanical worlds. In the studio, the pair jam with drills, string instruments, field recordings and everyday objects to create a hypnotic cacophony. Hear the penny drop on ‘Asso,’ chains rattle on ‘Träume aus Draht;’ the junglist murk of ‘Tag der Imker,’ and the sharp, crystalline beat of ‘Punkervirtel.’ Inkasso invites you to get lost in the uncanny spaces between dub, drone and techno; static introspection and the primal desire to dance.

                                      STAFF COMMENTS

                                      says: I first encountered Inkasso through a couple of killer contributions to the essential Kashual Plastik imprint, and it makes perfect sense for the equally fearless Osàre! Editions to host their debut LP. Drifting between dub, experimental electronics, cosmic chaos and that next gen club shit a la Canomdomblé and OK! Spirit, this is what you should be listening to instead of those IDM reissues...

                                      The Jack Moves Feat. Larry Hamm & The People Of Newark

                                      Horror Games

                                      New Star Creature 7" so if you're reading this it'll either be sold out or all the boogie-barrons of Manchester forgot to have their weetabix

                                      Jack Moves is joined by Larry Hamm & The People Of Newark for a informed but danceable slice of nu-boogie which touches upon current reasons of uncalm and unrest. 

                                      If the vocal is too poignant to digest then there's a full-loaded instrumental to get wild to with the poppers. 

                                      Limited quants as per so get them boogie-powered rocket-skates on you filthy turtle jerkers! 

                                      Geneva Jacuzzi

                                      Lamaze - Reissue

                                        Lamaze is Geneva Jacuzzi’s 2010 debut—a full-length pressing of analog 4- track and 8-track recordings that document the development of her musical style from her first appearance in 2004 up to 2009. It is a selective introduction gleaned from a body of over 200 recorded tracks. The recordings from this period are largely synth pop songs that are typical minimalist constructions with dance floor tempos. Use of experimental recording techniques and varying arrays of equipment produce differing electronic atmospheres—soundcrafting in the spirit of Chrome, Devo, Cabaret Voltaire, and Gina-X. 

                                        There is also an exploration of format in her playful use of alternating theatrical interludes and instrumental treatments. Lamaze is essentially a collection of demos, which is an atypical debut, but it is among the first lo-fi pop recordings that became the lexicon of the emerging music frontier, today’s “hypnagogic” jukebox—chillwave, bedroom pop, witch house, vaporwave, and more. The sound of the future, but the present of Lamaze is a world that has vanished. The collection is venerated as canon among her devotees and has become a coveted relic among fans and collectors of pop artifacts and rarities.

                                        Jetstream Pony

                                        If Not Now, When? / Yellow Pills

                                          Jetstream Pony come from a love of schrammelig indie-pop and post-punk, and are based in Brighton and Croydon, UK. The band features Beth Arzy (The Luxembourg Signal, Trembling Blue Stars, Aberdeen, The Fireworks, Lightning in a Twilight Hour) on vocals, Shaun Charman (The Wedding Present, The Popguns, The Fireworks) on guitar and Kerry Boettcher (Turbocat) on bass, with Hannes Mueller (The BV's, Endlich Bluete) on drums for live shows. Continuing the sound and essence of Jetstream Pony, there's a sprinkling of Garage-Power-Pop on this single, firing off with "If Not Now, When?', with the band's take on 'Yellow Pills', a live favourite, on the flip.

                                          FORMAT INFORMATION

                                          Ltd 7" Info: Limited edition - second pressing on coke bottle green translucent vinyl.

                                          Carole King

                                          Tapestry - Vinyl Reissue

                                            Originally released in 1971, this classic album was the second studio album from American singer-songwriter Carole King. It is the 81st best selling album of all time, with over 10 million copies sold.

                                            Ranked by 'Rolling Stone' as no.25 on the list of the Top 500 greatest albums of all time. 

                                            FORMAT INFORMATION

                                            Ltd LP includes MP3 Download Code.

                                            Sarathy Korwar & UPAJ Collective

                                            Night Dreamer Direct-to-Disc Sessions

                                            On their Night Dreamer debut, the sensational drummer, percussionist and musical artist Sarathy Korwar and his allstar “UPAJ Collective” gain brand new ground in their mission to rebalance spiritual jazz with authentic Indian classical music. “UPAJ” means “to improvise” in Hindi, and recording direct-to-disc at Artone Studios with almost no preconceived directions, they truly capture the “spirit of spontaneous improvisation”, as Sarathy puts it, like never before.

                                            Fluent on both tabla & drums, Korwar has firmly established himself on the UK jazz scene & far beyond, playing with the likes of Shabaka Hutchings & Hieroglyphic Being. Winning a Steve Reid Foundation award and most recently winning an AIM award for best independent album for the album 'More Arriving’.

                                            On this special recording for Night Dreamer, Korwar and co have brought the UPAJ fully to bear with its mission to collaborate and improvise.The nature of recording straight-to-acetate, with just a pause between each record side, was a challenge they fully embraced, entering the recording with minimal instructions. Korwar relates that they initiated the session by sitting together in a circle to perform a set of breathing exercises, now a regular part of their gig prep. This set a collective tone, slowing heart rates, it centered the players and they felt more present, more aware of the space and each other. As such, trust, communication and ability to relate, came before the instrumentation.

                                            This new release for Night Dreamer marks an exciting chapter for Sarathy Korwar & The UPAJ Collective, “stepping into the unknown”, only to discover a more true and honest reflection of their art.

                                            In a world governed by stereotypes, Lachinos break down the boundaries between people and gender. It is impossible to clearly distinguish the origin, roots and cultures that are specific to each of its members. An association that turns out to be as unexpected as it is effective on their first EP America Lachina, out on Goutte d’Or, a sub-label of french team Cracki Records.

                                            America Lachina is also and above all an ode to Latin American music. One travels to the rhythms of merengue, cha cha cha, cumbia or even Brazilian surf, always with a musical commitment to rock accents.

                                            Byard Lancaster

                                            My Pure Joy

                                              "From A Love Supreme to The Sex Machine!" The personal musical mantra of the late Philadelphia reedman Byard Lancaster informed an open-minded and varied lifetime in jazz. Strut presents one of Lancaster’s lesser known classics, ‘My Pure Joy’, recorded in 1992 for Black Fire. Lancaster had initially cut his musical teeth with the avant-garde on New York’s Lower East Side in the 1960s (famously on sessions with pianist Dave Burrell and drummer Sunny Murray) and in Paris during the ‘70s after an appearance at the Actuel festival but, throughout his career, his path was built around community engagement, positivity and “the Philly jazz sound, Germantown style.” He became an ambassador for the music of the City Of Brotherly Love, starting his own Dogtown label, helping launch the Philly Jazz imprint and campaigning tirelessly to improve the circumstances of the city’s street musicians.

                                              Lancaster’s sessions for Black Fire were planned following a gig at Caverns Jazz Club in Washington DC. “Jimmy Gray of Black Fire and I originally met during the ‘riotous blisters’ of the late Sixties there,” explained Lancaster. “We became the best of friends.” Backed by a band of Philly musicians including percussionist Keno Speller and Baba Robert Crowder (drummer for Olatunji and Art Blakey), the album also featured the Drummers From Ibadan led by Tunde Kuboye, another influential figure dedicated to community jazz with whom Lancaster had bonded while teaching in Lagos. The result was a free-flowing set of spirituality and positivity, built around full band groove workouts, solo pieces and heavy African roots. “We had big fun documenting this music,” remembered Lancaster. The message of the album remains as relevant today as ever, “I dedicate this album to all African Americans in the USA. To the youth, I ask ‘What does it profit a man to gain the whole world and lose his soul?’” Originally delayed by three years because of cashflow issues within Black Fire, ‘My Pure Joy’ eventually surfaced as one of the label’s final CD releases in 1995.

                                              Pointing a lubed middle finger in the general direction of Brexit, London and Amsterdam connect for this lush effin record! UK legend IG Culture brings some London bruk boogie to the mix of "Believe" as LCSM, the afro-futuristic jazz venture known as Likwid Continual Space Motion. Super smooth and shimmering with spiritual frequencies, this cut skips onto the dance floor, its carefree poise disguising the complex balance between persistence and sensitivity. A joint release between Dopeness Galore and INI Movement originator Shamis.

                                              “One for the real heads, made for dance floors in dim basements”

                                              STAFF COMMENTS

                                              says: 'Believe' is giving me life right now! Soulful vocals, jazzy keys and some gurgling bass for the Thundercat fans. Then you get the ace LCSM mixes for when you want a lockdown boogie. Perfect!

                                              Loose Articles

                                              Up The Disco

                                                Dipped In Gold Recordings are proud to announce “Up The Disco” The latest 7” from Manchester upstarts Loose Articles.. Their debut outing EP ‘Orchid Lounge’ (Self released in 2019), cemented the bands foothold as one of the most abrasive, exciting and talked about bands in their stomping ground of Manchester. Up The Disco see’s the band continue to bring the mother flipping ruckus .. With the world going to Hell in a handcart it’s as good a time as any for ‘Up The Disco’ to bring those sweaty, alcohol infused nights at your favourite indie disco, straight to your home. The night is young, so join us, get a can on and dance. Loose Articles are Natalie Wardle, Erin Caine, Tree Nah and Louise Rivett

                                                Lord Of The Isles

                                                Skylark - Inc. Linkwood / Tourist Kid Remixes

                                                We often find there are two types of artists. One internalises their process, endlessly perfecting their work while finding the endpoint a massive hurdle, and in turn producing immaculate yet very little art. The other is continuously inspired, so full of ideas they can barely work fast enough to articulate them all.

                                                The art becomes by-product of their larger trajectory and not just a collection of endpoints. Lord Of The Isles a.k.a. Neil McDonald seems to be both. He’s always in an evolving state of process where work is constantly shed to make way for a new layer growing beneath, yet he holds his cards closely, cherrypicking when and with whom he releases that work into the world.

