MAGIC MIX

ALL GENRES

WEEK STARTING 18 Oct

A Produce

The Clearing

    The Clearing is the debut album by the late Los Angeles-based musician Barry Craig aka A Produce. As co-founder of the underground cassette imprint Trance Port Tapes, Craig managed to assemble local artists who were working within the realms of DIY electronics and rhythmic, spacious sound. Incubated over a three year period, '88 release The Clearing draws on the roster of TPT associates such as Scott Fraser (Kronos Quartet), Daniel Voznick (Afterimage) and guitarist Scott Marc Becker resulting an 'an album of conceptual space', owing equally to the guitar-based new-wave releases of the imprint prior as to the later, and deeper ambient trance sound that would follow. Coming at this intersection of styles, there are moments of deep introspection and sulking, minimal drum machines followed by pieces of more outward expression only to be plunged back into tense, oppressive atmospheres. Yet despite these shifts in style, the sense of mood and cohesion throughout is ever-present, giving a true sense of inhabiting a unique space - or 'The Clearing'. Stockport-based store All Night Flight Records is proud to present this official reissue, with the blessing of Craig's estate and artwork replicated by the original artist - renown designer Bruce Licher of Independent Project Recordings. Distributed by Low Company.

    STAFF COMMENTS

    Patrick says: Microdosing man Tom Houghton launches the label arm of his vinyl empire All Night Flight this week, with a meticulous reissue of esoteric LA rarity "The Clearing" by A Produce. Fusing post punk, tribal, minimalist and ambient into a surprisingly accessible LP, Trance Port boss Barry Craig came up with a sublime LP, which we now get the chance to enjoy!

    A Tribe Called Quest

    Midnight Marauders - Vinyl Reissue

    The third and last of the 'classic' Tribe records (preceding the addition of Jay Dee and the formation of the Ummah production team), "Midnight Marauders" sees the group at their most musically sophisticated, marrying the distinctive Tribe sound with groundbreaking sampling and adventurous rhymes. The logical evolution of the bop-influenced hooks which characterized "Low End Theory", "...Marauders" seemlessly balances jazz, soul and reggae influences with pure golden age hip hop, graduating from a cool school aesthetic to an electric jazz sound (reminiscent of fusion-era Miles Davis). Lyrically "Midnight Marauders" finds the group's abstract poetics in excellent form as usual, and Phife is miles ahead of the 'mayor-flavor' rhymes of "Can I Kick It." As per the title, the album develops the introspection of "After Hours" into a nocturnal feel which winds its way through "Midnight," the party-rock of "We Can Get Down," "Clap Your Hands" and the complex layers of "God Lives Through." No review of this LP would be complete without a moment in tribute to the majesty of the Ronnie Foster sampling "Electric Relaxation", a flawless cut which sees Q-Tip and Phife Dawg trading killer bars with effortless flow. All in all, a true classic from back in the day, which no home should be without.

    FORMAT INFORMATION

    LP includes MP3 Download Code.

    A Vision Of Panorama

    Delicious Saw

    A Vision Of Panorama continues his synth exploration, expanding his vision towards new synthesizer motifs and dreamy chords on a vast array of late night cosmic g-funk grooves, modern funk and boogie inspired tracks. This time covers a different spectrum of sounds and atmospheres which merge to form a harmonious whole that can stands on territories of accomplished future soul, jazz and funk. Distinctly deeper and visibly more emotive deep house than just a technique of smooth Balearic instrumentation.

    STAFF COMMENTS

    Matt says: What's this?! Balearic tycoon AVOP switches tact entirely and dives head first into 5D-boogie! Essential tackle for lovers of Moon B, Turquoise Summers, Dam Funk etc....to be honest there's also a bit of Floating Points in there too! Wicked!

    Alex Albrecht returns to the Analogue Attic imprint under his Melquiades guise; delivering a five-track package in the shape of "Lanterns".

    Albrecht explains 'The concept is a continuation of my last release with AAR and aims to take the listener on a journey to a strange place - falling asleep, it leads one down a rainy, lantern-lit path and into another world. At the end of the record, the listener is finally awoken by a familiar voice.'

    All of the compositions are improvised explorations with field recordings at their core as the framework. "Lanterns Pt. 1 & Pt. 2" lead, easing you into the project with swirling, hazy atmospherics and ethereal piano melodies floating atop rounded subs and soft percussion.

    "Neon Canal" follows, bringing the rhythm to the forefront whilst bubbling bell chimes, warm chords and expansive delays ebb and flow within.

    Up next is "Cockatoo Horizon", a Balearic tinged cut employing off-kilter organic percussion, soft guitar licks and airy atmospherics before 'Embers ft. James Harbard' strips things back to floaty chords, bumpy drums and jazzy guitar melodies subtly unfolding throughout.

    "Federation Bells" then rounds out the release on a beatless tip, laid out over six minutes with otherworldly tones, melancholic piano chords and textural intimacy. Excellent!



    STAFF COMMENTS

    Sil says: No hard edges on this one. As polished as they come. Subtle, melodic, hypnotic. A standout among the dross.

    Battles return with their fourth album "Juice B Crypts" on Warp Records to follow their complex, mind-bending predecessors "Mirrored", "Gloss Drop, Dross Glop" and "La Di Da Di". Their latest album is a sensory overload of information that throws everything you thought you knew about Battles into flux once again. John Stanier's percussive power drives the LP through motorik, jazz and post rock, while the cubist keyboard and guitar melodies of Ian Williams capture the fractal pop majesty the group have made their own over the past decade or so.


    STAFF COMMENTS

    Barry says: While Battles' previous outing definitely tread more through the math rock spectrum, and sometimes suffered cohesion losses through it's jagged momentum, 'Juice B Crypts'leans slightly more towards the free-jazz end of things, with loungey grooves and deep rolling basses keeping a solid backline behind their characteristic madness.

    FORMAT INFORMATION

    2xColoured LP Info: Indies exclusive transparent vinyl in gatefold sleeve.

    2xColoured LP includes MP3 Download Code.

    CD Info: Gatefold wallet with poster booklet.

    Bruno Bavota

    Get Lost

      Bruno Bavota – the young, prolific Italian composer whose music has often been labeled with earnest, adjective-laden descriptors such as “disarmingly sincere” and “extraordinarily emotional” – has experienced a self-imposed creative transformation over the past few years. Where his early records were pristine, piano-driven expressions of universal themes, his more recent works have found him in a place of thorough meditation and self-examination.

      As Bavota explains, “While at the beginning of my music and career, I focused on crystal clear piano sounds, eventually all the time spent at the piano day after day changed my sense of the piano itself. I started to see the piano like a living instrument.” Get Lost is Bruno Bavota's first studio album since the 2016 release of Il Pozzo D'Amor thrust him into that peculiar world of anonymous but significant success via high-volume streaming playlists and high-profile TV commercials. Il Pozzo D'Amor would be his last album of immaculate, traditional piano music. If Get Lost isn't a complete reinvention, it is at the very least a completely different direction. Rather than obsess over the sound of the piano itself, Bavota now explores the sounds around the piano - the resonance, the silence, and the acoustic ambience of the living, breathing space in which the piano resides. He employs an array of outboard effects pedals and processors to not just capture those sounds that are often overlooked, but to sample, loop, and reposition them as central figures in a story.

      Bruno Bavota gave Get Lost its name when he found himself drifting deeper into the darker side of his music. Inspired by a familiar observation of modern life, Bavota confessed, "I think people are becoming more selfish and don't seem to have time to listen to other people who need to be heard. We don't show much empathy." Much like Bavota's evolving approach to the piano, he has discovered profound purpose and influence in the people and places least visible but most meaningful

      FORMAT INFORMATION

      Coloured LP Info: Indies-only green undertone vinyl.

      Coloured LP includes MP3 Download Code.

      Esnard Boisdur

      Mizik Bel - Inc. Africaine 808

      "You don’t need to be a fan of Gwoka or even Antillean music in general to fall in love with the deep, expressive voices of the singers of the genre. Artists like Cosack, Anzala and Esnard Boisdur have fascinated music lovers around the globe for decades. It’s not only the drumming style accompanied by their beautiful melodic intonation, but also the revolutionary spirit of these songs that make them a unique and powerful document of the culture and the history of the Antilles and the Caribbean.
      I remember the first time I listened to this type of drumming and signing, live at the re-enactment of the slave riots, and being completely emotionally overwhelmed by it. Some of my record collector/DJ colleagues and friends – first and foremost Hugo Mendez and Émile Omar – shared the same fascination for the genre and kept inspiring me, and countless others, by their DJ sets at Tropical Discoteq in Paris, where I have had the pleasure to be one of the residents for five years and counting. At one of those nights, I met my friend Pascal Rioux from Favorite Recordings and told him about an amazing unreleased track I received months before, on a home-burned CD, from Esnard Boisdur. Among other beautiful songs, it contained one outstanding track, a mix of modern Gwoka and Zouk called “Mizik Bel”.

      When I started playing that track out, there were fierce reactions on both ends. The crowds loved it and after a while you could hear people cheer when they heard the first notes. Many DJs and labels wanted it, demanded it, and would even go as far as to block or unfriend me if I refused to comply. It became clear to me that the track had to be released on vinyl for the first time and made accessible to people who wanted to play it, while giving the original artist full credit. At the same time, I knew a remix version of the track that would pay respect to the original could only be created by getting the original stems, and not by editing the main track and pressing it into an “electronic dance corset.” Pascal agreed to the idea and started the licensing work and the search for the stems, which resulted in an ongoing three-year quest that was crowned by the finding of the ADAT containing the original tracks.
      As AFRICAINE 808, Dirk Leyers and I spent considerable time trying to re-create the composition of the original, respectfully slicing and re-arranging it, adding new instrumentation, and recording additional percussion and talking drum with our percussionist Eric Owusu (Pat Thomas/Ebo Taylor). We stretched it, adding a krauty synth part without losing the focus of Esnard’s beautiful voice and lyrics, describing Caribbean music in all its diversity and beauty.
      With this in mind, I hope you can now enjoy the beauty of “Mizik Bel” as much as we have so far.” – (DJ NOMAD, June 2019)

      STAFF COMMENTS

      Sil says: Plenty of African soul on this one with some heavy drums supporting the powerful vocals and playful keys. The remix is dubby and more psychedelic in its own way.

      The Caribbean has long been an incubator for the sounds that will animate and shape the culture of the rest of the world for decades to come: From the rhythms of Cuba helping to shape American jazz, blues and rock n’ roll, to Trinidadian calypso introducing a bouncy lightness and gaiety to American party music, to Jamaica’s reggae showing a new way to rebel against convention. But what about the music of Belize, the Caribbean nation that holds the odd position of being a former British colony on the coat of Spanish-speaking Central America? Most people don’t know about the country at all, let alone about the rich sounds it has to offer.

      Bredda David Obi set out to change that in 1984 with the release of his debut LP "No Fear", and the introduction of a new Belizean groove he called kungo (or cungo). A mélange of traditional Belizean brukdown music and sprinklings of the rock, funk, calypso and reggae he had played in various bands during his years as a journeyman musician in the United States. He would further develop this modern tropical sound on subsequent albums, integrating more and more elements from Belizean niche genres like sambai and paranda. Cultures of Soul now documents Bredda David’s journey into the soul of Belize with an anthology of his early recordings including tracks from "No Fear", "Cungo Musik" (1987) and "We No Wa No Kimba Ya" (1990) albums.

      Bredda David’s kungo is hard to describe exactly—its various ingredients make it feel somewhat familiar, but the recipe with which he blends them is slightly strange, fresh and intriguing. But one thing is for certain, it is sure to electrify the dance floor and make everybody jump up and bruk down! Housed in a gatefold jacket with extensive liner notes by Uchenna Ikonne. 

      STAFF COMMENTS

      Patrick says: Cultures Of Soul put the spotlight on Bredda David and his Belizean Kungo sound with this seven track retrospective. Now, I'd never heard of Kungo going into this, but after a very enjoyable listen I can report that reggae, disco, sunkissed rock and proto house flavour this uplifting music.

      Broen return with eyes open to new vistas on their second album, ‘Do You See The Falling Leaves?’. Back in 2017, Norway’s experi-pop quintet brought exuberant reserves of intelligence, positivity and warm-spirited commonality to the world-building bustles of jazz, funk, psychedelia, electronics and hip hop on their international debut, ‘I Love Art’.

      ‘Do You See The Falling Leaves?’ extends its predecessor’s vision and expands its brightly generous worldview, opening the door to mindful, invigorating and mind-bogglingly inventive ways of composing, engaging and connecting: with nature, with each other, with their own potential.

      As Anja Lauvdal (synths, piano) explains, finding ways to connect is a core theme. Even if EE Cummings’ classic minimalist poem ‘l(a’ was not an influence on the album, its use of a falling leaf to symbolise loneliness clicked with Anja. “I thought that was a nice comment to the title/theme of the record. People can use each other and nature around us to feel connected instead of lonely. The opposite of loneliness is maybe to be connected - as an individual - but also connected to the world. In a way, ‘do you see the falling leaves’ then also means ‘do you see the lonely people’, and that you can open your eyes or reach out a hand.”

      This is the first ever reissue of ‘Disco Soccer’, the 1979 album from Ghanaian sportsman turned musician Alhaji Sidiku Buari. Originally an athlete, winning silver and gold medals in the Senegal All Africa Games and West African Games in 1963 and a bronze in the All African in Congo Brazzaville in 1965, Buari moved to America on a music scholarship from The York Institute, obtained as a result of his athletic achievements. Buari soon became enthused by baseball, training with the York team and occasionally playing in matches. When one of York’s music teachers heard him singing inspirational team-builder songs and chants for his side - in the Ga language- he suggested putting a rhythm section behind the songs, recording them, and seeing what the American record buying public thought of them. It won’t surprise you to hear that said Americans loved the demos- so, in 1975, he recorded his first album – the first of fifteen. Buari went on to collaborate with Bernard Purdie, Sugar Hill’s Steve Jerome and Salsoul’s bassman, Gordon Edwards. A switch to Polydor in 1979 produced Disco Soccer, and if you’re into disco or boogie or any hybrid thereof, this is a must-have album. A homage, Ay to Zee, to New York’s late 70s disco scene, filtered through an Accra late-night haze: Ga vocals and West African percussion all the way, all of it composed and produced by the artist himself. A generous eleven tracks of all killer-no-filler boogie business: one of those albums you just put on, and leave on. An essential partner to BBE’s double Buari LP Feelings/Sidiku Buari & His Jam Busters, Disco Soccer is reissued from the original masters and reproduced on 180-gram vinyl with new liner notes and original artwork.

      Will Burns & Hannah Peel

      Chalk Hill Blue - Deluxe Edition

        ‘Chalk Hill Blue’ is the first album by poet Will Burns and musician and composer Hannah Peel: a record of electronic ruralism channelling lives threaded through the chalk landscapes of Southern England.

        Existing and reacting off each word and sounds in the studio together; with the words of poet Will Burns, the analogue electronic compositions of Hannah Peel and the overarching eye of producer Erland Cooper, all tracks were produced and recorded in their entirety within 12 hours.

        The spoken words and sound worlds often seem to emerge from subliminal processes of call and answer; a fertile blurring of collective inspiration and intention circling this abstracted chalk landscape.

        This deluxe edition of ‘Chalk Hill Blue’ also includes a 7” single featuring a pair of new pieces from Hannah Peel and Will Burns, combining the same evocative, powerful sonic palette and plainspoken poetry as their acclaimed album.

        A commission to create a new collaborative work for the BBC resulted in ‘Moth Book’, an elegiac mediation on loss which flowers into a driving, hypnotic synth workout, perfectly offset by the haunting flipside track, ‘Wendover, Bucks’.

        Will Burns & Hannah Peel

        Pale Tussock

          Hannah Peel and Will Burns announce details of a new double-A sided single, ‘Pale Tussock’, released via Rivertones. The 7” single features a pair of new pieces from Hannah Peel and Will Burns, combining the same evocative, powerful sonic palette and plainspoken poetry as their acclaimed album ‘Chalk Hill Blue’.

          John Carpenter, Cody Carpenter And Daniel Davies

          Halloween: Original Motion Picture Soundtrack (Expanded Edition)

            This soundtrack pays homage to the classic Halloween score that Carpenter composed and recorded in 1978, when he forever changed the course of horror cinema and synthesizer music with his low-budget masterpiece. Several new versions of the iconic main theme serve as the pulse of Green’s film, its familiar 5/4 refrain stabbing through the soundtrack like the Shape’s knife. The rest of the soundtrack is just as enthralling, incorporating everything from atmospheric synth whooshes to eerie piano-driven pieces to skittering electronic percussion. While the new score was made with a few more resources than Carpenter’s famously shoestring original, its musical spirit was preserved.

