A set of on trend remixes are presented for our listening enjoyment on this latest 12" from Swiss collective Alma Negra who enlist Bambounou, Glenn Astro and Michal Turtle to remix a trio of tracks from their exquisite catalogue.

First up, "Kabare" is deftly transformed into a deep rooted percussive workout, subtle nuances in the various hits providing a natural push-pull to this most tribal of rhythms.

Money $ex boss Glenn Astro provides a nice downbeat rub-down of "Haleto Lale Lalo", resplendent with humming organ lines, punctuated with his MPC and decorated with analogue swirls and fx. It's delcate and poised and really quite beautiful.

Finally, Michal Turtle injects "Tany Be" with a certain level of horizontal sophistication only he can muster. Unusual drum patterns reminiscent of Wally Bandarou's ""Echoes" cascade under lounge sax and twangy bass; while the odd suspended jazz chord keeps us in titillated suspense. This is really good folks.


Matt says: One of the more spellbound releases of the week; a choice selection of remixers breathes new life into three Alma Negra tunes and turns out a beauty of a 12" in the process. You need!

Baggy Leggins

Mondo Disco / Bug Wax

Anyone who caught previous Baggy Leggins banger "Expensive Sheeeeet" and "Disco Lando" will be in mega-buzz for this hand stamped 7" of all new action. On the A-side. "Mondo Disco" is a fury filled foundation of bongos, beats and bass, with layers of rolling piano and hypnotic movement of brass, giving nothing else but good time vibes for the dance floor with plenty of outro for any discerning DJ. On the flipside "Bug Wax" brings a rewind for vintage 70’s retro kitsch ditchsco, as rhythmic bass guitar, enchanting flute and swirling strings entwine with subtle vocals and hints of electronic glitch over a pumping beat.

Baldelli needs no intro. A veteran in the music making scene deliver 4 slabs of cosmic beauty. This time his partner in crime is Dario Piana. Together they forge the very solid and clean 'Double Yellow Line'. Cosmic keys and effects are dropped with not warning on a bad boy bassline and a chuggy balearic house beat.

Followed up by 'Just The Time Of A Trip', which ups the tempo and adds some crazy psych, almost jazzy synths on top to keep the fun going. 
On the B Side, we go full cosmic journey with the aptly titled 'Cosmic Mood'. The tempo is slowed down again and a beautiful melody meanders in and out to produce a classic Baldelli futuristic trip.
Closing affairs is 'Closer To The Source'. A very nice chugger with a heavy bassline and gorgeous synth keys. Some vocals sample with heavy reverb and echo effects thrown in to complete what is my fave track of the pack. 
Classic Baldelli sound that shows the man is not ageing badly. 


Sil says: Baldelli in true form delivering 4 tracks of blissed cosmic cum balearic house with the help of Dario Piana. No surprises here if you know Baldelli's game. But that is not a bad thing if you love his take on cosmic house.

Lorna Bennett / The Revolutionaries

It's My House

Heavy reggae-disco-dub stylings here from Lorna Bennet & The Revolutionaries who, via Miss You's 2nd tasty reissue this week, provide a nothing short of eeessential 12" release for fans of that Jamaican groove.

Lorna Bennett (born 7 June 1952 in Newton, Saint Elizabeth Parish, Jamaica) is a reggae singer who twice topped the Jamaican singles chart in the early 1970s, and who is best remembered for her reggae version of "Breakfast in Bed".

"It's My House" was originally released, with little fanfare, on High Note sometime in the mid 80s. Fetching pricely sums online and feverishly collected by those who know, the vocal version is a heavy roots cut - resplendent with horns and loud bass. Bennet's vocal sits beautifully atop of the groove; sugary but not too sweet, melancholic but not depressive. It's on the flip that the instrumental really comes to life, a ridiculously well produced cut which is so far going unaccredited! It's clear and focused, hinting at the more digital, 16-track studios that became popular in the mid 80s but I have to hold my hands up I don't know anything about this record. What I do know is that I'm nodding my head harder to this instrumental than some of Wackies best efforts.. and that's saying summat! 


Matt says: Another sterling dub to compliment the recent slew of Wackies / Scientist freak-outs. Unbeknownist to me until now, this is what you need for the warmer months ahead.

Tony Benton was the driving force behind the Seattle sound during the late 70s & 80s and formed his group Teleclere, who went on to release their first single in 1982, Fantasy Love / Ultra Groove. Through the success of their independant release, Teleclere followed up a year later with their Affection/Defection album. The group disbanded shortly after and now, 36 years later we have the pleasure to announce the Tony Benton & Teleclere - Fantasy Love EP.

The tracks have been sitting on DAT tapes until early 2018 and this release is the first step to reviving their iconic sound via an initial 5 track steppers EP. 4 tracks are previously unreleased and haven't been heard since they were recorded back in the early 80s.


Patrick says: A casual glance at the sleeve should leave you in no doubt that Tony Benton is a GEE and the A-grade boogie which reveals itself once you slap the platter on the player only goes to confirm it. MEGA!

Akhenaten was the first album Nat Birchall released via the then brand-new Gondwana Records label in Manchester. Originally only released on CD in 2009 this is the first time this classic recording has been made available since.

The album on the whole features a quartet, and is expanded to a quintet on the title track where UK trumpet virtuoso Matthew Halsall joins in with a stunning solo. The album explores deep, hymn-like themes at length, finding much to say on the relatively simple melodies and arrangements.

Nat and his fellow band members play here with the selfless motivation and focus that's required to allow them to tap deep into the human psyche, producing music that is soulful and stately. Very different from most modern jazz styles played nowadays, the music has a timeless beauty that will stand the test of time.

The album was enthusiastically received by music fans and critics alike, being unanimously hailed as a modern classic.

Twisting big themes of disillusionment, divorce, cheating, sorrow into the realities of an independent-minded, modern British teenager, Jade’s music transcends genre with a wealth of influence coming from everywhere, and anywhere. Classic, contemporary, and a total breath of fresh air in the current musical landscape, Jade Bird is that rare, next-generation artist who appears as clued up on the past as she is determined to learn from its lessons: in control, sometimes in your face, and in possession of gifts beyond her years.

The debut self-titled debut album via Glassnote Records. Featuring breakthrough singles Lottery, Uh Huh & Love Has All Been Done Before.


Barry says: Jade Bird's voice is simply astounding for someone so young, perfectly capturing the spirit of 70's psychedelic Americana mixed with the more subtle tones of modern emotive pop. Bird's songwriting shines through whatever medium it may present itself, from the more downbeat piano ballads and the more rocking, effusive pieces, this whole outing is an absolute delight.


Coloured LP Info: Indie exclusive white vinyl edition.

Bosq Ft Kaleta

Backstrokin’ / Goin’ To See My Baby

In your hands you have two slabs of heavy afro disco funk worth your pennies. On the A Side you get 'Goin' To See My Baby', a very organic full fledged mega tune for your hedonistic dancing packed with a full horn section, live percussion and plenty of afro beat feeling. 
On the flip we get 'Backstrokin', another mega tune that places the emphasis on the beat and bassline. The live vocals and the horn section are present with cowbells included. This one is dynamite and also my favourite. 
Definitely one for your shortlist as they do not come this good this often. 


Sil says: Two sides of live organic afro disco with full horn section and beautiful vocals. Plenty of sunshine is oozing from this vinyl. Make it yours!

Heather Woods Broderick


    Invitation was conceived on the Oregon coast, an outlier among American landscapes, where vast stretches of empty beach are decorated with silver driftwood and towering pines. It is here among the dunes, tide pools and colossal rock formations that Heather spent her childhood summer day-trips. And it is here that she returned as an adult to construct her newest LP, an album of dreamy baroque-pop that swells and whispers with grand string arrangements, intimately descriptive lyrics, and impassioned songcraft built around earnest piano melodies, painting a lifelike picture of the locale in which it was written.

    In the years between her early youth and the creation of Invitation, Heather has played in Efterklang, Horse Feathers, the live bands of Laura Gibson, Lisa Hannigan, and Damien Jurado, and has also been a longtime collaborator and bandmate to Sharon Van Etten. But while this list may seem enviable for an aspiring young musician, any experienced player will know that the life of a touring musician comes with its own sacrifices. Lasting relationships and financial certainty can be tenuous, as can mental stability itself. Feeling this first hand, Heather traded her usual launchpad of Brooklyn for the sleepy town of Pacific City where she would quietly take a job cleaning houses for a cast of local eccentrics, sitting down at the piano in the off-hours to unpack the personal tragedies and triumphs of the intervening decades since her first trips there. Throughout Invitation, floral tendrils of sound design and dynamic strings decorate the edges of each track, propelling the album beyond mere singer-songwriter fare into something altogether more grand and immersive in scope. 

    RIYL: Sharon Van Etten, Weyes Blood, Marissa Nadler, Julianna Barwick, Julia Holter. 


    Coloured LP Info: Limited edition coral & seawater coloured vinyl (pink w/ bluish/black centre blob)

    Coloured LP includes MP3 Download Code.

    This outstanding UK film score by Mr Roy Budd has been a treasure amongst music collectors for as long as I’ve known. Now, for the first time, Dynamite Cuts is making a 2x7” 45 collection of the musical gems form the “Get Carter” Film using the original first pressing sleeve which was Japan only mega rare. His masterful chords and textures are a joy to listen to alongside killer bass and drum grooves that make for a cinematic musical heaven. Amongst my personal favourite Roy Budd compositions, “Getting nowhere in a hurry,” is an easy listening gem with killer harpsichord lead lines and “Hallucinations” (I love the deep groove in this song!) features his trade mark lush vocal production. Both cuts are sure to become favourites of yours too!

    “Stone Killers” is Roy Budd’s holy grail soundtrack, only ever released on an Italian label, with it’s iconic Charles Bronson picture sleeve. Now, for the first time Dynamite Cuts is releasing a 2x7” 45 collection of some of the gems it holds, deep, slow and heavy grooves that make you tingle! In my opinion, this is the LP where Roy created his unique sound that just makes him so superb. “On The Trail” and “On The Move” especially, set the scene to the whole soundtrack, loaded with his exquisite beats and underpinned by the superb bass, strings and horns we’ve all come to love in Budd’s compositions.

    As menacing and unhinged as ever, the pride of Staten Island is back with their fifth full-length offering, V. Raw and absent of modern technological trappings, the Budos pick up where they left off with 2014’s “Burnt Offering,” and finds the Budos expanding on the brooding, fuzz-fueled riffs, whilst harkening back to the Ethiopian inspired rhythms and percussive proclivity that put Budos Band on the map.

    “Old Engine Oil,” a rocker at heart, kicks things into gear and delivers a high-octane burst of Budos mayhem. “The Enchanter” serves up a classic dose of upbeat afro-soul, drenched in a venomous assault of wall-melting proportions that leads you to the “Spider Web,” a rumbling ode to the Cowbell Colossus whose punctuated horn stabs take you on an untamed ride to the dark side of the spoon. The side closes with “Peak of Eternal Night,” whose odd time signature and haunting horns transport the listener to the peak of a menacing otherworldly landscape that’s further explored in the final track “Ghost Talk” – a guitar driven groover that gives way to an organ-washed space ritual beneath sun-summoning trumpet blasts.

    Side Two opens with “Arcane Rambler,” an interstellar ramble across space and time that leaves the listener in cosmic purgatory. “Maelstrom,” released as a single shortly after the release of “Burnt Offering,” boasts waves of furious sonic power that batter the listener via a maw of snarling sea-foam bubbling with the power of the Budos. Soon darkness falls as “The Veil of Shadows” is draped across the land – in this realm of twilight one quickly loses their way, only to find themselves at a dusk-to-dawn pyre of budonian proportions. “Rumble from the Void” then pulls you into a percussive black hole of formless beat-worship. There are no horns to help you here, just the tentacles of rhythm that tirelessly pull you back into the void. “Valley of the Damned” closes the record, it’s twisting groove coupled with hypnotic drones of synth and horns transports you to a place of little hope and even less reason. You’ve been warned…


    Coloured LP Info: Limited coloured vinyl edition.

    Saint Petersburg habitant Pasha Mikheev aka Cable Toy drops some serotonin-flooding rave breaks here for Low Budget Family.

    Former game soundtracks and ad music maker, he found himself attending dance parties more frequently in recent years, and eventually making dance music himself. After some time he started throwing parties at Tancploshadka club in Saint P, touring around Russia and quite often playing at Denis Simachev Shop & Bar, so it makes perfect sense that his first record appears on the affiliated label.

    Kirill Ivanov, frontman of a Russian indie pop band SBP4, provides the only vocal snip on EP opener, "Doktorhaus" - a mainline acidic injection with classic 'jack' drums and killer B-line.

    "Mc09 Jam" turns up the sfx generators for a lysergic trip into the mixing desk. Somewhere between an Idjut Boys' brain melter and a Ron Hardy sherm blast this is the one to confuse the dancefloor.

    Two versions of "Boden" follow, the first featuring Lipelis which is a heavenly slice of paradisical house; somewhere between Andras Fox, Mood Hut and Telephones - all resplendent with that sun-reflecting-off-the-ocean sensibility.

    "Boden Pt.2" is a peak-time banger with a vintage, 'Gat Decor'-type feel featuring a beautifully rubbery B-line and delish bleep and string sequences that take it right into coastal decadence and give it that proto, '88 Balearic flavour too. Proper. 

    Cage The Elephant

    Social Cues

      On their fifth album, UK based, Kentucky band Cage The Elephant have taken their garage rock roots and thrown in a heavy dose of Bowie-esque glam as they deal with the double header of classic rock’n’roll subject matter: the price of fame and heartbreak.

      Not Waving, But Drowning’ follows Loyle’s BRIT (Best Male, Best Newcomer) and Mercury Prize nominated, top 20 debut ‘Yesterday’s Gone’. The bedrock of honest and raw sentimentality that you heard on ‘Yesterday’s Gone’ left an inextinguishable mark on music in general and UK Hip Hop in particular, standing out as an ageless, bulletproof debut.

      ‘Not Waving, But Drowning’, Loyle’s new album, gives yet more evidence - as if it were needed - of his razor-sharp flow and his unique storytelling ability. Yes, he can rap, but he allies that with the sensitivity of a poet, the observational skills of a novelist, and warmth of your best friend. The album opens with ‘Dear Jean’, a letter to his mother in which he’s telling her that he has found the love of his life, “a woman from the skies”, and he’s moving out.


