MAGIC MIX

ALL GENRES

WEEK STARTING 23 Aug

Masaala is a new label exploring all things South Asian. Launched in 2019, the debut release sees a mix of edits by Mancunian upstarts Adesi and Raheel Khan who take on a side each.

If you like the weird and wonderful, with percussion from foreign lands, vocals in Eastern tongue and a strong explosion of colour and vibrancy, this release is 4 U!


Andrew WK

I Get Wet - Vinyl Edition

    The fan favorite semininal debut by Andrew W.K on vinyl for the first time in close to a decade. I Get Wet includes the anthems “Party Hard”, “She Is beautiful”, “Ready To Die” & “I Love NYC”.

    The album comes housed in a completely upgraded gatefold jacket printed by Stoughton which includes spot gloss over the iconic bloody nose cover image to really make the cover art POP!

    Andrew W.K. has a mission—to dirty up rock & roll, literally and figuratively. And while that may seem a sizeable task for one man to shoulder, consider that the Michigan-reared screamer has devoted the whole of his debut album I Get Wet to ecstatic celebration of the id. It’s a heck of an idea, and it’s brought W.K. the fawning adoration of the British press who, after enduring years of ambient art-rock inspired by paranoia about technology (you know who we mean), are rushing to embrace W.K.‘s credo that everyone should party till they puke.

    W.K. stays on theme throughout I Get Wet’s 12 frenetic tracks—song titles like the aforementioned “Puke,” “It’s Time to Party,” “Party Hard,” and “Fun Night” pretty much make the point. But W.K.‘s more-is-more approach holds true of the music too—it’s cheesy new wave meets spiky metal but delivered with such self-conscious force that it’s almost bubblegum.

    Think of the gargantuan riffs of “Detroit Rock City” smeared with Flock of Seagulls-style synth while some manic propagandist hollers himself hoarse over top. I Get Wet has one setting—loud—but not since the Stooges has unmitigated hedonism, and just plain headbanging, seemed like a plan. Mighty members of the three-finger devil salute fraternity, your soundtrack has arrived.


    Black Doldrums

    She Divine EP

      Black Doldrums, the lauded London-based power-duo, are returning with their expansive new EP 'She Divine' on premiere shoegaze indie Club AC30. Known for delivering layered echo-drenched guitar with heavy, relentless drums, Black Doldrums create transient and euphoric dark psychedelia and they've once again captured their raw, untamed energy with the help of producer Pat Collier.

      "If Phil Spector was a goth this is what his wall of sound would be like, relentless, pounding beats over fuzzed and distorted guitars and topped with a vocal so ethereal it's barely there." - Shindig! "A huge slab of noise that sits between Spacemen 3 and the Brian Jonestown Massacre." - Clash Magazine.

      STAFF COMMENTS

      Matt says: Awash in reverb, fuzz with dashes of tabla and eastern influences, it's no wonder it's been likened to a gothic Phil Spector.

      Italy's Best Records cross the continent to Italy for their latest reissue, laying down a fresh pressing of Dutch boogie classic "Let's Funk Tonight", plucked from their 1981 debut LP "Feather Funk". Introduced via an instantly recognisable, and oft-sampled keyboard riff, thie track soon settles into Bee Gee style vocals, loose percussion and a slick groove-a-thon (feat killer solos!), here extended to almost ten minutes by Peter Frost. This maximal mix down was originally only available on the LP, and now finally gets the heavy 12" cut it deserved. On the flipside, UK disco legends Faze Action step into the arena, slice and dice the original and get creative with the tape delay, delivering the dope dubmix we've always wanted.

      STAFF COMMENTS

      Matt says: The eagle-eared and Chris Duckenfield-obsessed will recognize this hook of the cult classic remix of Roisin Murphy's "You Know Me Better" that was doing the rounds on a naughty 7" many moons ago. Who knew the original sample was from these Dutch boogie maestros?! In the bag in goes...

      ‘The best critique is self-critique’ is the mantra of Brooklyn art rock unit BODEGA. With wild minimalism and sharp wit, they revitalize the rock and roll vocabulary under the influence of post punk, contemporary pop, hip-hop, kraut rock, and folk-derived narrative songwriting.

      BODEGA’s debut LP ‘ENDLESS SCROLL’ is a collective dialogue with the machine and the public. Ping-ponging vocals are set to Ben’s deconstructed guitar, Nikki’s samples of old and new technology, the driving minimalism of standing drummer Montana Simone (IDIO Gallery), the angular spasms of lead guitar Madison Velding-Vandam (The Wants) and the tight, hypnotic bass lines of Heather Elle (Please No Radio).

      "ENDLESS SCROLL" was recorded and produced by Austin Brown (Parquet Courts) on the same Tascam 388 tape machine used for their LP "Light Up Gold". It was mixed and mastered by Jonathan Schenke (Eaters) at Dr. Wu's. The LP's fourteen songs offer a high-energy, humorous but earnest thirty-four minutes.

      FORMAT INFORMATION

      Coloured LP 2 Info: Very limited edition silver vinyl pressing.

      Bill Brandon

      The Streets Got My Lady / Whatever I Am, I'm Yours

        Bill Brandon from Huntsville, Alabama recorded between the late 60s to late 70s, primarily with the Moonsong and Prelude labels. Of the 7”s released, “The Streets Got My Lady” became prolific as an upbeat modern soul gem on his one outing for the Piedmont label, original pressings of this today fetching in excess of £350. It is (co)-written, arranged and produced by Moses C. Dillard who would take Bill to Prelude Records for his one self-titled album in 1977. Earlier Bill had worked with Sam Dees and Fredrick Knight at Moonsong, along the way recording “Whatever I Am, I’m Yours” which has also become in demand and exchanges hands for over £250. Hence this release represents both great music and amazing value.

        Previously issued on three rare cassette only editions, Joanna Brouk’s 1980 sophomore album "The Space Between" has finally been given spacious LP quarters. The side-long title track, performed by Brouk’s Mills College instructor and sometime-lover Bill Maraldo is among the deepest and most distinctive pieces in the new age canon, a slowly unfurling piano-raga which captures the listener with an eastern energy. Meanwhile side B’s three cuts expand the theme in hypnotic new directions, utilizing glockenspiel on "Chimes And Bells", returning to piano and adding wafts of reverb flutter on the ultra delicate "Winter Chimes" and finally the coated, rich hum of "Golden Cloud Layers". Gobsmackingly fragile yet tectonically powerful, few ambient albums have the goosebump-inducing potential of "The Space Between".