                                                Neil is simply prolific. In 2016 he shared with us a vast catalog of unheard beauty, which over a long span of time was collaboratively shaped into his debut album In Waves. In the span between the album release and now, Neil has performed on a number of ESP Institute label showcases from Los Angeles to Amsterdam to Berlin, and released a few efforts with our peers, but all throughout he’s been holed up working on his sophomore album [sigh].

                                                Though patience has become a sort of meditation during this global upsidedown, we couldn’t help but squeeze out an interim release to uphold the fantasy. So, four years after the release of In Waves, we’re proud to present a very long-winded follow-up single for the album’s monster track Skylark.

                                                Accompanied by a previously unreleased album cut entitled OmniMulti, the single also touts two glorious remixes; a sunkissed version by fellow esteemed Scotsman Linkwood and an atmospheric dismantling by Melbourne hopeful Tourist Kid. You see, good things come to those who wait.



                                                Lost Horizons

                                                In Quiet Moments

                                                  In 2017, Simon Raymonde and Richie Thomas had both abstained from making music for 20 years until they united as Lost Horizons and released a stunning debut album, Ojalá - the Spanish word for “hopefully” or “God willing.”

                                                  “These days, we need hope more than ever, for a better world.” Thomas said at the time. “And this album has given me a lot of hope. To reconnect with music.... And the hope for another Lost Horizons record!”

                                                  Thomas’ hopes had a mixed response. On the plus side, the new Lost Horizons album In Quiet Moments is an even stronger successor to Ojalá with another distinguished cast of guest singers and a handful of supporting instrumentalists embellishing the core duo’s gorgeously free-flowing and loose-limbed blueprint that one writer astutely labelled, “melancholy-delia.”

                                                  On the minus side, any hope for a better world, as Earth continues to freefall toward political and social meltdown. Then, to make matters worse, as Raymonde and Thomas buckled down to create the improvised bedrock that Lost Horizons is built on, the former’s mother died. At least Raymonde had a way to channel his grief. “The way improvisation works,” he says, “it’s just what’s going on with your body at the time, to let it out.”

                                                  Raymonde (bass, guitar, keyboards, production) and Thomas (drums, occasional keys and guitar) forged ahead, creating 16 instrumental tracks to send to prospective guests. When he did, Raymonde suggested a guiding theme for their lyrics: “Death and rebirth. Of loved ones, of ideals, at an age when many artists that have inspired us are also dead, and the planet isn’t far behind. But I also said, ‘The most important part is to just do your own thing, and have fun.”

                                                  And then Covid-19 hit. Half of In Quiet Moments’ lyrics were written after lockdown, but Raymonde saw a silver lining: people were slowing down and taking stock of their lives. Hearing a lyric written by veteran singer Ural Thomas, known as “Portland's Pillar of Soul", who fronts the title track, Raymonde singled out the phrase “in quiet moments” and made it the album title. “It just made sense,” he says. “This moment of contemplation in life is really beautiful. The title also went with the album cover, a photograph by Jacques-Henri Lartigue from the 1940s of a woman and dog on a beach, captured as if in flight.” 


                                                  STAFF COMMENTS

                                                  says: There are a frankly dazzling array of guests on this beautiful collection of slow-motion psychedelic drifts from Raymonde & Thomas, and each one seem to effortlessly glide into the instrumental core of ambient swells and subtle strings. A perfect tonic to the strains of a day.

                                                  FORMAT INFORMATION

                                                  2xColoured LP Info: Double LP pressed on green and blue vinyl.

                                                  2xColoured LP includes MP3 Download Code.

                                                  2xLP includes MP3 Download Code.

                                                  Lost Souls Of Saturn (Seth Troxler and Phil Moffa) launch their new label ‘Holoverse Research Labs’ as the hub for both LSOS’s audio transmissions and their adventures in media and technology.

                                                  The first release [HRL 001] presents special interpretations of Lost Souls Of Saturn’s eponymous debut album by the legendary Pépé Bradock. ’Cycloned by Pépe Bradock’ finds Lost Souls of Saturn, in the words of Bradock, “Dreamed, Weighted and Micro-Waved”. This is the album shattered into pieces and brought back together into new forms as the parts and files fall. Deconstruction or reconstruction? It’s unclear. What’s tangible is that the new tracks are very special, with Pépé bringing his unique talents to the control room / operating table.

                                                  “Bouillabaisse From Space Remix” is the sound of Pepe singlehandedly launching the French space program to find lost dance floors deep in our own cerebral cortex. “Pacific Limbo Bonus Beat” channels more of the same. This is head music for the dance floor. No amateurs.

                                                  Further remixes of tracks from the ‘Lost Souls of Saturn’ album are to follow in March from Mathew Jonson, Freedom Engine and Carl Craig.

                                                  STAFF COMMENTS

                                                  says: House maverick Pepe B takes Lost Souls Of Saturn into deep space here, dissolving their debut LP and reshaping it into a nebulous house masterpiece. As ever, the sound design is simply unique as spheric bass, techy keys, choral vox and crisp percussion peer out through the celestial fog.

                                                  Sue Lynne

                                                  Don't Pity Me / Don't Pity Me (Mono)

                                                    Classic 1969 blue-eyed soul monster that was the flipside of Sue Lynne’s ‘You’ single on RCA.

                                                    Huge at Wigan Casino back in the day.

                                                    Original copies now go for a huge £700 apiece.

                                                    A brass-powered stomper with a funky rhythm and backbeat that leads to a euphoric chorus and instrumental break.

                                                    Expertly remastered from the original sound source.

                                                    Two stellar versions; both mono and stereo for maximum dancefloor impact.

                                                    Written by Chris Andrews, who also penned Chris Farlowe’s mod anthem ‘Out Of Time’.

                                                    Sue Lynne (AKA Sue Vanner) quit the music business after the single’s failure to chart and ended up in the Bond movie ‘The Spy Who Love Me’, as well as a host of TV shows.

                                                    Madlib

                                                    Sound Ancestors (Arranged By Kieran Hebden) - Alternative Artwork Edition

                                                      VERY LIMITED 180GM VERSION OF THE MADLIB ALBUM ON TEXT WITH DIFFERENT ARTWORK.

                                                      Gil Evans to Miles Davis…. Holger Czukay to the ensemble known as Can….Jean Claude Vannier to Serge Gainsbourg on Histoire de Melody Nelson. That’s the only way to explain the specificity of Four Tet and Madlib’s collaboration, in this special album that showcases a two-decade long friendship that has resulted in an album that follows Madlib’s classics like Quasimoto’s The Unseen, Madvillainy and his Pinata and Bandana albums with Freddie Gibbs.

                                                      “A few months ago I completed work on an album with my friend Madlib that we’d been making for the last few years. He is always making loads of music in all sorts of styles and I was listening to some of his new beats and studio sessions when I had the idea that it would be great to hear some of these ideas made into a Madlib solo album. Not made into beats for vocalists to use but instead arranged into tracks that could all flow together in an album designed to be listened to start to finish. I put this concept to him when we were hanging out eating some nice food one day and we decided to work on this together with him sending me tracks, loops, ideas and experiments that I would arrange, edit, manipulate and combine. I was sent hundreds of pieces of music over a couple of years stretch and during that time I put together this album with all the parts that fitted with my vision.” Kieren Hebden AKA Four Tet.

                                                      Margot

                                                      Walk With Me / Falling In Between Days

                                                        New single Walk With Me is a song about empathy, depression and the power of talking. All channelled by frontman Alex Hannaway's pastel vocal hues and searingly honest delivery. Walk With Me works as a conversation between someone experiencing a depressive episode and another trying to understand. "It’s about listening, friendship, understanding, I’ve had experiences where friends, family members have been patient, they’ve been persistent and caring, and it’s this that has really helped me in my life" explains Hannaway. In addition to the official video, the band have also shared a 'Karaoke Video' for the single. "We've been using home karaoke sessions to blow off steam during the lockdown period. Often feeling confined, bored, angry, frustrated; the elation and release of belting out familiar songs in our living room felt cathartic. So it felt perfect for the video, capturing not only the isolation of lockdown but also the communal, spirited moments too" explain Margot. Margot comprises of five friends who moved from the suburbs of south London to Peckham after finishing University. In two separate bands at the time, drunken nights out discussing the merits of a merger evolved into the first few rehearsals. It went well - Margot formed in 2018 and released a steady stream of singles across the year. The band employ a DIY ethic, self-producing their recordings in their home studio. After ending 2019 supporting Swimming Tapes on their UK tour, the band released their debut EP in February 2020 and are set to support Dana Gavanski on her upcoming tour in March 2021. Margot's nuanced blend of dream-pop, neo-psychedelia and jangle-guitar create a propulsive, cruising feel reminiscent of Real Estate or War on Drugs.

                                                        Maximo Park

                                                        Nature Always Wins

                                                          An album of our times, Newcastle band Maximo Park return with their seventh record Nature Always Wins

                                                          The album arrives as something of an examination, zeroing in on the notion of the self, identity as a band, and that of humanity as a whole. The album’s title nods to the famous Nature vs Nurture debate. Discussing whether change is capable under the influence of time, perspective, environment or if we are destined to be bound by our own genetics, it asks, “who are we, and who do we want to be, and do we have any control over it?”.

                                                          “I'm so happy we were able to make this album during lockdown, as it's been a challenging time for everyone. After almost 4 years since Risk To Exist, we wanted to explore new musical territory (for us) without sacrificing our trademark melodic twists and heartfelt lyrics. As always, the passing of time looms large, although the songs contain more affection for the past than before, and there are occasional hints of the fractious, divided time that we live in” – frontman Paul Smith

                                                          Produced by Atlanta-based Grammy-winning producer Ben Allen (Animal Collective, Deerhunter), who afforded the band freedom to play and create. What wasn’t anticipated was how that freedom would be soon be stripped, as lockdown restrictions left the band recording remotely across Newcastle, Liverpool and Atlanta with audio files bounced back and forth, 4000 miles across the world!