      Millie says: Loyle Carner returns with this stunning second album ‘Not Waving, But Drowning’. Again, he has perfected his sound of poetic hip hop and his distinctive vocals makes him stand from the crowd for miles. Bookmark this one for sure!!!


      Ltd LP Info: Gatefold, Heavy Weight Black.


      För Meditation

        “The mantra that you’re given in Transcendental Meditation you keep to yourself. The reason being, true happiness is not out there, true happiness lies within” - so states David Lynch, a vocal proponent of this art on a twice-daily basis since 1973. It’s a maxim that holds true to Sweden’s Centrum, whose Rocket Recordings debut forms no less than a mysterious yet meaningful voyage into inner space. Indeed, on ‘För Meditation’ these sometime members of Hills and Weary Nous explore a soundworld that demonstrates all too adeptly that true heaviness of intent need not be the preserve of demonic riffs and highly cranked amps.

        Weaving a dense and beguiling tapestry of drone-based hypnosis, mantric vocal chants and ritualistic folk along with field recordings from a trip the members made to India, this band also inadvertently plots our a map from the experimental music of the early-‘70s to the present, alighting on a myriad touchstones on the way. Yet tempting through it may be to place ‘För Meditation’ amidst the uniquely Swedish lineage of primal and arcadian Psychedelia that began with artists like Arbete Och Fritid, Träd, Gras och Stenar and International Harvester, the band are keen to emphasise that inspiration arrives at Centrum from all quarters. “From Pandit Pran Nath to Trees, from Velvet Underground to Popol Vuh, anything and everything. So lay down relax, turn off your phone and let Centrum be your guide! 


        Coloured LP Info: Limited red vinyl LP.

        “Human Potential Movement” is the second release from Chaotic Reality since his first self-released 12” “CHREAL01” which received support from Samuel Valenti (Ghostly), Project Pablo, Eclair Fifi, Coby Sey (Whities) and Telfort. In this follow up EP, Chaotic Reality deconstructs trance music, exploring deeper meditative themes on a canvas of 4/4 dub techno. Influences like Shinichi Atobe, Ciel, Newworldaquarium, Sensual Physics and Fluxion creep into a hypnotic three-track EP which is beautifully understated yet grandiose in sentiment and feeling. Highly melodic and meticulously constructed; the sheer finesse on these tracks is nothing short of sublime. A sonic cuddle and a positive, frequency-raising motion directly into your soul - you need this in your life right now, trust us...

        The Comet Is Coming

        Channel The Spirits

          “Great fire will fall from the sky, the cause will appear both stupefying and marvellous. Very soon after, the earth will tremble. ” The arrival of The Comet as prophesised by Nostradamus. And the earth did tremble.

          Our saviours Danalogue The Conqueror , Betamax Killer (both Soccer96 ) and King Shabaka (Sons Of Kemet, The Ancestors ) bestowed upon us their debut album Channel The Spirits on April 1st 2016 CE. From simpler times, this was a prophetic document. A celeb ration. The beginning of the end.

          For those recent converts, here is Channel The Spirits (Special Edition) . Here is the universe in a microcosm; the life-force distilled down to its raw essence : sex and dancing. Here is a package that includes the debut Prophecy EP from 2015CE. Here are three previously unheard tracks: the fabled Ancient Tapes.


          Ltd LP Info: Black vinyl repress.



          Standard Issue 82-87

            Originally released in 1989, "Standard Issue 82-87" presents British anarcho punks Conflict at their most fierce and confrontational with a complete overview of the bands classic early stages. Their extremely pissed off yet melodic trademark sound is here in all its angry splendor: three full 7"s are included, plus tracks from another 7", 3 LPs and a re-recording of their eponymous anthem. 13 blasts total of raging, original and strongly political UK hardcore, the ideal soundtrack to a world falling again into a pit of nationalism and fascist stupidity. Now more than ever, Conflicts powerful protest noise needs to be listened, and loud! 

            Cowboy Flying Saucer

            Travel Lodge

              Cowboy Flying Saucer (CFS) release their second album, Travel Lodge’, on their own Sparrowhawk Records imprint. The follow up their 2017 eponymous debut LP, the album tells the tale of a moment in singer BK13’s past; of days lost in a hotel after a wedding; of things that were witnessed both imagined and real ...

              “I arrived at Travel Lodge, meant to be here only one night, it's been a week, I'm still here! Outside my window, stories were being told, some sinister, some happy, some sad, some filthy. I was only here for one night. IT'S BEEN A WEEK. A Travel Lodge wedding."

              Formed as a result of a conversation about T shirts in a Walthamstow pub sometime in 2014, CFS have built cult status. Influenced by the likes of Can, The Fall, Sleaford Mods, Pere Ubu, Captain Beefheart, Happy Mondays, John Cooper Clarke and Spacemen 3, theirs is a distinct sound that encompasses psychedelia, techno, krautrock, ambient electronica, punk, post-punk, funk, dub, spoken word and disco. Drawing on these disparate styles and influences, CFS have improvised their way on BBC 6music, Resonance FM, and a list of podcasts, streams and FM broadcasts across the UK and Europe. Embracing life's "happy accidents", CFS live in the moment; for them there is no script or style guide, just spontaneous, creative moments in time to be captured and occasionally revisited.

              ‘Travel Lodge’ was recorded live at The Sickroom over an intense two-day period with editing and production carried out back home in Walthamstow, and with it’s impending release CFS are currently organising shows and activities. 

              Back in stock Cover of Cowgirl In Sweden by Cowgirl In Sweden.

              Cowgirl In Sweden

              Cowgirl In Sweden

                No press release, no photos, no clues.

                A stark typographic album cover with minimal information.

                Twelve tracks spanning two sides of heavyweight vinyl.

                “A desert pop masterpiece for the modern audiophile.”

                STAFF COMMENTS

                Laura says: This private press of 300 copies from Manchester based Cowgirl In Sweden is shrouded in mystery. Obviously the nod to Lee Hazlewood gives some clue as to the direction of the sound; there's a definite 60's vibe and the sun-dappled sweet melancholy conjures up images of hazy summer days. (You can almost see the Super8 film footage shot on the Champs-Élysées that would accompany it.) If dreamy, psych-tinged pop is your thing, then don't snooze on this.

                FORMAT INFORMATION

                Ltd LP Info: Private press 180gsm vinyl.
                Strictly limited to 300 copies worldwide.


                Trash Is Neat #5: The Band That Time Forgot

                  Ultra limited repress of one of the rarest Cramps albums with 3 additional tracks including a second, little known version of 'The Band That Time Forgot' and revised artworks. This originally came out about 8-9 years ago on a pressing of 250 copies and features some of the rarest tracks that the Cramps performed. Original copies of this (when they appear) usually sell in the 75-100 euro range.

                  Carla Dal Forno

                  So Much Better

                  Carla dal Forno launches her own label, Kallista Records, with her first original single in over a year, ‘So Much Better.’ The widespread success of her debut album ‘You Know What It’s Like’ (2016) and ‘The Garden EP’ (2017) has seen dal Forno spearhead the latter years of the Blackest Ever Black vanguard. Now the London-based Australian artist turns her attention to releasing original work on her own label, Kallista Records. This two-track 7-inch record begins a bold year for dal Forno, who takes her lone kosmische misanthropy onto fertile new ground. The a-side single, ‘So Much Better,’ sees dal Forno step out from the shadows of emotional ambiguity into the vulnerable territory of anecdotal song-writing. Lyrics that echo the irrational passions of love scorned, in truth reveal a self-assured artist confessing to resentment which propels her.

                  Here is dal Forno chiding herself in the mirror while excoriating an old infatuate with a vocal timbre that sits among the giants: the lilting power of Alison Statton, the mystic shamanism of Una Baines and the post-punk cabaret of Vivien Goldman. The sparse production on both sides springs from the soft-pedalled cassette of covers, ‘Top of the Pops,’ which dal Forno self-released last year. Though the raw, dubbed out vision takes a back seat on ‘So Much Better,’ overshadowed by dal Forno’s fork-tongued lyrics, it is heightened on ‘Fever Walk’ with acoustic drum racks ricocheting off fizzing drones, pastoral synth textures and meandering melody in the way of Broadcast, Flying Lizards and Portishead. But the illusion of wide-open spaces belies an oppressive, hysteria-inducing humidity swelling from the studio vision of her past instrumentals like ‘Dragon’s Breath’ and ‘Italian Cinema.’

                  And with a nod to her old band, F ingers, dal Forno’s voice-as-instrument hacks like a machete through her endless jungle of anxiety. This two track 7-inch, the object of a new existence, reflects dal Forno’s life in London working at Low Company recordstore and her monthly radio show on NTS. All in with the history and tradition of British post-punk and independent music, she strides boldly into the abyss. So much better is yet to come...

                  Dialect / Talkboy

                  In My Zone / Wasting Time

                    Leeds born Dialect is known across the country as a formidable MC with highly rated performances on Don’t Flop, Lord Of The Mic’s, SBTV, Radio 1 Xtra & an appearance on Tim Westwood TV. Staying true to his WY roots & name, Dialect delivers in his raw Leeds accent, staying real throughout. He’s not afraid of hard work, regularly taking to the streets of Leeds to busk, honing his flow. He has performed at King Of The Dot, Canada’s premier rap battle league & is a team captain regular in Red Bull’s Rap Battle League.

                    FFO: Skepta, Wiley, Stormzy, Ghetts, Kano, JME, Novelist

                    Talkboy are a group of six friends from Leeds who sing songs about each other, the people around them, and the lives they lead.

                    Talkboy is Katie Heap (vocals), Calum Juniper (vocals), Tim Malkin (guitar), Charlotte Jones (keys), Tom Sargent (bass), Jake Greenway (drums).Talkboy is Katie Heap (vocals), Calum Juniper (vocals), Tim Malkin (guitar), Charlotte Jones (keys), Tom Sargent (bass), Jake Greenway (drums).

                    Linda DiFranco

                    TV Scene / My Boss

                      Linda Di Franco only released an album in 1986, "Rise Of The Heart" and it is still considered a Balearic classic. The main tunes are "T.V. Scene" and "My Boss", of which extended versions are featured in this official repress remastered from the original tapes. Up till now there was just a dodgy bootleg from the Sunkissed guys ("The Balearic Sounds Of Linda De Franco") which, let's be honest, sounded pretty weak on wax. Groovin' have done an excellent job in the transfer here, making these two beach-warmers an essential grab for anyone making the annual pilgrimage to Croatia, Ibiza or indeed any tropical party island of your pleasing! Someone get the calamari in!

                      Thick n chunky (™), vintage house music here on the ever-reliable Sound Metaphors.

                      Unceremoniously switching between reissues and original material, SMR01 was the first release on this burgeoning label, which has since seen Carmen, Fettburger, Instinct and Global Electronic Network all represented on wax.

                      This one caused so much hoo-harr when it first came in out 2016 that the crew have handily repressed it for us now. Originally, ORIGINALLY (if ya getme?) out in 1994 on Deep Groove, the "God O'Mighty EP" effortlessly delivers that classic HOUSE SOUND, via his native New Jersey. Stylistically it shares much with Terrence Parker's Intangible Records, or Pal Joey's Loop D' Loop label - utilizing classic disco and soul samples with primitive sampling techniques then bolstering with clattering, shuffled drums that really bang! It's a simple formula but few do it with some much conviction as this. Top drawer stuff that really put the label on the map - be sure to cop this re-press before it's too late. 

                      Don Laka

                      Stages Of Love - Inc. Prins Thomas Edit

                      Donald Laka (Don to you and I) is a South African jazz and funk musician, who spent the 80s and 90s bossing the game, working with the likes of Sipho Mabuse, Brenda Fassie, and Sankomota. In 1986 he released a four track EP, "Stages Of Love", from which this glorious synth-driven disco song is taken.
                      For their first release, Neppå press this killer SA boogie bomb across the whole of a side, lending the hydraulic bassline extra heft and the proto house rhythm a little more snap. Seriously, even when you get past that floor filling boogie groove, there's still the hands in the air vocal and a wild organ solo to fuck you up - MINT!
                      On the flipside, Norway's cosmic kingpin extends the ecstasy for a nigh on nine minute journey into this unstoppable groove, keeping us locked into hypnotic instrumental passages, adding tasteful delay and echo to vocal sections and generally doing everything in his power to hurry along the next stage in human evolution.

                      STAFF COMMENTS

                      Patrick says: Hot like chakalaka, tasty like bunny, this South African boogie bomb will fuck up your dance floor. Mega bassline, tight percussion and uplifting vocals do all the damage on the original, while Prins Thomas' edit keeps the whole pot on simmer for twice the track length, additional elements bubbling up to make the whole thing zing.

                      “All anyone wants to be is what they can.”

                      After becoming enmeshed in the Los Angeles underground scene after 2013's The End of Comedy, Raw Honey (Michael Collins second album as Drugdealer) sees Collins once again leading an ace crew of collaborators to coalesce the spirit of Drugdealer’s classically modern pop with lush arrangements, memetic melodies, and a vulnerable tunefulness that tries to make sense of self-doubt and connected loneliness in our shared simulacra.

                      Raw Honey features contributions of Josh Da Costa (drums), Jackson MacIntosh (guitar), Danny Garcia (guitar), Michael Long (lead guitar), and Benjamin Schwab (backing vocals, guitar, organ, piano, wurlitzer), as well as guest vocalists like country balladeer Dougie Poole (“Wild Motion”), Harley Hill-Richmond (“Lonely”), and frequent collaborator Natalie Mering (Weyes Blood) whose dulcet tones sing low before soaring on “Honey,” a track as silky as the nectar itself.

                      STAFF COMMENTS

                      Barry says: I can't think of a more appropriate home for Drugdealer than on Mexican Summer, with the jagged psychedelic twists and turns and gorgeous, swaying haze of 70's pop shing through every note played, 'Raw Honey' is by far Collins' most assured offering yet and expands upon his already established palette with stunning songwriting and a few perfectly chosen collaborators.

                      FORMAT INFORMATION

                      Coloured LP Info: Limited edition indies exclusive 'honey gold' coloured vinyl.

                      Coloured LP includes MP3 Download Code.