        High quality laquer cut LP with silver and pink pantone colors on cover. Mutual Intentions is proud to present "Astral Traveling" which is Byron The Aquarius' debut album. A stunning piece of fusion built from everything between jazz, soul, hiphop and house makes Mutual Intentions a perfect platform for the release. String compositions is an on-going theme throughout the album. From the first chord on "Love Is 4U", until the very last second of "Spazzing Out", where Byron raps over a beautiful backdrop consisting only of Fender Rhodes, electric bass & strings. Byron jumps seamlessly between different genres throughout the whole album. From the acid house inspired "Sorry Kari", to 70's prog jazz sounding cuts like "Lost In Love". Once you put the needle on side B, you'll hear "Deep In That ***** feat. MDMA" which sounds pretty much like if Dexter Wansel took MDMA in 2019, inside Legowelt's studio and tried to re-create his classic cut "Theme From The Planets"



        Ceremony

        In The Spirit World Now

          Ceremony make their Relapse Records debut with their highly ambitious new album, 'In the Spirit World Now'! The album sees Ceremony at the height of their creative output, as the always-evolving Rohnert Park quintet take various influences from post punk and rock to create one of the summer's most compelling and infectious records. "In the Spirit World Now" is full of layered sonic fury and anxiety, each song building up to a point and then descending down through a militant, catchy hook. “Turn Away the Bad Thing” sets the tone, guitars climbing around the driving bass line, as Ross Farrar sings, “It’s getting harder for me to be alright/Eyes adjusting to the dark/The momentum of all these last resorts built inside of me.” Songs like “Presaging the End” and “Calming Water” feel romantic and distressed, while “Further I Was” and “Years of Love” are driven by Farrar’s rebellious energy as he repeats the hook with a deadpan realness. “Years of love can be forgotten/In the hatred of a day.” But the true stand-out is the title track, “In the Spirit World Now”, a haunting pop gem with a sticky chorus and lead synth riff that plants itself in your head as Farrar chants the track’s name over and over like a mantra. “In the Spirit World Now" is a sort of nebulous and ectoplasmic place where things may not be quite what they seem,” he says. “It means sh*t is about to get weird.” The album marks a milestone for this Northern California punk outfit who have stayed true to themselves as songwriters throughout massive sonic growth throughout their storied career.

          STAFF COMMENTS

          Barry says: From the fractured art-punk aesthetic of Wire or even bits of Sonic Youth, through wide-spanning cinematic shoegaze majesty and grungy snarling anthems, Ceremony have crafted a brilliantly varied and thoroughly enthralling collection of snappy punk anthems mixed with a huge variety of influences.

          Singer, songwriter, composer and multi-instrumentalist, Desmond Coke's supremely rare, privately pressed, lo-fi, synth-soul fusion, "Let's Chase The Sun" is represented here in edited form. Painstakingly remastered from the original tapes, this self taught pianist, drummer and sax player condensed his musical experiences and dreams in to an opus on love and togetherness.

          Desmond Coke alias 'Fatfingers' - named by fellow musicians due to improvisation and interpretation skills - began playing keyboards by ear at 15 and went on to a music career playing with the likes of Alton Ellis, Prince Fari, Barrington Levy, Dillinger, Don Cherry and Shara Nelson, as well as a gamut of the On-U Sound label's projects, including Creation Rebel, Dub Syndicate, Singers & Players and Mark Stewart + Maffia.

          With an interest in reggae, dub, jazz, soul, meringue, gospel and garage, his sole album was a true fusion to create a brand new sound. Composed, arranged and produced by Coke, he worked with an array of seasoned musicians, including his own sisters Winifred (percussion / vocals) and Paulette Coke (percussion / DX-7 & M1 synthesisers).

          Pressed on his own Saterlite Entertainments in 1989, Coke describes the album's purpose, "to get the message across to have focus, ambition, to dream and 'chase the sun'. That relationships are important, 'I need somebody' and naturally the chemistry is 'you and me'. Great relationships are about friendships and that it's ok to 'mesmerise a friend'. The most natural thing is to enjoy each other's company and to 'make a love child'. These good intentions and meanings, where love is the key." Some thirty years later Desmond's thoughts are as resonant today as then - Let's Chase The Sun.

          STAFF COMMENTS

          Matt says: What is this tropical funk curio I hear you ask?! Well, it's Desmond Coke! - with a name like that you'd surely expect him to bring the party, and like a white horse he elegantly struts across dancefloor, beach, terrace and club; the perfect soundtrack to a debauched night on the tiles in a foreign paradise.

          Around the year, the sturdy red brick walls of an old Cable Factory stand there like a mountain, facing weathers of all kinds rising from the Gulf of Finland. It might be freezing winter winds whipping the whole shore line into submission, fog heavy as concrete, or the relentless sun of the summer months, softening the asphalt to a boiling point. Whatever the weather may be, the narrow courtyard of the old factory embraces those musicians, who are looking to get down. They gather from all directions, making their way towards a pair of doors that lead towards a flight of stairs, again through a few doors all the way to the last portal, where an open padlock and a loosely hangin crossbar signal that Cold Diamond & Mink are inside, locked in a groove.

          Who could it be with them this time, perhaps the jazz prophet Jimi Tenor beaming out of his space ship, maybe it's the golden voiced knight of soul Tuomo "Pratt" Prättälä, the number one trumpet wielding dandy Jukka Eskola or the saxman Pope Puolitaival, who loses nothing in coolness compared to the former? The reel to reel is always there in the monitoring room, catching each analog layer of sound, even the silences and banter between takes. Seppo lays down the guitar and tries to catch the riff on organ instead, Jukka throws a rare tune on the turntable, hoping to guide their unit through that wobbly chorus, Sami waits there bass in hand, maybe already thinking about the next production.

          After a whole lot of playing instruments, arranging and taking care of business, after the moon has travelled around the old industrial building for some rotations, Carlton Jumel Smith comes waltzing through those same doors. There's a handful of unnamed tracks waiting for him. He sits there listening and then starts writing, maybe echoes of soul classics from his own record collection in New York projecting inside his mind. Then the tape is rolling again. Starting with a short intro rap Carlton lets it out, singing on the edge of shouting "Woman you made me...". After the vocals are in the can, Carlton ascends out of the basement and heads out to entertain an audience somewhere. Some months later, after the mix is said and done, there's the question of the instrumentals. It seems they're pretty good as they are. And here they are.





          Coldplay

          The Brothers

            This is the 20th Anniversary edition of Coldplay's "Brothers & Sisters" EP and comes in two parts. The 'Brothers' part is baby pink vinyl and includes "Easy To Please" on the B-side.

            Coldplay

            The Sisters

              This is the 20th Anniversary edition of Coldplay's "Brothers & Sisters" EP and comes in two parts. The 'Sisters' part is baby blue vinyl and includes "Only Superstition" on the B-side.

              'Dila' is the the first and only album from the mysterious Brazilian vocal sensation Dila (pronounced “Jee-la”). Having reportedly died in a car crash shortly after the album’s release in 1971, there is very little known about the woman behind the voice. But the joyous music Dila left behind, gives us a picture as good as any, of a powerful feminine soul at the top of her game. The liner notes on the elusive original LP, written by composer Arnoldo Medeiros attest: “Friend, look out! Because when this girl starts to sing, you’re in trouble. Hold the railing so you don’t fall down the stairs, because she’s coming this way and shaking up everything.” Arranged and produced by Durval Ferreira, alongside his studio band affectionately known as “Os Grillos” (The Crickets), Dila (1971) is a rare glimpse into the authentic soulful Samba sound of Rio’s favelas in the late sixties and early seventies.

              A blast of funky, percussive Brazilian breaks, scorching hot brass and swingladen piano, the music is as iconic as the album’s stark cover, as is clear on opener ‘Inez’, composed by The Crickets’ bassist Romildo. There’s a fantastic interpretation of the Ivan Lins classic ‘Madalena’ (made famous by Elis Regina), a moving version of the Tom Jobim and Vinicius De Moraes classic ‘O Morro Nao Tem Vez’, and a number of sunny original compositions by Arnold Madeiros, who’s other writing credits include music for Marcos Valle, Wanderlea, Evinha and Dom Salvador. With original LPs extremely hard to come by, this rare treasure of Brazilian soul, which fans of Gal Costa, Celia, Evinha and Elis Regina will love, gets a much-deserved official reissue.