            2018’s Halloween, directed by David Gordon Green, starring Jamie Lee Curtis, and with music by series creator John Carpenter (along with his son and godson, Cody Carpenter and Daniel Davies) was a critical and box-office smash. It grossed $159 million against a $10 million budget, becoming the most profitable Halloween movie since the 1978 original. The soundtrack album was a hit, too, debuting at #12 on the Billboard Albums chart and #2 on the vinyl chart, on its way to becoming one of the most successful movie soundtracks of the last decade. One year later, Sacred Bones Records is pleased to present an expanded edition of the soundtrack, including more than 28 additional minutes of music from the film and presenting a more complete, immersive listening experience.

            The additional material included on the expanded edition adds at total of 24 cues to the album, spread across two more sides of vinyl on the deluxe double LP version. The LP also has all-new art and lavish packaging, including an optical-illusion lenticular sleeve that makes the flames around Michael Myers’s mask dance when you slide it off the record jacket. For diehard fans of the Halloween series, collectors of John Carpenter’s music, or anyone who wants to hear even more of the incredible score to this movie, this expanded edition is a must-buy.


            FORMAT INFORMATION

            2xColoured LP Info: 1x orange and 1x black vinyl housed in an optical-illusion lenticular sleeve.

            Clipping

            There Existed An Addiction To Blood

            Clipping return with "There Existed an Addiction to Blood", the group’s fourth effort and the follow up to "Splendor and Misery", the album features the singles "Nothing Is Safe", "Blood of the Fang", "La Mala Ordina" (Feat. Benny The Butcher, ElCamino, The Rita), and was produced by Clipping, mixed by Steve Kaplan, and mastered by Dave Cooley at Elysium Masters in Los Angeles. The album also features appearances from Ed Balloon, La Chat, Counterfeit Madison, and Pedestrian Deposit.

            "There Existed an Addiction to Blood" finds Clipping interpreting another rap splinter sect through their singular lens. This is Clipping’s transmutation of horrorcore, a purposefully absurdist and creatively significant sub-genre that flourished in the mid-90s. If some of its most notable pioneers included Brotha Lynch Hung and Gravediggaz, it also encompasses seminal works from the Geto Boys, Bone Thugs-N-Harmony, and the near-entirety of classic Memphis cassette tape rap.

            The most subversive and experimental rap has often presented itself as an alternative to conventional sounds, but Clipping respectfully warp them into new constellations. "There Existed an Addiction to Blood" absorbs the hyper-violent horror tropes of the Murder Dog era, but re-imagines them in a new light: still darkly-tinted and somber, but in a weirder and more vivid hue. If traditional horrorcore was akin to Blacula, the hugely popular blaxploitation flick from the early 70s, Clipping’s latest is analogous to Ganja & Hess, the blood-sipping 1973 cult classic regarded as an unsung landmark of black independent cinema, whose score by Sam Waymon, the band samples on "Blood of the Fang" and inspired the album’s title.


            FORMAT INFORMATION

            Coloured LP Info: Indies exclusive 'loser' Edition silver vinyl.

            Death To The Planet was originally released for Record Store Day 2017CE, selling out of its initial run of 700 “Comet Fire” orange vinyl immediately. Unavailable on vinyl at retail since 2017, with huge Discogs/eBay demand. Darkness and light. The party to end all parties. The ghosts of 70s Harlem, via the warehouses of Chicago and Manchester, presided over by Sun Ra. The sound of total planetary destruction, produced with laser-guided accuracy and aimed directly at the dancefloor.


            Prophecy: “In the sky will be seen a fire, dragging a tail of sparks...” Just as Nostradamus prophesised in his quatrains, The Comet Is Coming: “The great star for seven days will burn, the cloud will cause two suns to appear and the big mastiff all night will howl.”

            The Prophecy: where it all began. These three planets aligned in 2013CE, having between them played with bands including Melt Yourself Down, Polar Bear, Soccer96 and Sons Of Kemet. They have since gone on to conquer the planet with the Mercury Prize-shortlisted Channel The Spirits and Impulse! album Trust In The Lifeforce Of The Deep Mystery. Here is the universe in a microcosm; the life-force distilled down to its raw essence: sex and dancing. Sub-bass, slamming analogue, unhinged sax breaks. The rhythm of life repressed earlier this year in a blink-and-you’ll-miss-it run of 500.


            STAFF COMMENTS

            Millie says: One of the two Comet is Coming represses which were in incredibly high demand – the Prophecy is bursting with life from thumping irregular jazz triumphs at one point and spoken word with their unique ever-changing sound the next. Absolutely brilliant stuff!

            Corridor

            Junior

              Corridor are a group from Montreal and their Sub Pop debut, ‘Junior’, was made just yesterday. The rock & roll band had barely inked their record deal when they surfed into studio, racing against time to make the most dazzling, immediate and inventive album of their young career: 39 minutes of darting and dodging guitars, spiralling vocal harmonies and the complicated, goldenrod nostalgia of a Sunday mid-afternoon.

              ‘Junior’ is the band’s third full-length and their third recorded with their friend, producer (and occasional roommate) Emmanuel Ethier. However 2015’s ‘Le Voyage Éternel’ and 2017’s ‘Supermercado’ were made languorously, their songs taking shape across whole seasons. This time Dominic Berthiaume (vocals/bass), Julian Perreault (guitar), Jonathan Robert (vocals/guitar/synths) and Julien Bakvis (drums) permitted themselves no such indulgence.

              Singers, two guitars, bass, drums: the timelessness of the setup underpins the timelessness of the sound, a rock & roll borrowing from each of the past six decades - punk and pop, psych and jangle, daydream and swoon. This is music that’s muscular, exciting and full of love, its riffs a kind of medicine.

              Whereas Corridor’s past work could sometimes seem overstuffed, twenty ideas to the same song, the new work is hypnotic, distilled. “Part of the beauty of the thing is that we didn’t have time to think about it,” says Berthiaume. Six of ‘Junior’s 10 tracks were conceived during a single weekend. The words to ‘Bang’ were written on the eve of the sessions, as Robert began to panic: “Je payerai tôt ou tard,” he sings: I’ll pay, sooner or later. Fewer jams, fewer overdubs - no fortnight in the countryside secluding themselves in a chalet. Even the artwork came in the nick of time: in spite of other, meticulous, masterpieces, Robert’s “shitty last-minute collage” (of an egg saying hello) was the one his bandmates went for.

              Sub Pop have never before, in their 33-year history, signed a Francophone act. Maybe the band’s magic springs from their ingenious hooks, their topaztinted vision. Maybe it’s the panache of Québec’s insurgent underground scene, or the camaraderie of Robert and Berthiaume, who have played together since they were 14. Maybe it’s their name - a hallway crossed with a toreador. Probably it’s all of these and none of them: ‘Junior’ is a joy, a hasty miracle, because it’s so much damn fun to listen to.

              FORMAT INFORMATION

              Coloured LP Info: Loser Edition yellow opaque coloured vinyl LP available to independent retailers.

              Dal Forno beckons a bold new era in her peerless output pushing her dub-damaged DIY dispatches to the limits of flawless dream-pop. In a transformative move towards crystal clear vocals and sharpened production, "Look Up Sharp" is an evolutionary leap from the thick fog and pastoral stillness of her Blackest Ever Black missives, "You Know What It’s Like" (2016) and "The Garden EP" (2017). Three years since her plain-speaking debut album, the Melbourne-via-Berlin artist finds herself absorbed in London’s sprawling mess. The small-town dreams and inertia that preoccupied dal Forno’s first album have dissolved into the chaotic city, its shifting identities, far-flung surroundings and blank faces. "Look Up Sharp" is the story of this life in flux, longing for intimacy, falling short and embracing the unfamiliar. Dal Forno connects with kindred spirits and finds refuge in darkened alleys, secret gardens and wherever else she dares to look.

              In her own territory between plaintive pop, folk and post-punk dal Forno conjures the ghosts of AC Marias, Virginia Astley and Broadcast through her brushwork of art-damaged fx and spectral atmospheres. The first half of the record is filled with dubbed-out humid bass lines, which tether stoned hazes of psychedelic synth work as on ‘Took A Long Time’ and ‘No Trace.’ These are contrasted with songs like ‘I’m Conscious and ‘So Much better’ that channel the lilting power of YMG and are clear sequels-in-waiting to dead-eyed classics like ‘Fast Moving Cars.’

              The B-side begins with the feverish bass and meandering melody of ‘Don’t Follow Me,’ which takes The Cure’s ‘A Forest’ as its conceptual springboard. It’s the clearest lyrical example since ‘The Garden’ of dal Forno’s unmatched ability to unpick the masculine void of post-punk and new wave nostalgia to reflect contemporary nuance. Look Up Sharp reaches its satisfying conclusion with ‘Push On’ - dal Forno’s most explicit foray into an undiscovered trip hop universe between Massive Attack and Tracey Thorn. The album’s last gasp finds personal validation in fragility: ‘I push on / I’m the Place I’m Going,’ a self discovery lifted by reverberant broken beats and glass-blown vocals.

              Adding further depth to Look Up Sharp are the instrumentals, which flow seamlessly between the vocal-led pieces. ‘Hype Sleep’ and ‘Heart of Hearts’ drink from the same stream as The Flying Lizard’s dubbed-out madness and the vivid purple sunsets of Eno’s Another Green World. While ‘Creep Out of Bed’ and ‘Leaving for Japan’ funnel the fourth-world psychedelia of Cyclobe’s industrial-folk into the vortex of Nico’s The Marble Index.

              Conceived as a whole, Look Up Sharp is a singular prism in which light, sound and concept bend at all angles. A deeply personal but infinitely relatable album its many surfaces are complex but authentic, enduring but imperfect, hard-edged but delicate. A diamond. Look up sharp or you’ll miss it.

              Dalo aka Nadia D’Alò emerged at the ESP Institute in 2018 with a brutal remix for Benedikt Frey’s Private Games. Having been floored by her sinister aesthetic and stripped-back approach to production, as well as being long time fans of INIT (her collaborative project with Benedikt), the ESP institute was compelled to commission a dedicated solo work. Across four beastly tracks, Nadia pulls from a gritty palette of instrumentation, combining ritualistic drums, industrial percussion and scratchy acid lines with a blurry montage of demonic sighs and whispers. The result is deeply hypnotic. As we slip into the abyss of her psyche, we attempt attaching to the repetitive instrumentation, clinging to what’s familiar for a sense of security, however, every element in Nadia’s world betrays us as it slowly mutates and slips from our grasp, leaving us in a perpetual state of bewilderment. Similar to a deep dream or a heavy trip, incidents in the music replay on mental loop, accumulating layer upon layer of subconscious meaning, deteriorating our senses until we’re completely removed from our safe zone. It's precisely this dose of danger that keeps the listener inquisitive and on-edge, a potent potion that Nadia has proven effective without over-cooking or adding extraneous ingredients. On the surface, there is an admirable dryness to her tonality, even through the intermittent tape echoes, detuned vocals and haunted smears of reverb, the music is never drowning. Such achievements are the marks of a bold and confident artist, one whose firm grasp of a particularly psychedelic craft supports a warped command of nuance.

              STAFF COMMENTS

              Sil says: Our heaviest and harder techno 12" this week courtesy of Dalo. Expect no mercy. Dark but accessible. I do like it!

              Chicago footwork legend and co-founder of the Teklife producers crew (alongside his musical collaborator DJ Rashad), DJ Spinn makes his long awaited return to Hyperdub with ‘Da Life’ EP, and we couldn’t be happier to have him back. Featuring four brand new offerings, ‘Da Life’ EP is energetic, fast paced and classic footwork. First up is the high energy ‘Knock A Patch Out’, a frantic and cascading key melody contained in crisp claps, with Spinn’s vocal flowing in half way through the track. Next up is ‘Make Her Hot’, which starts out in half time blossoming into a full blown footwork slow jam. ‘Sky Way’, featuring Teklife member DJ Manny, has a moody G Funk melody that starts slowly in half time, with rolling snares and organic kicks. Closing track ‘U Ain’t Really Bout Dat Life’ is an ode to Teklife. Icey synths rise and shimmer with an auto tuned vocal from Spinn spelling out ''T-E-K-L-I-F-E”. Alongside Rashad, Spinn united the footwork genre's producers and took it global. 'Da Life' represents his re-entry back into the scene, four years after 2015's 'Off That Loud' EP, and he’s coming back as strong as ever. 

              Dwight Druick was born in Montreal to a professional gambler and an ex-Radio City Rockette. One of five children, he grew up in a family buoyed by music and beleaguered by the vagaries of miscalculated risk. After attaining a McGill University bachelor’s degree in Art History, Dwight fully embraced both music and risk by traveling to London, where he signed a contract with Pye Records and Joe Cocker’s management company. The ensuing record, "Druick & Lorange" was released to critical acclaim and relative success. After returning to Canada, Dwight recorded two albums with Phil Vyvial: "Midnight" and "Minuit". Recorded with the Muscle Shoals Rhythm Section in Alabama, the duo’s work achieved airplay success in Quebec and across Canada. Dwight subsequently released his first French language solo album, "Tanger", released in 1980 by the Canadian label, Bobinason.

              Today quite hard to find in its original version, "Tanger" is first of all an incredibly solid album, clearly underrated and deserving more credit. Mostly known by collectors and DJs for the stunning cover of Toto’s classic hit, “Georgy Porgy”, which was produced and arranged with the help of George Thurston (Boule Noire), it includes many other tasty titles, with amongst them another fine rendition of “Open Your Eyes” by The Doobie Brothers. In fact, with its brilliant mix of Modern-Soul, Disco and AOR styles, the whole album is already considered by many connoisseurs as a classic, and clearly a must have for anyone enjoying this musical blend.

              Never reissued on vinyl until now, here's a chance for blue eyed soulboys, yacht rock obsessives and the Balearic crowd to grab their copy.

              Montreal duo Essaie pas return to DFA with a single that picks up where their 2018 album ‘New Path’ left off. ‘Earth’ is a blistering ride through the rave, an amalgamation of techno and trance. The galloping bassline is the backbone of the song and Marie Davidson’s vocals climb to new heights against synth stabs. ‘Corps Étranger’, with its stuttering percussion, is a slow burner in comparison. For the remix of ‘Earth’, Marco Passarani of Tiger & Woods (Running Back, Numbers) doubles down on the Italo disco angle and doesn’t shy away from the more anthemic moments of the original, managing to rework it into something akin to a celebration of this place we call Earth.

              STAFF COMMENTS

              Patrick says: DFA duo Essaie Pas find their inner Faithless with a trancey techno journey on the A-side before knuckling down for some arthouse electro on the flip. Italian legend Passarani steps up on the remix doing a 'Lectric Workers meets Visage Italo romper perfect for the next Red Laser party.

              Mad Habitat returns with a serene full-length from Eye Nono. Channeling the more progressive side of American New Age and 80s Public Access soundtracks alongside the rich tradition of Australian ambient music, the record is awash with dreamy melodies and drifting pads. Evoking days spent by the water along the coastline, the album is a beautiful synthesis of the ocean's abundant natural beauty.

              We've come an awful long way since Floating Points' first utterances entered our stratosphere. That opening trio of twelves ("J&W Beat", "Love Me Like This" and "Vacuum Boogie") immediately caught the attention of us and our customers and we've been hooked on this cat throughout the last ten years.

              Whereas the incredible "Elaenia" (2015) was a five-year process, "Crush" was made during an intense five-week period, inspired by the invigorating improvisation of his shows supporting The xx in 2017. He had just finished touring with his own live ensemble, culminating in a Coachella appearance, when he suddenly became a one-man band, just him and his trusty Buchla opening up for half an hour every night. He thought what he’d come out with would 'be really melodic and slow-building' to suit the mood of the headliners, but what he ended up playing was 'some of the most obtuse and aggressive music I've ever made, in front of 20,000 people every night,' he says. 'It was liberating.'

              Fundamentally, this is still stylistically a Floating Points record. Classically informed pieces drift into focus without beats, only to dissolve into a mist of modular-generated textures. There's some speaker-tested mainroom techno moments, namely the lead single "LesAlpx" which concludes side A's meticulously programmed schedule with a moment of undiluted dancefloor energy. Fans of his jazz-flecked house will find tracks like "Last Bloom" and "Anasickmodular" a joy to behold; possessing that idiosyncratic shuffle and swing that instantly characterize an FP production. "Bias" opens side B with a unfathomably futuristic, attitude-ridden bass monster until Sam unexpectedly flips into his patented, cerebral jazz-house hybrid. Don't get me wrong though, he's not resting on his laurels in any way. His New Sounds bite and spit, as he seems to harness extraordinary levels of intricacy and power from his trusty Buchla synthesizer and his much lusted-after Arp Odyssey. More refined, more evolved, deeper, richer - but the same Floating Points - sound up your tree? It should be. 