                      'Oh Transistor' is dark and menacing with a thumpy, fat beat coming on strong to drag you into a hypnotic rhythm and an ondulating wave of sound with a bit of Space Invaders feel thrown in for major effect. This sounds a bit like any of the remixes that James Holden used to produce in his golden era - but without the broken intricate beats. 
                      'Rare Formations' is a fast house tune with a stuck and looped key that ends up making tons of sense when the bass kicks in. You could also drop 'Midnight Express' by Patrick Cowley (I think that is who made it) and it would work wonders. Same bmp. 
                      As it is mandatory with a four tracker, there is always a slowed down track. And this is the one. A nice welcome after all the rush and sweat on the A side. This one is a bit trippy in a good way. Playful and groovy. 
                      And the same vibe goes for the closing track 'Cascade' It almost sounds like a Jean Michel Jarre, and that in my books is an excellent feat. 
                      Well rounded and diverse ep from Drumtalk. Still in form, still worth your time (and money!)

                      STAFF COMMENTS

                      Sil says: Great comeback from the man who never really went away. Two seriously good house tracks on the A side accompanied with couple of chuggy, chilled takes for the early hours. Top draw.

                      Efterklang & Karsten Fundal

                      Leaves – The Colour Of Falling (Repress)

                        Following 16 sold-out shows of their explorative opera 'Leaves - The Colour of Falling' back in the summer of 2015, Efterklang are back with the opera's official release; a genre-breaking collection of tracks composed in collaboration with the award winning composer Karsten Fundal. 'Leaves The Colour of Falling' is Efterklang's first release since they declared they were taking a break to reflect on their artistic practice and redefine their expression back in 2014.

                        Efterklang have carved a path as one of the most successful and progressive Danish bands, constantly trying to evolve through every record and seeking new grounds with their music. They have played in the Sydney Opera House, made films with Vincent Moon, created a sound installation in the famous restaurant Noma and performed the opera 'Leaves - The Colour of Falling' as part of the Copenhagen Opera Festival. 'Leaves - The Colour of Falling' features appearances from the legendary danish opera star Lisbeth Balslev, the countertenor Morten Grove Frandsen (one of Denmark's most promising opera talents), Nicolai Elsberg (known for his formidable bass), and Katinka Fogh Vindelev (who has been touring with Efterklang for many years).

                        FORMAT INFORMATION

                        2xLP Info: Limited edition of 1200 on transparent blue vinyl.

                        2xLP includes MP3 Download Code.

                        Elbow And The BBC Concert Orchestra

                        The Seldom Seen Kid Live At Abbey Road - Half Speed Master

                          On January 17th, 2009, elbow played a very special show to an invited audience at the world-famous Abbey Road Studios. Alongside the BBC Concert Orchestra, the band created an orchestral version of ‘The Seldom Seen Kid’, the album that had won them the Mercury Music Prize of 2008, made them household names and has now sold over 1 million copies in the UK.

                          The show marked the start of a landmark year for the band. A week later they were named Best British Band at the BRITS, whilst ‘One Day Like This’ and ‘Grounds For Divorce’ from the album went on to win Ivor Novello Awards for ‘Best Contemporary Song and ‘Best Song Musically and Lyrically’ respectively.When the show was added to the BBC red button service and iPlayer it broke the record for on demand viewing, racking up over 1 million views.

                          With the previous vinyl version of the album available only as part of the sold-out box set in 2012, elbow will celebrate the tenth anniversary of the performance with the release of a special edition as part of the ‘Mastered at Abbey Road’ series on April 19th.

                          This version of the recording has been remastered from the digital source and cut to vinyl at half speed to ensure the best possible audio quality. It joins a list of classic albums in this series, including The Rolling Stones ‘Exile On Main Street’ and Marvin Gaye’s ‘What’s Going On?’. Thinking back to the show, elbow’s Guy Garvey has fond memories of a recording he now considers “the definitive version of ‘The Seldom Seen Kid’”.

                          ‘It was humbling to work with such an amazing group of musicians and arranger Nick Ingman and, even now, I have to pinch myself when I think we are part of the amazing musical history of Abbey Road. We knew we had a ten-minute window to re-record anything that went wrong because of the way that orchestras are paid but, with an audience in the room, we were determined to get it right first time. The show felt a bit like unicycling on a high wire to start with, but the result is something that I am eternally proud of.’

                          Serfs Up! is Fat White Family’s third album and their first for new label Domino. It marks the most gratifying and unexpected creative volte face in recent musical history.

                          Having released their second album, Songs For Our Mothers in January 2016, core-members Lias and Nathan Saoudi relocated to Sheffield and set about writing the album. Joined by co-conspirator Saul Adamczewski and recorded at their own Champzone studios in the Attercliffe area of the city, Serfs Up! was finished in late autumn 2018 with the help of long-time collaborator, Liam D. May and features a guest appearance from Baxter Dury on Tastes Good With The Money.

                          Serfs Up! is a lush and masterful work, lascivious and personal. Tropical, sympathetic and monumental. It invites the listener in rather than repel them through wilful abrasion. Fat White Family have broken previous default patterns of behaviour, and as such their third album heralds a new day dawning.

                          Gregorian chants, jackboot glam beats, string flourishes, sophisticated and lush cocktail exotica, electro funk and the twin spirits of Alan Vega and Afrika Bambaataa punctuate the record at various junctures, while the dramatic production of Feet is as immaculately-rendered as ‘Hounds of Love’-era Kate Bush. The dirt is still there of course, but scrape it away and you’ll find a purring engine, gleaming chrome.

                          Echoing within the arrangements throughout are traces of blissed-out 60s Tropicalia, Velvets/Bowie sleaze-making and star-gazing, 80s digital dancehall, David Axelrod-style easy listening, joyous Pet Shop Boys synth crescendos, acid house, post-PIL dub, metropolitan murder ballads, doom-disco and mouth-gurning, slow-mo psychedelia so by the time it comes to a close only a fool would deny that Serfs Up! is something very special. No longer is unadulterated music malevolence Fat White Family’s stock in trade; this is cultivated music for the head, the heart. For tomorrow’s unborn children.

                          Where once they soundtracked a grubby Britain of vape shops, Fray Bentos dinners and blackened tin-foil, a crepuscular comedown realm stalked by Shipman, Goebbels and Mark E. Smith, Fat White Family now inhabit another cosmos entirely. Serfs Up! is the product of a band of outlaws reborn. Few but themselves could have forecast it: Fat White Family survived. Fat White Family got wise. Fat White Family got sophisticated.

                          STAFF COMMENTS

                          Barry says: It's somehow inconceivable that Fat White Family have managed to make a new album despite their raft of releases with other projects (The Moonlandingz comes directly to mind), but here we have a perfectly balanced and superbly typical outpouring of snarling vitriol, fuzzed out voices and hazy, woozy psychedelia. Killer.

                          FORMAT INFORMATION

                          Coloured LP Info: Indies only gold coloured vinyl. Includes illustrated poster.

                          Coloured LP includes MP3 Download Code.

                          CD Info: Includes illustrated poster.

                          Fat White Family

                          Tastes Good With The Money

                            "Tastes Good With The Money" is the second single to be taken from Fat White Family's "Serfs Up!" album. 

                            Includes two exclusive non-album tracks on limited 10" vinyl.

                            The Felice Brothers

                            The Felice Brothers (10th Anniversary Reissue)

                              This reissue marks the 10th anniversary of the release of their seminal Self Titled album. This special re-issue includes two never-before-heard outtakes from the Self Titled recording sessions: Baltimore, and Watersider... included on a 7” with the LP (180G), and as bonus tracks on CD.

                              Cherished by fans and critics alike, this fifteen track opus by the Catskill Mountain based band of brothers boasts classics like Frankie’s Gun, Wonderful Life, Whisky In My Whisky and Don’t Wake The Scarecrow, and remains one of the most influential works of this century's indie-folk-rock revival.

                              Hailing from upstate New York's Catskills Mountains, the Felice Brothers look like their entire approach was based on staring long and hard at the Band's second album cover: Beards, white shirts, hats and ill-fitting suits. The comparisons to Big Pink/Basement-era Dylan are also inevitable.

                              Yet this second album proper from the three siblings and their bass player Christmas (an ex-travelling dice player, apparently) is so chock full of whiskey-soaked, ramshackle bonhomie that it'd be a hard-hearted music critic indeed who didn't succumb to the charms contained therein. The group have somehow taken Americana and wrung out some more good times. It's time to visit the bar again…

                              With most of the numbers croaked out by brother Ian, whose vocal chords draw most of the Zimmerman comparisons, this is a collection of songs that are equal parts travelogue, shaggy dog story, drunken lament and filched traditional fare. They're all captured in gloriously scratchy lo-fi (complete with ambient chat, phone conversations and other audio verite) as befits a band whose last recordings were supposedly completed in a chicken coup on a two-track.

                              Like Dylan, their self-mythologising puts them not in the modern age, but somewhere in the early part of the last century. Jaunty, piano-led ballads like Greatest Show On Earth or Take This Bread are lifted by parping brass and rollicking choruses, like a night out in a riverfront bar, filled with unfaithful women and gun-toting men (guns are mentioned in just about every song) bent on drunken revenge. Elsewhere the waltz time of Ruby Mae approaches a Tom Waits-like pathos. Whiskey In My Whiskey sounds like a murder ballad that's centuries old.

                              Yet all these tales are shot through with a red-eyed humour that sounds as authentic as their beards. This is how they manage to convince the listener. Frankie's Gun! With it's truck driving narrative and wheezing accordion is particularly hilarious. Rather than some studious authenticity, they sound like they're just having a good time. And that's just about the only recommendation you need to seek out this fine album… 

                              Originally released on the brilliantly named Big Big Trax in 1994, Fibre Foundation's "Don't You Ever Stop" is the kind of relentless deep house bomb which keeps building and building and building - the musical epitomy of its mantra-style vocal. Think Mission Control's "Outer Limits" but refined for the club as opposed to the warehouse. Glassy/Glossy M1 chimes, bubbling bass and a skipping NY groove slot together perfectly then roll on and on, topped by that encouraging female vocal. Shout outs to Murk, MAW and Chez Damier - comes in Club, Dub, Instrumental and Bonus Beats variations.

                              Modern Times is the third album from the British creative spirit Elliot Galvin. If his previous trio album, The Influencing Machine was a more involved and produced album, then Modern Times completely redresses the balance. This is an album so immediate and instantaneous, it takes the same time to listen to as it did to make. Primarily produced for vinyl, each side was recorded in one complete sitting, with no break in between tracks, recorded direct to vinyl.

                              As Elliot explains: ‘I had been making music with a lot of electronic instruments and becoming a bit disengaged with making acoustic music. Then I saw a solo piano concert by Jason Moran when I was in Montreux and I was so inspired. It reminded me why I loved making jazz and acoustic music. It was so immediate and human. I wanted to make a record like this. I remember a chat I had a while back with a friend of mine Jorg who mentioned he was putting together this studio where you could record direct to vinyl and it seemed like the perfect way to capture a totally acoustic record”.

                              Modern Times is yet another confirmation of a musician who is able to play with real adventurousness and inventiveness. He has created a unique identity as one of the foremost European pianists and improvisors. He challenges himself, never allowing himself to sit on his laurels, inspires the musicians who play with him and pushes the boundaries of what we’ve come to know as contemporary Jazz. It’s unpredictable, inventive, but above all, it’s brilliant. Elliot Galvin is growing a formidable reputation: with Modern Times taking flight, a wave of international acclaim and plaudits for The Influencing Machine (including being named by Downbeat and Jazzwise as one of the best albums of 2018) and growing international audiences. He also has a solo piano album planned and recorded, Live in Paris at Fondation Louis Vuitton, due in early 2020. His output is prolific yet remains of the highest quality. There’s no stopping his endlessly creative spirit and his carving out of a career of deep foundation and longevity.

                              Gang Of Four

                              Happy Now

                                Pioneering post-punk band, the Gang of Four were formed in the bricolage punk rock fallout culture of late seventies Leeds – a place where art was a mirror and guitars were machine guns. Gang of Four tore up the template and made sense of the question marks thrown up by year zero.

                                They redesigned rock in the punk aftermath, taking the incendiary energy of the form and crisscrossing it with funk, stripping away the baggage of rock excess and creating a new stripped-down music that was full of agit energy, heavy grooves, shrapnel guitars and politically charged lyrics matching the fervour of the times. Swerving trad rock rhythms, the beats were invented from scratch and every instrument played a pivotal role in the sound in a non-hierarchical structure.

                                In short, they came up with post punk.

                                The band then bounced around the music business releasing a series of albums that have been a direct inspiration to a diverse selection of bands who wanted to deconstruct rock music without losing its sense of excitement, from the surrounding post-punk generation to the big bands that followed. The Red Hot Chili Peppers, INXS, R.E.M., U2, Rage Against the Machine, Nirvana and Massive Attack have all spoken of their debt to Gang of Four.

                                More recently, the band’s influence has become almost universal—now everybody talks about Gang of Four. From Franz Ferdinand to St Vincent, from Sleater Kinny and James Murphy of LCD Soundsystem to Nine Inch Nails: today's creators of angular rock music have GO4's influence and imprint all over them. The band is reaching an urban audience with Frank Ocean sampling them on his latest album and Pharrell name-checking the band in his interviews.

                                Inevitably GO4 disbanded in 1984 but reformed later that decade, since then releasing a series of albums that emphatically demonstrate their capacity for invention and twisting energy. The line-up now includes Thomas McNeice—the bass player joined in 2008—and John ‘Gaoler’ Sterry, who has supplied vocals since 2011. 

                                FORMAT INFORMATION

                                Coloured LP Info: White and black splatter vinyl. Edition of just 500 copies.

                                Coloured LP includes MP3 Download Code.

                                Gently Tender

                                Some Hard Advice

                                  Some Hard Advice’ follows Gently Tender's debut single ‘2 Chords Good’ and its B-side ‘Avez Vous Deja’, which reintroduced the heartfelt, searing songwriting of former Palma Violets members Sam Fryer, Pete Mayhew and Will Doyle aided now by friends and new collaborators The Big Moon’s Celia Archer on keyboards and guitarist Adam Brown.