              FORMAT INFORMATION

              LP Info: 180g vinyl.

              Emra Grid’s "Shays Vacation House" is a work that feels suspended in time - both ancient and modern - a microcosm that ceases to exist in any particular time or space. Cinematic opening piece "Land Is" is smothered in a wintery patina, like a silent wind blowing through a deserted, snow-covered village. "Replaced" has an almost historic, mythical presence, like sonic messages of a troubled past are etched into precious metals buried in rock. The listener is the alchemist, extracting heart-wrenching moments from previous encounters.

              Emra Grid’s second Opal Tape is a profoundly beautiful work, loaded with emotional weight and high-spec synthesis. Beneath its dark exterior, it exudes a tangible, pristine beauty like that of an ancient gemstone being discovered for the first time. 


              Selva Discos fulfills its duty of giving a new life to Fernando Falcão's long lost LPs with the reissue of his album Barracas Barrocas, originally released through Egberto Gismonti's cult record label Carmo in 1987. Somehow, an original copy of this album is even more elusive than its predecessor Memória das Águas and it is a pity that such a stunning piece of music was kept apart from listeners worldwide for so long.

              The follow-up to Memória das Águas was recorded in São Paulo after Fernando Falcão returned from his exile in France in 1984. In order to conceive Barracas Barrocas, the musician had the help of illustrious friends, such as singer-songwriter Alceu Valença and singer Tetê Espíndola, alongside brothers Myriam and Daniel Taubkin. At the time, Falcão was still using the sound sculptures he created for Memória das Águas, as he is credited in the liner notes for playing a "water orchestra" and his berimbau variant called balauê.

              Barracas Barrocas is an album that works as a more condensed and coherent artistic statement of Falcão's oeuvre. Lush strings, swelling brass, glowing production, and humming atmospheres fill the record, adding a beautiful yet subtly linked counterpoint to his previously explosive debut. It is very cinematic, sounding like the soundtrack of a play that only existed in the musician's mind.

              For this release, not only the sound was remastered but the artwork of Barracas Barrocas was completely and faithfully restored. Also, the reissue comes with unprecedented liner notes featuring rare photos of the musician and his sound sculptures plus an article that tells the story of Fernando Falcão after returning to Brazil following his exile – a story that has never been told, until now.

              Four Tet

              Anna Painting



                STAFF COMMENTS

                Matt says: Well, that went quick dint it! Another lesson in using our pre-order service (although you had to be quick on the draw this time)... we're all starting to get the feeling here at HQ that old Keiren H could be planning a major project...

                For Fans Of…Temples, Allah-Las, Unknown Mortal Orchestra, Khruangbin, David Axelrod et al.

                Ghost Funk Orchestra are a mystery. Plain and simple. Dirty, soulful production, 'verbed and fuzzed out guitars & mysterious vocals that feel like a lost score to a Quentin Tarantino film. The brainchild of one-man producer / musician / arranger Seth Applebaum, GFO is forging new territory and blurring the line between soul and psychedelic, just in time for that BBC3 Woodstock documentary everyone's been banging on about! 


                STAFF COMMENTS

                Matt says: Just in time for that BBC3 Woodstock documentary everyone's been banging on about, a modern interpretation of soul and psyche that's sure to excite the hippies. Refracted through a cinematic prism, the track's have a focus and direction which elevates them above other druggy bandwagon hoppers...

                FORMAT INFORMATION

                Coloured LP Info: Limited gold vinyl.

                The neo-soul movement of the late 1990s, which fused classic soul sounds with contemporary elements, heralded the arrival of some of the greatest R&B recordings of the decade. Albums like Lauryn Hill's "The Miseducation Of Lauryn Hill", D'Angelo's "Brown Sugar", and Maxwell's "Urban Hang Suite" were all born of this trend, while artists such as Mos Def, The Roots, and Common whole-heartedly embraced the sound, creating some of their most timeless material in the process (most of it we've championed whole-heartedly through the years! - Ed).

                These are some of neo-soul's great successes, but a slew of underground acts were what set the initial blueprint for their more pop-friendly acquaintances to follow. Acts such as R&B duo Groove Theory. The New York pair, consisting of singer / songwriter Amel Larrieux, and producer Bryce Wilson, (A veteran of the legendary 80s electronic group Mantronix) helped set the tone for neo-soul via their lone studio release, the self-titled "Groove Theory".

                The nearly hour-long record features 14 tracks of Wilson's smooth soul arrangements and atmospherics merged with golden era boom-bap beats, and Larrieux's siren-quality vocals, inspired equally by a combination of Native Tongues, peak Marvin Gaye, Joan Armatrading, Soul II Soul, as well as elements of breakbeat, jazz fusion, and even trip hop. It's a definitive, but often overlooked classic of the 1990s, which helped expand contemporary R&B's sound, render Billboard hits out the tracks "Tell Me", "Keep Tryin'", and "Baby Luv", and even found the time for a Todd Rundgren cover. On the cusp of Groove Theory's 25th anniversary, Get On Down is proud to bring you this vinyl reissue of an underrated 90s gem. The original record has never been re-released on wax since its 1995 debut, but is now presented here with fully remastered audio, and bundled in a full-color insert sleeve with complete lyrics and liner notes. 


                Guided By Voices

                Heavy Like The World

                  "Heavy Like The World" is the subliminally seductive single from the forthcoming Guided By Voices album Sweating The Plague. “Silent Army” is a non-lp b-side.

                  Guided By Voices is an unlikely candidate for the most perfect rock band of all time, while at the same time being a thoughtful reflection on what a rock band is, a fantasy that becomes a fact.

                  RW Hedges

                  The Hills Are Old Songs

                    Following on from RW Hedges Pop debut 'The Hunters in the Snow'.. this one takes place in The American West of 1877 the year the phonograph was invented.

                    Constructed in RW's studio 'The Chalet' a get away full of books and fairy lights out in a field in a no man’s land. RW & Luca Nieri sat around bonfires and wrote lyrics written on big spools of paper.

                    As per last time Luca Nieri produces and RW Hedges directs the songwriting further towards his influences of 1930's Hollywood. 


                    Horsebeach

                    The Unforgiving Current - Piccadilly Exclusive Art Print Edition

                    Initial quatities include an exclusive 12x12" art print.

                    Manchester songwriter Ryan Kennedy returns with his fourth album "The Unforgiving Current". Recorded in and around Tokyo hotel rooms, apartments and studios, the album is a badly lit stroll through Tokyo's winding streets, stopping in only the most questionable bars. Despite its seemingly overpopulated centres, there is often a strange isolation. This Isolation would be the fuel behind "the Unforgiving Current".

                    After moving to Tokyo early 2018 Kennedy began work on the album. Amidst language and work issues his rosey outlook soon dimmed and what follows is Kennedy's exploration and loneliness in this foreign land. Previous musical similarities may be unearthed but what runs through this record is a vein of (dare I say) mature introspection which sets it apart from previous works.