              STAFF COMMENTS

              Matt says: The Chetham's graduate has been a permanent fixture on our shelves for the last decade. 'Crush' embodies everything we love about him across a succinct and direct two sides. Drifting through a highly musical sanctum, we get expressions on modular and synth informed, and indeed elevated, by Sam's well documented and rich musical education. Floating Points is a great ambassador for modern dance music which often gets berated by the older lot for its lack of musicality.

              FORMAT INFORMATION

              Indies Exclusive LP Info: 140g black vinyl housed in a glossy sleeve with exclusive cover art, artwork printed inside and out, 4 page A4 booklet featuring a score of album track ‘Birth’.

              Indies Exclusive LP includes MP3 Download Code.

              LP Info: 140g black vinyl housed in a glossy sleeve with artwork printed inside and out, 4 page A4 booklet featuring a score of album track ‘Birth’.

              LP includes MP3 Download Code.

              CD Info: CD in digipak with fold-out booklet featuring a score of album track ‘Birth’.

              FloFilz is one of the most promising newcomers on the German beatmaker scene. His sound is deeply rooted in the Low End Theory (Tribe not LA) school of beats and his tracks regularly hit the six-digit plays mark on Soundcloud. FloFilz grew up in Belgium and lives currently in Aachen where his studies violin. When it comes to his own beats, jazz reigns supreme over nearly any other music. "Metronom" is his first official album and we are delighted to release it on Melting Pot Music. Our art director and photographer Robert Winter was so inspired by the 18 tracks that he took a trip to Paris together with FloFilz, where he shot the cover photos. We release the record with a gatefold sleeve including a eight-page photo spread and a download card. This special edition is limited to 1,000 copies.

              Foals

              Everything Not Saved Will Be Lost Part 2

                Foals’ creative ambition for ‘Everything Not Saved Will Be Lost – Part 1’ resulted in a striking state-of-the-world-address of an album in which apocalyptic lyrical themes were equalled by the sheer impact of the music.

                Now Foals complete that artistic statement with the release of ‘Everything Not Saved Will Be Lost – Part 2’.

                “Part two is a heavier listen, the guitars are more emphasised and there’s some big riffs on it,” explained Philippakis in an interview with NME. “It’s a rock record and it definitely carries on the narrative from part one. Part one ended with a lot of fire and destructive imagery, part two is trying to respond to that: how you can continue in the wreckage and through the scorched earth? We’re just excited for people to hear it because it completes the journey of what we’ve made over the last year-and-a-half.”

                Whereas ‘Part 1’ melded Foals’ disparate influences into a thrilling melting pot of sounds, much of ‘Part 2’ simmers with pure visceral intensity. ‘The Runner’ and ‘Black Bull’ are streamlined attacks, with vehement rhythmic onslaughts the foundation for even bigger riffs. It’s an approach that also informs ‘10,000 Feet’, as it lurches ominously from dreamy soundscapes into a heavyweight collision of post-punk and psychedelia.

                Yet ‘Part 2’ also echoes the opening chapter’s eclectic nature. The cinematic instrumentals ‘Red Desert’ and ‘Ikaria’ underline that ‘Everything Not Saved Will Be Lost’ is a journey rather than a mere collection of songs, while ‘Wash Off’ marries manic world music-tinged grooves with a punk-like intensity.

                STAFF COMMENTS

                Barry says: The foals return with the second part of their superb 'Everything Not Saved Will Be Lost..' series, and this one's possibly even better than the first. Smooth synths, soaring melodies and percussive, nigh-dancefloor arm-wavers. Classic foals +.

                FORMAT INFORMATION

                Coloured LP Info: RSD exclusive 180 gram orange vinyl.

                Foxes In Fiction

                Trillium Killer

                  "Trillium Killer” is the third album by Foxes in Fiction, aka Warren Hildebrand, the Toronto-born musician and producer living in New York City who also founded the celebrated homespun record label Orchid Tapes, responsible for notable early-career releases from (Sandy) Alex G and Soccer Mommy.

                  Recorded between 2017 and 2019 in Hidebrand’s home recording studio, “Trillium Killer” represents a clear and marked step forward in Foxes in Fiction’s sound, song-writing technique and conceptual scope. Softly dazzling soundscapes are laid beneath bright and often-manipulated vocals to emulate a number of different perspectives and identities, despite Hildebrand being the record’s only vocalist. Orchestral strings and electronic bass weave in and out juxtaposed with lo-fi elements like drum machines and cassette samples demonstrating a keen ability in finding a common ground between a range of production ideas and styles.

                  Hildebrand has previously described their music as ‘healing music’, and while this idea is still present in the DNA of these songs the lyrics betray a darker side to the process of understanding trauma. With repeated allusion to medication, internal struggles with selfdestruction, confusion surrounding queer intimacy and sexuality and making sense of fractured identity, Trillium Killer is an ambitious work dedicated to living a life that is losing control and what people do when they find themselves there.

                  FORMAT INFORMATION

                  Coloured LP Info: Limited edition coke bottle green vinyl.

                  An essential album from contemporary Brazil, Xenia's first solo effort pays tribute to the sounds of the black diaspora, masterfully blending soul music with jazz, samba, r&b and electronic flavors.

                  Latin Grammy nominated album

                  180gheavy vinyl, comes with download card

                  Xenia França is a singer from Bahia, Brazil. She has been nominated for the 2018 Latin Grammy for this debut album Xenia, and for the song "Pra que me Chamas?", a favorite among listeners. Part of an art scene concerned with reviving and disseminating the African-Brazilian culture, the singer became a reference of female empowerment and behavior, especially among black women.

                  Xenia has performed at major Brazilian festivals, such as Recbeat, Coala, Coma and Queremos, among others. In 2018 she took to Central Park's SummerStage Festival in NYC, and has also performed in Philadelphia and at the Pablo Toblón Theater, in Medellin, Colombia.

                  Her first solo effort here, "Xenia", is an essential album from contemporary Brazil, paying tribute to the sounds of the black diaspora, masterfully blending soul music with jazz, samba, r&b and electronic flavors, now available for the first time outside of Brazil!

                  FORMAT INFORMATION

                  LP includes MP3 Download Code.

                  Jemma Freeman And The Cosmic Something

                  Oh Really, What's That Then?

                    Following the success of their first single ‘Helen Is A Reptile’, three-piece power trio Jemma Freeman and The Cosmic Something will release their debut album ‘ Oh Really, What’s That Then? As debut album titles go, Jemma Freeman and The Cosmic Something ’s ‘Oh Really, What’s That Then?’ invites you to ask just that question. An introspective journey through psychedelic glam-rock nightmares, woozy flows of self-discovery and beguiling lyrics delivered with subtlety and intensity. Jemma is your guide in this strange country, illuminating a path for you. In reality, they’re as lost as the listener. In this hinterland, thoughts tumble on top of each other and the shadows cast by their images overwhelm. Hear a track in isolation and you might expose roots of its origins - from the exuberant T. Rex -Esque strings of ‘Black Rain’, to the snarling Hole like guitars of ‘Tasteless’ - but the archaeology of their sound is not so easily uncovered.

                    ‘Oh Really, What’s That Then?’ paints a turbulent history and a doomed future. When an album opens with a distant primal scream, you know it's not going to be an easy ride. As the album’s last-gasp, ‘Tasteless’, slowly dissipates from cacophony to complete stillness - like the universe ending, all energy exhausted - you’ll feel the same. The journey is intense. Not that it’s all a trudging grind, there are moments of pure exhilarating pop joy along the way. Songs like ‘Keytar (I Was Busy)’ hiding the darkest lyrical themes in the brightest of melodies (just like all the best pop music does). Jemma says of the record: “I was trying to photograph the space between emotions and actions, feeling like an outsider, some of the songs are indirectly meant to demonstrate solidarity with others that identify with that.”

                    Recorded over a year at South London’s Marketstall Recording studio (owned and run by band bass player Mark Estall), the album is the sound of a band growing out of one person’s imagination into something more. Initially, every part was written and performed by Jemma, but over time the sessions became collaborative. Hamilton Lee was brought in to play the drums and having worked together in several other bands with Jemma, they had pre-existing musical telepathy. Jemma and Mark became finely attuned to each others’ production ideas and the relationship between the three became symbiotic, intrinsic to the sound of the record. The Cosmic Something as a band was born in these early studio sessions, and their debut album “Oh Really, What’s That Then?” is this sonic psychedelic baby’s first steps.

                    Emotional Rescue returns to the music of British pop band Furniture, with an EP of the band's own extended versions, remixes and unreleased takes of their particular output. Taken from three 12"s that followed "When The Boom Was On" (ERC072), the songs included cast a light on their development from 3 to 5 piece, adding Sally Still (bass) and Maya Gilder (keyboards) and the new male / female frontline. The subsequent broadening of their line-up and sound meant they could start to address the kind of pop music they wanted to play. After the early releases garneered radio play and reviews, Furniture were launched into the melee of '80s pop. An anomaly, the band found they attracted a specific kind of intense follower, who were often beguiled by Furniture's freaky normality. This was addressed on the 1984 release, "I Can't Crack". A more urgent version of the sound Furniture had debuted with "Why Are We In Love", the track, sung by Tim, was based around a sequencer-like rhythm played live by drummer Hamilton Lee, and a clarinet part played by Tim's brother, Larry Whelan. A mix of bleakness and euphoria, the song was and is a favourite of the band and considered one of their best self-productions, as well as becoming a latter day club play. This is followed by the studio experiment "Throw Away The Script", where the band wrestled with sequencers and synth-pop, but then countered it with a free-jazz sax solo. Found on the flip of the double A -side of "Love Your Shoes" 12", this instrumental version too became an underground club hit, including a cult play at Fran Lenaer's influential Valencia club, Spook Factory. Played loud, the studio mastery, trickery and oft-accidental discoveries come to the fore, with tissue-damaging frequencies giving extra sound system shaking bottom end. The B-side continues the band's love of making extended mixes with "Dancing The Hard Bargain". Co-produced with Tim Parry (formerly of Blue Zoo), they threw everything at these 12" versions. Able to relax and focus on the sounds they really liked, rather than the ones thought more commercial, this can be clearly heard on this compelling, percussive mix, a stop-start breakdown becoming a band hallmark. To close this collection is the mammoth "Bullet". Again sung by Whelan, an edited version of which debuted on the 1986 Survival compilation of Furniture tracks called "The Lovemongers", here this previously unreleased original take is centred on a mesmeric tape loop, live drums and a guest appearance by violinist Helena Bjorelius.

                    STAFF COMMENTS

                    Matt says: I'm not up on much of this sound I have to confess. But I'm a sucker for anything jagged, funky and progressive! Furniture seem to join the dots between post-punk, new wave and Balearic and alongside the A Produce record on All Night Flight this week, should be your go-to curveball releases this week!

                    Fuzz Club Magazine

                    Issue 1

                      Issue 1 clocks in at 96 pages and includes interviews/features with the likes of Holy Wave, The Telescopes, RF Shannon, Nicholas Wood (The KVB/Saccades), The Oscillation, The Third Sound, Routine Death and Sherpa The Tiger, art spotlights on Olya Dyer of The Underground Youth and photographer Lilly Creightmore, João of 10 000 Russos reflecting on the singular legacy of Mark E. Smith and recalling a torturous interview with the man himself, a primer on the Swedish psych scene, Christian Bland, Al Lover and Bob Mustachio on the history of Levitation/Austin Psych Fest and an in-depth retrospective on 1988 as a pivotal moment in the early years of shoegaze.

                      Fuzz Club Magazine

                      Issue 2

                        Issue #2 of the Fuzz Club Magazine is packed with a story about digging cables and brit-pop bullshit by Will Carruthers, interview with Lumerians, The Gluts and Oliver Ackerman, Patrick Clark traces the history of krautrock, an extract from Craig Dyer's first novel, Jared Artaud writes about his time with Alan Vega and lots more. As with Issue 1, this is a beautifully printed, perfect-bound A5 mag with glossy pages and a soft-touch/matte laminated cover.

                        Serge Gainsbourg

                        In The Studio With

                        Spread over 3 CDs, this collection of 59 tracks, consists of a selection of Gainsbourg tracks (including many new and exclusive versions), interpretations of songs from other performers and a volume dedicated to the music of films is the audio complement of 450 pages of the Gainsbook.

                        The result of more than twenty years of investigation and sixty interviews bringing together Serge Gainsbourg's historical arrangers, sound engineers and session musicians, this book sheds new light on his phenomenal repertoire.

                        Also available as a 10 track LP.

                        GoGo Penguin present Ocean in a Drop (music for film), a 5 track EP drawing from music originally written for their original live score to Godfrey Reggio’s cult film Koyaanisqatsi. Expect music that moves from fragile beauty to powerful themes that offer both a stand-alone snapshot of the trio’s world and echoes of the images that inspired the music.

                        STAFF COMMENTS

                        Millie says: As soon as you hear those distinctive piano keys roar into electronic jazz action you know you’re in for a treat. This five track EP is filled with their beautifully delicate and classic sound. I’d quite happily have them soundtrack my life!

                        LuckyMe proudly present the new album from Jacques Greene, "Dawn Chorus". The record is bold step forward and his most collaborative project to date, featuring additional production and instruments from film composer Brian Reitzell (Lost In Translation), cello by London’s Oliver Coates, additional production from Clams Casino and vocal contributions from ambient artist Julianna Barwick, rapper Cadence Weapon and singers Ebhoni and Rochelle Jordan.

                        If the Canadian artist’s 2017 debut album "Feel Infinite" was the soundtrack to a dream pregame - amping you up to lose yourself in the club - then "Dawn Chorus" resides in the post-rave reflective moment. A time of heightened sensuality and latent possibility.

                        Now 29, Greene has been making music for the club for over a decade. His sound could be described as an emotional haze, in that its balance of sonic elements work to illuminate the overlapping feelings that lie between the familiar binaries. "Dawn Chorus" opens with "Serenity", an all-back-to-mine breaks tune that Greene describes as 'a weird, euphoric take on Chemical Brothers.' "Night Service" is a neon-lit hip house anthem helmed by Canadian rapper Cadence Weapon, who drapes a love letter to the club around Greene’s acid-dipped synths. Elsewhere, "Distance" blends ambient textures with sampled birdsong and the snaking lines of Oliver Coates’ cello.


                        Ground is an Osaka native, but his soul is truly that of a nomad, traversing the planet, befriending kindred spirits found in humans, animals and plants. He is exceptionally receptive to the beauty in everything that surrounds him - the incidental music of a city street, the orchestral chaos of a scrambling radio, the syncopated grace of migrating birds, the simplicity of an isolated hand clap - and as his roadmap continuously unfolds, he accumulates a vast catalogue of visceral tools to musically recount his experiences. 'Sunizm' is a cross section of the artist’s process - an array of complex microcosms overlapping to comprise a thematic whole - gathering field recordings, found instruments, jagged electronics, synthesized chanting, and weaving all into a dense narrative that appears obsessively constructed yet divinely improvised. 'Follow Me', the second of two singles surrounding the album, is complimented with a pseudo drum’n’bass treatment by enigmatic Greek artist Jay Glass Dubs, as well as a massively triumphant b-side entitled 'Ozone House', which is exclusive to this single release. Attention all humans, animals and plants, Ground and the ESP Institute present, 'Sunizm'.


                        STAFF COMMENTS

                        Patrick says: If you've heard me play out lately then chances are you've heard a whole lot of Ground, whether in solo mode or alongside Mori or Bartellow. Here we get a killer cut from his LP, brand new cosmic excursion "Ozone House", and a brutalist breaks mix from Jay Glass.

                        First new Kyle Hall record we've had in in tiiiiime! The Detroit upstart comes correct with more of his trademark kix-hats-n-perx, supplemented with a jazz / boogie-informed palette and direction.

                        It's certainly worth the wait as this star of the D showcases his unique, playful & psychedelic style. A master of synthesis, the level of depth and control he has over his machines is often unfathomable.

                        Seriously limited copies, first come first served!

                        Artwork By Michio James

                        Pieces to Share Mixed by Kyle Hall & Steve Lehane @ Rust Belt Studios

                        Mastered By Matt Colton: Alchemy Mastering London

                        Photography By Em Gorzelnik


                        STAFF COMMENTS

                        Matt says: Purple bursts and hydraulic splurges galvanized with Motor City bump and grind? It can only mean Kyle Mother F***in Hall is back in tha area! Form an orderly queue plz...