                                  Taking their name from a song by The Incredible String Band, Gently Tender draw on the sounds of old Soul and Folk records, with a tinge of 60s and 70s psychedelic pop. The band has become an exercise in self-discovery for the three originals - Sam, Pete and Will - who, having witnessed the breakup of Palma Violets, wanted to show themselves what they could achieve by making more ambitious music, in a relaxed environment. Indeed, a perfect balance has been struck between the music and vocals, with Sam’s voice in particular taking on a more ethereal tone, forming a blossoming relationship with their newly found anthemic, spacious sound.

                                  While ‘2 Chords Good’ is based on a real life conversation which happened in a West London pub in 2016, between Sam and a friend, Juliette, ‘Some Hard Advice’ takes its inspiration from something altogether more mystifying. Brimming with bold basslines, flourishing keyboards and stunningly entwined vocals; the triumphant music belies much heavier lyrical undertones, as Sam explains, “I was reading the news last year and a story caught my attention of how the island of Hawaii went into crisis and panic when everyone received an accidental text message to say that a missile was heading in their direction and they should take cover. The song is about that moment of realisation - the prospect of dying without your loved ones.”

                                  The Good Missionaries


                                    After Alternative TV transformed into The Good Missionaries in 1979,
                                    the band released one live album "Fire From Heaven" before Mark Perry left.

                                    Ex-ATV guitarist/vocalist Dave George and bassist Keith Rodway continued the band, with several line-up changes during those days. They toured and gigged with such bands as The Fall, The Pop Group, Crass, Scritti Politti, Delta Five, Poison Girls, Nik Turner’s Inner City Unit and The Transmitters. The Good Missionaries released several singles on their own Unnormality label, before splitting in 1982.

                                    The majority of the tracks on "Pylons" were recorded at Street Level Studios by Grant Showbiz, from late 1979 to early 1981. They feature the mark 2 and mark 3 incarnations of the Good Missionaries, with Mark Perry playing drums on four of the tracks, alongside an appearance by ex-ATV bassist Dennis Burns.

                                    "Pylons" should’ve been released in 1981. Now, nearly 40 years later, it is seeing the light of day for the first time. This previously unreleased album is a long-lost UK post-punk classic. Influenced by the likes of PIL, The Pop Group, James Chance & The Contortions as well as The Gang of Four, it bridges the gap between the end of punk and the start of an experimental new wave era.

                                    Ltd edition of 500 copies that comes with poster insert with archive band photos and sleeve notes by The Good Missionaries' Keith Rodway.

                                    A brand new studio album from Gorillaz titled The Now Now will be released by Parlophone Records on 29th June.

                                    The Now Now is 11 all-new songs from the World’s Most Successful Virtual Act, produced by Gorillaz, with James Ford and Remi Kabaka, and recorded in London, in February this year.

                                    The album sessions for The Now Now saw the band largely eschewing guest stars, taking it back to the core creative crew: blue-haired, sweet-natured dreamer 2D on vocals; whip-smart Japanese badass Noodle on guitar; not forgetting Brooklyn-born philosopher and the meat–behind-the-beat Russel Hobbs on drums. And with Murdoc Niccals temporarily indisposed, bass duties on the new album have been taken up by erstwhile Gangreen Gang member Ace.

                                    FORMAT INFORMATION

                                    Picture Disc Info: Limited picture disc edition.

                                    LP Info: Heavyweight black vinyl 12” LP in spined sleeve with printed inner bag and download card.

                                    CD Info: 11-track CD in jewelcase with 12-page booklet on gloss art paper.

                                    LP Box Set Info: Deluxe Vinyl LP Box Set - 12” x 12” rigid board box set, with a lenticular image on lid, containing:
                                    Heavyweight blue vinyl 12” LP, in spined sleeve with printed inner bag. The blue vinyl is exclusive to the box set. 52-page booklet, replicating 2-D’s original studio notebook including album lyrics. 4 x 12” x 12” art prints, 6 x 1” pin badges mounted on card and download card.

                                    Peggy Gou

                                    Moment EP

                                    International house sensation Peggy Gou launches her own Gudu Records with the "Moment" EP, a killer double header of dance floor majesty, informed by 30 years of club music and transformed into something all of her own.
                                    The A-side kicks off with "Starry Night" (surely the only Radio 1 daytime play in history with a Korean vocal?) a beautiful fusion of emotional SAE melodies and proto house elements. The pinging bassline and punchy piano could come straight from a Prelude classic, while the sweet synth strings are totally AZN, providing an infectious and energetic backdrop for Peggy's fierce vocal. Top. On the flip "Han Pan" hits us with glassy / metallic synth melodies, a stepping rhythm and hints of island life in the lead line, once again topped by a choice vocal from Peggy. Timeless, anthemic and totally irresistible, this is another essential release from the latest house superstar.

                                    STAFF COMMENTS

                                    Patrick says: How does she do it? Peggy Gou distils Prelude boogie, proto house and bubblegum style groove into a glorious two track 12" on her new Gudu Records. Featuring her bilingual vocals once again, along with a perfect combination of bump and melody, surely this is 2019's summer anthem?

                                    Twenty years ago, Jan Jelinek's debut album "Personal Rock" was released by Source Records. Under the pseudonym Gramm, it brings together eight tracks that have not been available on vinyl since their original release. Faitiche is very glad to announce the re-release of the album: Personal Rock will appear as a double LP featuring the original cover artwork.

                                    'Situated somewhere between Jelinek's much loved Loop-Finding Jazz Records, Farben, Move D's Conjoint project and Atom Heart's most immersive work for Rather Interesting, it's a late night album full of subtle production tricks and melodic House structures that belong to the pre-millennial IDM heyday, but which transcend its overly-masculine templates.' (Boomkat) 

                                    Life is all about rhythms. We don’t know what we’re dancing to until we’re in so deep we can no longer control ourselves. The rhythm controls us. Right now both Guti and the Martinez Brothers are dancing to the conga rhythm. Guti’s third album, they’ve been dancing to it since the summer, teasing us with a whole slew of percussive new… And they’ll continue throughout 2019. Chance are you will, too. Eventually the rhythm will control all of us. It’s too infectious not to. Here’s the 411: ‘The Year Of The Conga’ is Guti’s third and most rooted album to date. It came about through a personal request from brothers Chris & Steve Martinez. Both unapologetic Guti fans they wanted the very first album on their Cuttin’ Headz label to be his. The result is a total reconnection back to his Argentinian foundations, his club roots and everything that first lured him to the dancefloor…

                                    “I’m back to my roots and found my Latino groove again,” says Guti who wrote the album throughout 2018, starting it whilst bulleting through Japan by train, the majority crafted in the jungle of Dominican Republic, having collected and sampled native percussion instruments, and then finally mixing down on his return to Europe. “Every song is full of rhythm and created to make you dance…”

                                    He’s not messing around; from the writhing snakelike percussion and rousing calls and cries of opener ‘Aee’ right through to the final mesmerising waves and farewell struts of finale ‘Voladora’ this an album is born both for and from the dancefloor. No overthinking, no purism, no exclusion; just unabashed physical hypnosis, fuelled for the floor, guided with gut instinct and years of groovecraft. It’s the sound of an artist who’s disconnected, explored and reconnected. He’s older, he’s wider and more in tune with his own pace and palette. One of the most diverse and explorative artists to come from Loco Dice’s Desolat stable, this is Guti simplifying his passions down to an essence of everything that’s magic about his roots and our shared dancefloor culture.

                                    The highlights are in abundance; those hazy-but-persistent New Jersey organs on ‘Telling The Truth’, that wobbly sub on ‘Red Eye’, that shimmering sinewy acid line on ‘Se Baila’, the spicy pianos and wet horns of ‘La Orchestra Fantasma’, the list goes on. Each cut designed for deep mix pleasure, each cut rolling with a strong organic flavour and alluring percussive dynamics, each cut showing Guti at his most inspired, warmest, playful and ready to wrap you up so deep in a conga you’ll soon lose yourself. Cuttin Headz, cuttin straight to the chase but never cutting it fine… Let us be the first to wish you happy new year with the first ever album on the currently unstoppable label. We’ll wish you a happy new conga, too. 2019’s going to be a vintage and Guti and the Martinez Brothers are leading the charge.

                                    Captured during two sunny afternoons in September 2017, The fourth LP by the much respected and collected duo, Hampshire and Foat, takes us to a new level of direct performance. Recorded live, with no overdubs, in two churches situated in Saint Lawrence on the south coast of the Isle of Wight, and mixed direct live onto a vintage stereo Nagra IV-S and AKG C24 Stereo microphone, every nuance of the performance is laid bare. Only the ambience of the room and the artists' skill make the recording what it is.

                                    For a brace of sun soaked days, Warren and Greg were joined by their long time musical partners, Phil Achille and Eric Young, and a cadre of local musicians and friends, creating an album that truly captures the magical ambience of the churches and surrounding landscape - even the birds in the Church steeple can be heard at times. Tracks are named after local landmarks, secret beaches, and rural paths that Warren and Greg hold dear. The duo wanted to make something special and collectable for this unique ambient jazz folk gem, so the cover has been produced in a beautiful late '60s private press style and, limited to 500 copies on vinyl.

                                    STAFF COMMENTS

                                    Millie says: Recorded live, Saint Lawrence captures the duo’s ambient core with this stunning fourth album, matched with beautiful faded artwork of the church. Peaceful and captivating this release is one to treasure.

                                    FORMAT INFORMATION

                                    LP Info: Limited to 500 copies on vinyl

                                    The elusive HAND camp drop some more illicit offerings simple alluding to their tempo on the forth secret missive from the label.

                                    With tempos from 120-128BPM you know what realm we're here don't you folks? HOUSE MUSIC! With gated drums, analogue synths, stepped sequences and loads of dubbed out fx I think we can hone in even further to the source material - I'd say these are proto-house cuts from between '84 - '88 but obviously don't quote me on that.

                                    No IDs from my end I'm afraid, TBH they MIGHT even be original traxx, just executed in that classic vintage style... The quality is HIGH GRADE; I guarantee these are gonna go off in the dance. Stop thinking just buy it! 

                                    After the first wave of artists that have broken the ice with their way of combining contemporary symphonic music with electronica and jazz on the European side (Olafur Arnalds, Nils Frahm, Max Richter) – now there is a new generation of young musician breaking boundaries on a new level. Especially in Germany there is a new wave of artists that bring the thing on a whole new level. These 20 – 25 year old people don't just imitate what the bigger names in the scene (the fathers) have done but develop the style to a totally different level and add new ideas instead of just copying what the older guys did. This new wave of artists have a huge musical knowledge, have studied at the best music academies, learned to play „classical“ instruments and know how to improvise on a very high level. They have been raised in 2 different world: Studied the history of (contemporary) classical music and also been influenced by what's happening in Electronica evolution of the last 25 years.

                                    Ralph Heidel is one of these new kids in the German scene. Coming from Munich, the 25 year old extremely talented musician studied saxophone and composition at the Munich academy of music (known for being the best music school in Germany. Think Julliard or Berklee). He graduated in 2018. Leering everything about the music of 20th century composers (Charles Ives, Alfred Schnittke, Giöyrgi Ligeti etc). At the same time he grow up with the music of electronic producers like Alvo Noto, Boards of Canada, Jon Hopkins, Jan Jelinek, Four Tet since early days. And: he comes from a Jazz musicians family and has grown up by listening to the jazz collection of his father. Studied saxophone since age of 12 with a big passion for the more advanced Jazz.

                                    In his own music all this comes together.
                                    „Moments of Resonance“ are seven compositions full of brilliant little ideas, harmonic complexity, unheard music surprises, clever citations, dramatic evolutions, big explosive moments, meditative moments and euphoric high points. This album is an extremely emotional work of art for strings, saxophone, drums, bass and electronics.

                                    Ralph Heidel and his 7 piece ensemble Homo Ludens connect contemporary chamber music with Electronica, Ambient, Post rock and avant-garde Jazz. On a highest possible musical level – without getting too abstract and incomprehensible.

                                    Everything is composed and improvised. Nothing is sampled. You find wild Punk-Jazz parts that recall John Zorn or Mahavishnu Orchestra and romantic passages that make you think about European impressionistic composers like Ravel or Debussy. But nothing is imitated, everything gets broken up through an expressive new way of using harmonization and melodic composing. Sometimes the band flies through an ambient and drone universe but one moment later the music evolves into an explosive, impossible to describe musical moment. One of Heidel's biggest ability is to melt electronic and organic elements into a new unheard sound.

                                    Haroumi Hosono, Takahiko Ishikawa & Masataka Matsutoya

                                    The Aegean Sea

                                    1979’s The Aegean Sea is somewhat of a companion piece to the previous year’s Pacific. A beautiful piece of Japanese smooth fusion-jazz with elements of traditional Greek music and Balearic grooves, it’s one of the cleanest and most focused works in the Hosono archive. Long sought after by collectors this record is nearly impossible to find in original pressings outside of Japan and this is a welcome reissue of one of the greatest titles in Hosono’s seemingly infinite catalog. Essential Japanese jazz fusion.

                                    Ultra-rare jazz-funk/fusion album by Japanese drummer, Akira Ishikawa, featuring percussion-heavy versions of ‘Let’s Start’, ‘Bongo Rock’ and ‘Pick Up The Pieces’. ‘Back To Rhythm’ was the final recording in Ishikawa’s Africaninfluenced period. He cut this record with his band ‘Count Buffalos’, featuring Kiyoshi Sugimoto, Takeru Muraoka, Larry Sunaga and arranger Hiromasa Suzuki. It includes excellent cover versions of The Beatles, Simon & Garfunkel, BT Express, Stevie Wonder, Average White Band, Incredible Bongo Band and Fela Kuti. Originally released in Japan in 1975 by Columbia, this is now extremely difficult to find in its original format, and very pricey indeed!


                                    How I Made My Mom & Sis' My Sexbot Slaves

                                    Repress of this highly sought after 7" from Brothers From Different Mothers - a painfully hype label showcasing the best of the modern shamanic and esoteric warehouse music scenes. Think Pilotwings, DJ Normal 4 and this, tasty double-A side 7" release from J-Zbel.

                                    One track split across two themes; "ZHF" first comes as 'poppers mix' which aptly describes the hazy, strobe-lit flair and disorientation after a massive hoof of the world's favourite room deoderizers whilst this fractures and very technoid breaks journey unravels behind the backdrop of narcosis. Expertly constructed and arranged for maximum drama on all-nite dancefloors, that wide-screen, 'rainforest breaks' sound also favoured by the Aiwo lot is perfectly reprezented here.