                    STAFF COMMENTS

                    Barry says: It's very few albums I own which every time I hear, I have a different favourite. First off, the woozy haze of 'Dreaming' was an obvious choice, then the CR-78 percussion of the bittersweet 'Vanessa' ensured my boat stayed afloat, before being overtaken by my current favourite in the gorgeous 'Mourning Thoughts'. I'm sure it will continue, Ryan is a true genius, and this only proves it's continuing exponentially.

                    FORMAT INFORMATION

                    Coloured LP Info: Limited clear vinyl.

                    Innocence Mission

                    Befriended

                      For listeners of the Innocence Mission, the Lancaster, Pennsylvania trio are beyond a favorite band, more like a beloved companion, such is the intensity and fragility of their sound and vision, spearheaded by Karen Peris’ heartbreaking, breathtaking voice.

                      Those fans include Sufjan Stevens and Sam Beam (Iron & Wine), who have both covered innocence mission songs, and in whose company the trio deserve to be bracketed.

                      Originally released on CD in 2003 befriended received high praise from NPR, Pitchfork, Paste and many others. Arguably their best work, ‘Befriended’, is a haunting collection of 10 songs (plus a bonus track) that features the interplay of Don Peris’ gorgeously warm and shimmering electric guitars with Karen’s transcendently lovely vocals and moving lyrics.

                      Sufjan Stevens calls the innocence mission “moving and profound,” adding, “What makes Karen Peris’ lyrics so remarkable is the economy of words, sensory language, concrete nouns - everyday objects take on tremendous meaning.” “For me it’s helpful to be able to see the song, if I can,” Karen says.

                      This LP version is available on Purple colored vinyl and includes the previously unreleased bonus track “Words of My Brother.”

                      “Befriended is a bucolic, nuanced bit of Sunday morning coffee-and-wistfulness, lovingly strummed acoustic guitars (augmented by the occasional organ line, sparingly applied upright bass, and light, flickering drums), rolling out time-tested chords with unwavering earnestness, revisiting the sweet, confessional early-70s folk of Joni Mitchell and the late-80s lilt of the Sundays and Cocteau Twins.” - Pitchfork.

                      Chet Ivey

                      Dose Of Soul / Get Down With Geater Pt, 1

                      Reissue mavericks Soul Brother, bring you a rarer than rare funk / soul gem from Chet (Poison) Ivy. Chet recorded periodically between the late 50s and mid 70s. The two great sides here were recorded at Sigma sound Philadelphia and released originally on a 1974 7” for New York label Sylvia (also issued on Memphis label Freetone in 1975). Copies have exchanged hands for over £100. “Get Down With The Geater” was sampled by DJ Q-Bert in 2006 and is a great funk blast. “Dose Of Soul” has become the in demand dancer in recent years on both the funk and modern soul scenes.

                      STAFF COMMENTS

                      Matt says: Raw, hypnotic funk here; heady and noxious, it's no wonder it's been a prized item on the soul scene for years. For the younger listeners, these are the kinda tracks DJs like Theo Parrish, Jeremy Underground and MCDE forge careers on excavating and working into their contemporary sets...

                      Written over the course of three years, "Cage And Aviary" ties personal reflection to wider social issues, giving an intimate insight in to what it means to come of age in today’s world. Sophisticated songwriting is brought to life with Bryony’s harmonious vocals, layered with jazz, soul and elements of folk, creating a melodic sound that has charmed many major tastemakers. "Cage & Aviary" was created with long-time friend, collaborator and Tru Thoughts label-mate Tom Leah AKA Werkha, highlighting their capacity for musical exploration.

                      'The album is built around my contemplations on life, love and myself and tying that in with wider global issues.' Jarman-Pinto explains, 'lyrically I have circled around the theme of family and securities I felt at a younger age, measured against my insecurities now and personal desires to my own femininity and personhood'. This lyrical struggle is best represented in “Emerge”, a track written at a time when Jarman-Pinto was experiencing her biggest lack of creativity and insecurity around her writing; she describes a breakthrough in writing, willing for one to come.


                      STAFF COMMENTS

                      Matt says: Delicate vocals, jazz-flecked instrumentals; Jarman-Pinto causally wears flowers in her hair with a relaxed, diurnal, open-air quality; you get the feeling she's destined for some colourful live performances across the festival circuit. One to check for sure.

                      Jay Som

                      Anak Ko

                        Melina Duterte, aka Jay Som, wrote most of her brilliant new album, Anak Ko—pronounced Ah-nuh Koh and meaning “my child” in Filipino—in a burst during a self-imposed week-long solo retreat to Joshua Tree. As in the past, Duterte recorded at home and remained the sole producer, engineer, and mixer. Honing in on simplicity and groove, refining her skills as a producer, Duterte cracked her sound open subtly, highlighting its best parts: She’s bloomed.

                        Inspired by the lush, poppy sounds of 80s bands such as Prefab Sprout, the Cure, and Cocteau Twins—as well as the ecstatic guitarwork of contemporary Vancouver band Weed—Anak Ko sounds dazzlingly tactile, and firmly present. The result is a refreshingly precise sound.

                        FORMAT INFORMATION

                        Coloured LP Info: LP is pressed on Red, Orange & Pink Splatter Vinyl.

                        Joan As Police Woman

                        Real Life - Deluxe Coloured Vinyl Edition

                          2006 debut album ‘Real Life’ is pressed on crystal clear vinyl and contains ‘I Defy’, co-written by and featuring Antony Hegarty.

                          FORMAT INFORMATION

                          Coloured LP includes MP3 Download Code.

                          Joan As Police Woman

                          The Deep Field - Deluxe Coloured Vinyl Edition

                            ‘The Deep Field’ (2011) is released on orange transparent vinyl.

                            FORMAT INFORMATION

                            2xColoured LP includes MP3 Download Code.

                            Joan As Police Woman

                            To Survive - Deluxe Coloured Vinyl Edition

                              ‘To Survive’ (2008) is reissued on sun / gold transparent vinyl and features the classic tracks ‘To America’ featuring Rufus Wainwright and ‘Honor Wishes’ featuring David Sylvian.

                              Johnny Moped

                              Hey Belinda! / Hiawatha

                                To coincide (almost) with their appearance at Rebellion Festival in Blackpool (doing electric and acoustic sets!), and their live-to-air session on Marc Riley's 6Music show we're releasing fan's favourite 'Hey Belinda!' as a single. ‘Hey Belinda!’ is taken from the band's most recent album Lurrigate Your Mind. The B-side 'Hiawatha' is a brand-new reworking of a total MOPED classic, a song that originally appeared on the Search For Xerxes album, penned by Slimy Toad and original band members Fred and Dave Berk. We think you'll love it! On red vinyl and housed in a Reservoir Dogs spoofing sleeve. What's not to like Tomcats!?! 