                        Hanna

                        I Needed / Intercession, On Behalf

                        Melodies International’s 18th release and it’s a biggie, presenting two of their favourite tracks by Chicago based house virtuoso Warren Harris aka Hanna: I Needed / Intercession, On Behalf. Blending deep house vibes with broken beat, soulful vocals creates this dancefloor anthem.

                        STAFF COMMENTS

                        Sil says: Hanna is back. I have a Hanna 12", it is called 'Time'. I bought it after someone played at Sankey's one night. Unadultered soulful American deep house. The formula is tried and proven to work. Nothing new here but plenty of quality for y'all!

                        PJ Harvey

                        All About Eve - Original Music

                          All About Eve — Original Music, composed by double Mercury Music Prize-winner PJ Harvey.

                          The 14-track album contains 10 original pieces of instrumental music, as well as two new songs written by Harvey and sung by Gillian Anderson and Lily James.

                          The physical release also includes demo versions of ‘The Sandman’ and The Moth’, performed by PJ Harvey.

                          On composing this score, Harvey says, “I have always loved stories, and so to compose music to support and enhance a story being told is a challenge I enjoy. I also love the freedom that working instrumentally can give me without the constraints of song form.”

                          “For All About Eve I chose to work with my long-time collaborator James Johnston as he has a soulfulness and sensitivity to his playing that inspires me. I also worked with Kenrick Rowe who has a versatility to his drumming I knew I could experiment with until I found what was right.”

                          All About Eve is the stage adaption directed by Ivo Van Hove.

                          STAFF COMMENTS

                          Barry says: It's become more and more clear that PJ Harvey can easily put her mind to anything she deems necessary, and with great effect. The soundtrack for this adaptation of All About Eve is even more evidence, with perfect cues and touching sentimaentality oozing through every note. A beautifully performed and perfectly written piece. In-situ or not.

                          FORMAT INFORMATION

                          LP Info: The score is pressed on 180g black vinyl, and housed in a heavyweight deluxe spined outer sleeve, with the record itself housed in a heavyweight, double sided printed inner sleeve. The vinyl release includes a digital download card.

                          CD Info: The CD is presented as a paneled fold out CD package.

                          Produced in coordination between Be With, Efficient Space and the artist, this definitive reissue is restored from original masters with vivid reproductions of the Down On The Road By The Beach exhibition catalogue, intended to accompany its original release, and extensive liner notes penned by fellow Steve Hiett obsessive Mikey IQ Jones.

                          Near-ambient arrangements that float in a space between The Durutti Column, Steve Cropper and Ashra, Down On The Road By The Beach also crowns Hiett the master of recontextualization with his zero-gravity blues visions of Roll Over Beethoven, Santo & Johnny’s Sleep Walk and the 1967 Eddie Floyd soul hit Never Found A Girl.

                          For the first time since its inception 36 years ago, Steve Hiett’s elusive Down On The Road By The Beach is finally made available outside of Japan. Most recognized in the fashion sphere as an English photographer and graphic designer, Hiett‘s transportive audio portraits amplify his serpentine guitar to the infinite blue, recorded across Paris, Tokyo and New York with no coastline in sight. Now widely celebrated as a desert island disc, very little is actually known of its unfathomable genesis.

                          A career devotee of Brian Wilson’s ground breaking harmonies, Hiett shot The Beach Boys for Rolling Stone - as well as The Doors, Miles Davis and Jimi Hendrix (in one of his final performances at the 1970 Isle Of Wight Festival) - while establishing himself as a fashion photographer. Decamping to Paris in 1972, he began what would become 20-year collaborations with Vogue Paris and Marie Claire, printing his signature warm, saturated and vibrantly hued snapshots.

                          In 1982, representatives from Tokyo’s Galerie Watari visited him to propose a solo exhibition. Asking if he could insert a 7” of original music into the back of the exhibition catalogue, Hiett laid down ‘Blue Beach - Welcome To Your Beach’ in a Parisian radio station, playing all of the instruments himself, and two more cuts in New York with Yoko Ono, The Doobie Brothers and Steely Dan hired-gun Elliot Randall. Once dispatched, the phone began ringing off the hook with requests for him to fly to Tokyo. Assuming these long-distance callers were wanting him to check proofs for the book, it wasn’t until he arrived that he discovered CBS/Sony had facilitated an entire album. Heitt hastily gripped some petty cash, bought a guitar and retreated to his hotel room to start writing.

                          Entering the studio the following day, he was further surprised by a waiting room of session players known as Moonriders - one of Japan’s most acclaimed rock bands of the 1980s. Intimidated by their indecipherable sheet music, Hiett suggested Randall join them and with money being no object for major labels at the time, his wingman was on the next plane out of New York to finalise the high production indulgence.


                          FORMAT INFORMATION

                          Ltd LP Info: First re-issue since its original release in Japan in 1983, remastered from the original masters, 140g vinyl, gatefold sleeve, 16 page photography book with liner notes.

                          CD Info: First time on CD, remastered from the original masters, digipack, 6 page photography book with liner notes.

                          Three emotional years in the making, Be With and Efficient Space finally present Steve Hiett’s Girls In The Grass. Pressed alongside the long awaited reissue of his one-shot masterpiece Down On The Road By The Beach, these ten balearic soul instrumentals are of equal necessity; unrivalled beauty rescued from the fashion photographer-guitarist’s Paris Tapes (1986-1997).

                          Hiett’s guitar sings with the same clean, crisp tone as Down On The Road, animated by a carefree weekend groove. Unlike his defining album which was boiled under pressure, these subsequent sessions have all the time in the world. The naïve melodies chart a missing link between Vini Reilly’s ventures into electronica and Booker T, sounding like sun-warped takes on wordless, fractured non-hits from his heroes The Beach Boys.

                          While recordings unintended for release should often be approached with caution, this is a rare case of unheard material being assembled as an indispensable and coherent piece. Girls In The Grass is something super special. The light and shadow that defines Hiett’s music is arguably more compelling here. It speaks to us in a language that feels profound, yet entirely comforting and familiar.

                          Girls In The Grass reintroduces Hiett’s languid electric blues boogie, crafted on Saturday afternoons with fellow art director Simon Kentish. Kentish would cook, pour some wine and then utilise his arsenal of technology. He’d dial up a chugging rhythm, together with some ambient pads or keyboard textures, and anchor the weightless gauze of Hiett’s six-stringed touch.

                          Remastered for public pleasure by Simon Francis, these private moments are adorned with Hiett’s singular photography and feature typically idiosyncratic liner notes from Mikey IQ Jones.


                          FORMAT INFORMATION

                          Ltd LP Info: Previously unreleased material from Steve’s private recordings, remastered from the original masters, 140g vinyl, 4 page photography insert with liner notes.

                          CD Info: CD is INDIES ONLY with previously unreleased material from Steve’s private recordings, remastered from the original masters, digipack, 6 page photography book with liner notes, 2 bonus tracks not on the vinyl version.

                          Loleatta Holloway (born in Chicago,1946) was an American R&B-Disco singer known for her massive hit songs such as “Hit and Run”, “Love Sensation” and “Relight My Fire”, all of which have been sampled extensively worldwide. Billboard magazine ranked her as the 95th most successful dance artist of all-time.

                          Holloway first began her career singing gospel music, then in the early 70s, she met her future producer, manager (and husband) Floyd Smith which kick-started her impressive recording career. Shortly after Holloway signed with the Atlanta-based soul music label ‘Aware’ where she recorded two albums: Loleatta (1973) and Cry to Me (1975).

                          Later, in the mid 70s she signed with top Philadelphia arranger and producer Norman Harris’ Gold Mind/Salsoul Records, where she recorded many more top charting hit singles and launched her career as a disco act. From then on (and until this day) Holloway’s songs (which became DJ favorites) were heavily remixed and sampled on a multitude of tracks from renowned acts such as Black Box, Whitney Houston, Bobby Byrd, Raekwon, Flo Rida, Pitbull, Ice Cube…and MANY others.

                          Loleatta Holloway passed away at the age of 64 on March 21, 2011 leading to a wave of tributes and condolences from across the globe (Holloway also had a huge following in Europe and Japan).

                          Her debut album (Loleatta from 1973), which we are presenting you here today, is a total classic … it is here that Holloway developed her throaty, full-bodied vocal style and dramatic presentation we all came to enjoy and admire. The album features the hit singles "Mother of Shame" & "Our Love". Also included is a beautiful rendition of the Syl Johnson track “We Did it”.

                          Fast & slow-paced grooves, blazing horns accompanying the driving rhythm section, female backing vocalists soaring in unison, chiming guitars … and of course Loleatta’s explosively powerful and joyful vocals make this a fantastic (and dance-floor friendly) album. Holloway really brings the tracks & arrangements (penned by a number of hugely talented songwriters) to life using a combination of emotion, passion and power. 


                          FORMAT INFORMATION

                          Deluxe LP Info: Deluxe 180g vinyl edition.
                          Black Vinyl Edition Limited to 500 copies, comes with obi strip.

                          Queens rapper Homeboy Sandman has spent years refining his grizzled, deadpan delivery, developing into one of the foremost wisecrack-slingers in the underground. Last year his bars were backed by Edan’s psychedelic boom-bap on the collaborative LP "Humble Pi". He’s back with yet another LP, a new solo endeavor titled "Dusty". Once again, Sandman has teamed with one producer for the whole project. This time it’s Mono En Stereo, with whom he previously partnered on the EP "Kool Herc: Fertile Crescent". Quelle Chris and Your Old Droog appear on "Lookout", but otherwise all the bars come courtesy of Homeboy Sandman. On lead single “Far Out,” Mono En Stereo supplies dreamy disco vibes, while Boy Sand rhymes 'urethra' with 'eureka' among other inventive wordplay.

                          Previously only available on CDR promo and in limited quantities on the relaunched www.jaipaul.com, this 2011 classic by BTSTU comes to shops for the first time.

                          Still sounding fresh, and arresting in its simplicity, this faultless slice of neo-soul highlighted a particularly fruitful time in UK music with artists like James Blake, FKA Twigs, The XX and many more grabbing the finesse and minimalism of dubstep and flipping it into a unique take on modern soul that was / is totally UK-bred and forged.

                          Remastered for 2019 on vinyl and taking us right back thru a rose tinted lens to this fertile time. 


                          STAFF COMMENTS

                          David says: Bedroom soul for bedouin beatniks and street urchins the world over. Now available for all to enjoy.

                          Jason Isbell And The 400 Unit

                          Here We Rest - Reissue

                            Originally released in 2011. This reissue was remixed by Dave Cobb and remastered by Pete Lyman. Like the two albums before it, Here We Rest shines a light on Jason Isbell’s softer side, illuminating the sad-faced country tunes and bluesy ballads that rarely popped up during his time with Drive-By Truckers. Written in northern Alabama during a break in Isbell’s touring schedule, these songs focus on the archetypal characters that populate most struggling Southern towns: the barflies and ball players, the heartbreakers and the heartbroken, the war vets who return home and the starry-eyed kids who leave. Isbell’s hometown was hit hard by the Great Recession of 2008, and he captures his subjects somewhere between the realization that their lives have been impacted and the sad resignation that they’ve been irrevocably changed. The details are bittersweet, but there’s an air of resilience, too, which Isbell underscores with a sympathetic soundtrack of folk, country, and bar band rock & roll.


                            FORMAT INFORMATION

                            Coloured LP Info: Indies exclusive edition on transparent blue vinyl.

                            Coloured LP includes MP3 Download Code.

                            Jason Isbell And The 400 Unit

                            Jason Isbell And The 400 Unit - Reissue

                              Originally released in 2009. This reissue was remixed by Dave Cobb and remastered by Pete Lyman. 

                              FORMAT INFORMATION

                              2xColoured LP Info: Indies exclusive edition on transparent green vinyl.

                              Jayda G

                              Significant Changes (Remixes)

                                A thumping remix from Honey Dijon, who takes on Jayda’s light-hearted ode to the dancefloor - ‘Stanley's Get Down (No Parking on the DF)’ - with Jayda’s tongue-in-cheek scorn “Hey you! I see you, with your phone, looking at Instagram” admonishing those people who stand motionless in the front row at her gigs: “This is the dancefloor baby, this is where you’re supposed to get down”. Talking about the remix, Dijon says "It was so much fun remixing an artist who has a clear understanding and respect for the foundation of dance music heritage and culture.”The EP is completed by Dâm-Funk’s “Re-Freak” of ‘Move To The Front’ and a remix from DJ Fett Burger of ‘Missy Knows What's Up’. 

                                Durand Jones & The Indications

                                Morning In America / Cruisin' To The Park

                                When Durand Jones & The Indications released their sophomore LP, American Love Call, there was a bundle version of the album available that included a bonus 7" with "Morning In America" on the A-side and a true bonus B-side, "Cruisin' To The Park." That B-side, an homage to lowriders everywhere, has become a theme for a whole new generation of sweet soul lovers. So we are proud to present this heater of a 45. For Fans Of… Smokey Robinson, The Delfonics, Lee Fields. Let's cruise....

                                FORMAT INFORMATION

                                Ltd 7" Info: Orange coloured 7" vinyl.

                                Jungle Brothers

                                Straight Out The Jungle - Vinyl Reissue

                                De La Soul and A Tribe Called Quest may have been more commercially successful, but the afrocentric, jazz political rap movement and unfadeable Native Tounge Massive started with the Jungle Brothers. Their debut full length “Straight Out the Jungle” opened up many doors that are walked through by artists like Mos Def, Common and even Kanye West. Their taste for jazzy horn samples helped kick-start the entire jazz-rap movement, and their James Brown fixation was oneof the first. Plus, the group’s groundbreaking collaboration with legendary house producer Todd Terry, “I’ll House You,” paved the way for numerous hip-house hybrids that shot up the dance and pop charts over the next few years and appeared to be a staple on every East Coast Rap Album from ‘88 until ‘92. The opening track “Straight Out the Jungle” samples the classic Bill Withers drum break as the JB’s tell you where they are coming from. “Black Is Black” (featuring a young Q-Tip) and “Sounds Of The Safari” introduces the pro-black edge, while the sexually subtle classics “Jimbrowski” and “I’m Gonna Do You” are funny, clever and timely. Hard, smart, fun, clever and brilliant, Mike G., Africa Baby Bam and Sammy G may not have realized it but they crafted a classic rap album that stands the test of time. Available here on high grade, loud pressed, double vinyl!

                                FORMAT INFORMATION

                                2xColoured LP Info: Limited edition indie stores exclusive, pressed on red & green opaque vinyl.

                                Yet another new artist emerges from the drug-addled undergrowth of Hoga Nord. Fast becoming the most wacked-out and narcotically fuelled label we stock here in the shop; whether it's lysergic fuzz, interplanetary psyche, E'd up warehouse beats or some psychotropic musical life form yet to be classified, the camp seem to invite anyone with a penchant for getting off it, on it.

                                Kanot's first record and two different flavours contributing to the same psychedelic soup. Anyone remember Sylvestre Anfang II? I can't help draw comparisons with the Amon Düül II-affiliated group. Only there's a bit more synthesizer action from this guy (these guys?). Both tracks glide in through an inviting synthy / drony intro, then burst into the kind of twangy, pagan 'funeral folk' meanderings a la Goat and the above mentioned Sylvester Anfang. It's ace! And yet another ear-grabbing arrow in the bow of this wonderful label. Recommended. 


                                STAFF COMMENTS

                                Matt says: Yeah man, taking us right back to those proto-Goat pagan swagger days when it was perfectly normal to sacrifice a small mammal before heading into work... Campfire voodoo rituals never sounded so good!

                                Mark Korven

                                The Lighthouse

                                  “Composer Mark Korven and I developed a shorthand working together on The Witch. This made collaborating on The Lighthouse an incredibly enjoyable process. But it was not without its many challenges. Originally, I wanted a score with no strings at all. The Witch soundtrack was so string-prominent that I wanted a full departure. I only wanted horns, pipes, conch shells, concertina – things that sounded like the sea – or the lighthouse station’s ominous foghorn. It would be a minimalist aleatoric soundtrack with a nod to sea shanties and ancient Greek music. As Mark and I embraced the sound of big brass sections, it quickly became a maximalist aleatoric soundtrack.

                                  From the beginning, Mark thought that we might need some string textures to tell the story and that I was being foolhardy. As usual, he was right, but it took some time for me to hear that I was wrong. We eventually set up an experimental session with a cellist and a double bass player to create some strange, otherworldly sounds to use in moments of high tension, rather than relying on the tried and true Penderecki-esque string rises of horror cinema (although we still use a couple). These strings would be obscured and camouflaged. I was fine with that.