                                                          STAFF COMMENTS

                                                          says: Nature Always Wins sees Maximo Park in fine form within a familiar but gradually perfected arena, mixing bombastic hooks and those unmistakeable vocals high in the mix. Propulsive and beautifully produced, this may be their finest outing yet.

                                                          FORMAT INFORMATION

                                                          Coloured LP Info: Clear turquoise vinyl.

                                                          2xLtd LP Info: Deluxe double black vinyl edition in a gatefold sleeve.

                                                          Melvins

                                                          Gluey Porch Treatments

                                                            Gluey Porch Treatments’ is Melvins’ out-of-print 1987 album, finally available again on LP, pressed on lime green vinyl.

                                                            Melvins

                                                            Hostile Ambient Takeover

                                                              ‘Hostile Ambient Takeover’ is the band’s 2002 album available on LP for the first time, pressed onto baby pink coloured vinyl.

                                                              Melvins

                                                              Working With God

                                                                ‘Working With God’ is the new studio album from Melvins, featuring the 1983 line-up of Buzz Osborne, Dale Crover and Mike Dillard. This is the first time the trio have recorded together since ‘Tres Cabrones’.

                                                                ‘Working With God’ is Melvins’ 28th (yes, 28th) full-length studio release and their first since 2018’s ‘Pinkus Abortion Technician’.

                                                                The band have been one of the most lauded hard rock bands to have helped develop the Grunge and Sludge scenes.

                                                                The new album is one of their most melodic and playful records - not just another ‘metal’ record, this will translate easily to hard rock and even mainstream rock fans as well.

                                                                The songs on the album are originals except for their take on Harry Nilsson’s classic ‘Fuck You’ and the well-known ‘Good Night Sweetheart’ that finishes off the album.

                                                                Menahan Street Band

                                                                The Exciting Sounds Of Menahan Street Band

                                                                MSB tracks have been the foundation for some of modern hip-hop's most successful beats; their music has been sampled by the likes of Eminem, Jay-Z, Kendrick Lamar, Travis Scott, 50 Cent, Curren$y, to name a few.

                                                                Menahan Street Band, a veritable supergroup of some of today's most prolific songwriters, arrangers, and producers return with this beat-forward, cinematic masterpiece.

                                                                Their unique brand of instrumental soul has not only been the foundation for some of modern hip-hop's most successful beats, it has also become the perennial soundtrack and veritable vibe-generator for countless parties, art shows, and restaurants throughout NYC and abroad.

                                                                While this album carries the aesthetic torch that MSB has skillfully woven into the tapestry of their DNA, it also delves deeper into the experimental, exotic sounds that fill many of the coveted Sound Library and Soundtrack LPs of the late sixties and early seventies - an amalgamation of moog synths, electric pianos, drum machines, and a bevy of analog instrumentation, that ebb and flow in lush swells of Morriconian grandeur.


                                                                FORMAT INFORMATION

                                                                Coloured LP Info: Vintage green coloured vinyl.

                                                                Underneath his mysterious metal mask, MF DOOM hides the cachet underground legends are made of. After KMD (his first group)’s 1994 sophomore album 'Bl_ck B_st_rds' was shelved by Elektra in 1994 and his blood brother Subroc (one half of the sibling rap duo) passed away, surviving frontman Zev Love X mutated into the MC Avenger known as MF DOOM and the rap world is better for it. This 19-cut deep album is ridiculously dope, in a bizarro Ol’ Dirty Bastard kind of way. Doom sounds either high or drunk on most of the tracks, his self-produced beats are gritty, and his rhyme styles are almost indecipherable. On arguably the best track, “Rhymes Like Dimes,” Doom weaves some pointed lyrics through his abstract wordplay, spitting ‘only in America could you find a way to earn a healthy buck / And still keep your attitude on self-destruct.’ Who You Think I Am? features DOOM‘s crew M.onster I.sland C.zars, while on “?” he trades hot verses with former Columbia artist Kurious Jorge. Doom’s avant-garde ghetto-rhyme philosophies take even more intentionally weird twists on “Tick, Tick...” where he and guest MC MF Grimm’s flows warble over a rhythm track whose tempo speeds up and slows down continually. The comic-book themed skits, will help take you deep into the mind of an MC who is as otherworldly as they come. And in today’s bland commercial Rap universe, Operation Doomsday’s left-of-center beats and rhymes are the perfect remedy.

                                                                Mouse On Mars

                                                                AAI

                                                                  Mouse on Mars, the Berlin-based duo of Jan St. Werner and Andi Toma, approach electronic music with an inexhaustible curiosity and unparalleled ingenuity. ‘AAI’ (Anarchic Artificial Intelligence) takes their fascination with technology and undogmatic exploration a quantum leap further.

                                                                  Emerging from a primordial ooze of rolling bass and skittering electronics, hypnotic polyrhythms and pulsing synthesizers propel the listener across the record’s expanse. Hidden in the duo’s hyper-detailed productions is a kind of meta-narrative.

                                                                  Working with AI tech collective Birds on Mars and former Soundcloud programmers Ranny Keddo and Derrek Kindle, the duo collaborated on the creation of bespoke software capable of modelling speech; text and voice from writer and scholar of African Studies Louis Chude-Sokei and DJ/producer Yağmur Uçkunkaya were fed into the software as a model, allowing Toma and Werner to control parameters like speed or mood, thereby creating a kind of speech instrument they could control and play as they would a synthesizer.

                                                                  The album’s narrative is quite literally mirrored in the music - the sound of an artificial intelligence growing, learning and speaking. This exploration of artificial intelligence as both a narrative framework and compositional tool, allowing the duo to summon their most explicitly science-fiction work to date.

                                                                  Original artwork by Casey Reas, inventor of the computer graphics language Processing.

                                                                  Recently, Mouse on Mars received the 2020 Holger Czukay Prize for Pop Music.

                                                                  Mouse on Mars have been regularly streaming performances throughout 2020, partnering with organizations like Goethe-Institut, Haus der Kulturen der Welt, Conditions of a Necessity and others and will continue these in 2021.

                                                                  FORMAT INFORMATION

                                                                  2xColoured LP Info: Limited edition grey vinyl.

                                                                  The National

                                                                  Cherry Tree EP - 2021 Reissue

                                                                    Released a year before The National broke through with their third album Alligator, 2004’s Cherry Tree EP is a thrilling record which - thanks to its collection of delicate ballads and anthemic crowd-pleasers - sums up what they do best in under 30 minutes. Now a firm fan-favourite, among Cherry Tree’s seven tracks are now National classics ‘About Today’ and ‘All The Wine’, plus a thrilling live version of ‘Murder Me Rachael’ that reminds of the band’s fearsome early live performances. Cherry Tree can be seen as the record that marks the moment when The National had truly found themselves, a bridge from what went before to a band ready to conquer the World.

                                                                    Having been remastered at Abbey Road Studios, the 2021 represses stay faithful to their original artwork while their stunning new masters help make these much-loved records sound as vital as ever, further emphasising the early signs of the sound that would go on to make them one of the fi nest and most beloved alternative bands of their generation.

                                                                    The National

                                                                    Sad Songs For Dirty Lovers - 2021 Reissue

                                                                      The National’s second album, Sad Songs For Dirty Lovers (2003) proved a leap forward from 2001’s eponymous debut, showing a band adept at delivering warm embraces and gut punches in equal measure.

                                                                      With word of mouth now spreading on the band, critics proved equally enthusiastic... Pitchfork in their glowing review called it a “Gorgeous train wreck” that “Lives up to its blunt title (with) Matt Berninger’s self-effacing barbs matched by the band’s equally potent hooks,” while Uncut also became early champions saying the album was “A genuine treasure... Livid as a bruise, this is brave, desperate, beautiful music.”

                                                                      No longer a secret among those that know, Sad Songs For Dirty Lovers is an important record in The National’s discography with this new remaster showing that it’s more than standing the test of time.

                                                                      Having been remastered at Abbey Road Studios, the 2021 represses stay faithful to their original artwork while their stunning new masters help make these much-loved records sound as vital as ever, further emphasising the early signs of the sound that would go on to make them one of the fi nest and most beloved alternative bands of their generation.

                                                                      The National

                                                                      The National - 2021 Reissue

                                                                        Celebrating its 20th anniversary in 2021, The National’s self-titled debut album of sozzled Americana is a thing of beauty, laden with heavy hints that this was a special band in the making.

                                                                        Their first release, The National arrived two years after The National formed, a time when they were juggling bandlife with needing to hold down full-time jobs. And while nods to the alt. rock artists that inspired them (Pavement, Silver Jews) can be heard, so too are the beginnings of something all their own – Matt Berninger’s stunning and unexpected lyrics being pinned to melodies that stop you in your tracks.

                                                                        The National marks the start point for one of the best bands of their generation with its new master helping elevate it to new levels. A great primer to a great band.

                                                                        Having been remastered at Abbey Road Studios, the 2021 represses stay faithful to their original artwork while their stunning new masters help make these much-loved records sound as vital as ever, further emphasising the early signs of the sound that would go on to make them one of the fi nest and most beloved alternative bands of their generation.

                                                                        Nightshift

                                                                        Zöe

                                                                          The band that became Nightshift formed in 2019 in the ecosystem of Glasgow's current indie scene. The city's fertile & creative group of musicians have been committed to pushing the boundaries of and blurring the lines between DIY, punk, experimentalism and indie pop for decades now; a home to bands like Shopping, Vital Idles, Current Affairs, Still House Plants, and Happy Meals as well as forebears like Orange Juice, Teenage Fanclub and Yummy Fur. Nightshift slot right in with all mentioned, featuring members from current indie stalwarts Spinning Coin, 2 Ply and Robert Sotelo. Initially formed by guitarist David Campbell and bassist Andrew Doig as a "No Wave/No New York/ early Sonic Youth/This Heat-esque" group, the addition of Eothen Stern (keyboards/vocals) and Chris White (drums) instantaneously transformed their approach (guitarist / vocalist/clarinetist Georgia Harris joined as the band was writing "Zöe"). The band self-released a full-length tape on CUSP Recordings in early 2020, laying the foundation of their sound; hypnotic, melodic, understated indie post-punk with hooks that stick around long after you've heard them. "Zöe" is the band's newest effort, and first for Trouble In Mind.