                                FORMAT INFORMATION

                                7" Info: Red vinyl 7"

                                Joyero

                                Release The Dogs

                                  Andy Stack has rightfully earned a reputation as a generous collaborator and musical polymath, both as half of the beloved duo Wye Oak and on the road and in the studio with Lambchop, Helado Negro, and EL VY. As a multiinstrumentalist and producer, Andy has an uncanny ability to construct the precise musical architecture to frame and support unique and compelling voices. With his debut solo record as Joyero, Andy puts his own voice front and center. Written and recorded primarily in Marfa, Texas, during a transitional moment between records, cities, and relationships, Release the Dogs occupies its own liminal space between the natural and the man-made, between the structures we create to keep ourselves safe and the terrifying enormity that exists beyond them. Throughout the record, organic and electronic elements are seamlessly woven together into a single fabric that can be both intimate and explosive. The fingerpicked guitars of “After You” appear no more or less “real” than the processed drum machine beats on album opener “Alight,” just as the tarantula on the album’s cover appears no more or less “real” than the white wall on which it sits.

                                  The magic of the image, and the magic of the record, is in the way they are framed together. As with Wye Oak’s best records, Release the Dogs finds its own unique voice by holding opposing ideas and aesthetics in tension with each other, and inviting the listener to find their own answer. That tension comes through loud and clear in Andy’s voice, which is recorded so intimately that it sometimes sounds like it’s emanating from inside your own throat. “While you’re away, I wait outside the house / Lift an ear to every sound / I sleep all day like a dog whose master’s out,” he sings on “Dogs,” painting a vivid picture of the album’s titular animals as a symbol of both domestic stasis and what often lurks beneath it. Throughout Release the Dogs, the habits and rituals of domestic life begin to crack and fray under the questions we are afraid to ask and the truths we are afraid to acknowledge. After painting a picture of daily domestic tasks like gardening and baking bread in “Starts,” Andy concludes, “We live between the good and the bad dream,” giving voice to the ways in which the signifiers of domestic stability can, themselves, be illusions or fantasies.

                                  At times, Release the Dogs brings to mind the homespun world-building of Phil Elverum’s early-’00s work as The Microphones. At times, it brings to mind the deliberate introspection of Arthur Russell. It’s a cliché to say that a record “defies comparison,” but it fits here; not because of any self-styled aesthetic obtusity, but rather because Release the Dogs invites you into such an intimate and singular space that you can’t imagine it being anything, anywhere, or anyone else. Even as he constructs ever more complicated musical worlds, and even as he fills those worlds with big, complicated questions, Andy is still somehow making it all seem natural and effortless

                                  FORMAT INFORMATION

                                  Coloured LP Info: Indies-only orange swirl vinyl.

                                  Coloured LP includes MP3 Download Code.

                                  Kasso

                                  Kasso Remixed By Frankie Knuckles (Frankie Knuckles/Brett Wilcots Mix)

                                  Not content with towering over the Italian giallo scene as a founding member of Goblin, Claudio Simonetti later lent his unparalleled talents to the sphere of Italo disco and early house, through a string of killer productions under the Easy Going, Capricorn and Kasso monikers. This Best Records reissue boasts two killer 1986 House Remixes of classic WBMX Italo-Disco songs by Kasso mixed by the godfather : Frankie Knuckles, plus the house mix by Brett Wilcots of Walkman on the flip. Check the freaky beat, kalimba melody and club vamps of "One More Round" on the A-side for a hit from the very early days of the house scene, then flip it for a deep and percussive variation on Kasso classic "Walkman", including that deranged and delicious bassline!


                                  Shannon Lay

                                  August

                                    There is an entire sub-genre of poetry devoted to rivers and their persistent, meditative flow. Emily Dickinson’s ‘My River Runs to Thee’ compares them to the cycle of life, while Alfred Tennyson’s ‘The Brook’ deems them eternal and Kathleen Raine’s ‘The River’ muses on the dream-state they evoke. For transcendent folk pop artist Shannon Lay, the river is all of the above: It’s the metaphor driving her latest album, the exquisitely uplifting ‘August’, which doubles as an aural baptism renewing her purpose for making music. “I always picture music as this river. Everyone’s throwing things into this river, it’s a place you can go to and feed off of that energy,” she says, “and feel nourished by the fact that so many people are feeling what you’re feeling. It’s this beautiful exchange.”

                                    The album’s name, ‘August’, refers to the month in 2017 when Lay quit her day job and fully gave herself over to music. This was her liberation as an artist and the album is devoted to paying that forward to her listeners. Lay may be the most chilled-out artist you’ll ever meet. Despite fronting her tranquil solo act and being a guitarist/singer in the indie rock band Feels, she never pressures herself to overachieve. Nonetheless, she regularly does: in a glowing review, Pitchfork anointed her last album, ‘Living Water’, “captivating.”

                                    ‘August’ was mostly written in three months, during Lay’s first solo tour for ‘Living Water’. “For the most part, all of the songs were just guitar and voice,” she says. In keeping with the humbled, contemplative nature of ‘August’, most tracks clock-in at three minutes or less. She saved indulgence for the production. “Some songs as they were had this room to grow,” says Lay, who recorded the album with her longtime friend, musician Ty Segall at his home studio on the East Side. “I believe whoever you record with tends to affect the mood of music and Ty really brought this jovial sense that I hadn’t really explored yet,” she says. Also in the mix is Mikal Cronin, who played saxophone on the album’s opener, ‘Death Up Close’. “A lot of my friends who are really tough have admitted that they shed a tear when they hear my songs, and I think that really speaks to the visceral aspect of folk music,” Lay says. “It’s this ancient form of expressing yourself.”

                                    Think of ‘August’ as a warm hug for your psyche. “I want to create as much music as I can,” she says, “and leave this spot by the river where people can go sit and enjoy.”

                                    FORMAT INFORMATION

                                    Coloured LP Info: Loser Edition sun yellow vinyl.

                                    Lightning Bolt

                                    Wonderful Rainbow

                                      For the 25th Anniversary of Lightning Bolt, Thrill Jockey reissue Lightning Bolt’s pivotal album ‘Wonderful Rainbow’, originally released in 2003 on Load Records. Lightning Bolt will be releasing a new album later this year.

                                      Legendary band Lightning Bolt’s ‘Wonderful Rainbow’ is one of the most quintessential albums to come from the underground in the last 20 years. Included in lists like Pitchfork’s 200 Top Albums Of The 2000s and the book 1001 Albums You Must Hear Before You Die, Lightning Bolt’s seminal record solidified their place as pillars of the underground community.

                                      ‘Wonderful Rainbow’ saw the duo of Brian Chippendale (drums/vocals) and Brian Gibson (bass) being compared to the likes of Slayer, Ornette Coleman and early Boredoms and captured the bristling, immeasurable energy of their mythical live shows, which continue to astonish audiences today.

                                      Throughout their 25 year history Lightning Bolt have toured the world, performing at Coachella, ATP Festivals, Pitchfork Music Festival, Austin Psych Fest and FYF Fest to name a few.

                                      Brian Chippendale releases music on Thrill Jockey with his solo project Black Pus, has collaborated with Björk, Boredoms, Andrew W.K. and Lee ‘Scratch’ Perry and has published several books of his art through Drawn & Quarterly and Picturebox.

                                      In 2017, Brian Gibson developed the video game ‘Thumper’ with his own company, Drool.

                                      ‘Wonderful Rainbow’ is released for the first time ever with the full artwork as initially conceived by Lightning Bolt in 2003. Front and back artwork familiar to fans is still there but now in a full wrap, only previously available in the very early screenprinted version. This wrap has full-colour artwork on the inside, originally only available as a small insert. The LP jacket itself is never before released artwork created at the time of the album. All artwork has been created by Brian Chippendale.