                                  To create the ethereal and monstrous sounds of the light itself, Mark experimented with the waterphone, glass harmonica, his famous Apprehension Engine – as well as friction mallets drawn across cymbals, wood, and glass. This beautiful work of Mark’s, combined with Damian Volpe’s sound design, does so much to convey the inner world of Rob and Willem’s characters.” -Director Robert Eggers

                                  “Robert [Eggers] and I were rather like the two wickies that went insane in The Lighthouse, musically speaking. We travelled to some very dark harmonic and textural places. We both enjoy not just breaking the rules, but blowing them to smithereens. The spirit of experimentation was always present.” -Composer Mark Korven

                                  FORMAT INFORMATION

                                  Coloured LP Info: Limited clear vinyl edition.

                                  Mark Lanegan Band

                                  Somebody's Knocking

                                    ‘Somebody’s Knocking’ is the eleventh album from Mark Lanegan. The album pulsates with energy echoing the punch of Eighties garage metallers Raw Power and the sweep of brooding atmosphere concreted by late Joy Division. With his love for electronic dance dating back his youth, tracks on ‘Somebody’s Knocking’ act as a callback to these days whilst simultaneously signifying a definitive shift in his sensibilities and very approach to songwriting.

                                    It’s unsurprising then that ‘Somebody’s Knocking’ was cowritten by Rob Marshall - of Exit Calm and collaborator on 2017’s Gargoyle - alongside Martin Jenkins of electronica project Pye Corner Audio. In Lanegan’s own words, he approached working with the two “from the perspective of a fan.” This is unsurprising; Lanegan’s love for European dance music even led to Jenkins contributing album remixes for both 2015’s ‘A Thousand Miles Of Midnight’ and 2017’s ‘Still Life With Roses’, Pye Corner once again proving to be the perfect foil for Lanegan’s more overtly electronica infused approach.

                                    Mostly recorded in LA over an eleven-day session, ‘Somebody’s Knocking’ is a shift in perspective for Lanegan, showcasing his maturing approach to songwriting and remaining instinctive, elusive and unflinchingly honest.

                                    STAFF COMMENTS

                                    Barry says: Lanegan's newest outing is full to the brim with gritty, southern rock drive and the undeniable musicality we've come to expect from him over the past 30 years, only this time we get the more electronic-leaning production of Martin of Pye Corner Audio and Rob Marshall of cooking vinyl, a match made in music heaven.

                                    FORMAT INFORMATION

                                    Coloured LP Info: Limited heavyweight blue vinyl, limited to initial pressing.

                                    Coloured LP includes MP3 Download Code.

                                    Stephen Mallinder

                                    Um Dada

                                      Stephen Mallinder, co founder and frontman of the iconic Cabaret Voltaire, has returned with his first solo album in over 35 years: Um Dada. Laced with leftfield house and cut up sound collages, Um Dada is a melding of energies that are an exercise in simplicity and motion. Sincere, playful realism that beckons your body to move, always reminding you to never take yourself too seriously without forfeiting your agency.

                                      While steering Cabaret Voltaire through the 1980’s, Mallinder was already busy piecing together his first solo album entitled “Pow Wow”, which would help define Mallinder’s interest in the more leftfield electro sounds shaping England at the time. It was this diverse and abstract hybrid that helped inspire generations of artists and musicians through steeping raw machine funk within the whimsical and absurdist ideology.

                                      Since the release of “Pow Wow” in 1982, Mallinder continued his pioneering work with Cabaret Voltaire, as well as recording and touring with his electro projects Wrangler, Creep Show, Hey Rube, Kula, and Cobby & Mallinder. In addition to his non stop schedule in electronic music, his professional life as a journalist, broadcaster, producer and now a professor of Digital Music & Sound Art at the University of Brighton, has lead Mallinder to a unique point in his career. Most in his position would be caught up in rosy retrospection, but Mallinder himself says, “There’s too much digital finger licking right now; every thought and desire at the turn of a dial... well a click of the mouse. And there’s a giddy, false nostalgia about the analogue past. Sorry to burst your bubble but the truth of history is more mundane: practical, pragmatic...Um Dada is about ‘play’ cut and paste, lost words, twisted presets, voice collage, simple sounds things that have been lost to technology’s current determinism. Let the machines talk to each other, let them dance .. they lead, we follow.”

                                      Um Dada opens up with the exact machine led surrealism that Mallinder recommends in “Working (You Are)”. A thick, stripped back dance floor groove provides the ideal foundation for Mallinder’s eccentric vocal cuts. The frisky chops present an almost twisted irony, subtly bringing to mind the role we’re all forced to play as just another cog in the ever grinding capitalist machine of life. Yet, somehow, the listener is left feeling optimistic. A prime example of simplicity at work. Tracks such as “Satellite” give a skillful illustration of Mallinder’s adeptness with his musical expertise while preserving his core historical context as only simple reference. The underlying bassline and percussion, coupled with the floating melodies and airy vocal refrain disclose the vulnerabilities of love and loss without a hint of irony or nostalgia.

                                      Um Dada is mischievously idealist, however never loses touch with reality. Offering structure while simultaneously dismantling any and all preconceptions. The spirit of sincerity that sustained Cabaret Voltaire’s lengthy career is abundantly present within founder Stephen Mallinder’s journey through his own whimsical utopian consciousness and staking claim to an identity that is solely his own.

                                      STAFF COMMENTS

                                      Barry says: One of the most singular voices in English electronica returns for his first solo album in over 30 years. 'Um Dada' encompasses everything we love about Mallinder and while his most recent collabs (Creep Show with shop favourite John Grant was a particular highlight) clearly showed his influence, it's great to hear his own sound, undiluted and unadorned, and switching effortlessly between a huge range of influences and sounds.

                                      FORMAT INFORMATION

                                      Coloured LP Info: Clear vinyl. Signed copies while stocks last!

                                      CD Info: Signed copies while stocks last!

                                      Strap yourselves in troops! This next one by our Bavarian brothers has proven to be a bit of a HIT round these parts over the past year. Recently they’ve been prompting many ID requests with the support of Dixon, Ame, Peggy Gou, Roman Flugel & Kornel Kovacs and now the secret is out for all to enjoy!

                                      Kickin' off with David Kochs' wobbly, sine-tone led rave banger "Ghost Trance" (a mix between "Township Funk" and perhaps "Wonky Bassline Disco Banger"), and then "End Scene" - which heads to the nether regions with a low rumbling B-line supplemented perfectly by ADSR-tweaking modular bleeps and bits. Cranium twisting guaranteed throughout the A-side then!

                                      Side B features Dominik Marz who drops "Release" and "Forever". The former utilizes a thin, digital keyboard line to create tension with its unusual choice of musical scale, a real creeping mystery to beguile the floor; while the latter is brighter, shining rays of optimism and warmth through a kinetic drum palette and rich velvety synths for a moment of sunrise-themed bliss... hear the ripples of jubilation radiate from its core - magic! 


                                      In 1974 Mazzotti recorded her first album "Ninguem Vai Me Segurar" (1974), enlisting the in-demand arrangement talents of Azymuth’s original keyboard maestro Jose Roberto Bertrami who co-wrote several of the tracks and plays organ, piano and synthesizers on the album. It also features Azymuth’s bassist Alex Malheiros and percussionist Ariovaldo Contestini, with Romildo Santos who produced the album on drums. Recorded in Estudio Haway around the same time Azymuth recorded their debut album there, it’s no wonder the samba jazz-funk pioneer’s distinctive aesthetic is present throughout, and Mazzotti’s sensational compositions are made even more beautiful for it.

                                      Kicking off with the swirling samba-jazz-dance masterpiece ‘Agora Ou Nunca Mais’, the album hosts several groove-heavy Brazilian cult-classics including ‘Roda Mundo’ and ‘Eu Sou Mais Eu’. Deeper moments come in the form of the alluring future soul synth sounds on ‘Bairro Negro’ and ‘Sou’, and Mazzotti’s tender, hallucinatory version of ‘Feel Like Making Love’ (made famous by Roberta Flack) perfectly reflecting the idiosyncratic genius Mazzotti achieved with Bertrami’s visionary arrangements, and Romildo’s impeccable production approach.

                                      A landmark recording in early creative improvised modern music, bassist Cecil McBee's recording for the Strata East label is an important document introducing him as a leader from the international jazz-based scene in New York City via his native Tulsa, OK and following a brief mid-'60s stint in Detroit. McBee as a pure musician has staggering technique, rich harmonic ideas, and an indefatigable swing, but it is as a composer that he is set apart from other musicians of this mid-'70s era. "Life Waves" is a stunning piece of composed and improvised music, with a brief clarion horn section setting off McBee's chordal strumming and harp bop drive. Trumpeter Tex Allen's brash lines, the incendiary tenor saxophonist George Adams, and more thoughtful alto saxophonist Allen Braufman dig into hefty but contrasting solos, while drummer Jimmy Hopps stokes the coals. The other premier piece, "Mutima," has a soaring longer melody switching on and off onto a samba palate that is pretty, beautiful, and much more introspective than other wild and woolly cuts. The legendary but under recognized flutist Art Webb shines on the floaty free "A Feeling,' and the atypical but wholly contemporized "Tulsa Black," a portent to the music that would be made later in this time period by Sonny Fortune, and featuring the wah-wah electric bass guitar work of Cecil McBee, Jr. The two-minute "Voice of the Seventh Angel" sports the disparity of a complex arrangement alongside the beautiful singing of a young Dee Dee Bridgewater, while the marathon "From Within" has McBee performing solo, but overdubbed on two basses in opposite stereo channels, using serene long-toned arco and static pizzicato in arresting sounds that meld into a bridge squawk reminiscent of the saxophone playing of bandmate Adams. In retrospect, McBee's great career was ostensibly launched well before this recording, having worked with prominently with Charles Lloyd, Alice Coltrane, Pharoah Sanders, Yusef Lateef, Charles Tolliver, and countless others. "Mutima" (translated as "unseen forces") undoubtedly solidified his stature and brilliance as a major player.
                                      Michael G. Nastos/AMG

                                      Monolord

                                      Empress Rising - Coloured Vinyl Repress

                                        Sweden's psychedelic doom band, Monolord, is set to release their First full length LP "Empress Rising" via Easy Rider Records in April 2014. The five song album comes in at almost 50 minutes of skull crushing heavy grooves and heavy guitars that summon the spirits of Norse gods when played at loud volumes. Monolord is far more than just doom-metal fanatics - this is an epic record for all fans of guitar driven rock and roll, stoner rock, and heavy riffs. As a free gift from Monolord and EasyRider Records you can download the title song "Empress Rising" here. The song is a 12 minute long opus that will leave you wanting more, but you will have to wait until April 1 2014 for the rest of the record that will be making headlines for next year. 'Empress Rising' has all of the flavors of an iconic doom record and follows in the footsteps of Sleep - "Holy Mountain", Pallbearer - "Sorrow and Extinction", Electric Wizard - "Witchcult Today" with melodic vocals and harmonies that are super psychedelic and easy to sing along with.

                                        FORMAT INFORMATION

                                        2xColoured LP Info: Green and black coloured vinyl. Limited to 400 copies.

                                        Danny K, one of dance music's upper echelon-members continues his Mr. K edits series in total earnest. You'd have thought cat might have given up by now, spending nigh on the last thirty years at the top of his game, but no! he just keeps on giving. A lovely man and a true ambassador for disco and dance music in general, there's not many cut from the same (silk) cloth as this man!

                                        Two more rambunctious edits from disco's well-excavated underground but there's no-one really that does it better than this man! As deft with the razor blade as he is with a turntable, it's his precise selections, grasp of dynamics and general air of sophistication that sets his work apart from the majority of the also-rans. If you've ever had the joy of seeing him play, you might recognize this two cuts from his personal armory; if you haven't, then enjoy the music and try to catch the great man in action sometime in the near future - you won't regret it! 


                                        STAFF COMMENTS

                                        Sil says: Smooth full moon is out and all you need is this 12" oozing midnight jazzy vibes on both sides courtesy of master Mr. K. Gold.

                                        Nas

                                        It Was Written

                                          Illmatic, the 1994 studio debut of Nasir "Nas" Jones, was more than just a critical success for the Queensbridge-based rapper. At a time when East Coast hip-hop was increasingly being taken less seriously than their West Coast counterparts, Illmatic's raw jazz and soul-based production, dire atmosphere and lyrics, coupled with Nas' uncompromising flow was integral in restoring interest in the East Coast as a hotbed of hip-hop artistry. Along with key releases from Wu-Tang Clan and Notorious B.I.G.,it shifted attention away from the funky, dayglo synth-based G-funk coming out of California and back to the grimy streets of New York. After such an unprecedented debut record, expectations were understandably high for Nas' follow-up. What came next threw critics and fans for a loop, but was no less influential than Illmatic, and would become the most commercially successful album in the entirety of Nas' discography.

                                          The 1996 sophomore follow-up was titled It Was Written, and in contrast to the urban bleakness of his debut, had Nas dipping his toes into the world of mafioso rap. Amidst production from heavy hitters like Trackmasters, Dr. Dre, L.E.S., Havoc of Mobb Deep, and Illmatic-collaborator DJ Premier, among others, Nas weaves evocative narratives of gang warfare, downtrodden neighborhoods, drug deals gone awry, and gangsta triumph, against a backdrop of samples from Sam Cooke, Etta James, the Isley Brothers, and even Chuck Mangione. It Was Written was not hard up for top-tier guests either, featuring major guest turns from Lauryn Hill and Joel "JoJo" Hailey of K-Ci & JoJo. It also introduced the world to The Firm, the brief Nas-led supergroup featuring rappers AZ, Foxy Brown, and Cormega. It even managed to cause some minor controversy in the hip-hop community for its collaboration with West Coast producer Dr. Dre, at a time when the East Coast/West Coast rap feud was reaching a fever pitch, briefly attracting the ire of one Tupac Shakur.

                                          Not only was It Was Written received warmly by critics, but became a major commercial success, reaching the top of the Billboard 200 charts, reaching platinum sales status four times, and alongside albums like Raekwon's Only Built 4 Cuban Linx, helped usher in the era of mafioso rap in the mainstream. It rendered chart hits out of singles like the Eurhythmics-mimicking "Street Dreams", and the Grammy-nominated "If I Ruled The World (Imagine That)", and proved to be a major influence on artists like Kendrick Lamar, Lupe Fiasco, and many more

                                          It's safe to say that hip-hop has never seen an album like Ol’ Dirty Bastard's 1995 solo debut "Return to the 36 Chambers". The brief glimpses of ODB's unhinged genius provided by Wu-Tang Clan's landmark "Enter the Wu-Tang" album two years earlier were begging to be expanded on to a larger canvas, and, with RZA guiding production, the album promised to give Dirty the creative license to make one of the most bizarre, entertaining and original LPs in hip-hop history. With his raspy, drunken flow and dark sense of humor, Dirty fearlessly attacks from all angles, throwing himself fearlessly into punchy rhyme attacks (“Damage,” with GZA), drugged-out party jams (the monster singles “Brooklyn Zoo” and “Shimmy Shimmy Ya”) and bizarre, grimly hilarious fantasies of sex and violence (“Don't U Know” and the R&B-tinged “Sweet Sugar Pie”).

                                          Backed by RZA's appropriately gritty, dissonant beats and appearances from the Clan, Return became an instant hit, selling over 1 million copies and earning a Grammy Award nomination for Best Rap Album in 1996. The album stands as a high water mark in the Wu-Tang Clan's collective creative output and was selected as one of the Best 100 Rap Albums by The Source magazine in 1998. In honoring the legacy of one of hip-hop's most innovative releases, Get On Down is proud to present this incredible and unique special edition of Ol’ Dirty Bastard's Return to the 36 Chambers as a double LP which contains the complete original album, remastered for optimal sound quality. 

                                          Om

                                          BBC Radio 1

                                            Recorded live at BBC Radio 1, Maida Vale, May 3rd, 2019.

                                            The songs continue to evolve; two each from the classic OM releases Advaitic Songs and God Is Good, encompassingly recorded and mixed with the pristine quality that BBC engineers (and OM) bring to recorded sound.

                                            FORMAT INFORMATION

                                            2x10" LP Info: Split colour vinyl, green and black.