                                                                          Unlike the band's previous album, the songs on "Zöe" weren't conceived live in the band's practice space, but rather pieced together and recorded remotely during quarantine lockdown, with each member composing or improvising their parts in homes/home studios, layering ideas over loops someone made and passing it on. The isolation actually allowed for an openness and creativity to flow and many of the songs took on radically different forms from when they were originally envisioned.

                                                                          "Zöe" means "live drive", derived from the word conatus. Bradiotti defines conatus as “an effort or striving, endeavour, impulse, inclination, tendency, undertaking, serving is an innate inclination of a thing to continue to exist and enhance itself.” and Stern views it as "...a kind of feminist re-claiming of communal public, anti- privatisation, looking to strive for social and environmental justice. "Zöe" kicks off with "Piece Together", a hypnotic song anchored by the band's chanted vocals and serpentine guitar licks. "Spraypaint the Bridge" showcases Harris' clarinet in an unexpected & delightful melodic shift during the song's anti-chorus. Elsewhere tunes like the swooning "Infinity Winner" and "Outta Space"s minimalist, slinky rhythm swirl in a late-night vibe, while "Make Kin" ruminates on "Looking to kinship as a way of engaging with entangled environmental and reproductive issues... how a band is a bond" and lurches forward with kinetic guitar strangling and staccato rhythmic percussion from White and Doig.

                                                                          "Power Cut" is the album's centerpiece, kicking off side two and lures the listener into its world over it's 7-minute runtime. Lulling them into involuntary movement with its waves of melodic harmonies, synth drones and metronomic pulse, until they all come crashing down in the song's dissonant midsection. The band acknowledges the whiffs of nostalgia prevalent in "Zöe"s songs (the title track in particular), and the nature of writing and recording the album is soaked in the self-work, reflection and reevaluations involved not only personally but creatively in each member's lives. Consequently, the album becomes a collection of sketches of hope, growth, awareness of the power of the world and the power of self, kith, kinship, friendship, resistance, and possibility.

                                                                          FORMAT INFORMATION

                                                                          Coloured LP Info: Limited “moss green” colour vinyl.

                                                                          Ohtis

                                                                          Schatze / Failure

                                                                            The Schatze b/w Failure 7” features two new tracks from Ohtis, including a duet with Stef Chura, and was mixed by Collin Dupuis (Lana Del Rey, Angel Olsen, St. Vincent). It follows the release of Ohtis' critically acclaimed 2019 debut album, Curve of Earth.

                                                                            The release is led by “Schatze,” a new song that features Saddle Creek’s Stef Chura. A character study of the Selsh Antisocial Male, it is told primarily through the lens of his long put-upon girlfriend - which Chura acts the part of - in a series of complaints about his objectionable behavior. “I’ve always loved Ohtis and Curve of Earth is one of my favorite recent releases to come out,” Chura says of her involvement. “Sam is a rare songwriter. He speaks from an honest and dark place with a sincerity that I think is refreshing and deeply relatable. Adam is an old friend who was living down the street from me in Detroit at the time this collaboration came to be tossed around. I think someone on my Instagram kept asking me about doing a song with them... So I made a poll as a joke which led to the inevitable. When they showed me the song and the call and response format I was instantly in love with it.”

                                                                            Though light-hearted and fun in its tone, “Schatze” offers no illusions about the state of affairs: he is wrong, selfish, and unrepentant about it all. “I got the idea for the song on an oceanfront balcony up in Cambria when my wife got annoyed by my neurotic vape addiction crampin’ the vibes,” Sam says. “Most of the rest was written and recorded last year, late at night in a hotel room in Amsterdam.”

                                                                            The track actually takes its name from a cat belonging to Sam’s friend Gerald, which Sam says is extremely violent and possessive. “He has put Gerald's wife Teri in the hospital, and fucked me up badly more than once because I had refused to admit there was a cat alive whose heart I could not win,” Sam says. “Turns out Schatze is such a cat.”

                                                                            B-side “Failure” can be seen as the Selfish Antisocial Male in a moment of introspective crisis. He is struck by fear and panic about the consequences of his behaviors and what it means for his future. Whereas in “Schatze” he breezily appeals to his freedom to do as he pleases, in “Failure” his fears indicate that perhaps these behavior patterns do not represent personal freedom but in fact quite the opposite.

                                                                            “‘Failure’ was written many moons ago after visiting a walk-in clinic for an STD test attended by a ‘Dr. John’ and psyching myself out waiting for the results” Swinson says. “They eventually came back negative, but not before spawning this insane fucked up stream of consciousness song. I had always stood by the song
                                                                            living up to its title until Adam and Nate dug it back up and added this Bonnaroo-worthy outro to it.”

                                                                            Offering even further insight into a brutally honest mind, the two new songs are dark, raw, but always tinged with a compelling sense of sardonic wit. 

                                                                            Piccadilly Records

                                                                            Black Heavyweight Fair Trade Cotton Tote - Green Print

                                                                              Heavyweight fair-trade cotton canvas bag with 12cm (4 1/2") gusset so it's plenty big enough and strong enough to hold a fair chunk of records and also doubles as a rather nice groceries bag.

                                                                              Piccadilly Records

                                                                              Enamel Badge

                                                                                Look at this beauty!

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

                                                                                Plankton Wat

                                                                                Future Times

                                                                                  As Plankton Wat, Dewey Mahood uses his considerable guitar prowess to deliver an album that encompasses both the wild, seeking energy of free-improvisation and the deliberate arrangements of more traditional composition.

                                                                                  With his deft and stylistically varied playing, Plankton Wat’s ‘Future Times’ escapes psychedelic tropes and chemical fuelled alterations and instead celebrates an escape into the natural world.

                                                                                  ‘Future Times’ taps into psychedelia’s counter-cultural heritage as music for protest, liberation and imagining new ways of being in this world.

                                                                                  “Pastoral drones and swirling psychedelia” - Pitchfork

                                                                                  Known for his guitar prowess in modern psychedelic music, specifically with Eternal Tapestry as well as Edibles, Elephant Factory Galaxy Research and Gärden Söund among others.

                                                                                  ‘Future Times’ was recorded at Mahood’s home studio Solar Commune, with additions from Dustin Dybvig (Horse Feathers & Edibles) and Victor Nash (Flash Hawk Parlor Ensemble). Features Ash Dybvig on flute.

                                                                                  FORMAT INFORMATION

                                                                                  Coloured LP Info: Limited edition red vinyl.

                                                                                  Planningtorock

                                                                                  PlanningtoChanel

                                                                                    Collaboration between Planningtorock AKA Jam Rostron and Chanel sound director Michel Gaubert, the songs found on ‘PlanningtoChanel’ soundtracked the legendary Parisian fashion house’s Autumn-Winter 2020 show earlier this year.

                                                                                    “I always felt that Jam incorporates operatic and cinematic elements to their unique sound,” Gaubert explains. “The Chanel show was inspired by French cinema from the 70’s and 80’s and Planningtorock blessed the show with their sound and gave birth to ‘PlanningtoChanel’.”

                                                                                    “I love working with Michel. He’s a such legend with a brilliant ear for music and a very big heart!” says Rostron of the collaboration. “Creating the music for the Chanel show was such an exciting challenge. From the inspiring references that Michel gave me I set out to make music that had a sense of urgent elegance that was then punctuated with dramatic pitched queer voices driving the drama.”

                                                                                    Patience, Violet ,and Pinky recorded their first Album in 1992. Knowing each other from the music scene, the back up singers turned friends teamed up with Emmanuel Diale and signed with Mob Music to embark on their music career as their own act. The first two albums were straight African Disco, A leftover sound of the 80's that some had still hoped to capitalize on. By the time they released their third album Why O Nketsa so Baby, loosely translated to "Why are you doing this to me Baby", Kwaito was still called either Disco or International House, and it was new sound that was taking over. The third album was influenced by the Shangaan sound made largely popular by artists like Penny Penny and Peta Teanet. Looking back now, at the time Mob Music was really leading the pack with this new sound. Being one of the last labels to have official releases with artwork and a group of young talented producers given full creative freedom they pushed the sound in a way only few other labels of that time can be given the same credit.

                                                                                    For their fourth and final album on Mob Music they worked with legendary producer/songwriter Malcom "X" Makume. With three years of songwriting experience and stellar talent behind the desk the result was the LP "Malende". Eight tracks that would combine the early kwaito sound with the more uptempo International House topped off with productions heavily inspired by what had been slowly making its way from Chicago over the last 10 years. At the time they had some success and to this day are well known amongst the real heads.

                                                                                    The girls would go on to record one final album once their contract with Mob was up and then after a 5 album catalog would hang up their matching outfits for work a in a newly free South Africa. They remain friends to this day.

                                                                                    STAFF COMMENTS

                                                                                    says: La Casa Tropical save you some serious haggling on the Tropical Record Sales group, lending PVP's butter smooth and soulful fourth album the reissue treatment. Varying speed between the low slung groove of kwaito and steady stomp of more traditional house, this energetic set combines the exuberant SA sound with superior songwriting, rightfully earning its place at the top of the collectors' wantlists.