                                    Flip for 'gale mix' of "ZHF" which ditches any expansive psychedelic qualities for a snarling 303-driven acid bangers. There's still lashings of breaks, but overall the vibe is much proggier and conjures up images of filthy warehouse inhabited by militant mutant dancers all locked into a united, coital throb.g

                                    STAFF COMMENTS

                                    Matt says: Space breaks and earth core tekno from the one of the market leaders in leftfield rave music. Cult collector item this from Brothers From....

                                    The original from 1982 is a modern soul anthem. When it was released on 7'' for the first time in 2016, Gregg and the label started dreaming of "One For The Road"'s next blessing. Their mutual love of Philly Soul meant there was only one man on the planet who could fulfil this dream; Nigel Lowis! Imagine the elation when Nigel conjured up not one, but two distinct and incredible versions. Ladies and gentlemen, here are The Nigel Lowis Uptown & Downton mixes of "One For The Road"!

                                    Harlem's legendary disco label P&P and its associated labels have long been cult favourites among fans of underground dance music for decades.

                                    One of many labels operating under the equally legendary P&P family of imprints, Sound Of New York, USA was operated by one Peter Brown, a truly colossal figure in NYC's music scene, it's catalogue still fascinates music lovers to this day. Covering a wide range of styles including gospel, early rap and disco the label's output continually finds its way into the playlists of respected DJ's and selectors across the globe. This super heavyweight double-header features two stone cold rarities from the labels vaults on one 12" slab of wax for 2019!

                                    Johnson Products kick off side-A with their killer, relentless groove "Johnson Jumpin" which originally came out in 1979 on the label. This was truly an underground hit at the time and in the years to follow with it appearing in the playlists of Frankie Knuckles and many other clued up DJ's of the era. It's a dope keys led dancer with some serious DIY analogue synth going down all over it and the band are literally killing it - the groove is so so tight! Essential stuff here. Flip this one over and you're in for another treat, Willie Wood & The Willie Wood Crew's version of the same cut, basically "Johnson Jumpin" with some old-school disco-rap leanings, Willie spitting bars of fire all over the same funked out backing track. Both of these records, if you caught them out in the wild, solo, would easily set you back a few nuggets. Fear not, you can grab this legit repress and dig on them both in the comfort of your own home!

                                    This is a 100% legit reissue, made in conjunction with Above Board distribution and the Demon Music group, lovingly remastered with love by Optimum Mastering, Bristol UK.

                                    Cin Cin’s fourteenth release sees the DFA label mainstay, The Juan MacLean, paired up with Zombies In Miami. Nods to British synth pop can be heard on lead cut “Time Out Of Joint”, with its jubilant and optimistic melodies tied to a robust drum machine groove, whilst Juan’s second contribution, “Everywhere At Once” unfurls with a carnival of sound and a spring-like tone that’s perfectly fitting, as bright keys and synth brass tumble forward in this colourful triumph of a track.

                                    Zombies In Miami have been omnipresent on the scene for quite some time now, releasing their infectious music on labels such as CORRESPONDANT, Love On The Rocks and Futureboogie. “Lotus” is some serious business; heavy cowbell hits and a rasping arp riff that packs a punch, it’s production sheen straight out of the 80s soundtrack books! “Dance Of Gopis” has techno chops at the heart of its chugging and dubwise arrangement; it’s a bold cut that features swinging guitar riffs, walls of synths and towers of noise for a truly splendid closing moment on this release.

                                    Kenton Slash Demon return to Tartelet Records with "Zstring", with remixes by Urulu and Kasper Marott. 

                                    Kenton Slash Demon have always had an affinity for uplifting melancholic tunes and "Zstring" cements their ability to create just that. The track oozes with dancefloor euphoria, offering up a distorted arpeggio bassline, lush pads and layered melodies, all built around a tight and ever-changing groove. There are clear references to Italo disco, early techno and trance, but it’s hard to pin down the exact style – if that even matters.

                                    On remix duties, man of the moment and label collaborator, Urulu, delivers a fresh take in his signature early 90s style, while local hero and close friend Kasper Marott of Monkeytown fame comes through with an obscure melodic techno workout of the finest sorts.

                                    After turning in a wall-shaking remix of Essaie pas last year, Romanian production duo Khidja present their first EP for DFA. These four tracks are deep, spooky heaters - think John Carpenter in the club, with industrial basslines, frenetic melodies careering a bit out of control and vocals echoing from the corners of the room. The duo’s signature throb runs along all four tracks, influenced by their time spent in underground scenes in Bucharest, London and Berlin, as well as an emphasis on the jagged sounds of hardware.

                                    Having established themselves with previous releases on labels like Hivern Discs and Malka Tuti, Khidja get darker, dubbier and more twisted on "In The Middle Of The Night". We find the record in the witching hour and the tracks represent the cycle of night-time mentalities, revealing the various directions the mind can wander in the place between consciousness and unconsciousness - mania, paranoia, even boredom. It all makes for a raucous dancefloor experience, with the duo bringing something new and heavy to the DFA roster.

                                    For fans of John Talabot, Severed Heads, Factory Floor, Front 242, Andrew Weatherall.


                                    Only Human

                                    Form an orderly cue please. After months of agonizing wait following exclusive plays across Boiler Room and sneaky blasts leaked via the WWW, Four Tet finally releases "Only Human" to raptous adoration.

                                    If you weren't aware of this, prepare to be amazing as the legendary producer manages to wrap Nelly Furtado's "Afraid" vocal around a DC-10 / CircoLoco / Villalobos friendly terrace groove that percolates harder than Ancoats Coffer in morning rush hour.

                                    A sure fire hit for the Big Days Out across the UK summer and open air raves across the globe, they don't come more hyped than this folks! Move quick!

                                    STAFF COMMENTS

                                    Patrick says: Four Tet adopts his KH moniker, turns the vocals from Nelly Furtado's "Afraid" into a pseudo-African chant and creates the biggest system rinser of 2k19! Massive! Flying off the shelves right now so get it bought! #nellylovesapinger

                                    FORMAT INFORMATION

                                    12" Info: One sided 12".

                                    Kone Kone kick off the India Gets Physical with an ace dancefloor cut inspired by Salma Agha's "Come Closer", complete with remixes from Reboot and Todh Teri (who will be curating and mixing the bumper forthcoming compilation). 

                                    Mumbai’s Kone Kone has an unconventional DJ style, creating audio-visual productions that are “a new route to discover old media.” Kone Kone's electronic sounds explore Indian musical practices with a lo-fi finish, including references taken from disco, funky basslines and rolling toms. This superb latest track is a tribute to Indian cinema’s ‘80s dance music.
                                    Entitled "Come Closer," it is a brilliantly loose and louche house track propped up by elastic bass. A whole world of instrumentation and exotic percussion enrich the groove while female vocal coos and soulful pads bring rich colours to lift the listener.
                                    Remixer Todh Teri is behind the acclaimed Deep In India release series and is at theheart of the revival of Indian cinematic sounds, where Bollywood sounds are reworked
for the modern dance floor. His brilliant version has heavier drums doing big loops and pulling you further in each time as the synths bring cosmic vibes. Last of all, label stalwart Reboot’s Muscleflexx Remix is darker and more edgy, with late night dance floors in mind as the pulsing synths and slippery drums gradually unravel.

                                    Krystal Klear

                                    Euphoric Dreams / Miyoki

                                    Krystal Klear continues his permanent residence in 'anthem' territory following mahoosive hits "Neutron Dance" and "The Division". "Euphoric Dreams" is tailor made to milk that serotonin gland, it's bright, ascending shard patterns perfectly elevating the fizzing synth elements and charging 4/4 beats into a peak-time spine-tingler. Yes mate.

                                    "Miyoki" channels the spirit of Euro disco with its vintage gated drum hits and galloping arpeggios. A killer chord progression and lavish sfx further decorate this pumping, stadium pleasing number. Krystal Klear continues to keep the global dance party alive and kicking in 2019!

                                    Lady Wray

                                    Piece Of Me / Come On In

                                    Last year, a month before Nicole gave birth to her first child, she visited Leon Michels in upstate NY and cooked up two of the toughest and most moving songs we've heard from her to date. We've been patiently sitting on this release for a few months now, and it is an understatement to say Big Crown is proud to present the newest 45 from Lady Wray. Side A, Piece Of Me , sounds like a lost Dilla beat that sampled a lost David Porter song. Guaranteed to have heads nodding from the first snare crack, Nicole sings a tune about the difficulties of dealing with family and friends who need more than you can provide. The chorus says it all, I'll let you take a piece of me, I hope you get the piece you need and if that's not enough I'll let you go peacefully” - From the jump, Nicole's voice takes the listener into a world where you have no choice but to feel something in the pit of your stomach. Side B Come On In finds Lady Wray tapping into her early years singing in church. With only three instruments and Nicole's voice, Come On In is a masterclass in the craft of singing, the sound of soul, and the power of restraint. 

                                    Technological force-of-nature Leafcutter John teams up with fellow stalwarts of idiosyncratic electronica Border Community for the release of his masterful seventh artist album: the small-yet- perfectly formed joyously utopian artefact ‘Yes! Come Parade With Us’.

                                    Interweaving layers of lyrical modular synth and occasional guest drums (from Tom Skinner and Sebastian Rochford) with a set of field recordings collected during his sixty mile walk along the Norfolk coastal path during the summer of 2017, these seven bright-eyed folk anthems sing with positivity and a sense of place and see Leafcutter John on career-defining form.

                                    FORMAT INFORMATION

                                    LP includes MP3 Download Code.

                                    Hot on the heels of their Hawkwind reissue, Emotional Rescue continue their vague reish/rework series this week by turning their attention to London's synthpop, new wave and bedroom pop prince Thomas Leer.
                                    Signing to Cherry Red in the early 80s, he released the heralded '4 Movements' in 1981 and followed with 'All About You' in 1982, and it is from these 2 EPs that this release is sourced. The release starts with "Saving Grace" from the latter, a long famous Cosmic classic, its mid-tempo, spacey, lifting repetition is the perfect soundtrack for those Baldelli trips straight to the stars.
                                    This is backed with "Tight As A Drum", a quintessential Leer production, where Teutonic drums is overlaid with sequencers and synth tones to elevate the song to some kind of disorientating outer-dimensional dub, while his lucid, spoken word vocals instill degradation and reinvention.
                                    Asking Bullion to offer his own take on these two songs was the perfect pairing. A revered artist in his own time, the warmth and depth of his versions takes the originals to his own inner world; sampling, rewiring, reprogramming, resigning and replaying. An EP for the floor, the head and the heart.

                                    STAFF COMMENTS

                                    Patrick says: I effin love Thomas Leer, so I was delighted when I saw this one in the pipeline. "Saving Grace" is a total cosmic classic, all A-grade synth chug and soaring pads, while "Tight As A Drum" is a crazy, kosmische inspired gem perfect for late in the session. Reinterpreted here by modern day maverick Bullion as well as in their original form, the tracks sound every bit as vital as ever.

                                    Fresh from 1981, this Salsoul classic comes at you live and direct for 2015. Undoubtedly the grand boogie masterpiece from the legendary Leroy Burgess, this self titled LP is also one of the greatest albums of the post-disco era. From the bubbling bass and squelching synth of Larry Levan's superb remix of "I Know You Will" to the sharp woodblocks and Stevie Wonder melodies of "Something Else", the album is relentlessly on point, packing funk, soul, groove and attitude into one sassy package. Relentlessly danceable without ever missing a step, "Logg" is a true work of genius. All hail Leroy Burgess!

                                    Sound Metaphors treat us to another dance floor romper here, rescued from rarity and put back into the hands of working DJs everywhere. Conceived in Spain in 1989, Madrid Groove's sole 12" fuses jacking percusion, sampler vox, acid touches, flamenco guitar, huge pianos and driving basslines into a trio of summertime house killers. The titular "Arsa" is the most maximal jam here, somehow finding a way to marry Chicago piano madness and extravagant flamenco guitar solos over a bass driven house track. On "Madrid Groove" the team drop the chopped up sampler vox, synth brass and a body jacking bassline for some serious h-h-h-house music. If you're looking for something slightly more subtle, B-side jam "Suave" twists a new melody out of "Love Honey", lets the bass bubble under the freestyle-tinged beat then tops the whole thing with a sultry spoken female vocal. The B-side's the winner for me here. Boasting pristine restored audio and a nice remaster, this is ready to rule the dance floor once again.

                                    STAFF COMMENTS

                                    Patrick says: Latin house insanity here featuring flamenco guitar, massive pianos and all the period features you know and love. Flip it for "Suave", a more subtle take on the same style with spoken female vocals for the ultimate club seduction.

                                    Archeo's latest reissue comes from the mind and mixing desk of Italian multi-instrumentalist Pepe Maina, specifically his 1979 New Age / Electronic masterpiece "Scerizza". Originally released on Imbroglio to a niche audience, this strange and brilliant LP has since become a must have for collectors of ambient, esoteric and new age sounds. Somehow moving between Gregorian chant, pastoral and prog electronics, aquatic ambience and frenetic courtyard experiments, this unique LP deserves to be heard by a wider audience. Bravo Archeo.

                                    Walter Martino's "What Love Can Do", a dreamy piece of Italian disco, was originally found on Martino's 1980 album, "Nervi A Pezzi". Virtually impossible to acquire via discogs, I reckon this is previously the domain of secretive trips to the Italian countryside, pretending to the missus that you're taking her on a dream holiday when really you're off to mine the chazzers of Sardinia. Anyway, not only have Miss You sourced the best track of the whole album, they've given it a whole side of fresh 12" wax to entertain with, and backed with a tasty AF remix from Castro Helicopter which transforms it into an avant-disco percussive tool laced with acid blasts and a full percussionist really going to town. Essential stuff for the glitter ball dancefloors and certain to fly outta the door. Get those orders in quick folks! 

                                    Wall of sound made of unadultered bass is what Mark Broom serves you today. Piano looping exercise a la Sound Stream and those vocals! That mega high pitched Patti Labelle's vocals lifted from her The Spirit's In It' uber known disco hit. This one is a belter and definitely peak time, big room artillery. 
                                    Mighty Mouse focuses more on the vocals and a very long climax build-up that ends up with a chunk of Labelle's original followed up by a heavy house beat Derrick Carter style.  
                                    This one is a summer banger, Terraces, clubs and festivals will be playing this one well loud. What about you? 