                                            Daphne Oram - Vera Gray

                                            Listen Move And Dance

                                              Brand new reissue of Daphne Oram and Vera Gray's Listen Move & Dance, originally released in 1962. The British composer, musician, and audio engineer Daphne Oram was a pioneering figure in the use of electronic music. Coming to prominence through her work with the BBC Radiophonic Workshop, which she co-founded, Oram was one of the first British composers to feature electronic instruments in her work and has been rightly hailed as helping musique concrete to become accepted in Britain. Oram's composition "Still Point", involving two orchestras, two turntables and five microphones, was deemed too radical by the BBC, though she was promoted to studio manager in 1950, leading to the gradual introduction of electronic music and musique concrete techniques on BBC soundtracks. In 1957, she composed the music for the play Amphitryon 38, using a sine wave oscillator and homemade filters, and this and other subsequent works led to the establishment of the BBC Radiophonic Workshop the following year, but Oram soon tired of the conservative constraints of the BBC, leading to her resignation in 1959 to pursue her own vision at the Oramics Studios for Electronic Composition, located in Tower Folly, a former hop kiln located at Fairseat, near the village of Wrotham in rural Kent. "Oramics" was a radical sound composition technique that sought to transform images to music, enacted by drawing onto 35mm film, which would then be read by photo-electric cells; in addition to its use in Radiophonic Workshop material, "Oramics" was also employed for sound installations, theater productions, and feature films, such as The Innocents, though financial pressures forced Oram to seek a range of commercial engagements in addition to creating her own artistic works. The Listen Move & Dance series of BBC programs were devised as a radical new technique to help British schoolchildren learn how to dance; on the LP releases, Vera Gray arranged short adaptations of classical pieces by Bartok, Stravinsky, Shostakovich, and others, designed for "stamping, punching, kicking and jumping" movements, as well as "running lightly", "dancing on toes" and "shaking all about", which contrasted sharply with Oram's electronic abstractions, which seemed to have been beamed in from outer space. 

                                              Sporting a mighty fine centre label this week's Eureka! record comes courtesy of Pablo Valentino and "Space Tribe". The founder of Faces Records with MCDE, this fifth release features collaborations with Kez YM and Simbad.

                                              The A-side kicks us off with "Bananas" and it's vintage house organs riffing from the start alongside vibrant piano lines and a solid, jacking drum beat. House as pure as it gets, true to form and lively as hell.

                                              "Inspiracao" stumbles confidently into downbeat territory, lighting up a carrot for the smokers as it melds fluttery strings and keys to a head-nodding sub-90bpm snap.

                                              Side B's "Space Tribe" brings our journey into crisp, tribal-tinged house styles that bring to mind Kai Alce and the NDATL label. Featuring the beautiful echoing synth sounds of veteran London producer, Simbad this is a beautifully dreamy way to end the EP staring up at the stars.

                                              *Artwork by Kouhei Asakura (http://www.asakurakouhei.com)

                                              *Mastering by Hideo Kobayashi.


                                              STAFF COMMENTS

                                              Sil says: Downtempo vibes with heavy cut and paste ethos on the A side backed with some deep house affairs that will easily warm up the dancefloor.

                                              More stuff from Ben & Dean's exquisite Rogue Cat squadron. Now delving into reissues and excavations via their ReSounds branch, this is the second record to receive attention and treatment from these new disco mavericks.

                                              Quiet Force's "Listen To The Music" is a mid-pyramid Balearic nugget. Owned by most of the third tier, but still fetching upwards of a ton via trading markets, it's the domain of Balearic scribes and soldiers out of reach of the meagre peasantry and unwashed.

                                              Coming here, backed with two remixes, the original is a superbly evocative slice of Italian balearia - slow in pace but with a maxed out, post-coital glow that lends itself to white loungers draped across sandy beaches awash with cocktail-wielding patrons.

                                              Straus & Pask flip the mood to an electro-disco fuelled drug chugger laced with 303s, vintage synths and primitive sampling that's defo gonna work early doors in the club.

                                              Apiento & Tepper drop the second remix: slightly shuddering with some well deployed noise gates while a vintage, late 80s electro-soul beat fuels the motion as a whole manner of expansive melodies, vox and pad sweeps elevate our soul.

                                              Dean and Ben are also responsible for the Rotation Soundsystem - a Klipschorn-powered, mobile party that counts stately homes, country gardens and subterranean basements amongst its choice spots of revelry. 


                                              STAFF COMMENTS

                                              Sil says: Rogue Cat here with some well-dug Balearic gold, galvanized with some modern alchemistry to great affect. I'm sold.

                                              The Rifles

                                              Great Escape - Reissue

                                                Originally released in 2009, The Rifles second studio album 'Great Escape' is being re-issued on limited edition double heavyweight coloured vinyl with signed artprint (via D2C), and 2 disc CD. It features eight bonus tracks, some of which have never been released before on vinyl.

                                                The album is being released alongside close to sold out 'The Great Escape' tour in October & November 2019, celebrating 10 years of the album. The original release from 26 January 2009 now has over 38 thousand copies sold in the UK, and was produced by Dave McCracken and Stan "Jan" Kybert. The Rifles used Dave Davies' (The Kinks) Konk Studios in Crouch End, Dan Hawkins' (The Darkness) studio Leeders Farm, and "The Pool" in Miloco Studios to record the album.

                                                FORMAT INFORMATION

                                                2xColoured LP Info: Limited edition double heavyweight coloured vinyl.

                                                2xColoured LP includes MP3 Download Code.

                                                Terry Riley

                                                A Rainbow In Curved Air

                                                  Keyboard virtuoso Terry Riley started experimenting with different instruments in the ‘50s. One of his electronic music landmarks is his third album A Rainbow in Curved Air. Through the use of overdubbing, he recorded all the instruments to feature on the title track. The composition consists of three movements, each representing another part of his musical influences. As the song progresses, its structure goes through frequent changes. It’s an colorful, psychedelic, atmospheric and revolutionary song. The second track consists of a loop of saxophones and is the dreamy and calm opposite of the title track. Fans of electronic music, such as Tangerine Dream and Klaus Schulze, would love this record. Taking inspiration from Hindustani classical music and jazz techniques, Riley’s masterpiece influenced many musicians, from the likes of Brian Eno to Emeralds.

                                                  A Rainbow in Curved Air 50th anniversary limited edition is available as 500 individually numbered copies on transparent vinyl.

                                                  Matana Roberts

                                                  Coin Coin Chapter Four : Memphis

                                                    Matana Roberts returns with the fourth chapter of her extraordinary Coin Coin series - a project that has deservedly garnered the highest praise and widespread critical acclaim for its fierce aesthetic originality and unflinching narrative power. The first three Coin Coin albums, issued from 2011-2015, charted diverse pathways of avant modern composition - Roberts calls it "panoramic sound quilting" - and ranged sequentially from large band to sextet to solo, unified by Roberts' archival and often deeply personal research into legacies of the American slave trade and ancestries of American identity/experience. Roberts also emphasizes non-male subjects and thematises these other-gendered stories with a range of vocal and verbal techniques: singspeak, submerged glossolalic recitation, guttural cathartic howl, operatic voice, gentle lullaby, group chant, and the recuperation of various American folk traditionals and spirituals, whether surfacing in fragmentary fashion or as unabridged set-pieces. The root of this vocality comes from her dedication to the legacy of her main chosen instrument, the alto saxophone.

                                                    On Coin Coin Chapter Four: Memphis, Roberts convened a new band, with New Yorkers Hannah Marcus (guitars, fiddle, accordion) and percussionist Ryan Sawyer (Thurston Moore, Nate Wooley, Cass McCombs) joined by Montreal bassist Nicolas Caloia (Ratchet Orchestra) and Montreal-Cairo composer/improviser Sam Shalabi (Land Of Kush, Dwarfs Of East Agouza) on guitar and oud, along with prolific trombonist Steve Swell and vibraphonist Ryan White as special guests. Memphis unspools as a continuous work of 21st century liberation music, oscillating between meditative incantatory explorations, raucous melodic themes, and unbridled free-improv suites, quoting archly and ecstatically from various folk traditions along the way. Led by Roberts' conduction and unique graphic score practice, her consummate saxophone and clarinet playing, and punctuated by her singing and speaking various texts generated from her own historical research and diaristic writings, Coin Coin Chapter Four is a glorious and spellbinding new installment in this projected twelve-part Gesamtkunstwerk

                                                    FORMAT INFORMATION

                                                    LP Info: 180gram vinyl includes multiple art inserts + MP3.

                                                    Saariselka

                                                    The Ground Our Sky

                                                      The debut album by renowned composers and ambient Americana pioneers, Chuck Johnson and Marielle V Jakobsons (Date Palms). There is an old Norse myth that says the great northern glaciers stored energy until they burst with fluorescent light, creating the Aurora Borealis. Saariselka is inspired by the meeting of earth and light, where slowly moving land masses merge with enveloping light fields. This sonic collaboration between composers Marielle Jakobsons (Fender Rhodes, organ, synthesizers) and Chuck Johnson (pedal steel guitar and treatments) is as expressive as it is enigmatic. On their debut album, The Ground Our Sky, a kind of new ambient Americana is unearthed and explored. The respectively singular artistry of Jakobsons and Johnson collectively craft a universe of remarkable resonance. It is a vibrant, seemingly infinite sway of sounds that exists unmoored in time and space. The Ground Our Sky gets its lift by pondering the universe not while staring up at the sky, but rather down at the ground – gazing into the earth, where we are all individually and collectively a meeting of the ground and the sky. This inverted perspective is at the heart of Saariselka’s music. That feeling of becoming ungrounded is universal and inevitable – and increasingly necessary to seize those rare opportunities for meaningful changes in perspective. “Something is happening. 

                                                      FORMAT INFORMATION

                                                      Coloured LP Info: Indies-only dark blue vinyl.

                                                      Pharoah ‘Farrell’ Sanders (born 1940) is a leading figure in the world of jazz and one of the last living legends with connections to players like Sun Ra and John Coltrane. His tenor saxophone playing has earned him royal status amongst free jazz players, critics and collectors.

                                                      Originally Sanders was interested in urban blues music, but his high school teacher exposed him to jazz and this took Farrell in an entirely new direction. Once completing high school Sanders quickly packed his belongings and headed to Oakland, where he got a chance to work with musicians of high caliber such as saxophone players Sonny Simmons and Dewey Redman (who were both later to be major forces in new jazz and free jazz). Soon the young Pharoah would meet John Coltrane and would feel being attracted to the life as a professional musician. By the early sixties Sanders moved to New York where the major jazz scene was happening. Here he’d spent most his time honing his skills at rehearsals with Sun Ra….sadly he was not making much money with the Arkestra and soon found himself living on the streets, trying to stay up all night playing and then scrounging for money during the day, often selling blood to eat.

                                                      Sanders recorded his debut album for ESP soon after, but it wasn’t until he started playing with his old friend John Coltrane that he would fully unleash the fury of his saxophone on the world of free jazz. The records Pharoah Sanders played on for Coltrane laid the foundation of what was to come for both the world of free jazz and for Sanders as a musician. After Coltrane’s tragic death Sanders would record further with Alice Coltrane, John’s widow, on the album Karma (1969 – Impulse!), which is universally accepted as Sanders’ masterpiece. Along with musicians Alice Coltrane and singer Leon Thomas, Sanders helped to create the genre of spiritual jazz.

                                                      By this point in his career & on the album we are presenting you today (Moon Child, recorded in 1989), Sanders had largely withdrawn from the kind of screeching avant-gardism on which he at first staked his reputation. Here Sanders plays with an all-star line-up consisting of Stafford James (Sun Ra) on bass, William Henderson (Roy Ayers) on piano, & Eddie Moore (Sonny Rollins) on drums. Moon Child, with its attractively spacy vocals, is reminiscent of the days of “The Creator Has a Master Plan,” and this mood is kept throughout the album and in the choice of cosmic tunes represented on it.

                                                      On this album the legendary saxophonist clearly reinvented himself as a more traditional improviser, capable of thoughtful and pensive deliberations. Catchy mystical New Age vocals, astrological references… Pharoah may remain an acquired taste, but few jazzmen can equal his unique formula of mastering the ‘groove’.


                                                      Pharoah Sanders

                                                      Izipho Zam(My Gifts)

                                                      Two years after the death of his mentor and boss, John Coltrane, and just before signing his own contract with Impulse!, Pharoah Sanders finally got around to releasing an album as a leader apart from the Impulse! family. Enlisting a cast of characters no less than 13 in number, Sanders proved that his time with Coltrane and his Impulse! debut, Tauhid, was not a fluke. Though hated by many of the jazz musicians at the time -- and more jazz critics who felt Coltrane had lost his way musically the minute he put together the final quintet -- Sanders followed his own muse to the edges of Eastern music and sometimes completely outside the borderlines of what could be called jazz. That said, Izipho Zam is a wonderful recording, full of the depth of vision and heartfelt soul that has informed every recording of Sanders since. Guests include Sonny Sharrock, Lonnie Liston Smith, Chief Bey, Cecil McBee, Sirone, Sonny Fortune, Billy Hart, Howard Johnson, and others. The set begins with a gorgeous soul tune in "Prince of Peace," with Leon Thomas doing his trademark yodel, croon, and wail as Smith, McBee, and Hart back him and Sanders fills the gaps. Next is "Balance," the first blowing tune on the set, with the African drums, the modal horns, and Sanders' microtonal investigations of sonic polarity contrasted with Johnson's tuba, leaving the rhythm section to join him as Sharrock and Smith trade drone lines and Sanders turns it into a Latin dance from outer space about halfway through to the end -- it's astonishing. Finally, on the 28-minute title track, the band members -- all of them -- begin a slow tonal inquiry, a textured traipse into the abyss of dissonance and harmonic integration, with Thomas as the bridge through which all sounds must travel on their way to the ensemble. From here, percussion, bells, whistles, Sharrock's heavily chorded guitar -- all provide rhythm upon interval upon tonal figure until the horns enter at about 12 minutes. They move slowly at first and gather force until they blast it right open at 20 minutes and the last eight are all free blowing and an endurance ride for the listener because, with four minutes left, Sanders leads the band in a gorgeous lyric ride that brings together all disparate elements in his world and ours, making this track -- and album -- an exhilarating, indispensable out jazz experience.



                                                      STAFF COMMENTS

                                                      Millie says: Spiritual jazz legend Pharoah Sanders, Izipho Zam(My Gifts) is a literal gift to all jazz fans out there, full of rhythm and fantastic percussion. Joined by big names, Sonny Sharrock, Lonnie Liston Smith, Chief Bey, Cecil McBee to name a few, full on talent and style!

                                                      Ty Segall

                                                      Melted - Reissue

                                                        San Francisco psych wunderkind Ty Segall continues a tireless musical assault on ears and minds with his third album, Melted. Segall says it sounds like "cherry cola, Sno-Cones and taffy." Indeed! Over the past two years he's released records more often than most people do laundry, but somehow there is still a heap of anticipation for this new album on Goner packed full of truly psychedelic pop songs with great vocals and exciting arrangements. On the heels of two critically acclaimed solo albums, Segall holed up in a basement studio with Mike Donovan of the Sic Alps in late 2009 and early 2010 to come up with Melted. It's a carefree yet precise balance of acoustic and electric elements.

                                                        Distorted echo and thunder mix together with enough clean guitar lines and addictive choruses to deliver an album that recalls the '60s without sounding like anything created during that decade. Time melts away, vision melts away, minds melt away. Get Melted! "Ty Segall's short, sharp songs peal out of the garage without raising the doors, sending 1960s rock riffs crashing through splintered, smart-ass lo-fi buzz." -Pitchfork "His second album, Lemons, solidifies his standing as one to watch.... There are few moments when Ty Segall isn't irresistibly catchy." -Nylon "Warped sonics do nothing to diminish the impact of his vigorously nostalgic riff and stomp. Segall thunders along with the timeless, impudently rowdy energy of a cement basement dance-off." -SPIN, ? Third solo album from San Francisco garage psych wunderkind ? Touchpoints: Safe as Milk / Clear Spot-era Beefheart, T. Rex, blurry sweet junk-food highs.

                                                        Shorelights

                                                        Bioluminescence

                                                        Written and produced by Shorelights (Rod Modell & Walter Wasacz) with executive production by Ario Farahani (head of Astral Industries), "Bioluminescence" is the sixteenth release on this exquisite label and sees Rod make a much welcome return.

                                                        Two sides of impenetrable noise and static; a thick, acrid air suffocates both productions as they crawl forward with a slow but devastating tectonic thrust. Occasional moments of optimism and brightness break through, before being buried under more metamorphic electrostatic. It's an arresting and heavy piece of sounds that will affect any environment it's aired in. Essential for lovers of Rod's extensive catalogue, his work with Waler Wasacz is different to that of his Deepchord / Echospace work and very deserved of your attention!

                                                        Another sterling addition to this amazing label...

                                                        Artwork by Theo Ellsworth. 


                                                        STAFF COMMENTS

                                                        Matt says: Big Roddy M and Astral Industries are like lemon cake and prosecco. They go well every time! Hear the Echospace dub surgeon gets heads even more into the ether dropping an ambient exercise in electrostatic alongside his chum Walter Wasacz. Tip!

                                                        Anagram Label start off their new vinyl only series with a split EP from De School resident JP Enfant and label owner Sinfol.