                                                                                    75 Dollar Bill Little Big Band

                                                                                    Live At Tubby's

                                                                                      NYC’s 75 Dollar Bill began its prolific career in 2012, after percussionist Rick Brown – a veteran of the indie underground (Fish & Roses, Run On, V-Effect) – and noise scene guitarist and multi-instrumentalist Che Chen – connected via MySpace. Since that initial jam session, when Brown began experimenting with his signature plywood crate drum rhythms, they have released 3 LPs and a clutch of self-released cassette and digital releases. Last year’s 2xLP I Was Real received serious critical acclaim – The Wire calling it 2019’s Album of the Year.

                                                                                      On their first live album, Live at Tubby’s, 75 Dollar Bill assembled a unique “little big band” [Sue Garner on bass, Cheryl Kingan on sax, Steve Maing on guitar, Jim Pugliese on percussion and Karen Waltuch on viola] for the small Kingston, NY club show. Recorded on the last day of their spring tour, the record puts a new perspective on themes from their body of work: a little more intimacy, a little more freedom, a little more controlled chaos. Brown’s idiosyncratic rhythms are all the more hypnotizing in Tubby’s cozy setting, and Chen’s furious guitar work cuts and hums with sounds seemingly only attainable on stage. It's an album both challenging and immediate. The expanded 75 Dollar Bill's affinity for improvisation and the avant-garde even leads to a rousing take on the Ornette Coleman classic, 'Friends and Neighbors' that feels right at home in their own repertoire. The listener can't help but feel present and part of the communal joy and catharsis being shared here in this room. This performance at Tubby’s turned out not only to be the last show of their tour, but the last show possible as the pandemic hit. Originally offered as a digital-only release on 75 Dollar Bill’s Bandcamp, Live at Tubby’s now documents a highlight and closure of sorts; this kind of musical improvisation and community interaction being on hold for the foreseeable future. The double LP on Grapefruit will have to tide us over until it can all happen again.

                                                                                      From Rick Brown:
                                                                                      75 Dollar Bill has always been a duo of Che Chen and myself, but many of our most satisfying and just plain fun experiences have involved some (or almost all) of our great crew of friend musicians who've worked with us for years and who play on our studio recordings, like 2019's I Was Real (Thin Wrist/Glitterbeat). Live at Tubby's presents a couple of sets recorded just as Spring and the coronavirus were arriving on the scene. We didn't plan for this as a “Little Big Band” concert, but we took advantage of timing and geography - as well as the fact that “everybody knows how to play WZN #3” - and sent out a call for any who could make it to come to Kingston, NY for the night's blowout, the last gig of a short tour we'd done as a duo. The material comes from I Was Real and its predecessor Wood, Metal, Plastic, Pattern, Rhythm, Rock plus a cover of the great and inspiring Ornette Coleman's song “Friends and Neighbors.” Hopefully, you'll agree it turned out pretty good – at the very least, it should be obvious that we had a good time! We sure do miss playing music with our friends and for our neighbors.

                                                                                      Skinshape

                                                                                      I Didn’t Know (Extended) / I Didn’t Know (Dub)

                                                                                        With over 15000,000 (yes, fifteen million!) plays on YouTube and over 2,000,000 on Spotify we thought it was only fair that Skinshape’s most popular song was released on glorious vinyl. The track is already on the ‘Filoxiny’ album so Skinshape extended the mix and backed it with a dub version for the flip. Skinshape is the project of British musician William Dorey. The sound has roots in many genres but in particular 1960s Funk, Soul, Reggae, Psychedelic Rock, Afrobeat and Folk.

                                                                                        Aside from the Skinshape project Dorey was bassist for the band Palace from 2014-2017 and also runs a reggae label called Horus Records based in North London. About I Didn’t Know from Dorey himself: “This is the most 'pop' song I've possibly ever made, and possibly the most 'modern' sounding. It is about being in a difficult relationship and not knowing how to deal with it and making mistakes as a result. I wrote and recorded most of the song around the drum pattern, and created some (terrible sounding) digital orchestral parts temporarily whilst I created the body of the song. I recorded the strings and horns in the last part of the recording process before doing the final mixes. The horns were recorded separately with the help of my long-time friend (since school) and master arranger Jon Moody (of the group Franc Moody).”

                                                                                        Smerz

                                                                                        Believer

                                                                                          Norwegian duo Smerz have announced the release of ‘Believer’, their forthcoming debut album that pushes Smerz far beyond their previous EP releases, 2017’s Okey and 2018’s Have Fun. Since releasing the ‘Believer’ trailer back in October 2020 followed by a video for the tracks ‘I don’t talk about that much/Hva hvis’, the duo of Catharina Stoltenberg and Henriette Motzfeldt have slowly revealed a new auditory world. The duo meld sonic touchstones from their youth, like musicals and classical music, with swirling, trance-indebted synth lines and hip-hop plus R&B vocals that is distinctly Smerz.

                                                                                          Last fall the duo performed at Oslo’s Ultima festival; in early 2020 they scored a performance by Carte Blanche, the Norwegian national company of contemporary dance, as well as performed at Mira festival in collaboration with legendary visual maverick Weirdcore.




                                                                                          Soul Supreme

                                                                                          Huit Octobre 1971 / Raid

                                                                                          Two MF Doom/Madlib versions, Huit Octobre 1971 and Raid which have been reimagined by Soul Supreme. Compacted all the Jazz/Soul that you could possibly want into this 7”.

                                                                                          STAFF COMMENTS

                                                                                          says: Soul Supreme reinventing versions of MF Doom, something a little bit different to tantalise your jazz taste. These two tracks are killer and are sure to fly off the shelves!

                                                                                          Stereolab

                                                                                          Electrically Possessed (Switched On Volume 4)

                                                                                            The fourth in the Switched On series that compiles non-album tracks and sought after deep cuts by the groop. Following on from the first volume released in 1992, 1995's Refried Ectoplasm, and 1998's Aluminum Tunes, the long-awaited fourth installment spans 1999 - 2008 in the Stereolab story and collates 3 LPs worth of material, all remastered from the original tapes and overseen by the band. It features all the tracks from out-of-print and sought after mini-album The First Of The Microbe Hunters, one-off and impossible to find tour 7"s, compilation tracks, art installation work and a couple of unreleased outtakes from the Mars Audiac Quintet and Dots and Loops recording sessions

                                                                                            STAFF COMMENTS

                                                                                            says: There are few bands more revered in electronic circles than Stereolab and this collection of brilliantly eccentric but unmistakeably deep 'rarities' compilations (I hate that term, but you know the sort), the FOURTH collection in fact being every bit as amazing as the first makes me wonder how many more there are, and when I can buy them.

                                                                                            FORMAT INFORMATION

                                                                                            3xDeluxe LP Info: Mirriboard sleeve edition, very limited.
                                                                                            Vinyl comes in bespoke gatefold sleeve with download card, housed inside a polythene wallet.

                                                                                            3xLP Info: Vinyl comes in bespoke gatefold sleeve with download card, housed inside a polythene wallet.

                                                                                            Deluxe CD Info: Mirriboard sleeve edition, very limited.

                                                                                            Pauline Anna Strom

                                                                                            Angel Tears In Sunlight

                                                                                              Angel Tears in Sunlight is Pauline Anna Strom’s first album in over thirty years; an assemblage of music that refracts the expansiveness, and minutiae, of imagined realms while embracing the kaleidoscopic echoes of our distant epochs. The capacity to collapse time might elucidate the enigma of Pauline Anna Strom. A mystic force in music, emerging during the dawn of new age as the Trans-Millenia Consort, the pioneering synthesist channelled primordial energies into future-facing sound through a series of full-length releases between 1982 and 1988.

                                                                                              Little was known about her, except by a constellation of devoted followers who saw a unique legacy forming amidst the (mostly male) synthesist canon of the time. Following the 2017 release of Trans-Millenia Music, an anthology revitalizing the most evocative parts of Strom’s catalog, the Bay Area visionary sensed the universe telling her to return to music. As with her work in the 80s, Angel Tears in Sunlight was composed and recorded in the same San Francisco apartment where Strom has lived for almost four decades in synthesis with her machines and “dinosaurs.” Populated by a compact array of modern instruments that streamline the sound of her analog past and her beloved iguanas, Little Soulstice and Ms Huff, the terrarium of her home forms an intimate yet limitless ecosystem that defies the constraints of the outside world. Within this sanctuary, Strom becomes lost in time, drawing on the ancient energies of her inner visions. Her hardware forms the crux of translating these ideas into sound. “It’s the only way this stuff can be pulled out of myself, the universe, Little Soulstice, an ammonite…,” Strom notes. “It couldn’t be done without this machinery, because there’s no other way to draw and capture these frequencies into sonic interpretation.” Strom’s process of recording transient live-takes enriches the mystery of her work. She renders the machinery a composer itself, a cohabitation with a living other. “Many musicians wouldn’t go that far because of ego,” Strom muses. “The equipment has to become part of you and your creativity.

                                                                                              That’s how I think it all comes together.” Music-making becomes a harmonic language of intuition with an instrument, where Strom cultivates sound for a harvest that defies season. Shaped by circadian contours, Angel Tears in Sunlight is a celestial observatory of earthborn phonic mosaics. Strom uncovers a symbiosis between hardware frequencies and apparitions of nature in the record’s arena of organic tones, emulating the melodic pulses of primeval terrain. The album transcends both shadow and light, falling to hushed stretches of sound as if not to awaken antediluvian animals, before soaring through the treetops where ancient skies peer over reptilian traffic and unsparing rains. Where Angel Tears in Sunlight opens a new passage in the transportive power of Strom’s work, the synthesist also nurtures space for restorative listening. During her absence from composing, Strom turned to a practice of spiritual healing, which she recognizes to have deepened her understanding of music as “the connective link between the source and us.” Dedicating the album to her dear friend John Jennings who passed away during the making of Angel Tears in Sunlight, Strom titled the work to reflect the summation of processing life and loss, collapsed together in an eternal spectrum. “Sunlight represents what we’re coming into.

                                                                                              FORMAT INFORMATION

                                                                                              Coloured LP Info: Limited edition clear / red / yellow swirled vinyl.