                                    STAFF COMMENTS

                                    Sil says: Mega disco hit given the house treatment for the big club scene and the daring bar dj. Mark Broom steals the show effortless for us, giving you all the parts in due course. Not all at once. Give this bad boy a listen.

                                    Fabio Monesi

                                    Let It Roll

                                    Wilson Records is back with two killer, rough dancefloor cuts, directly from Fabio
                                    Monesi's archive, with a special 12" for the record store day 2019.

                                    "Let It Roll" combines frenetic hand claps, evocative French spoken word vox, rising pads and a shattered and saturated recorded medium for a typically ruff and direct exercise in primal house musica.

                                    "Vanishing Love" sees a hook and loop Moodymann or Theo would be happy with, layered across the trusty pads of the MPC and bolstered with extra drum hits. This is a 100% certified sample-house banger folks - essential for fans of Kyle Hall, Bastien Carrara or Eddie Danielle.

                                    P-fun motor booty over here on this Kon feat. Reworked and crafted from the stems with George Clinton blessing. 
                                    This is an unrushed edit, no house beat. Introducing all the parts in due course, patiently. Vocals, trumpets loop, keys, bassline. A slow chugger that has been composed with love and respect for the original. The chorus solo which is the climax of this track will cause more than one some goosebumps. 

                                    There is a dub on the B Side, but for us is the vocals that bring this masterpiece to the forefront. This is a 1975 mega track given a refresh almost 45 years after.

                                    This is how we like to see edits done. Kon needs no introduction and needless to say this one is essential. We are getting a few copies so do not sleep. 

                                    Record of the week for me!

                                    STAFF COMMENTS

                                    Sil says: The question remains. Why to release this beauty on a 7" and not on a glorious 45rpm 12" for the delight of the fierce DJ? Format aside, this is a great edit worth all these years of patient waiting.

                                    The 9th Creation

                                    A Step Ahead

                                      In 1980, the 9th Creation began working on new music at a Modesto studio, South East of Stockton. The studio was suspiciously cheaper than all of its competitors. After recording weeks of material, the band discovered the reason. 'We didn’t know that the guys that were running the studio were drug dealers,' A.D. Burrise recalls. 'There was a big raid.' All the studio’s master tapes were confiscated by the DEA. J.D Burrise unsuccessfully sued the DEA to recover the tapes but to no avail. Luckily Mike Micenheimer saved cassette mix-downs of some of the group’s songs from those sessions. “A Step Ahead” is the the 9th Creation’s lost album. 8 unreleased songs of pure soul, funk, disco and boogie. (Because of the source of these recordings, please know that (sadly) some of the songs have drops in stereo and are not 100% audio quality.)

                                      For their sixth release London based record label and clubnight Snap, Crackle & Pop return with another slice of the nu-EBM and Kraut influenced electro & techno sounds that are coming to define their label. The latest release comes from Niv Ast and it serves as a follow up to his appearance on this summer's Relish compilation. The EP leads with an ice cold slab of electro-punk aggression in the form of "Quebec / Makolet" which gets the remix treatment from previous collaborators Khidja. The Romanian duo strip the percussion back for the dancefloor and tease out the track's darker side with more than a hint of acidic malevolence. "Disco Monroe" sees some darkwave French electro ride the record's grooves into a pitch black, popper-reeking sex dungeon. Optimo Music's Mr TC rounds off the EP with his unmistakably leftfield vision to give the track a dark, tropical re-imagining.

                                      For the last fifteen years, Nouvelle Vague has been resuscitating, sometimes introducing, dozens of songs from the New Wave and Punk repertoires – some quite well known, others almost forgotten. But the story is far from over.  In response to the 2004 debut album, which became an instant classic, Marc Collin and Olivier Libaux experimented with various musical paths. Many songs are thus recorded. The songs that are relevant to each album's theme are released. But many covers would remain under wraps, while others, although ready for release, were relegated to the vaults. These previously unreleased recordings are featured on "Curiosities".

                                      O Yuki Conjugate

                                      Insect-Talk - Inc. Tolouse Low Trax & Howes Remixes

                                      Following releases by Trevor Jackson and Jack Latham (Jam City), this new 12" on Utter features a rare alternate 'Dry' version of legendary post-industrial group O Yuki Conjugate's "Insect-Talk" from their 1995 album "Equator". Alongside this long lost treasure we get contemporary versions by Tolouse Low Trax (Salon Des Amateurs), Howes (Cong Burn / NTS Radio) and OYC themselves.

                                      "Insect-Talk" is pioneering in that in 1995 it seems to have discovered the entire sonic landscape that much of the modern entheogenic and esoteric producers are occupying now. 'Rainforest'-aligned and shamanically guided, this is evocative music from another dimension but seems completely normalized in our current neo-hallucinatory, augmented reality.

                                      German electro-goth Tolouse Low Trax is the first obvious choice for remix action; his version almost sounding like a continuation of the original's theme, his creeping, step-sequenced approach lending an even eerier edge to this already tense workout.

                                      Local lad Howes drizzles plenty of Mancunian plasma over the stems; conjuring up a thoroughly unique version that is both nestled in shamanic and science fiction realms; if witchcraft exists on Mars; then this is what the medicine men and women are listening to whilst they brew their potions! Finally, O Yuki themselves offer up a re-vamp of the track; emphasizing its future vision through forward>>reversed paraphrasing, celestial SFX and a minimalist, ambient approach.

                                      This is amazing! Difficult to find words, impossible not to be captivated....

                                      FORMAT INFORMATION

                                      Ltd 12" Info: 12" + insert

                                      Open Mind (Joey Beltram)

                                      The Trance

                                      Another sure-shot legit reissue from the Easy Streets vaults. Unbelievably from 1990, this forward thinking slab of dark and moody breakbeat techno courtesy of Open Mind (aka Joey Beltram) hits the spot every time! Harking back to the glory days of Euro-techno, pre-jungle, the dark-side and all in-between.... Need we say more? The eerie atmospheres, epic synth breaks and stuttering drum machine programming combines to create the super heavy sound that early Beltram is known for and "The Trance" is one record that any serious techno or electro lover will need in their bag. Rare as hen's teeth, hard to cop and a total under the radar classic, "The Trance" is here again, and it's not taking any prisoners!

                                      As we said before, this monster dropped on Easy Street in '90, and has been caned by the most discerning of DJ's and diggers across the galaxy ever since. Every home should have a copy of this, no collection is complete without it. A record that will never go out of style & will always do the requisite damage on any dancefloor it's dropped on. Essential.

                                      Shout out to Easy Street, %100 legit re-issue, re-master & re-press from the original tapes, essential wax!

                                      A 12" loaded with water reflections and 'clean' melodies, Pepe comes back with more goodies for the alternative dancefloor. His love for old school, breakbeat-ish beats are still present and we like it that way. The tempo has perhaps slowed down a tinsy bit when compared to the Fanta ep - and that is also a great improvement. 
                                      The tempo is now at the right speed (check the excellent 'Trouble Glider' for an example of what Pepe can add to the house genre. Beautiful blue skies and waves kindly licking the sand at your feet is a great image to accompany this killer. 
                                      And just when you got a superb ep on your hands, comes Lauer, beefs up the basline and makes it even better. 
                                      Not much good acts come from Spain, sadly so this one is a refreshing arrival that we cherish at the Picc towers. Now, carry on enjoying that blissful landscape and thanks Pepe for the soundtrack! Buy on sight.

                                      STAFF COMMENTS

                                      Sil says: Pepe brings on the sunshine as he did with his take on that sugary drink called Fanta. Now slows things a bit and makes it all even more dancefloor friendly. Lauer beefs it up on the B side too.

                                      Mark Peters

                                      New Routes Out Of Innerland

                                        Former Engineers songwriter Mark Peters pays a final visit to his debut solo album ‘Innerland’, with the release of ‘New Routes out of Innerland’, a collection of reworkings.‘Innerland’ was one of last year’s most surprising sleeper successes. An intentionally low-key album of windswept instrumentals inspired by Mark’s move back to his native northwest, it gave musical nods to Eno, Talk Talk, Vini Reilly and Richard Thompson, and first appeared as a limited-edition cassette before being expanded to a full vinyl, CD and digital release last April.

                                        Something about its beautiful simplicity struck a chord and slowly but surely – thanks to word of mouth, as well as the support of the likes of Lauren Laverne on BBC Radio 6 Music and positive reviews everywhere from Uncut to The Times – it worked its way into people’s hearts. By the end of the year it had also worked its way into Rough Trade’s top 10 albums of 2018 and, to celebrate, another limited edition vinyl only version called ‘Ambient Innerland’ was released, an even more introspective iteration that stripped away all of the percussion.This new version, however, is completely different. It finds Mark looking outwards, away from the bleak, post-industrial landscapes of Wigan, and inviting eight different artists from around the world to interpret and translate the instrumentals of ‘Innerland’ into their own musical and geographical languages.

                                        German sound artist Andi Otto takes ‘Twenty Bridges’ and turns it into a weird world music groove, the cello recalling Arthur Russell, the rhythm Holger Czukay circa ‘Movies’; Polish composer Olga Wojciechowska sprinkles stardust all over ‘Mann Island’, morphing it into a slice of febrile, filmic techno; former Disappears and now FACS frontman Brian Case wrangles ‘Windy Arbour’ into a dark, dystopian drone; as previously heard last year on a limited edition lathe-cut 7” single, Ulrich Schnauss subtly re-frames ‘May Mill’ as elegiac electronica, the kind of oddity that could have graced a Tears For Fears B-side circa ‘Songs From The Big Chair’; Moon Gangs, aka Will Young from BEAK>, climbs ‘Gabriel’s Ladder’ and finds some delicate drone’n’bass; American producer and DJ Odd Nosdam takes his experience of working with Boards Of Canada and turns ‘Shaley Brow’ into a sinister tape collage, entirely in keeping with the murky history of the locale; E Ruscha V, the erstwhile Medicine guitarist also known as Secret Circuit, converts ‘Cabin Hill’ into Balearic Blue Nile; finally Jefre Cantu-Ledesma lights up ‘Ashurst’s Beacon’ as an inferno of deliciously distorted shoegaze. All eight are so disparate and yet they hang together perfectly, resulting in an exciting musical journey to somewhere completely new. 


                                        Circus Days

                                          A collection of recordings, previously unreleased, by this late 60’s British psychedelic band fronted by Peter Dunton, who later went on to form the legendary band T2. This release follows on from their superb 1968-1969 and Seeing Stars albums.

                                          Circus Days can easily be filed next to the likes of Blossom Toes, Forever Amber, Tomorrow, July and Odessey And Oracle by The Zombies. It contains such highlights as the original 1969 demo version of "Morning", later to appear on T2’s It’ll All Work Out in Boomland album. There are also some earlier demos including the classic "Gently As You Feel" and "To Dream" - a track that features additional female vocals. It also includes other previously unissued gems that will fit very well next to your collection of Please, Neon Pearl and T2 records! 

                                          FORMAT INFORMATION

                                          Ltd LP Info: Limited edition of 500 copies.

                                          Powder is an alchemist of time. Her ceremonious DJ sets invite listeners and dancers to extend their imaginations to abstracted spaces, while allowing the body to vessel the voyage in free, flowing style. Playful, thoughtful, and natural without knowing, Powder’s crates encourage abandonment of arbitrary boundaries and expectations surrounding genre, movement, schedule, and societal convention to revel, spirited and harmonious, in the passage of time.

                                          Momoko Goto relocated from her hometown of Nagasaki, Japan to Tokyo in 2011. This is where the story of Powder, as the international dance music community knows her, begins. With the change in location came a change in lifestyle, where a balance of 9-to-5 office life and sacred, nocturnal recording sessions invited Moko to reflect on music’s unique ability to “stop the clock” and “expand or shrink our sense of time.”

                                          While many workers across the world feel the pressure of artificially controlled measurements of time, Moko’s musical mission to transcend these weighty associations, to shed light on the positive possibilities of passing time, resonates far past her island’s shores. Experiencing the pleasure that comes from physical and emotional transformation. Creating and nurturing memories.

                                          In embracing these positive properties of time, Powder uses the hypnotic language of patterns to communicate with listener-dancers. Patterns represent the meter by which bodies are compelled to move; they also represent a method for collection and organization of sound, where the cohesive stylistic and historical narrative of different pieces of music are laid over one another transforming both intimate and universal moments into a dreamy, experiential, and endlessly interpretable whole.

                                          Moko notes that patterns, “are always ancillary and never playing the leading part of things, and the patterns themselves recognize this fact and act low-key.” This interpretation of sound and rhythm mirrors critical aspects of underground club culture, such as collective energy-making and protection, togetherness over spectacle, the layering of multiple bodies, and narratives upon one another in ecstasy.

                                          Since her debut release on Born Free Records, 2015’s Spray, Powder’s sound has flirted with numerous unconventional dance institutions and outlets, releasing on ESP Institute, Wichelroede and the Cocktail D’amore imprint, as well as regularly contributing to the latter’s illustrious mega parties. For her Powder in Space mix, Moko presents two new songs that were created within a new schedule, with summers spent touring Europe and North America, welcoming the unique experiences offered by each location.

                                          “New Tribe” toasts the global community Powder’s connected during her travels. Marching-band snares, breathy ostinatos, motivating chords, springy auxiliary percussion and bouncy melodic details – all Powder trademarks, coalescing into one of her most celebratory offerings yet. “Gift” is a subtler jam, shuffling and twinkling in perfect balance. Reminiscent of “Spray,” it sustains a retrofuturistic groove that defies the house / techno categorical binary.

                                          On the the EP, Powder’s two new originals sit alongside Daphne’s “When You Love Someone (Groove Instrumental),” a sultry, twirling vibraphone deep house number from 1993; and the first ever release of Samo DJ and Hidden Operator’s atmospheric scene setter, “Захват Сзади Rox.” For the CD and digital mix release, these four originals weave within an impeccable mix of memories from Moko’s travels and experiences over the past years touring and sharing with new friends.