                                                        The whole EP seems to have the stadium and open-air arenas in its sights with every track possessing that 'big room sound' we know and certainly love here at Picc Records. Sinfol's "Who We Are" is a frenetic, rave-breaks banger with clever vox and spine-tingling releases while JP Enfant remixes the track into a pounding bleep techno slammer full of sonars, distant melodies and rumbling low end.

                                                        That rumbling, steam train techno is continued onto side B with JP Enfant's original track "Buoyance" before Sinfol also takes a turn on the stems and true-to-form, opts for a more syncopated, UK flavour that nods to garage and rave in equal measure - utilizing a gliding, almost-Reese B-line to truly devastating effect - watch yer bassbins as always folks!

                                                        Like breaks and techno? Get this!

                                                        Limited to 200 copies.

                                                        STAFF COMMENTS

                                                        Sil says: Raw beats and electronics for the analog minds out there all drenched in melodies and futuristic landscapes

                                                        The Soul Twins / N F Porter

                                                        Quick Change Artist / Keep On Keeping On

                                                        The Soul Twins, real life siblings Hal and Harold Degraffenreid, were Detroit’s answer to Sam and Dave. “Quick Change Artist” thundered onto the U.K. Northern Soul scene at the Torch All-nighters in Stoke-on-Trent and little wonder since it was recorded by Johnny Griffith for Ollie McLaughlin’s Karen label and features the Funk Brothers on backing. N F Porter was born Nolan Frederick (NF) Porter in Los Angeles in 1949 and is best known for “Keep On Keeping On” his third and final single for Gabriel Mekler’s Lizard label. It was released in America in 1971 and found its way on to the U.K. Northern Soul scene via The Torch all-nighters in Stoke-on-Trent where it was first played as a new release, and later at the legendary Wigan Casino.

                                                        Anna St. Louis

                                                        First Songs

                                                          Despite her last name, Anna St. Louis was born and raised in Kansas City. She grew up a painter and singing in punk bands, eventually leaving her hometown to attend art school in Philadelphia. After graduating she made the move to Los Angeles where she began teaching herself guitar, writing songs and recording them on her own in her bedroom.

                                                          First Songs is the sound of someone discovering their talent in real time—a peak into the collage of a wonderful mind that is absorbing their new surroundings and using new tools to put them into the room. Listening to this collection you can feel the sun coming in through the window—St. Louis on the foot of the bed with a guitar on her knee, finding her voice. She wears her influences well—think Patsy Cline singing over John Fahey—but has a style all her own. And while one can take the artist out of the midwest, one can’t take the midwest out of the artist—so let this be known: this is Midwestern music ran through a California filter. Anna St. Louis will have many more releases in her lifetime, but let it all begin here—First Songs. “a low dangling cigarette of psychedelic folk.”

                                                          Sufjan Stevens & Timo Andres

                                                          The Decalogue

                                                            Oscar- and Grammy-nominated composer, vocalist and multi-instrumentalist Sufjan Stevens releases his acclaimed score for Justin Peck’s ballet The Decalogue via his own label, AKR. Performed by the pianist Timo Andres, the recording is the first time the score, premiered during the New York City Ballet’s 2017 season, is available to the public. 

                                                            The Decalogue is the third collaboration between NYCB Resident Choreographer Peck and Stevens, following 2012’s Year of the Rabbit and 2014’s Everywhere We Go. The piece was widely praised upon its premiere; The New York Times lauded the “beauty and charm” of Peck’s choreography as well as Stevens’ “romantically modernist études.”

                                                            Brooklyn-based composer-pianist Timo Andres is a Nonesuch Records artist, who has written major works for the Boston Symphony, Carnegie Hall, the Barbican, the Takács Quartet, the Concertgebouw, and elsewhere. He performs regularly with Gabriel Kahane, and has frequently appeared with Philip Glass, Becca Stevens, Nadia Sirota, the Kronos Quartet, John Adams, Ted Hearne, and others. As a pianist, Timo has performed at Lincoln Center, for the New York Philharmonic, the LA Phil, at Wigmore Hall, for San Francisco Performances, and at (le) Poisson Rouge. Upcoming highlights include a curated program for the Cincinnati Symphony (featuring Dance Heginbotham and a performance of Andres’s cello concerto, Upstate Obscura), and a solo piano recital for Carnegie Hall. Previous work with Sufjan Stevens includes the orchestration of “Principia” for Justin Peck and the New York City Ballet.

                                                            A singer-songwriter currently living in New York, Sufjan Stevens’ preoccupation with epic concepts has motivated two state records (Michigan and Illinois), a collection of sacred and biblical songs (Seven Swans), an electronic album for the animals of the Chinese zodiac (Enjoy Your Rabbit), an expansive EP in homage to the Apocalypse (All Delighted People), a full length partly inspired by the outsider artist Royal Robertson (The Age of Adz) and two Christmas box sets (Songs for Christmas, vol. 1-5 and Silver & Gold, vol. 6-10). BAM has commissioned two works from Stevens, a programmatic tone poem for the Brooklyn-Queens Expressway (The BQE) and an instrumental accompaniment to slow-motion rodeo footage (Round-Up). Stevens’ Planetarium, a collaborative album with Nico Muhly, Bryce Dessner and James McAlister imbued with themes of the cosmos, was released in 2017 to widespread critical praise.

                                                            2015’s highly acclaimed Carrie & Lowell explored his relationship with his mother in the wake of her death; a companion collection of outtakes, remixes and demos, The Greatest Gift Mixtape, was released in 2017. The songs “Love Yourself” and “With My Whole Heart” were released in 2018 in celebration of Pride Month, with a portion of the proceeds benefitting the Ali Forney Center in Harlem, NY and the Ruth Ellis Center in Detroit, MI. Stevens also contributed three much-lauded songs to Luca Guadagnino’s critically acclaimed film Call Me By Your Name, including the Oscar-nominated “Mystery of Love.”

                                                            Strawberry Guy

                                                            Taking My Time To Be

                                                              When Alex Stephens (A.K.A. Strawberry Guy) self-released his debut single last year, he was merely doing it out of a love for songwriting. What he wasn't expecting was a million Youtube streams and an avid fanbase. Now, the South-Wales born, Liverpool-based songwriter is ready to release a Mini-Album of his compelling, lushly produced dream-pop.

                                                              Born outside Cardiff, Strawberry Guy moved to Liverpool to study music and grow as a writer. 'I knew that it was a very artistic city with all it’s creative history, it seemed like the perfect place to move to.' he says. Whether it's playing keyboards in The Orielles or just being part of the city's growing musical scene, Alex plays music for the love of music, something that heavily translates into his adept songwriting.

                                                              The intense emotional feel of the tracks he writes is down to Alex's songwriting process, recording the entire MLP in his bedroom & producing it himself. 'I feel that it’s important to me to only write/record when you’re channeling some kind of emotion, so I would only work on it when I was in the right mood to do so.' He answers when asked about the isolated environment into which he put himself for the recording process.

                                                              Much of the inspiration for Alex's work comes from experience rather than other artists. 'When something significant happens to me, all I want to do is make music.' In terms of musical touchstones however, there's the obvious dream-pop contemporaries such as Beach House and Weyes Blood, coupled with great songwriters of old like Nat King Cole or Harry Nillson. Sonically, a blend of orchestral & synthesized melodies layer together to act as a platform for his heartfelt lyrics.

                                                              Opener 'Without You' is a fine example of this, a break-up song of sorts, with an infectious keyboard melody and swirling synths over which Alex contemplates whether it's even possible to find lasting love. The lyrics 'Do you really have to talk about the things you do with him? Do you really have to talk about your love?' hit particulary heavily.

                                                              Contrast this with the final track, the titular 'Taking My Time To Be', a powerful song of self-discovery. Beginning with downtempo piano and drums, the song breaks out into a saxophone and synth solo that wouldn't go amiss on a Badalamenti soundtrack. 'The song is about me learning to be comfortable with myself, but then wondering if I'll be accepted for being myself' Alex imparts. It's a fitting closer to a MLP driven by emotion and experience.

                                                              Currently playing his live shows with a full band of 'berries' he's hoping to get a full tour going, and says this is just the begininng. 'I won’t stop making music, I can’t help but just write, it’s something that I have to do. An album will be coming at some point, I can say that for sure.'


                                                              FORMAT INFORMATION

                                                              Coloured LP Info: Limited 180 gram Bone coloured Vinyl, 500 pressed.
                                                              Comes with postcard that includes a download code.

                                                              Masahiro Sugaya

                                                              Horizon Volume 1

                                                                Aside from his brief inclusion on Light in the Attic’s Kankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980-1990 (compiled by Empire of Signs’ Spencer Doran), Horizon presents this work outside of Japan for the first time.

                                                                Remastered from original tapes in cooperation with the artist .

                                                                Almost completely unknown in the west, Masahiro Sugaya has been composing and producing music since the 1980s in an exceptionally wide range of fields and practices. From arrangements for musical acts like the acoustic guitar duo Gontiti to acousmatic diffusion at spaces like Paris’s Groupe de Recherches Musicales (GRM), Sugaya’s reach is almost exhaustive in its breadth, but it was in the 80s bubble-era kankyō ongaku scene that he first found his musical voice. Horizon, Volume 1 presents a window into these works, culled from Sugaya’s early scores for experimental Tokyo theatre group Pappa Tarahumura.

                                                                As a teenager, Sugaya would visit the avant garde hub of record/book shop Art Vivant run by Satoshi Ashikawa of Sound Process, guided by Ashikawa’s recommendations into the worlds of experimental composition, jazz and ethnographic music. It was there he also met musician Yoshio Ojima—the two would become close friends and contemporaries, working within a circle of Tokyo musicians that also included Midori Takada, Hiroshi Yoshimura and Satsuki Shibano. Ojima, an early adopter of new musical technology, would introduce Sugaya to the possibilities of composing with computers, synthesizers and samplers, which would become a trademark in Sugaya’s early works. Surprisingly, the sound sources on Horizon are entirely digital, showcasing Sugaya’s ability to organically recreate complex musicianship approaches via keyboard using hyper-realistic samples. Much like Ojima and Yoshimura’s work, the results eschew electronic music’s usual coldness for something more warm and inviting, the feeling of a human in deep conversation with technology.

                                                                Flourishing within the boom of experimental theatre subsidized by corporations during the bubble economy, Pappa Tarahumura forged a unique dream-like style that merged performance art, modern dance and fantastical installation-like stage sets. Sugaya fashioned multiple soundtracks for their productions in collaboration with director Hiroshi Koike, the first two of which, The Pocket Of Fever_ (熱の風景) and Music From Alejo_ (アレッホ – 風を讃えるために), he self-released in 1987 on cassette, handing them out at Tarahumara performances. The third, The Long Living Things (Zoo Of The Sea) (海の動物園) followed in 1988 as a CD on Yukio Kojima’s ALM records. 


                                                                Tennis System

                                                                Lovesick

                                                                  Produced by Jack Shirley, whose CV includes his excellent work with Deafheaven, the album is awash with distorted guitars, distant vocals and despairingly beautiful melodies. “ The Line Of Best Fit.

                                                                  “Lovesick blends the organized chaos of post-punk with subterranean indie vocals and choruses, and, with such an effective melange of pulses, rhythms, guitars, and vocals, they remain oddly reminiscent of Weekend’s Jinx, Joy Division’s Unknown Pleasures, and Interpol’s Turn On the Bright Lights.” New Noise.

                                                                  “In 2019 the LA trio slot perfectly into an environment where everyone from Nothing to MØL have done their shoegaze homework. Anyway, closer inspection reveals that Lovesick isn’t just about nu-gaze moves, with emo-slacker sentiment and punkily propulsive drums both helping to corral the woozy sounds into genuinely memorable tunes. “ KKKK Kerrang!


                                                                  With five years passing since Tennis System‘s previous full-length, ‘Technicolor Blind’, numerous set backs have occurred, and though vocalist/guitarist Matty Taylor has been battling to realise his vision, eventually ‘Lovesick’ has come to light.

                                                                  Settled as a trio, completed by bassist Sam Glassberg and drummer Garren Orr, the frustrations and determination of the group has been captured on tape for the group’s third release.

                                                                  Aiming for grandeur from the start, ‘Shelf Life’ delivers a thick wall of sound with jarring breaks and dominating drum beats. Playing the quiet and loud dynamic that fuels the group’s shoe gaze style, the track is a towering display of swirling melodies and pummelling distortion. Whilst it may not ease itself into the record at first, it displays a charm that works its way in.

                                                                  Becoming more accessible with ‘Cut’, the group work with punk influences as snarling vocals and layers of fuzz battle against breakneck drumming. Relying on simple hooks, the song gives itself room to allow Glassberg‘s slinking bass lines to ebb and flow around the track.

                                                                  Working with the Sonic Youth blueprint, the record is steeped in thick bursts of discord and glimmering melody. This isn’t to say that the tracks don’t hold their own, as ‘Third Time’ displays a powerful stomp and groove underneath Taylor‘s snappy delivery.

                                                                  L.A based Tennis System began as a four-piece band in the Washington, D.C. area around 2008. The group was originally made up of guitarist/songwriter Matty Taylor, bassist Clinton Cole, second guitarist Brad Fullilove, and drummer Misha Bullock. The group opened for touring bands such as Ty Segal and Pains of Being Pure at Heart and recorded 2010's The Future of Our History before Fullilove and Cole moved on later that year.

                                                                  They played around Los Angeles and continued working on new material, reaching a new level in 2018 when they began working with Graveface Records, the label run by Black Moth Super Rainbow's Ryan Graveface. The label released Tennis System's 2018 EP P A I N and the next year followed up with Lovesick, the third and heaviest album from the band yet. 


                                                                  FORMAT INFORMATION

                                                                  Coloured LP Info: Limited coloured vinyl.

                                                                  Joe Tex / Little Willie John

                                                                  Pneumonia / Fever

                                                                    Joe Tex, born Joseph Arrington Jr, needs no introduction to the rare soul fan having enjoyed dance floor action over the entire history of the scene – who could forget the enormity of “Show Me” at Wigan Casino and the ever-popular “Under Your Powerful Love”. So, it is ironic that he would have to wait almost fifty years for one of his earliest recordings, “Pneumonia”, to be finally appreciated! It is of course an answer-song to “Fever” which was recorded earlier in the same year, 1956, by Little Willie John earning him a Gold Disc for a million-seller and a #1 on the R&B Chart. Peggy Lee would go on to popularise the song world-wide with her hit cover in 1958.

                                                                    New LP from Sheffield's finest, Thatmanmonkz, following on from 2016's "Columbusing". "Non Zero Sum Game" sees the esteemed producer further galvanize the musical bonds between Sheffield, Berkeley, Detroit and Atlanta with a raw but fluid take on OG house music flava....

                                                                    Featuring a plethora of collaborations which hammer home the cross-pollination of regional styles, the global exchange of ideas and energies runs rife through the album's two discs as our manmonkz skillfully dispenses cowbell, swing, bass and perx to devastating effects! There's a gritty acid blaster ("Chai Tea"), some serene and soulful moments ("Them Thangs", "Thee Others") and a broken-beat house hybrid to close ("Syntax D'amour"). Tracks like "Freaks N Prophets" sound unfathomably fresh, with speaker-pushing rhythms, while Monkz is also able to inject new life into that classic, loop-n-filter disco-house with "LvNlmtd" and "WhatyouthinkIdo". Rugged with a firm low end foundation throughout, these tracks are built to stand extensive use on demanding dancefloors! Mega.


                                                                    Almost a year since the release of their acclaimed fourth album Nobody Wants To Be Here and Nobody Wants To Leave, Scotland’s The Twilight Sad return with the Òran Mór Session LP: a collection of reworked, stripped-back versions of tracks from the album, b-sides and a cover of Arthur Russell’s ‘I Couldn’t Say It To Your Face’.

                                                                    The sessions act as something of a means to recap and reflect on what’s been a whirlwind past year for the band, with Nobody Wants To Be Here and Nobody Wants To Leave earning rave reviews from publications including The Sunday Times, The Quietus and Q, alongside topping Drowned in Sound’s best albums of 2014 and earning a rare perfect ten from the site, finishing second in The Skinny’s list, third in Popmatters’ indie rock albums of the year and topping Any Decent Music’s Scottish albums of the year.

                                                                    "It’s not until you assemble – no, grow, because this is nothing if not organic – the whole thing, that the jaw-dropping brilliance of the album reveals itself." - Drowned in Sound (10/10)

                                                                    "Simple but effective, the lyrics are bleak, bitter phrases of existential loneliness and torment. His emotion hits just as potently throughout." - NME (8/10)

                                                                    "The group's fourth LP more than justifies [their] ascension. Where there were youthful, wayward meanderings, Graham has emerged a man, exorcising the sorrows of lessons learnt along the way." - The Quietus

                                                                    FORMAT INFORMATION

                                                                    Coloured LP Info: Indies exclusive white vinyl.