                                                                                              Tadi Feat. DJKR

                                                                                              Seven Diamond Lines

                                                                                              For the first Offen release of 2021, Vladimir Ivkovic introduces us Piccadilly pickers to the sublime sound design of Tadi Yan. Vlad originally heard this in a Lena Willikens set in Warsaw back in 2019, and was hooked, seeking out Tadi in Shanghai to secure a proper vinyl release. 

                                                                                              Taking Dzongsar Jamyang Khyentse Rinpoche's recitation of a Guru Rinpoche Prayer as a starting point, Tadi conjures an intoxicating plume of ominous synth swells, echo laden percussion and blinking electronics, achieving a truly arresting effect. Backed with the original chant recording, this is true trance music, perfect for turning a club on its head.


                                                                                              STAFF COMMENTS

                                                                                              says: Sonic chakra re-alignment surgery here. In its original form, Rinpoche's prayer vibrates with your body tones and celestial hum (toad smokers will get this straight away); while the remix should inject some much needed electro-voodoo into even the most heathen of audiences.

                                                                                              Rian Treanor's "Obstacle Scattering EP" arrives in a flurry of disorienting rhythmic bursts and de-purposed rave hallmarks. The four-track EP follows the Yorkshire producer's acclaimed "File Under UK Metaplasm", an album that welded elements from the UK's sprawling dance music history with genre-breaking sounds from further afield. Here, Rian goes straight for the jugular with four tracks assembled specifically for the dancefloor. Playing with 'the idea of sound being an obstacle that you have to get your body around,' each track on the EP presents a suite of complications for adventurous ravers. "Obstacle 1" folds the influence of SND into a hi-nrg singeli framework, simmering lush FM synths in a broth of tangled kicks; "Obstacle 2" was written for Rian's set at 2019's Aphex Twin-curated Warehouse Project and distills his early obsession with Planet Mu in hyperactive squelches that deftly flit between brutalist glitches and ear-pummeling bass. Meanwhile irradiant chords continuously refract a bouncing 4x4 groove on "Obstacle 3", subtly shifting the focus as they alternate and interlock. Closer "Obstacle 4" switches things up once again, deploying the idea of pause and effect with staccato stabs that follow whirls of modulated synth. These four obstacles are DJ tools with spikes - selected grooves that don't fit anywhere except together, mapping out Rian's constantly-shifting relationship with both the club and the legacy of boundary-pushing dance music. They feverishly demonstrate the outer limits of a streamlined sonic palette, devastating speakers and dancefloors in equal measure.

                                                                                              STAFF COMMENTS

                                                                                              says: I feel like my head's been turned inside out, sandblasted, jet-washed and put through the tumble drier before being ironed back out. A cerebral-irrigation if you needed one. Fuckin' mega.

                                                                                              Throughout music history a few bands and artists have succeeded in creating their own universes for their on stage-personas and music to evolve within. Ultra Satan is one of those bands: in their anti-rock, packed with rock aesthetic in a classic DIY-format, you find a distinct but also defiant concept which frames the bands revolutionary and anarchistic output. You could say that Ultra Satan has created an own space to be unpredictable within.

                                                                                              Golden Bug and Peaking Lights, friends with and released on Höga Nord Rekords, have made remixes of Ultra Satans second 7” and the result bares traces of Patrick Cowley, Brian Enos World Music explorations and some hints of dub. The lonely reverberating and echoing guitars contribute to the apocalyptic vibe that comes clear to you in these remixes - Golden Bug and Peeking Lights have both drag out more darkness of the songs than you get in the original versions. Still, none of the polyrhythmic excellence of the original versions is lost in the process - you can still dance through the apocalypse.

                                                                                              Ultra Satan is one of few concept bands today that manages not to be ridiculous or pretentious and always stays on the right side of the abyss, not falling in, getting eaten by darkness. The good always wins in the end!

                                                                                              Rik Van Boeckel

                                                                                              Deze Hoofden Praten

                                                                                              New label on the block Raakvlak returns for its second release, this time branching out into more local territories. Deze Hoofden Praten is a vast recollection of the idiosyncratic work of spoken-word guru Rik van Boeckel.

                                                                                              Next in line for Raakvlak is a recollection of the wicked work of poet, spoken-word expert and all-round expressionist Rik van Boeckel. Deze Hoofden Praten is the result of two mid- eighties tapes released on Kubus Cassettes, the same label that accommodated the work of the mind- stretching ambient of subterranean-chill pioneer Enno Velthuys. Although van Boeckel’s oeuvre contains some similar elements, the outcome here is much wilder; a musical hodgepodge of new wave pop, ambient and quirky dub. What’s more, emphasis is just as much on the Dada- bordering poetry at present as on the sonical equivalent. Think Ton Lebbink’s cousin if he would’ve been into new age instead of punk. Certainly one to turn heads and ears alike, this may serve as a (re-)introduction of a singular mind to the wider universe.

                                                                                              STAFF COMMENTS

                                                                                              says: After turning us on with the kosmische grooves of that Overflow reissue for their first release, Raakvlak are back with more archival excellence, combining a couple of mid-80s cassettes from Rik Van Boeckel. Operating in dada-ist mode, Rik stiches spoken word vocals over experimental compositions which drift between dub, wave and C86 guitars.

                                                                                              Vapour Theories

                                                                                              Celestial Scuzz

                                                                                                New album from brothers John and Michael Gibbons, the guitarists from psychedelic drone legends, Bardo Pond. A “heavy ambient” instrumental masterpiece that explores the symbiotic relationship of the duo as they build and dismantle sounds on a unique ethereal trip.

                                                                                                A full-length follow up to ‘Joint Chiefs’ from 2006, ‘Celestial Scuzz’ is a monumental sound piece created from hours of jam sessions and crafted into a cohesive mind-blowing trip. The result has a heavy ambience, like Eno locked in a dark room with Sunn-O))))) rehearsing next door.

                                                                                                While Bardo Pond’s trajectory takes them deep into rock music’s ever-imploding sound, the brothers Gibbons surf a more ethereal and eclectic plain; from a heady and consuming space, a “sanctuary; balm for the soul.” Describing the writing process, Michael Gibbons explains it as “a kind of spiritual experience. Most of the time it leaves us stunned; the more stunned we are the better the jam.”

                                                                                                FORMAT INFORMATION

                                                                                                Coloured LP Info: Limited edition gold vinyl.

                                                                                                Coloured LP includes MP3 Download Code.

                                                                                                Luis Vasquez

                                                                                                A Body Of Errors

                                                                                                  Venturing off course from his Post-Punk / Dark Wave project, The Soft Moon, Los Angeles born composer and multi-instrumentalist Luis Vasquez, embarks intonew territory with A Body Of Errors, a bold reimagining of the soundtrack genre.With this album, Vasquez felt the urgency to break away from The Soft Moon realm and deliver an even more intimate, self-reflecting body of work, while further unveiling inner demons & vulnerability. He continues to explore his notorious angst and visceral pain, but places them in the context of his own physical being, creating the deeply personal, yet relatable and compelling oddity that is A Body Of Errors, which Vasquez describes as a collection of themes to living in the human body.

                                                                                                  Opening track “Interno” with its crushing synthesizers, is a blast off into the abyss of self. Sinister gasps introduce “Poison Mouth” stomping you with relentless torment before spiraling into oblivion. Halfway, we reach the mechanized rhythms and throbbing cardiac pulse of “Surgery” expressing Vasquez’s phobia with the body itself. “No Longer Human” with its hallucinogenic flutter and distant cries, imagines a fantastic universe beyond, with a nod to David Lynch’s Twin Peaks. The only lyrical appearance on A Body Of Errorsis “Used To Be” a gut-wrenching wall-of-sound ballad romanticizing the struggle between one's good side & bad side. Pulling you into armageddon, A Body OfErrors closes with “World On Fire” an epic post-apocalyptic battle-storm painted vividly through symphonic devastation.

                                                                                                  FORMAT INFORMATION

                                                                                                  Coloured LP Info: Crystal clear vinyl.

                                                                                                  Alan Vega & Revolutionary Corps Of Teenage Jesus

                                                                                                  Righteous Lite

                                                                                                    Alan Vega – voice/Stephen Lironi – machines. Alan Vega (Suicide) and Stephen Lironi (Altered Images) released an iconic album in 1999 as Revolutionary Corps of Teenage Jesus. Righteous Lite is even more prescient today than it was over 20 years ago, Alan’s lyrics foresaw where society seems to be now, with corporate government utilising mass media to control the mass market and populace. Stephen’s production and music echo the analogue vibrations of the debut Suicide album, and in tandem with Alan’s primal scream, create an album that works as a raw conceptual piece.This is the first time that Righteous Lite has been released on vinyl, on a deluxe gatefold sleeve featuring new artwork (with cover art by Alan).

                                                                                                    The album was originally released only on CD by The Creeping Bent Organisation. The link between Alan Vega and The Creeping Bent Organisation was born in the mid 1990s when the label released the debut single by Revolutionary Corps of Teenage Jesus, a 12” techno recasting of Suicide’s Frankie Teardrop (which quickly sold out after being awarded the coveted NME Single of the Week). The single heavily featured samples from the original version by Suicide, and contact was made with recording copyright owner Red Star to obtain permission to clear the sample. Creeping Bent quickly received a fax from Marty Thau granting not only permission to use the sample, but to inform us that Alan and Martin Rev loved the RCTJ techno demix. Further to that, Mr Thau informed Creeping Bent that Alan would love to join the Revolutionary Corps of Teenage Jesus, which Creeping Bent quickly set in motion. It wasn’t long before Alan Vega and Stephen Lironi were ensconced in a Brooklyn studio working on tracks. Protection Rat was released as a 12” single, followed by Who Cares Who Dies (as a split single with The Nectarine No9). Both releases were also Singles of the Week in the UK music papers, ensuring they too quickly sold out.