                                      Logic1000

                                      Please Forgive Me / Derrière

                                      The debut 12" from Sydney-born, London-based producer Logic1000. First discovered by Four Tet, lead track ‘Please Forgive Me’ has since made it into the sets of Daphni, Ben UFO, Anthony Naples and DJ Python. Limited to 300, the white label also features the footwork-influenced ‘Derrière’.

                                      Lunch Lady

                                      Angel

                                        LUNCH LADY are a sparky group from Los Angeles redolent of the desert heat, pining hearts and that chorus-soaked cloak of sound held dear by followers of British early 80s post-punk.

                                        Numbering four, Lunch Lady consist of Rachel Birke (vocals), Juan Velasquez (guitar), Victor Herrera (bass) and Robert Wolfe (drums). The band began in 2017 when Velasquez asked Birke if she’d like to start a new music project with him, their respective other groups Abe Vigoda and Heller Keller having co-existed in LA’s DIY orbit. Birke explains that they “immediately decided upon making the new band a kind of love letter to Kitsch.”

                                        Lunch Lady’s dreamy punk forays into country ballad territory certainly swoop into sentiment, but its the melancholy of artifice that defines their outlook. “I like the way Susan Sontag explains Kitsch as being something that lacks the context or materials to reach the effect it sets out to achieve. Also that tragic aspect of Kitsch, we loved the futility of how literal it is, we wanted to evoke that with our band name and definitely my lyrics” illuminates Birke further.

                                        Lunch Lady recruited friends Herrera and Wolfe into the rhythm section, swiftly recorded a demo and started playing live. The bands’ music began to grow into sun-warped vignettes, often miniaturist character-studies in outlook. These songs are studded with unquiet recollection, all delivered with a curious objectivity that pulls the listener into the circle. Birke’s vocal is unhurried and assured, pressing her characters’ motives and words into the sprightly guitar trails and jogged rhythms that characterise the sound of the band. During the summer of 2018, Lunch Lady had assembled the tracks for their debut album, which they took into the studio towards the year’s close. Lunch Lady’s debut album, ‘Angel’ was recorded at Gauchos Electronics, a key studio in the history of Los Angeles punk and the place where many of their peers had laid down albums previously, including Gun Outfit, Feels, Ty Segall and No Age. Pascal Stevenson produced the album, whilst Scott Cornish helped engineer and mix. Mikey Young then mastered this vibrant record.

                                        ‘Angel’ is an album of resounding yearning, of cold fire and hot, sticky blood. It’s an album of troubled tales, buried hearts and wandering homeward. Throughout, Birke’s narrative-heavy lyrics keep things themed and theatrical. This is most strongly felt on cinematic swirls of song like ‘Preacher Man’ and clicky, strummer ’Sweet One’. The stunning track ‘Dolores’ creeps and ranges around under a dark cloud of disclosure. Struck chords hang in the air like smoke whilst Birke intones “you say he’s a bad man, and a killer too, and you tell me like I don’t know.” Birke wrote those lyrics from the perspective of the female character in Eddie Noack's serial-killer C&W jaunt of the same name. The song rattles with craving, whilst the guitars wheel and loop, strident drums pinpointing. ‘Window’ whirls by with all the flourish of a card trick. Drums tumble whilst the guitar line twists through the taut stretch and sprint of the bass turns. Birke’s low-slung yet smouldering vocal confesses that “my hands are as clean as a remembered thing, my hands are as clean as I want them to be.”

                                        Thematically, Lunch Lady’s debut cascades with crumpled wishes and hotly recalled visions. Throughout writing the lyrics for the album Birke spells out that she’s “been trying to tackle my own feelings about nostalgia, especially that romanticisation of one’s own childhood. The album’s also about that painful feeling of looking at a family album and trying to reconcile yourself with the kid you see in the photograph. ‘My Dead Dog’ is about that and became one of my favourite songs on the album for that reason.” The album swims with a type of anxious nostalgia. Birke’s cover art of a flaming Cadillac falling through the sky is a case in point. “I never had a love like the love that I never had” sings a resigned Birke towards the summit of ‘My Dead Dog’. Whilst ’Preacher Man’ addresses the problem of nostalgia more on a cultural level, a host of avenging angels, sisters in white robes and gun-toting men crop up elsewhere via the cool detachment of time passed. You get the feeling that Lunch Lady prefer to face these dangers face on. They seem most at home staring down the uneasy. See the simmering clamour of ‘Young Bride’ and ‘Sister’ with its swooning bloom of melody for further evidence. This sense of fight or flight is keenly felt in ‘Snakes’ too. Herrera’s bassline nags at Wolfe’s beat, whilst Velasquez’s chiming guitar spills wistfully. “Cold sweat, smooth hands, hot blood. Your babes are crying, your life’s cast in iron now” evokes Birke in a sweetly hushed vocal as relaxed as casual conversation.

                                        Lunch Lady turn on all the lights in this haunted house of an album. Each room populated by a vividly drawn cast of whispered hopes and threatening dreams. ‘Angel’ is an album that murmurs like a river down the staircase, exploding with unexpected melodrama, brandishing it’s desire like a weapon. Let it take you by the hand and guide you out into the night. Out into the glimmer, before the stars go out and the warmth of the sun returns to cool passions.


                                        Jason Lytle

                                        Arthur King Presents Jason Lytle: NYLONANDJUNO

                                          LA-based experimental music and art collective Arthur King are releasing the next installment of their ongoing album release series, Arthur King Presents.The new experimental record finds Lytle exploring new territory, created entirely from one analog synthesizer and one nylon-string acoustic guitar. He describes the process as “oddly refreshing,” saying “turns out it was a pretty fulfilling exercise just concentrating on going deep and trying to achieve certain feelings based on the song titles and subject matter I was chasing.”


                                          Maps

                                          Turning The Mind - Special Edition Vinyl Reissue

                                            Turning The Mind, recorded with Tim Holmes (Death in Vegas) at the Contino Rooms in London, is Maps’second album from 2009 and followed the release of Maps’ Mercury Prize shortlisted debut We Can Create in 2007. Includes the tracks ‘I Dream of Crystal’, ‘Die Happy, Die Smiling’ and ‘Valium In The Sunshine’

                                            “The tracks for this album never seemed to stop flowing from the day I began working on them, it is a true statement of Maps' music at this precise moment.”James Chapman aka Mapsin 2009.

                                            Maps has remixed Depeche Mode, Public Service Broadcasting, Susanne Sundfør, Moby, C Duncan, M83 and more.


                                            FORMAT INFORMATION

                                            2xLP Info: Limited to 500 copies on orange vinyl .

                                            2xLP includes MP3 Download Code.

                                            Maps

                                            We Can Create - Special Edition Vinyl Reissue

                                              A hugely ambitious, widescreen and epic record that recalls everything from the far away electronics of Basic Channel and Carl Craig, through the skewed songwriting of Postal Service, Flaming Lips and Grandaddy to the euphoric sound-scapes of Sigur Ros and My Bloody Valentine, We Can Create is a work of heart stopping extremes.