                                          Powder In Space marks the first in a new series exploring dance music’s form and informality from Tim Sweeney’s Beats In Space Records. The friendly voice behind the longstanding Beats In Space radio show and a formidable DJ to dance floors around the world, the …In Space series, like the rest of the label’s eclectic catalog, is testament to Tim’s trust in the selector and vice versa.

                                          Puma Blue

                                          Blood Loss

                                            “Puma Blue’s dusky pop sounds like something snatched from within the furthest reaches of his mind.” - Noisey 

                                            “Combining J Dilla grooves with laconic vocals… it’s dark and sexy, the sound of London on those nights when everything feels a certain shade of puma blue.” - i-D 

                                            “Hazy, late-night vibes filter through Puma’s production, matched by the tenderness of his vocals as he seeks comfort in his isolation.” - The Fader 

                                            “Puma Blue captures fleeting personal moments of vulnerability, like a postcard or a letter you keep to come back to.” - Earmilk 

                                            “Hazy, atmospheric grooves: you might not be able to define exactly what you're listening to, but you’ll end up listening right the way through, with each track flowing effortlessly into the next.” - Complex

                                            Puma Blue

                                            Only Trying To Tell U

                                              “Puma Blue’s dusky pop sounds like something snatched from within the furthest reaches of his mind.” - Noisey

                                              “Combining J Dilla grooves with laconic vocals… it’s dark and sexy, the sound of London on those nights when everything feels a certain shade of puma blue.” - i-D

                                              “Hazy, late-night vibes filter through Puma’s production, matched by the tenderness of his vocals as he seeks comfort in his isolation.” - The Fader

                                              “Puma Blue captures fleeting personal moments of vulnerability, like a postcard or a letter you keep to come back to.” - Earmilk

                                              “Hazy, atmospheric grooves: you might not be able to define exactly what you're listening to, but you’ll end up listening right the way through, with each track flowing effortlessly into the next.” - Complex

                                              Purple Disco Machine

                                              Glitterbox – Discotheque

                                                Glitterbox is proud to present Purple Disco Machine’s debut mixed compilation, ‘Glitterbox - Discotheque’. A leading light of contemporary disco and a key resident for the nightlife phenomenon’s internationally renowned parties, Tino Piontek, aka Purple Disco Machine, has distilled his acclaimed headline DJ sets into two mixes; ‘Purple Disco Day’ and ‘Purple Disco Night’. Featuring over 30 tracks of fine soulful, funk-laden beats, Purple Disco Machine showcases an impressive decade-spanning repertoire of gems, from underappreciated golden-era disco to newly-released vocal house, plus two exclusive edits from the artist himself, all mixed beautifully in Purple Disco Machine’s unmistakeable, acutely modern style.

                                                ‘Purple Disco Day’ builds just as a Purple Disco Machine afternoon festival set would, the deep tones of Paul Alexander’s voice and deconstructed funk of Forrrce ‘Keep On Dubbin’ (With No Commercial Interruptions) making way for the sunshine sounds of Yuksek & Bertrand Burgalat’s ‘Icare’ from 2018. A trio of classics brings up the tempo, followed by more newness from Horse Meat Disco direct from the Glitterbox stable, Dele Sosimi ‘You No Fit Touch Am’ (Medlar Remix) and the first brand new edit from the man himself, Ilija Rudman featuring Andre Espeut ‘In Her Eyes (Purple Disco Machine Edit)’. The edit, which has taken pride of place in his sets for a while now, is Purple Disco Machine at his deepest, leading seamlessly into a covetable Kenny Dope mix of the Boris Dlugosch collaboration ‘Love For Days’ featuring Karen Harding. ‘Purple Disco Day’ demonstrates the sophisticated restraint of a DJ who truly knows how to apply pressure and when to hold it back, producing a mix that works on a home stereo as much as it does on the dancefloor.

                                                On the flip, ‘Purple Disco Night’ starts strong with two huge remixes from Purple Disco Machine himself, Shakedown’s ‘At Night’ and Weiss ‘Feel My Needs’, undeniably two of the most-played reworks of the last six months. The heavy hitters keep coming; Mighty Mouse’s ‘The Spirit’ providing the energy and Moloko’s ‘Sing It Back (Mousse T.’s Feel Love Mix)’ providing a euphoric singalong moment. Purple Disco Machine’s second exclusive edit is of Julien Jabre ‘Swimming Places’, a timeless Defected classic from 2005 with so much emotion, brought tactfully into 2019 with a fleshed-out bassline. Documenting the full might of Purple Disco Machine’s production credibility, no mix would be complete without his irresistible remix of the seminal ‘Praise You’ by Fatboy Slim and of course the crossover hit ‘Dished (Male Stripper)’, once again proving he can’t go wrong using his remarkably unique disco sound with a modern twist.

                                                Tyler Ramsey

                                                For The Morning

                                                  Tyler Ramsey, the former Band of Horses co-writer and lead guitarist, announces the release of his exquisite new album, For The Morning, on Fantasy Records/Virgin EMI. Inspired by the lush, deep green and stunning landscape of his home in the mountains outside of Asheville, North Carolina, Ramsey threads rock, country and folk into a rich, new branch of American roots music all his own. 

                                                  FORMAT INFORMATION

                                                  Ltd LP Info: Black heavyweight vinyl, spined-outer sleeve, printed inner.


                                                  P1-Plus Turntable - Limited Edition For RSD19

                                                    Unique 2019 RSD Design.

                                                    Based on the award winning Rega P1+ Turntable with built-in Phono Stage.

                                                    Phenolic Black Platter and Exclusive RSD Custom Design Mat.

                                                    Limited Edition - Only 500 manufactured.

                                                    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.

                                                      FORMAT INFORMATION

                                                      Coloured LP Info: Transparent vinyl

                                                      The Rolling Stones


                                                        Honk collects 36 essential Stones’ tracks – including eight Top 10 singles, “Brown Sugar”, “Tumbling Dice”, “Angie”, “It’s Only Rock And Roll (But I Like It)”, “Fool To Cry”, “Miss You”, “Emotional Rescue” and “Start Me Up”. Bringing the band’s story up to date, Honk also contains hit single “Doom & Gloom” – recorded in 2012 – as well as “Just Your Fool”, “Ride ‘Em Down” and “Hate To See You Go” from the band’s 2016’s Grammy Award-winning, No 1 album, Blue & Lonesome. 

                                                        FORMAT INFORMATION

                                                        3xLP Info: Triple LP on heavyweight black vinyl.

                                                        South keep the classics coming with these three incredible reimaginations of Nina Simone classics from Francois K, Tony Humphries and Coldcut each with their own unique touch and trademark style weaved within.
                                                        Francois K kicks off with a sublime deep house rework of "Here Comes The Sun". Reminiscent of Larry Heard’s more emotional output, Francois nods to Mr Fingers with a bassline that harks back to those early Chicago classics, coupled with deft mbira touches that create an other-worldy feel to the remix. Celestial waves and singing rides mix with a buzzing top line melody that lay the foundations for Simone’s spiritual voice to hang in the air with a perpetual elegance and grace. A timeless slice of house music that earned Francois’ version a spot on one of Innervisions acclaimed ‘Secret Weapons’ compilations.
                                                        Next up, Zanzibar royalty Tony Humphries lays out a bumping remix of ‘Turn Me On’ turning the bluesy soul leanings of the original on their head and flipping it into an uplifting summertime groover. Simone’s words take on a different tone with this revitalising rework backed by staccato guitars and chopped up vocal melodies that give a playful yet soulful character to this slab of sunshine.
                                                        Rounding off the EP in classic Coldcut style, the duo meld ‘Save Me’ into a chopped, screwed and crunched remix. Lo-fi percussive elements and distorted textures blend with glitching samples and stuttering sequences that turn Simone into a tripped-out goddess. An atmospheric piece of electronica but with a harden edge purpose made for the dancefloor.

                                                        STAFF COMMENTS

                                                        Sil says: Reworks of uber classic 'Here Comes The Sun' with Francois Kevorkian delivering yet another masterclass in remixing with another suave, chilled house number. Humphries goes more full on and Coldcut go a bit more breakbeat. Great package!

                                                        The Italian disco masters are back with four heavy funk-fuelled vinyl cuts.

                                                        "Cabasa" has off-kilter bass, Rhodes, dirty drums and grainy samples knitted together in to a groove heavy enough to get your Gran going. Hypnotic, trippy and disco at its finest. "Congo Club" goes full cowbell and 80's drums. A chanted vocal wonks out over a Rhodes that weaves all kind of magic, then the lead drops and critical mass is reached. The title track cracks on at a pace with synth strings, flanging bass, distorted drums and keys tying it all together. Latin percussion is dropped over a a sung sample and the swing is on. "Summer of Sam" takes a more soulful diversion but keeps a foot firmly in the disco camp. The track builds with spacey atmospherics in to a track that will work in any situation.

                                                        Alexander "skip" Spence

                                                        I Want A Rock & Roll Band / I Got A Lot To Say / Mary Jane

                                                          Skip leaves his hotel. Its a cold day in Nashville, climbing to only 43 F in the afternoon. It may be Sunday, but on this day a 22-year-old musician is working at Columbia Recording Studios. Over the past few days, hes recorded a slew of new songs and today will be no different. On December 7, 1968, Skip Spence will record no less than 8 different songs. He has only 3 more days left to finish the album. It's been fast and furious and its also been tough, recording every instrument on every track, layer after layer, song after song, overdub after overdub.

                                                          In a sense, Skip is now a one-man rock & roll band. A few months ago, he was in a band, but now hes on a different path. On one of today's tracks, he opens with a low growl, "I want a rock & roll band." He then sighs, perhaps wishing he didn't have to do it all himself. After repeating the phrase, he adds, "One that spits fire and chews blood!" Skip was in that sort of band just a few months earlier the talented but jinxed Moby Grape. It's like he was writing a note to himself, thinking about his old band, thinking about himself as a band, and perhaps thinking about other bands as well. Maybe he was also writing a reply to the Byrds, who once sang, "So you want to be a rock & roll star." Like the Byrds, Skip was grounded in folk music. Twenty months ago, Moby Grape opened for the Byrds at the Fillmore and Winterland in San Francisco. They’d rehearsed tirelessly for days-on-end beforehand. But Skip doesn't want to go back to his past. "I don't want the Fillmore," he roars, "I want a rock & roll plan."

                                                          While his future may be unclear, Skip is on a mission to record everything he has in his body & soul. For a part of that Sunday so long ago, that included, "I Want a Rock & Roll Band” a song that features so many of Skips hallmarks, wit, spontaneity, wordplay, a mixture of intricate & percussive guitar, verve, & a beautiful falsetto. It's a rollicking snapshot of where Skip Spence was at, smack dab in the middle of his Oar sessions one cold Sunday in Nashville, Tennessee.

                                                          Big Wows is heavier, harder and weirder than Stealing Sheep’s previous work. Bold neon pop songs with rave percussion, steelpans, dreamy segues and breathy experiments. The *fsszzt* sound of lemonade opens the album with a hyper-real sense of optimism that progressively reveals the cracks of dystopian irony amidst sugar–coated pop; held together by Emily Lansley’s bass guitar, Luciana Mercer’s drum kit, Rebecca Hawley’s synths, and the trio’s swooning steely vocal harmonies.

                                                          Stealing Sheep describe Big Wows as “a slow rush”; taking shape over a period of nearly three years spent working out exactly what they wanted it to be and creating an album that levitated their identities as individuals as well as merging them into one unit “We’re each finding our own creative intuition,” says Bex “..and then we come together...and we back each other up" adds Lucy.

                                                          Just as the title suggests, Big Wows is both cynical and optimistic: dreaminess and pop dance rhythms are cut With eye rolling vocal styles inflected by heartfelt lyrical messages “We hit upon this conversational-style between the vocals and have alternating lead melodies. There's a sarcastic tone to some of the music but there is always a strong wilfulness to incorporate honest integrity, which is hard to do but refreshing when it finally comes out.”

                                                          Side one opens with a burst of shimmery synths as ‘Show Love’ and ‘Back in Time’ lead you heart first into the headier feels of ‘Jokin' Me’ and upbeat bounce of 'Why haven't I?' following into the more progressive grooves for ‘Girl’ then fading out with the narcoleptic comforts of ‘Just Dreaming’. Side two digs deeper into a dreamworld, with the manias and hallucinations of ‘Breathe’ and ‘True Colours’ as well as the gorgeous disillusionment of the title track and ending with an unexpected tropical club banger ‘Choose Like You’.

                                                          Running through the whole record is a response to living in a tech era: “We wanted sounds to represent TVs, computers and everyday glitches” says Bex “We started to have this feeling that life is like a game and how you can malfunction when you're blasted with too much information…” As well as composing with traditional instrumentation they also started songs solely on the computer; sequencing, building sounds, drum machines and responding to that non-emotional binary world. “The big challenge,” continues Bex “is making machines sound organic, emotional, finding their flaws. That’s why Delia Derbyshire is so important to us. All the effects that she uses serve to humanise the machines.”

                                                          Since the release of their last album, 2015’s surreal and fantastical ‘Not Real’, they’ve been in demand as multidisciplinary public artists as well as musicians – on projects including Wow Machine, which brings to life another more conceptual strand of ‘Big Wows’; in a mechanical light up stage with dancers and live music. This summer they also performed at UK festivals with a 15 strong all-female procession to celebrate the centenary of Suffrage. “Being female has become more of a theme in our work” the band say. “It's obviously always been there but now we're playing with it more conceptually and thinking about empowerment"

                                                          This greater confidence and rock-solid aesthetic mean that Stealing Sheep can take greater risks and reap more wonderful rewards. They have a broad range of influences – St Vincent, Michael Jackson, The Knife, Kraftwerk, Drake, Little Dragon - but they remain so resolutely and richly themselves. “We try new things out and we get more confident about what we like.” says Bex. "There’s a really good thing Grayson Perry says about developing your creative intuition. You get to a level as an artist where you know on a gut level what you like and what you don’t like. It takes a long time to feel comfortable in that place, to know your palette, to know you like these drum sounds or whatever it is.”

                                                          Lucy is working with a full drum kit now instead of just toms, Emily is playing bass guitar, Bex is making her own synth patches and they’re all using new equipment: they are developing and experimenting and moving forward together. “We wanted the machine sounds to be juxtaposed against a full kit and bass guitar, which we tracked live to feel intentionally loose in places. We like the idea of placing robotic tech next to real life energy.”