                                                                                                    Righteous Lite features some of Alan Vega’s best work, he was extremely happy with the outcome of working on this album with Stephen. The production is claustrophobic and intense, matched by a dystopian lyrical outlook that feels incredibly topical.
                                                                                                    Stephen Lironi: first appeared on vinyl as drummer with Article 58 and played on their only single, Event To Come, which was produced by Alan Horne and Malcolm Ross and released on Josef K manager Allan Campbell’s Rational Records label. He then joined Restricted Code and drummed on their recordings for Bab Last’s Pop Aural label, before going on to work with Last at Fast Product (which led to him being asked to drum on the final Fire Engines’ single, Big Gold Dream). Lironi then joined Altered Images for their Bite album, on which he drummed, played guitar, and co-wrote the material. He worked with Tony Visconti and Mike Chapman on the album, and got a taste for production that later manifested itself when he became a successful producer on hits by Hanson, Space, Black Grape, among others. He had the opportunity to work in the studio with Jah Wobble, Tom Verlaine, Brian Wilson, but the collaboration with Alan Vega on Righteous Lite was a pinnacle. 


                                                                                                    Favorite Recordings happily hit us with "Voiciii", the 3rd and new album by Voilaaa, an immersive dip into its Afro-Disco universe spread across 14 tracks. Needless to say you’ll find in this new LP all the ingredients that made him famous: strong dancefloor-friendly festive bangers, irresistible funky arrangements and an undeniable sense of humor and irony.

                                                                                                    Bruno “Patchworks” Hovart, behind Voilaaa, is as often surrounded by amazing vocal featurings from previous LP’s regulars (Pat Kalla, Lass) but also new voices you may already have heard on its recent EPs (David Walters, Rama Traore, Ayuune Suule), as well as the saxophonist Boris Pokora. The LP is also an occasion to pay tributes to major artists of the African sound, such as Fela Kuti (on “Water No Get Enemy”), or Manu Dibango (“Manu Écoute Ça” and “Tenor Jam For Manu”).

                                                                                                    Since the release of Voilaaa’s previous LP’s Des Promesses and On Te L’Avait Dit and their massive international support, the Voilaaa Soundsystem did travel through the world to deliver its message of infectious joy and groove, from Equator to Thailand, from Kazakhstan to the infamous French “Fête de l’Huma”. Now you know: Voilaaa is everywhere and Voiciii (“here it is”) their new album.

                                                                                                    Warrington-Runcorn New Town Development Plan

                                                                                                    Interim Report, March 1979

                                                                                                      “Interim Report, March 1997” by Warrington-Runcorn New Town Development Plan is Gordon Chapman Fox’s hymn and homage to the brutalist beauty of Cheshire’s designated new towns of Warrington and Runcorn.

                                                                                                      Chapman-Fox grew up in Lancashire, and having been a frequent user of the famous Preston Bus Station in his youth, he was struck by the enormous chasm between the sixties architects utopian vision for what new towns should be and the sticky-floored, piss-streaked reality. He explains: “The more I looked into it, the appeal of these visionary architects grew. It felt like perhaps the most visionary building projects of all post war Britain were some of the estates built in Warrington and Runcorn new towns, these twin towns on either side of the Mersey. The estates of Runcorn were space-age futurist with external plumbing, rounded windows and raised walkways. But as housing, they were a failure. Runcorn was the last great UK modernist, futurist building project built with a community in mind. “Interim Report, March 1979” looks at this interim, this gap between vision and reality.”

                                                                                                      At the time of recording the album, he says, “It seemed like there were a lot of ersatz-soundtracks to lost John Carpenter films, or obscure giallo “classics”. I preferred to find inspiration from the surreality of the mundane, hence the creation of Warrington Runcorn New Town Development Plan. 1979 seemed the perfect point to be located in time, sitting on the razor’s edge between the post-war consensus and the dawn of Thatcherism. As the concept took hold, I tried to format the music according to the capabilities of a small, provincial recording studio in 1979. I limited the number of instruments available, the number of tracks available and so on. This really helped to shape the album and anchor the concept. As a teenager, I was into rock and looking for ever more extreme sounds - AC/DC gave way to Metallica gave way to Carcass. But by the 90s I heard Warp artists and that was me hooked. What they were doing could be far more brutal than anything by four sweaty long-haired guys with guitars. But it could also be funky, beautiful, ethereal, melodic and so much more.” It’s that ethereality and true sense of time and place that Chapman-Fox has captured so well here. “1979 marked a change in the political and wider culture of British society. The Warrington- Runcorn development marks the swan song of post-war urban planning in the UK – soon the ethos of building better communities would be replaced by Thatcherite “no such thing as society” and “Greed is good” mentality. And look where that got us…“

                                                                                                      FORMAT INFORMATION

                                                                                                      Coloured LP Info: Ltd yellow vinyl with insert.

                                                                                                      The Wedding Present

                                                                                                      Locked Down & Stripped Back

                                                                                                        Locked Down And Stripped Back features home recordings of Wedding Present classics, along with two previously unreleased songs: ‘You’re Just A Habit That I’m Trying To Break’ and ‘We Should Be Together’. The former is the first fruit of David Gedge's songwriting partnership with Wedding Present guitarist Jon Stewart [of Platinum-album-selling Sleeper fame] whilst the latter was originally written [but never released] by Sleeper themselves. This new Wedding Present version features Louise Wener on vocals.With each band member recording and filming their parts at home under lock-down restrictions, the recording process was far from easy, but the end result illustrates splendidly how The Wedding Present have adapted to the impact of COVID-19.

                                                                                                        David Gedge says:“As the summer of 2020 wore on it became increasingly obvious that At The Edge Of The Sea – my annual festival in Brighton – was sadly going the way of other live music events. Following its cancellation, I decided to replace it with an ‘online’ version, presented live from my own living room and featuring home-recorded videos from many of the artists that had appeared at the festival over the years. For The Wedding Present’s contribution, we picked twelve tracks to re-work in a ‘semi-acoustic’ style, and it was fascinating to see how stripped-back arrangements brought out different aspects of the songs. The Seamonsters track ‘Blonde’ was a prime example of this, with a ‘just-two-guitars’ approach resulting in a naïve and stark-sounding interpretation. In addition to the brilliant contributions from Louise and Jon from Sleeper, my long-time writing associate Terry de Castro fired over contributions from Los Angeles and, fresh from finishing her first Such Small Hands solo album, Wedding Present bass player Melanie Howard took over lead vocals for a version of ‘Sports Car’.”

                                                                                                        FORMAT INFORMATION

                                                                                                        Coloured LP Info: Indies only neon orange vinyl.

                                                                                                        Vinyl comes with CD version of the album enclosed.

                                                                                                        Vinyl comes with CD version of the album enclosed.

                                                                                                        The White Stripes

                                                                                                        Greatest Hits

                                                                                                          October 6, 2020-New York, NY-Third Man Records and Columbia Records will release The White Stripes Greatest Hits on December 4. The first-ever official anthology of recordings from the iconic rock duo, Jack and Meg White, is an essential career-spanning collection highlighting 26 previously released songs – from late Nineties flashes of brilliance through early 2000s underground anthems, masterful MTV Moon Man moments, Grammy-grabbing greatness, and worldwide stadium chants…the songs here are as wide-ranging as you can imagine. 

                                                                                                          Twentysome years ago, a brother and sister climbed into the third floor attic of their Southwest Detroit family homestead and bashed out a primitive cover of David Bowie’s “Moonage Daydream,” sparking something in both of them and leading them to take their simple guitar-drums-voice approach to a local open mic night on Bastille Day. In what feels like a whirlwind, they record and release two 7-inch singles for a local indie label. A not-so-local indie offers to put out a full-length album. They start touring. Another album. More touring. Another album. Folks REALLY start to pay attention. Crazy touring, more albums, accolades, wildest dream after wildest dream coming true. “World-renowned” becomes an appropriate descriptor, as does “long-building overnight sensation.”

                                                                                                          The same hard work and dedication that The White Stripes exhibited from the onset of their existence is what has been poured into The White Stripes Greatest Hits. In an era of streaming where the idea of a “Greatest Hits” album may seem irrelevant – that an act’s most streamed songs are considered their de facto “hits” – we wholeheartedly believe that great bands deserve “Greatest Hits” and that a large part of Third Man Records’ and The White Stripes’ successes have been built on zigging when the rest of the music business is zagging. Thus, for a great band with great fans, a greatest hits compilation for The White Stripes is not only appropriate, but absolutely necessary. 

                                                                                                          STAFF COMMENTS

                                                                                                          says: We all know the White Stripes don't we, and this collection of their greatest tracks is never going to be anything less than superb. Legendary band, summarised for your convenience. What's not to like?

                                                                                                          FORMAT INFORMATION

                                                                                                          2xLP Info: 2xLP 150-gram black vinyl.

                                                                                                          Wild Pink

                                                                                                          A Billion Little Lights

                                                                                                            On Wild Pink’s third album (and first for Royal Mountain Records), ‘A Billion Little Lights’, John Ross explores the dichotomy of finally achieving emotional security - of accepting the love and peace he deprived himself of in his twenties - while also feeling existentially smaller and more directionless than ever before.

                                                                                                            Produced by Grammy-winning producer David Greenbaum (U2, Beck, Jenny Lewis), the album is a two-pronged triumph: an extraordinary reflection on the human condition presented through the sharpest, grandest and most captivating songs Wild Pink have ever composed.

                                                                                                            “A steady and unstoppable rush of grand melodies and rippling synths” - The FADER

                                                                                                            “The Brooklyn band... thrives on a combination of rock extroversion and frontman John Ross’ hard-won and tenuous new optimism” - Pitchfork (8.1)

                                                                                                            “‘A Billion Little Lights’ is his most ambitious and overall best work” - Uproxx

                                                                                                            “Glimmers like the stars over a vast heartland expanse” - Stereogum

                                                                                                            “Soaring, atmospheric indie rock” - BrooklynVegan

                                                                                                            “One of rock’s tiny masterpieces” - Billboard

                                                                                                            “Whatever vaguely ‘80s heartland motorik + classic rock quality has made The War on Drugs an amphitheater band, Wild Pink has it, too.” - Paste

                                                                                                            FORMAT INFORMATION

                                                                                                            LP Info: Light blue vinyl.