                                              The album was recorded without computers, preferring the painstaking process of splicing sounds together on MAPS’ battered 16 track recorder in his Northamptonshire bedroom, the results were subsequently co-produced by Valgeir Sigurdsson (Bonnie ‘Prince’ Billy, Bjork) and mixed by Ken Thomas (Sigur Ros, Hope Of The States). The critically acclaimed album was nominated for the Mercury Music Prize in 2007.

                                              Maps has remixed Depeche Mode, Public Service Broadcasting, Susanne Sundfør, Moby, C Duncan, M83 and more.


                                              FORMAT INFORMATION

                                              2xLP Info: Limited to 1000 Copies on 70’s style green glass coloured vinyl.

                                              2xLP includes MP3 Download Code.

                                              Massive Attack

                                              Mezzanine (2018 Remaster)

                                                UMC are proud to announce this reissue of Massive Attack’s double platinum (UK) album featuring the original album re-mastered + an album of previously unreleased dub remixes by the Mad Professor. Widely hailed as their masterpiece, and voted 15 in Q Magazine’s 100 Greatest British Albums Ever (2000), Mezzanine saw the band move away from the ‘trip-hop’ sound they had helped define to embrace rock and electronica.

                                                Mezzanine was remastered by Tim Young at Metropolis who has worked with the band for over twenty years. The Mad Professor remixes were originally intended to be released on a Mad Professor Mezzanine remix album – as the band had done with previous album Protection (No Protection) – yet in the end only a number of his remixes were issued as single b-sides.

                                                All 8 of the Mad Professor remixes included here are previously unreleased and include his dub mixes of 2 tracks not originally featured on Mezzanine but from the same period – Metal Banshee – a dub version of Superpredators which was a cover of Siouxie and the Banshee’s Metal Postcard – and Wire, a track they recorded for the soundtrack of the film Welcome to Sarajevo.

                                                Remastered Mezzanine + exclusive Mad Professor dub remixes from original Mezzanine sessions across 2CD Digipack. 4 colour outer, black to reverse / CDs black underside (not silver) / 3 x spot colour on face.

                                                FORMAT INFORMATION

                                                3xColoured LP Info: THIS FORMAT HAS BEEN PULLED NOW AND IS NO LONGER HAPPENING.

                                                Dan Melchoir Band

                                                Negative Freedom

                                                  Recorded in Philadelphia in late 2016, Negative Freedom encapsulates the moment when the horrible truth was just beginning to sink in. “Everything got broken while I was looking the other way” sings Dan Melchior on “Negative Freedom” and perhaps that’s a relatable sentiment. Elsewhere Melchior’s ever-withering gaze settles on prima donna self-googlers in “They Insulted Me In Mojo” and self-serving promoters get their own anthem in “A Nice Holiday”—”Be careful of enthusiasts who want you to play their island” sings Melchior, with a sense of weary experience that makes the song seem like it might just be autobiographical.

                                                  The rhythm section on this recording consists of two former members of Taiwan Housing Project (Adam Charles Cooper on bass and Pat Ganley on drums). They manage to lay down a solid but decidedly streamlined groove that perfectly compliments the songs. “This Is One” utilizes a re-discovered drum track laid down by the legendary Letha Rodman Melchior to great effect

                                                  The city and the country both have distinct, vibrant energies - but there’s something happening in between, too. As factories give way to fields, and highways drift into gravelly roads, the friction can be palpable, the aura electric. The lines between city and country were on Jack Cooper’s mind when he named his new band Modern Nature. He took the phrase from the diaries of filmmaker Derek Jarman, written on the coast of Kent in his Dungeness cottage. Visiting Jarman’s home, Cooper was struck by what he calls a “weird mix of urban and rural” - such as the way a nuclear power station sits next to open grasslands.

                                                  On Modern Nature’s debut album, ‘How To Live’, urban and rural cross into each other. Plaintive cello strains melt into motorik beats. Pastoral field recordings drift through looping guitar figures. Rising melodies shine with reflective saxophone accents, placing the record somewhere in the Bermuda Triangle between the expansive motorik of Can, the Canterbury progressiveness of Caravan and the burgeoning experimentalism of Talk Talk’s ‘Colour Of Spring’.

                                                  STAFF COMMENTS

                                                  Barry says: Having penned a succession of hazy, indie-rock affairs, Jack Cooper (formerly of Manchester's own Trof fame) breaks out a beautiful folky wanderer, heavy on reverb and drifting guitar ambience, but maintaining the melodic leaning that has earned him so many delighted fans. This is beautiful work, and possibly my favourite of his considerable output.

                                                  FORMAT INFORMATION

                                                  Coloured LP Info: Green vinyl LP with digital download code.

                                                  Mojo

                                                  Issue 311 - October 2019

                                                    IN A SPECIAL COLLECTORS’ package, MOJO delivers a Beatles exclusive, a lovingly crafted double-sided Beatle map and a fantastic CD of the year’s best new music so far. The cover story is Abbey Road: a 50th Anniversary guide to the Beatles’ last masterpiece, plus the exclusive inside track on Apple’s expanded, remixed new edition.

                                                    The MOJO Rising 2019 CD brings you the up-and-coming sounds of Amyl & The Sniffers, Fontaines DC, Faye Webster, Jessica Pratt, Black Midi and more.

                                                    And there's big stories with Jethro Tull, The Stranglers, The Waterboys’ Mike Scott and the legendary Jean-Claude Vannier, plus reviews of hot new albums by Alabama Shakes’ Brittany Howard, Pixies, Bat For Lashes, Liam Gallagher, Caravan, Gruff Rhys, Robbie Robertson, Iggy Pop, Bon Iver, The Cult and Miles Davis. All this and… Dylan & Neil, Laura Nyro, Noddy Holder, that Creation movie and… Creepy John Thomas!

                                                    Motorpsycho

                                                    Angels And Daemons At Play - Reissue

                                                      Long overdue repress of this seminal release from the evergreen Motorpsycho, this is one of their landmark 90s albums. 

                                                      This was their 6th album release from 1997. Far reaching modern psychedelic rock / pop / noise from the masters!!

                                                      This album saw them melding their heavy post-grunge noise prog sound to a more Sonic Youth inspired avant pop sheen to great effect. Songs likes Sideway Spiral / Walking on Water were bombastic pop tunes amongst some of the most proficient and exhilarating instrumentation of the bands career to date.. A highly recommended album!!!

                                                      FORMAT INFORMATION

                                                      2xColoured LP Info: Double 180 gram repress on gold vinyl.

                                                      Christian 'Kon' Taylor's KONTemporary imprint goes from strength to strength! This, the fourth release sees the Boston crate diggin' selector, producer and remixer extraordinaire reworking Alicia Myers' gospel tinged roof-raiser 'I Want To Thank You' to devastating effect!

                                                      This killer 1981 rare-groove / disco classic has long been a secret weapon of DJ's who dig that bit deeper, an underground classic for sure. Imagine then, getting your hands on the master tapes, and being allowed to go DEEP on the arrangements and stems and crafting your own special versions of this absolute monster cut? Well, that's what KON's done! On this high quality, top-shelf 12" you get 2 brand new mixes including a heavyweight 'dubapella' version pushing Alicia's gorgeous voice deep into the delay. KONtemporary always bring that heat, and this latest jam is no exception, boasting full sleeve artwork, stellar mastering and a super nice pressing.

                                                      Essential business right here!