                                                          The songs began at home or in their studio at Liverpool’s Invisible Wind Factory, laying down the main body of the tracks, then the band worked with various producers – including Marta Salogni (Bjork, MIA, Factory Floor), Andy Smith (Years & Years), Ash Workman (Christine & The Queens, Metronomy) and Joe Wills (video artist for Little Dragon) – as they’ve tried out different mixes and ideas to convey their messages. They also teamed up with 8bit video artist Pastle Castle (Emily Garner) from Leeds, who created a Karaoke video series for the whole album; exploring Stealing Sheep's digital dimension and their shifting identities amidst changing cultural moods and millennial paraphernalia. "It's a crazy time and it's challenging navigating through it, but it's like 'whatever' bring on the BIG WOWS.’

                                                          STAFF COMMENTS

                                                          Barry says: I remember being slightly surprised when Dave told me I should give the new Stealing Sheep single a listen a few months ago (Dave and I have canonically opposed tastes in music), and I actually really liked it. Throbbing synths, sugary percussion and huge 80's reverbs but with perfectly precise production and more than a nod to that classic sound of Italo disco. There's no way this isn't going to be a hit, and it deserves every minute of it.

                                                          FORMAT INFORMATION

                                                          Coloured LP Info: Splatter disc with mirri-board sleeve (first pressing edition only).

                                                          Richard Swift

                                                          The Atlantic Ocean

                                                            Meticulously arranged and gorgeously recorded (including a session at Chicago’s famed Wilco Loft), ‘Atlantic Ocean’ is an immaculate kiss off. It’s a cheeky - if not wholly acrimonious - takedown of music industry artifice and hipster culture vapidity. “I’m part of the scene… I got the right LPs,” Swift begins the album on the title track over fuzzed Casio stabs and a clunky, bounding drum machine. The chorus of “Atlantic Ocean, Atlantic Ocean, You’re gonna drown, drown drown” is itself a wee stab at a major label of a similar name. Across the entire album, Swift is burning bridges and the exposing trolls underneath. As the timeless Sly Stone-leaning burner ‘Lady Luck’ stretches to its climax, you get the sense that Swift has put his faith and trust into the familial love around him and not in the dangling carrot of music. Alongside 2007’s ‘Dressed Up For The Letdown’ and 2018’s posthumous ‘The Hex’, Richard Swift’s ‘The Atlantic Ocean’ (2009) completes his triumvirate of meta-pop masterpieces.

                                                            Although Itta (vocals, Harmonium) and Marqido (analog synthesizers) have been regular fixtures in Seoul’s experimental music community for years, the vinyl release of "Spiritual" reflects the growing international recognition of their singular sound, described by The Wire as 'meditative synthesized vistas.' "Spiritual" ccertainly embodies the meditative element of their music, layering hypnotic modular synth with Indian harmonium drone and Itta’s transcendental vocals. This is more than functional music for the metaphysically curious, however. Perhaps more than any of their previous releases, "Spiritual" offers an open accessibility, owing at least partly to the channeling of Krautrock-influenced rhythms. Tracks like “Luft” and “Morgen Tempel” wouldn’t sound out of place in any DJ set with Kraut or psychedelic leanings, while “Barabonda” and “Dodeuri” dig deep into a more meditative place, serving as perfect expressions of the album’s title and intent. Fans of Neu!, Kraftwerk, Laraaji or Klaus Schulze might find themselves in a comfortable yet unexplored place.

                                                            "Spiritual" was originally released in 2017 as a limited-edition cassette of 250 copies, produced in collaboration with Seendosi, an arts enterprise in Seoul Euljiro district, the city’s heart of printing, packaging and electronics manufacturing. The cassette sold out within a year of its production, prompting Extra Noir, who had previously released Tengger’s “Breathe In, Breathe Out” on their "Extra Noir Vol. 1" compilation, to propose reissuing "Spiritual" on vinyl. Working with Seendosi once again, the result is a beautifully produced piece of work. Closely attentive to the band’s vision, the gatefold sleeve features rich landscape motifs that evoke Tengger’s commitment to earthly travel and the less accessible places beyond. Pressed onto clear vinyl, the design of "Spiritual" has been carefully constructed to reflect the entirely unique music within: heavy ephemerality, dense transcendence and grounded wanderlust. 

                                                            FORMAT INFORMATION

                                                            Ltd LP Info: Limited to 300 copies.

                                                            The godfather of the LA sound, and possibly the World’s greatest living Jazz Vocalist, returns with his masterpiece. Timeless, yet made for our times - this is a double album of spiritual jazz, soul, gospel, and psychedelic rock. Recorded at LA’s Sunset Sound, and backed by a band of legendary musicians (including Kamasi Washington), this is a work of true beauty. A tour de force that reveals Dwight’s kinship with Spiritualism

                                                            FORMAT INFORMATION

                                                            2xColoured LP Info: Limited edition cosmic vinyl.

                                                            Slava Tsukerman

                                                            Liquid Sky - OST

                                                              Liquid Sky is the cult film to end all cult movies! Set in 1982 Microscopic aliens arrive on earth to feed on the endorphins of herion addicts in the hip club scene of Downtown New York City. The aliens land on the roof of an apartment block and soon realize they get a better lunch when feeding off orgasms!

                                                              The music is as wild as the premise of the film. Composed by director Slava Tsukerman himself using an array of early analog synthesisers and samplers, he mixes original compositions with electronic versions of symphonic classics to striking effect. The score is dizzying, hallucinatory and off kilter. Completely wild and free from the trappings of both traditional film and score Tsukerman lets loose with a score that is at times terrifying, at others soothing but always interesting and like nothing you have ever heard before. The score peaks with “Me & My Rhythm Box” featuring a performance by Paula E. Sheppard that has become a staple DJ’s the world over. Far ahead of its time, both the film and the score have had lasting influence on todays culture. Everyone from Larry Tee, Fischerspooner, Lady Gaga & SIA have borrowed something from it.

                                                              Ugly Things

                                                              Issue #50 - Spring 2019

                                                                We have some exceptional cover stories for this one, including the tragic mystery story of the Lost & Found from California, an expansive interview with writer/musician/archivist Lenny Kaye (Nuggets, Patti Smith Group), beat group maniacs the Renegades, and girl garage group the Debutantes. Other interviews include glam rock hero Alan Merrill (Vodka Collins, Arrows) and Mike Tingley, who tells the story behind his sought-after 1968 baroque pop album The Abstract Prince. Plus Bob Mosley of Moby Grape, Dutch beat punks the Selfkick and Dat En Wat, Howlin’ Wolf, the Doors’ Waiting For the Sun, the Pretty Things’ Last Stand, and Cyril Jordan explaining folk-rock in his imitable style. Not to forget our popular review sections covering the latest reissues and rock-related books.

                                                                The Underground Youth


                                                                  Manchester’s The Underground Youth have built an impressive back catalogue of seven full-length albums showcasing a hazy cocktail of neo-psych, post-punk, shoegaze and chillwave, of which every copy of each album has been long sold out. Now for the first time ever their highly sought-after album Mademoiselle is being given a physical release by Fuzz Club, alongside reissues of their sold out 2013 and 2015 albums The Perfect Enemy For God and Haunted. The story of Mademoiselle is a testament to the power of great music being able to reach an audience, regardless of the fact the artist might be unsigned, underground and almost unheard of. Originally released in 2010 and only available online, Mademoiselle has piled up millions of views on YouTube, and saw The Underground Youth acquire a cult following at a ferocious pace.

                                                                  The album has continued to endear audiences with its bluesy psychedelic-leaning, based on beautifully crafted lyricism and a sculpted sound. Layers of reverb-drenched, folk-indebted guitars and forlorn vocals bleed over hypnotising, monolithic drums to create a record that is 46 minutes of lethargic, lo-fi psych mastery. To celebrate the release of the album, The Underground Youth will be headlining Fuzz Club’s new monthly London event Under The Arches on 5th March, followed by shows at Manchester’s Cosmosis Festival, Lisbon Psych Fest and the group’s fifth European tour. Since releasing Mademoiselle, The Underground Youth has experimented and evolved into deeper complexity exploring electronica, industrialism and post-punk, but always with an incredible astuteness for beautiful songwriting

                                                                  FORMAT INFORMATION

                                                                  Coloured LP Info: Available on 180g "Milky Clear" coloured vinyl

                                                                  Unknown Artist

                                                                  Tropical Jam 3

                                                                  Another of Vakula's limited edition edit records. This time the Ukrainian wonderchild turns his hand to South African synth boogie as he unearths and tweaks three house-not-house, mid 80's bangers from the SA 'underground'. Now, we're not getting all arsey on Vak here - but we're well accustomed to a bit of this here at Piccadilly following the amazing "Gumbo Fire..." comp plus loads of reissues from Don Laka's amazing catalogue (basically, if it's dance music, from South Africa, and it was made between '82 - 2002, you can confidently bet that Don Laka was involved.. - ed).

                                                                  Anyway, trusty old Vakula's chosen some great numbers, none of which we've heard before so thank goodness for that. Just grab it and have a listen - you won't be disappointed!

                                                                  STAFF COMMENTS

                                                                  Matt says: Summer 2019: South African synth boogie / proto-Kwaito sounds become the rage. Vakula joins the charge. Everyone dances.

                                                                  5th of the RSD limited series for Vinalog and Mr. G. Handstamped limited release. Mr. G comes on strong like cough medicine - offering up the slow and gloopy deep house swoon of "Radio In The Kitchen" which utilizes sloppy pad stabs and even sloppier beats to devastating effect. Vinalog joins Eddie Danielle, Bastien Carrara and Tiger & Woods - effortlessly conjuring up a tape-friend, loopy disco edit that'll titillate the dancers and DJs in equal measure. Finally, "Bonus RSD" is a clever and catchy rhythm tool that's ruff around the edges but direct in approach - a lot like some of Anthony Shake's more rambunctious DJ tools. Recommended!


                                                                  Laughing Matter

                                                                    A little less than two years on from 2016’s Plum, Californian scrap polymorphs Wand are prepared to announce their newest, and fifth long playing record, Laughing Matter. By now, Wand is the shifting but unmistakable collaboration between Sofia Arreguin (keys, vocals), Cory Hanson (guitar, vocals), Robert Cody (guitar), Lee Landey (bass) and Evan Burrows (drums). Laughing Matter is marked by the confidence and exuberance of a band that has lived, feuded, thrived and grown together through years of dedicated jamming, touring and recording, across western and eastern states, continents and mind-sets. In this world that insists we must increasingly rely upon ourselves, Wand listen to each other, and this is the sound.

                                                                    Largely recorded on the infamous southern border of broken, decadent America, Laughing Matter belongs to the after-life. After the dull flood. As rock n roll lurched sideways and fell away, drunkenly lost in a funhouse mirror of…recycled Funhouses. With no major label funding, no management or lawyers, no corporate distribution, near zero social media presence and no commercial dealings whatsoever (with only poor, pitiful Drag City to help them carry the flag!), Wand have toured the world a bajillion times in five years and made four varied and compelling records while accumulating a devoted following. There may be a future in rock music beyond slapping rote regurgitations onto a lifeless syntactic grid. Wand are proof you don’t have to be an industry toy to sell records – that, with devotion and time, the seeds you plant with intention and care will grow back into the world.

                                                                    Swerving between out-of-focus parable, travel diary, pep talk, polemic, love song, and lullabye, Laughing Matter is a tough and tender album, its eyes on a lot of prizes. Where Plum held the tension of its five band members getting on their feet, the songs on Laughing Matter are concentrated and relaxed, even as they search for the right accusations to hurl at cynics and megalomaniacs. The music is distilled and sculpted from an ash heap of collected improvisations, riven with audio-verite; the methods and instrumentation are traditional handmade rock ‘n’ roll. Yet the unorthodox arrangements of “Scarecrow”, the joyous embrace of pastiche and disruption on “Walkie Talkie”, the radical eclecticism of shapes and approaches on “Thin Air”, the ascendant choruses of “Wonder” are all decidedly contemporary. This music is not revivalism or throwback; Wand are a precision instrument, a band that probes and teases style, genre, trope and anachronism into material, according to a law of motion that is aimed directly toward an uncertain future.

                                                                    Laughing Matter is a record about love in a time of terror, about making the best use of the surveillance technology available today. It calls you down from panic room labyrinths, to work the deep tissue of unravelling trauma we all carry so dear. The 15 songs on this record face their energy outward, to take with you through a common world that can’t suffer its human abusers much longer. Laughing Matter encourages you to shake hands with your old demons, to lay your pathologies to rest, to hold your spirit close, and let your body do what’s next.

                                                                    The Yawpers

                                                                    Human Question

                                                                      The Yawpers are the sheep in wolf’s clothing. Through their first three albums, the group divined a signature style--what Pitchfork described as - an expansive vision of rock n roll, one that cherrypicks from various folk traditions: punk, rockabilly, blues, whatever they might have on hand or find in the trash. The sound is a front-heavy, groovy, fire & brimstone punk-blues overlying a dynamic and metaphysical roots rock.

                                                                      Americana UK - 10/10 - "Flawless third record from one of the most exciting bands around."

                                                                      Various Artists

                                                                      A Love That Never Dies

                                                                      A little mystery goes a long way, but it's fair to say the appetite for unearthing those secret tunes and lost classics has rarely been stronger. "A Love That Never Dies" give us a peek inside their formidable archive with three wonderful pieces of coveted music, in very short supply in their original form. Faint memories of proto-techno collide with Zanzibar / Cosmic friendly afro-funky and a solid dose of sherm-fuelled, rambunctious disko. No f***in about on this one - straight into the deep end and dazzling.

                                                                      One super limited, clear vinyl pressing.

                                                                      STAFF COMMENTS

                                                                      Matt says: Three styles and flavours to cater for the different moods and feels of a good weekend on the rocks.

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                                                                      Thanks for posting about it. It’s here until next Friday May 3rd btw.
                                                                      Wed 24th - 8:58
                                                                      Yes! Thanks @NME for the feature. Come and visit @ianbrown
                                                                      Tue 23rd - 9:48
                                                                      It’s great isn’t it?! Glad you liked it and hope your wish comes true.🤞🏻
                                                                      Mon 22nd - 5:55
                                                                      Thank you. Come back soon.
                                                                      Mon 22nd - 3:49
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