                                                                                                            Yard Act

                                                                                                            Dark Days / Peanuts

                                                                                                              Emerging Leeds outfit Yard Act will release their new 7” “Dark Days / Peanuts” via their own label, Zen F.C on 28th February 2021.

                                                                                                              Following their debut 7” Fixer Upper / The Trapper’s Pelts, which sold out its entire 500 copy pressing on the day of release, “Dark Days / Peanuts” comes in a hand printed cover, and is available in limited edition peanut colour or standard vinyl

                                                                                                              Yard Act formed in Leeds in September 2019 when Ryan Needham found himself temporarily living in James Smith's spare bedroom. The two had been pub associates for years, but their new living circumstances served as a catalyst for their friendship and creative partnership which saw them fuse James' interest in spoken word with Ryan's primitive proto-punk demos using an ancient drum machine and borrowed bass guitar. They released their first material in March 2020, coinciding with you-know-what, and with just three singles (The Trapper’s Pelts, Fixer Upper and Peanuts) and three gigs to date, Yard Act have staked out a territory all their own.

                                                                                                              Setting up their own imprint Zen F.C. they released their debut 7” which can now only be found for exorbitant sums on Discogs, they’ve scored two 6music playlists, and they’ve won a growing fanbase with their coruscating, narrative driven, spoken word dance-punk. Now girding their loins for a 2021 filled with new music, new recordings, debut novels, and (fingers crossed) plenty of live shows, Yard Act have most definitely marked our cards as one of UK’s most exciting prospects.

                                                                                                              Neil Young & Crazy Horse

                                                                                                              Way Down In The Rust Bucket

                                                                                                                Recorded on November 13th 1990 in Santa Cruz, CA, where the band were rehearsing for their upcoming Weld tour, Neil Young and Crazy Horse played a club show at The Catalyst which is now released here for the first time.

                                                                                                                The show comprised three different sets along with a 12 minute encore of Cortez The Killer and all 3 sets including that encore are brought together here in over 2 hours of music.

                                                                                                                Said to be one of the great live shows that Neil Young and Crazy Horse performed, the album includes live versions of songs from their Ragged Glory album, released just prior, along with classics from across their catalogue.

                                                                                                                FORMAT INFORMATION

                                                                                                                4xLP Info: 4xLP edition.

                                                                                                                Ltd Box Set Info: 4LP/2CD/DVD in foil numbered box set.

                                                                                                                FREE SHIPPING This item has FREE UK shipping!

                                                                                                                Adrian Younge

                                                                                                                The American Negro

                                                                                                                  The American Negro is an unapologetic critique, detailing the systemic & malevolent psychology that afflicts people of color. It should be evident that any examination of black music is an examination of the relationship between black & white America.

                                                                                                                  This relationship has shaped the cultural evolution of the world and its negative roots run deep into our psyche. With an elaborate orchestral and soulful display, The American Negro re-invents the black native tongue: a politically conscious LP with a prescription to eradicate hate in America.


                                                                                                                  “The American Negro is the most important creative accomplishment of my life. This project dissects the chemistry behind blind racism, using music as the medium to restore dignity and self-worth to my people"

                                                                                                                  Adrian Younge is a multi-instrumentalist, film composer and producer with an analog studio and record store in Los Angeles. He is a member of The Midnight Hour and has produced for entertainment greats ranging from Jay Z, Kendrick Lamar and Wu Tang Clan.

                                                                                                                  He’s composed for television shows such as Marvel’s Luke Cage (with Ali Shaheed Muhammad), and films including Black Dynamite. He owns the boutique record label, Linear Labs, and is co-owner of Jazz Is Dead.

                                                                                                                  When he’s not working on scores for major studios or networks, he’s making albums that speak to his own artistry.

                                                                                                                  For The American Negro, Younge not only wrote, but played every instrument of the album’s rhythm section; he also orchestrated a 30-piece orchestra and recorded them in his analog studio.

                                                                                                                  Various Artists

                                                                                                                  Cumbia Cumbia 1 & 2

                                                                                                                    Cumbia, the music and the dance synonymous with Colombia, has been around almost since the 17th century. Today, it’s a badge of identity for Colombians everywhere, but is now also enjoying a global renaissance; filling dance floors and captivating a new generation of music fans.

                                                                                                                    Originally released by World Circuit as two separate albums – ‘Cumbia Cumbia’ in 1989 and ‘Cumbia Cumbia 2’ in 1993 - this collection brings together some of the greatest recordings made by Colombia’s legendary record label, Discos Fuentes, between 1954 and 1988.
                                                                                                                    This collection presents thirty of these three-minute-masterpieces, showcasing the gamut of styles that make up the distinctive and irresistible cumbia sound; a sound typified by a loping 2/4 gait and a pulsing rocksteady bassline, overlaid with heavy rural percussion, brass, accordion, clarinet, electric guitar and vocals. Disc 1 features a broad range of cumbia styles with recordings from 1960 through to 1988, whilst disc 2 digs further into the classics of the past focusing almost exclusively on the 1950s and 1960s.

                                                                                                                    Featuring cumbia’s biggest hits from Rudolfo y su Tipica, Gabriel Romero, Sonoro Dinamita and Armando Hernandez, ‘Cumbia Cumbia 1 & 2’ is a flawless collection from the Golden Age of Cumbia.

                                                                                                                    “This album makes a case for cumbia being one of the great overlooked dance musics of the Caribbean” - New York Times.

                                                                                                                    “Colombia must be a pretty grand place if it can produce dance music like this” - Q****

                                                                                                                    ‟..this allows one to (re)discover the best of the singers and groups who made up the golden age of cumbia.″ - Le Monde.



                                                                                                                    While festivals on grass are suspended, festivals on vinyl are in full swing. Filament brings you their third VA which recounts those summer moments as envisioned by Glowing Palms, Super Drama, Ghostwhip and their own Filament Deejays. Expect everything from eastern-infused disco & tropicalities, to woozy italo and UK garage.

                                                                                                                    STAFF COMMENTS

                                                                                                                    says: Tasty four track sampler from the Filament camp here - coming hot off the blocks with a MEGA Bollywood disco cut up from the label heads, before Glowing Palms and Super Drama drop show stealing excursions into exotic Italo and New Beat respectively.

                                                                                                                    Various Artists

                                                                                                                    J-Jazz Volume 3: Deep Modern Jazz From Japan

                                                                                                                      J Jazz volume 3 is the latest in its definitive compilation series exploring the finest modern jazz from Japan. Since the first volume in February 2018, the J Jazz compilation series has showcased some of the most creative, inspired and sought-after jazz recorded in Japan during a golden period spanning the 1960s to the 1980s. Illustrating the richness and versatility of the composers and musicians on this collection, the music spans a wide yet coherent range of styles: samba, funk fusion, modal, spiritual, post-bop and bossa all combine to present an aural portrait of a jazz scene that was constantly moving and shifting its multiple musical centres of gravity. Mastered at the Grammy-nominated Carvery studio in London, many of the tracks featured are reissued for the first time, including mega-rare private press cuts from the Yasuhiro Kohno Trio, Masaru Imada Trio, and Hideyasu Terakawa Quartet. There’s heavy post modal bop by J Jazz legends Kohsuke Mine and Koichi Matsukaze; samba heat from Tatsuya Nakamura, Hideo Shiraki and Seiichi Nakamura; and funky dance floor energy by Hiroshi Murakami, Ryojiro Furusawa Quartet and Shigeharu Mukai. 

                                                                                                                      Various Artists

                                                                                                                      Keb Darge Presents Atomic Rhythm!

                                                                                                                        Fantastic collection of rockabilly compiled by Keb Darge.

                                                                                                                        Stag-O-Lee is proud to continue the DJ-Set Series with compilation by cult DJ and master of many compilations Keb Darge.

                                                                                                                        Rockabilly didn’t cross my world until the early nineteen eighties at a Dirtbox weekender in Bournemouth, until then I was a pure northern soul boy. I didn’t really get stuck into collecting the stuff until a decade later, but when I did what a wonderful world of tunes opened up to me, and I went wild on it. I was very lucky to be doing a record stall in Camden market at the time just across from Boz Boorer and Neil Scott’s stall. They along with other serious collectors Dave Vickers, Barney Koumis, Cosmic Keith, Jim Fox, Dave Crozier, and many others taught me all I needed to know. I only ever made one great rockabilly discovery which none of them knew, “Little Bit Lonesome” by Charles Ross, but I was happy enough buying all their recommendations as they were all new and exciting for me. I have done several rockabilly comps before, but sadly the Philippines typhoon in 2013 destroyed my village and forced me to sell the bulk of my collection. Here are some of my favourites that I never got round to putting out before that happened.
                                                                                                                        Keb Darge, London October 2020.


                                                                                                                        Latest Pre-Sales

                                                                                                                        140 NEW ITEMS

                                                                                                                        Don’t forget that @maximopark are doing their 4 hour marathon signing live stream tonight 5 - 9 and you still have… https://t.co/jayiyC3QU0
                                                                                                                        Mon 1st - 3:12
                                                                                                                        A message from @maximopark about their new album which is out now on @prolifica https://t.co/LyB6d6GecD) https://t.co/Qo8Mp9jqQN
                                                                                                                        Mon 1st - 2:29
                                                                                                                        Ha. Hope it didn’t cause too much concern 😉 That’s a great haul btw, thank you for your support 🙏 and for sharing 🙌 https://t.co/Vhjocc4SIY
                                                                                                                        Sun 28th - 5:56
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