                                                                    So far so far out for Stroom, who continue their journey through the lesser thumbed pages of the Belgian underground with this sublime retrospective of art-house hero and ambient music weirdo Jan Van Den Broeke. Famed for his wavy, sample heavy synth compositions as Absent Music, The Misz and June 11, Van Den Broeke made an appearance on Alain Neffe's Insane Music imprint, with the lo-fi tropicalia of "The Desert" (included here folks). Falling somewhere between Spike, Marc Barreca, Eno's poppier moments and the bedsit anxiety of a Flying Nun band, the music collected on "11000 Dreams" beguiles, intrigues and transfixes us with its introverted magic. Working with a minimalist set up of drum machines, guitar, synth and spoken vocal, Van Den Broeke pursues his own unique musical path to create a sound which falls into a flawless musical no man's land - Absent Music indeed! So, if you dig on Balearic, minimal wave or ambient sounds, you NEED this in your life.

                                                                    Patrick Watson

                                                                    Wave

                                                                      ‘Wave’, the new album from Canadian artist Patrick Watson, is the follow-up to Watson’s 2015 album ‘Love Songs For Robots’.

                                                                      Watson’s sixth studio album is about having a wave knock you over when you realize everything you have in life can be wiped away in a moment - and then learning how not to drown in the process. During the making of the album, Patrick lost his mother, his longtime drummer left the group and he and his partner separated. It is very personal and intimate and it is the most humble of all his records.

                                                                      FORMAT INFORMATION

                                                                      Coloured LP Info: Indies exclusive blue 180g vinyl.

                                                                      Coloured LP includes MP3 Download Code.

                                                                      Chain Tripping — the band’s seventh LP and third for DFA —was recorded between Marfa, Texas and the band’s home in Los Angeles. The ten songs are unlike anything YACHT has ever made: pop experiments from a sideways dimension coaxed into their studio through a portal opened by machine intelligence.

                                                                      “AI and Machine Learning represent a revolution in music equivalent to the introduction of the synthesizer or the beginning of laptop music. We’ve been a band long enough to watch technology overwrite our assumptions many times, and felt compelled to bring these new tools into our life,” explains YACHT.

                                                                      YACHT (an acronym for “Young Americans Challenging High Technology”) is Claire L. Evans, Jona Bechtolt, and Rob Kieswetter. For "Chain Tripping", the trio invented their own working method, at the intersection of DIY and high-tech: they used neural networks to break their patterns apart into infinite variations, which they re-assembled into new songs that they then learned, performed, and recorded live. Rather than rely on any single tool, they brought together several distinct AI processes to generate lyrics (Char-RNN), musical data (MusicVAE), raw audio (SampleRNN), and instrumentation (a “neural synthesizer” called the NSynth). They were inspired by the long history of generative composition, from William S. Burroughs’ cut-up writing method to David Bowie’s custom “Verbasizer” lyrics software from the ‘90s.

                                                                      This year marks the 5th anniversary of Susumu Yokota’s departure from this world and yet he is very much still here. His music always had a timeless quality and this new release is a perfect example. It was conceived following the discovery of a DAT tape by Mark Beazley containing unreleased tracks and early sketch versions of tracks that formed ‘The Boy and the Tree’. Mark had worked with Yokota on the Rothko/Yokota collaboration EP ‘Rivers Edge’ but had no recollection of why or when he was sent the tape. Mark sent the tracks to Jon Tye who ‘decided to do my best to honour the spirit and legacy of Yokota’s work by completing the tracks in a way which I thought he would approve’.

                                                                      ‘I only met Susumu once but communicated with him many times and always felt a strong connection with him and his music, it all came together swiftly and flowed from start to finish without thought or question. I hope what I have created is a fitting tribute. It was a privilege to enter the world of Susumu Yokota and spend time with his spirit. Many of the titles and the quotation below are taken from the book ‘Cloud-Hidden, Whereabouts Unknown’ by Alan Watts, which I was reading at the time the tracks were mixed’.

                                                                      Searching For The Hermit In Vain

                                                                      I asked the boy beneath the pines,
                                                                      He said ‘The masters gone alone
                                                                      Herb-picking somewhere on the mount
                                                                      Cloud-hidden, whereabouts unknown

                                                                      Chia Tao (777-841) Trans. Lin Yutang

                                                                      FORMAT INFORMATION

                                                                      Coloured LP Info: Limited clear vinyl.

                                                                      Thom Yorke, Flea, & Wynton Marsalis

                                                                      Daily Battles (From Motherless Brooklyn: Original Motion Picture Soundtrack)

                                                                        “Daily Battles” was written by Thom Yorke (Radiohead, Atoms For Peace) for “Motherless Brooklyn” the film directed, written by, produced by and starring Edward Norton. The film features two versions of the song, each performed by musical icons of modern music. Thom Yorke along with Flea (Red Hot Chilli Peppers, Atoms For Peace) performs a sparse and emotionally stunning version of the song. The other version of “Daily Battles” was arranged and performed by jazz trumpet icon Wynton Marsalis, who, along with his hand-picked quintet of heavy-hitter-jazz-stalwarts delivers an instant jazz standard version of the song that conjures images of the 1950’s-era gin-soaked Harlem jazz club seen in the film.

                                                                        FORMAT INFORMATION

                                                                        Ltd 7" Info: Limited to 500 copies on black vinyl.

                                                                        The Yummy Fur

                                                                        Piggy Wings

                                                                          Beloved Scottish band, The Yummy Fur, are releasing a 14-track ‘best of’ album, Piggy Wings, on Glasgow's Rock Action Records. Singer / guitarist, John McKeown, fronted the band from their 1992 inception (scores of cartoon melodies under a minute long delivered at high velocity) until their demise in 1999. Along the way they recorded three albums: Night Club (1996), Male Shadow at Three O'Clock (1998) and Sexy World (1999). Firm favourites of John Peel, they recorded two sessions for the much revered DJ and regularly featured on his show.

                                                                          Various Artists

                                                                          The New Testament

                                                                            Sick of wimpy indie kids prodding limply at pedal boards? Into hard drugs and cannibalism? Wanna punch a cop? Well kids we’ve got the record for you! Dirty Water Records have corralled 6 of the most rabid and dangerous rock ’n’ roll bands currently stalking the planet onto one piece of bubbling wax and let em off the leash!! From the blistering opening riffs of Up All Night to the thunderous wah-wah burn out of Too High To Die, this mother pumps like a two dollar hooker in a KFC parking lot!! A 12 pack of extra crispy RnR tunes fills out this disk of delinquency, with each group frying up one unreleased track and one old favourite.

                                                                            Thus these prophets of thee party provide both a banquet of new and strange delights and a guaranteed recipe for all night partying and vandalism!! Yes that’s right pilgrim! This is a doctrine for the new world order! And no matter where you dig that underground bunker there’s no escaping the new rock ’n’ roll gospel cause these zealots come from all over pal!! From fromage fried France: LES LULLIES!! From sangria-soaked Spain: NAVE NODRIZA!! From jungle jivin’ Japan: THE FADEAWAYS!! From prozac usin’ USA: BLACK MAMBAS!! From nuclear New Zealand via lugubrious London: THE CAVEMEN!! And from maniacal Mars: The SCANERS!! Yep! Like it or not this sonic pestilence has gone global so do yourself a favour: grab a six-pack, pick yourself up a copy and study it like the bible cause this is the NEW TESTAMENT baby and the end times are near!! 

                                                                            FORMAT INFORMATION

                                                                            LP includes MP3 Download Code.

                                                                            Various Artists

                                                                            Back To Mine - Jungle

                                                                              The iconic album series Back to Mine returns once again in 2019 with the first DJ mix compilation from world dominating indie-dance band Jungle, showcasing their personal tastes for the after-hours. The series was renowned for its eclectic selection and selectors which includes some of the biggest names in electronic and pop music, from the likes of Faithless to Pet Shop Boys, Groove Armada to New Order.

                                                                              The collection includes an exclusive track from Jungle themselves and takes the listener on an eclectic musical journey. From 90s disco by Merle to more recent house tracks by Manuel Darquart and Drumtalk. Bristol DJ Admin provides the percussion heavy ‘Space Cadet’ and the irrepressible Mocky supplies good vibes on ‘How It Goes’. There’s sophisticated pop from The Marias and Sam Evian and there’s some spotlight for modern jazz with tracks by Kamaal Williams, Mansur Brown and BadBadNotGood featuring Kaytranada. There’s also room for some gospel influenced soul by The Flying Stars of Brooklyn NY, lo-fi dream pop from Paul Cherry before ending with the always impressive HNNY.

                                                                              “When asked what genre of music we like or create we always answer explaining that we try not to hear music in genre but more in sonic and emotion, and if it feels good then it is good. By that merit, we have conjured a list of far-reaching tracks and brought them together to sit harmoniously on this Back to Mine mix. Put together mostly in the confines of our London based garden studio, where many a late night gathering has taken place, the mix makes its was through psych, Afro-beat, house and soul with some of our favourite tracks of the moment, Have fun and enjoy.” - Jungle

                                                                              STAFF COMMENTS

                                                                              Millie says: Jungle’s compilation is a close replica of what I’d include on my own selection of favourite songs featuring BadBadNotGood, Kaytranada, Sly5thAve and Mansur Brown. A fantastic mixture of contemporary jazz while also reaching broad horizons from house, soul and Afro-beat, leaving no stone unturned when it comes to genre inclusivity. Featuring one of Jungles very own exclusive track ‘Come Back A Different Day’ which is drenched in electronic beats with their signature sleek vocals.

                                                                              FORMAT INFORMATION

                                                                              2xColoured LP Info: Indies exclusive clear vinyl. Limited edition heavyweight vinyl and extra thick cardboard sleeves with full coloured bespoke artwork, commissioned from illustrator Rich Fairhead, depicting the artist’s influences alongside personal sleeve notes from Jungle.

                                                                              Various Artists

                                                                              Coolsville - Vol. 2

                                                                                Stay Sick presents ten inches of mean sleaze and kookie far-out Bongo Blasters. DING DONG DADDIO, it’s time for round 2. So get out of this world, my beatnik friends and take a trip to Coolsville. You’ll flip your lid till your real gone, daddio. This stuff will murder ya. Side A is full of the sleaziest, low-down swingin strumentals in town. So blast the edison, don ya shades and get zonked on juice while these cats groove to the cool... hip and heavy... Mean and moody. The flip side will knock you off your swingers! A set of kookie cool an cerrrazy rockn`n’rollers, heavy on the bongo beat. Finger-click your way through these skin beaters till you are, like, too far gone...

                                                                                Dead Horses continue to ply their narcs at the best discos and underground dances in town, this third installment a particularly heady offering from the firm.

                                                                                The mysterious Otherlover opens proceedings with a teasing cut, "Need Your Love" which seems to throb at the very edge of climax throughout its loopy duration. Meanwhile DJ Nature remixes "Music Moves Me" by Dicky Trisco & Love Drop - a steady-away, mid-tempo number that should keep the momentum rolling with its detailed low-end and subtle, smooth samples. The pair also drop "Waiting For The Sax", which is the most disco flavoured offering here, with Trisco and LD chopping some up (unbeknownest to me) disco grooves and added a subtle, weightier kick underneath. Sometimes you don't need sorcery to move the floor, just tried and tested body science. Dead Horses know their respective fields inside out....Recommended.




                                                                                STAFF COMMENTS

                                                                                Sil says: Chuggy disco house heavy on the sample side of things. Promises to ravage your dancefloor for real. Three cuts of sublime house music at the right tempo!

                                                                                Melvo Baptiste steps up to mix the latest Glitterbox compilation, "Hotter Than Fire" featuring the upfront disco heat that has been setting off the dancefloor all summer at Glitterbox parties in New York, London and Ibiza. A strong contender for the hottest party on earth, Melvo has headlined Hï Ibiza for another record-breaking season this summer. "Hotter Than Fire" channels the energy of a Glitterbox event, with this three-disc special exploring the best authentic house and disco sounds.

                                                                                Featuring highlights from the Glitterbox imprint such as The Shapeshifters’ gloriously instrumented "Life Is A Dancefloor", enchanting dancefloors since its release and featuring Chic lead vocalist Kimberly Davis, as well as brand-new heat like JKriv’s "Yo Love" and KON’s remix of Qwestlife’s "Fever", a track that features iconic US talent including Sugarhill Gang and Siedah Garrett.

                                                                                Transitioning through the decades, "Hotter Than Fire" traces all the way from the 1978 soulful-disco cut "Gotta Keep Trying" by Tenderness, Goldie Alexander’s 1981 "Show You My Love" and the 1983 "Body Work" (Vocal Mix) by Hot Streak on CD1 through to warm 90’s sounds on CD2 such as Masters At Work’s Club Dub of Chic’s "Chic Mystique" and Shay Jones "When Love Calls" (E-Smoove's Late Night). Transitioning gradually into 2019, the compilation features upfront house and disco exclusively available on the compilation like Seamus Haji "Boogie 2nite "(Dr Packer Extended Remix), Loods "Love" and the Kormak remix of Low Steppa "You’re My Life".

                                                                                Demonstrating what Glitterbox does best, "Hotter Than Fire" re-creates the atmosphere of the party, with an abundance of disco, house and soulful sounds that embody the hands-in-the-air, euphoric, confetti-filled moments that the events are loved for.


                                                                                FORMAT INFORMATION

                                                                                2xLP 1 Info: VOL. 1

                                                                                2xLP 2 Info: VOL. 2

                                                                                Various Artists

                                                                                Negro Folklore From Texas State Prisons

                                                                                  The recordings on this album were made in Texas prison farms in July 1964. Bruce Jackson had gone there in the hope of recording black convict worksongs, a tradition that derived from slavery and, before that, was imported from Africa. Many of the prisons in Texas, Mississippi and Louisiana, where such songs had been sung, had been built on the sites of slaverytime plantations. It was as if the owners changed but not much else.

                                                                                  Bruce found far more than worksongs. Prison is a place where people live: when they go there, they bring with them pieces of free world culture, just as someone migrating from one country to another brings cultural knowledge and practice to the new home. In addition to the worksongs he heard spirituals, blues, toasts (recited poems) and much more. In this album he tries to give a sense of that range of material.

                                                                                  This iconic album has now been re-mastered and features original artwork in full.

                                                                                  FORMAT INFORMATION

                                                                                  LP Info: LP Includes 22-page lyric book and digital download code for complete album.

                                                                                  Soul Jazz Records’ ‘Nigeria Soul Power 70’ album showcases the influence of funk, rock and disco on Nigerian music during the 1970s. Originally released as a nowlong- out-of-print collectors’ 7” box, this fully expanded album release now also includes extra tracks from Sonny Okosuns, Wings, Chief Kollington Ayinla and more.

                                                                                  While for many people the fusion of funk and jazz music with Nigerian rhythms and aesthetics began with Fela Kuti and his afro-beat sound, in fact this can be traced further back to the phenomena of the 1960s Nigerian artists and house bands in nightclubs and hotels who interpreted US soul and pop music with a local flavour and none more so than Geraldo Pino, the ‘African James Brown’ who features heavily in this collection. Other similarly inspired Nigerian funk and soul artists featured here included Tony Grey and his Ozimba Messengers and Don Bruce and The Angels.

                                                                                  ‘Nigeria Soul Power 70’ includes a number of tracks from the group Wings originally known as BAF (Biafran Air Force) Wings, an army band formed during the Biafran civil war in Nigeria. The groups’ heavy mixture of funk, rock and African styles was popular among many Nigerian groups at the time.

                                                                                  Beneath the shadow of the few Nigerian artists who signed international recording deals in the 1970s - Fela Kuti, King Sunny Ade, Chief Ebenezer Obey - lies of vast wealth of largely undiscovered musical transmutation and cultural cross-pollination and included here are heavy afro-funk/rock and disco tracks from artists such as the legendary Sonny Okosuns as well as rare cuts from little-known outside of Nigeria - groups such as Colomach and MFB. Most of these obscure artists signed to major labels in Nigeria in the commercial slipstream that opened up as Philips, Decca and EMI tried to emulate the international success of the big three international Nigerian artists.

                                                                                  Finally featured here is Kollington Ayinla, one of the co-founders of Nigerian Fuji music, who gives us perhaps the heaviest of all tracks on this album. Ayinla is the great moderniser of the Fuji sound and in the late 1970s began adding Bata drums and synthesizers to his authentic music to create a powerful and heavy new fusion of traditional and modernist aesthetics, embracing both new technology and experimentation while rooted firmly in Nigerian historical lineage.


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