                                                      New Model Army

                                                      From Here

                                                        Formed in Bradford in 1980, New Model Army's beginnings were inspired by Northern Soul, Punk Rock and the incendiary atmosphere of the times. Since then, they have had a long, creative and eventful journey. They have been massively influential in 'post-punk', 'folkrock', 'political-rock', 'goth', 'metal' and all kinds of musical sub-cultures but they have steadfastly refused to belong to any club or style.

                                                        Members have changed over the years and musical styles have evolved but at the heart of the band Justin has remained, along with a distinct and sincere belief in the power of music to inspire and effect change on both a personal and political scale, locally and globally.

                                                        'From Here' was recorded earlier on the tiny Norwegian island of Giske at the beautiful Ocean Sound Recordings studio and reflects the spectacular isolation of that environment yet has profound messages for the world we all live in and the times we are experiencing. The album was mostly written in just two months and recorded in only nine days and is the follow up on the two hugely acclaimed albums Between Dog And Wolf (2013) and Winter (2016). New Model Army decided to work again with Lee Smith and Jamie Lockhart, with whom they have developed a productive relationship over a few years and who persuaded them to leave a lot of the details of the music to spontaneity.

                                                        “This album has a feel that is different to our other albums, but it still contains all the elements that characterise our peculiarly unidentifiable music – perhaps even more than ever. And “From Here” was an obvious title. The record belongs to a very special place and a particular time – what is happening in the world, where we are as a band and where we are as people.”

                                                        The Night Cafe

                                                        0151

                                                          Liverpool quartet The Night Cafe have been brewing up a storm over the past couple of years.

                                                          Mixing gorgeous, hazy melodies with intricate guitars and a heavy groove, their sound is uniquely current yet beautifully nostalgic.

                                                          0ver the course of 2 EPs they have notched up over 30M streams, caught the attention of all the major tastemakers and quietly become one of the most exciting and in demand new indie bands on the UK’s live circuit.

                                                          Their anticipated debut album ‘0151’ will arrive in August and will be preceded by a series of infectious singles. Having picked up 2019 tips from the likes of NME and Dork, the band are set to move up the gears and become one of the UK’s brightest indie hopes.

                                                          Nurse With Wound

                                                          Soliloquy For Lilith

                                                            Originally recorded and released in 1988, Nurse With Wound’s ambient opus was years ahead of its time, a ground-breaking set of atmospheric sound patterns designed for ritual ceremonies. Hailed as a masterpiece on release, it soon became a firm favorite of NWW fans and topped the world ambient chart for over three months! Originally a limited-edition three-album set housed in a handsome 12-inch gold and black foil embossed box, this new edition, a CD facsimile of the original vinyl set, contains the entire album plus 40 minutes of superb quality, previously unreleased music from the original sessions. A green foil blocked cover and new parchment insert makes this one of Dirter Promotion’s most elegant and desirable releases to date

                                                            Augustus Pablo Meets King Tubby

                                                            The Messenger

                                                            “Both are legends because both innovate – and activate and motivate. King Tubby (Osbourne Ruddock) arrived on earth in 1941. As a teenager he repaired radios before moving onto repair sound system speakers. Since the mid-50s, sound systems had conquered Jamaica, replacing live bands as the people’s favoured choice of access to their music. Tubby (a very slim man) found himself much in demand. In 1968, Tubby opened his own shop, Tubby’s Home Town Hi Fi. That led him into the world of sound, led him into recording studios where first he remixed. But then he got bored and in doing so released himself by devising his own amazing aural vision. Tubby invented dub and he did so by experimenting, by creating a unique template where he stripped away certain parts of the record, replaced them with another, highlighted some instruments, dropped others, and on top of this used all kinds of studio effects.

                                                            And thus King Tubby became King of Dub. In 1971, inevitably, he opened his own studio – and he took the music deeper. Many musicians loved his set up, including Augustus Pablo. Pablo (Horace Swaby) arrived on earth in 1954. He hit the musical scene playing…the melodica. No one had thought to do so previously. Again, the breaking of new ground was heard in Jamaica. The instrument was perfect for the King Tubby vision, Pablo’s playing producing a sound that was melodic, harsh, edgy, and soulful. Over Tubby’s shuffling rhythms and maelstrom of sound, Pablo improvises with huge imagination and skill. His major hit East Of the River Nile suggested and put forward a sound derived from the Far East and he was up and running. In 1975, he began a fruitful collaboration with King Tubby. Their first album together Ital Dub is a classic. The later King Tubby Meets The Rockers Uptown is more than that, it is legendary. And now The Messenger is upon us, an album cut at some point in the 70s and which remained in the vaults. Should it have stayed there? No way. This is music that upholds the very high stars of their past, music which fires itself on imagination and strength, a collusion and collaboration of immense proportions, music that provides and creates moods with such purpose and drive. Pablo’s melodica is centre stage but is counterpointed by contagious rhythms and touches of inspiration as horns and bass lines mesh in and out of view, held down by an ever steady barrage of sturdy drums and bass and a never ceasing source of imaginative and delightful sounds. The sound constantly changes and because it does the album contains a staggering array of moods, from upbeat into deep waters. The Messenger is forward music, still sounding as fresh as it did on the day of its conception. And it will do so for time eternal.” Paolo Hewitt 

                                                            STAFF COMMENTS

                                                            Matt says: Some classic riddims here from Tubz N Pabberz, in some cases in their original conception. Augustus' mystic melodica collides beautifully with Osbourne's magic dub techniques making for an enchanted early prototype of the genre.

                                                            FORMAT INFORMATION

                                                            Coloured LP Info: Indies-only clear vinyl.

                                                            Theo Parrish

                                                            What You Wanna Ask For - Ft. Lori, SilentJay, Simon Marvin, Perrin Moss & Paul Bender

                                                            Theo's back with a whole host of friends and a return to his slick, jazz-infected grooves . What we've heard of this new record sounds great, almost like he's revisiting "Summertime" era moods. With a lush and dreamy piano - organ combo, sumptuous strings and that iconic bass motif, we're in Theo Parrish dreamworld here!

                                                            Get those orders in as copies are always in high demand!


                                                            Pelt

                                                            Pearls From The River

                                                              VHF presents the first time on vinyl for Pearls From The River, the all acoustic epics album from the “classic” Pelt trio lineup of Jack Rose, Mike Gangloff, and Patrick Best. Recorded in a single March 2003 session in Virginia by Mikel Dimmick, this was a superb distillation of their interests at the time (both alone and together—Rose’s first solo records, the emergence of the Black Twigs as a busy working band, etc).

                                                              “Up the North Fork” is a trio for banjo, baritone banjo, and cello—after the snakey bowed introduction, the fast thwacking of the banjos and forcefully strummed cello take over and whip up a storm. The other two tracks are lengthy ragas (one in C, one in D) with the virtuoso modal guitar of Rose front and center. The title track features Rose on twelve-string, dueling with Mike Gangloff on esraj. Best’s thick, sonorous double-bass bowing anchors the duet between the lightning thrumming / plucking of Rose’s guitar and Gangloff’s arcing, sharply bowed half-time melody. “Road To Catawba” has Rose on six-string, with Gangloff moving to tamboura. Best’s bass is again the foundation, with whistling overtones rising from his bow over the low drone.

                                                              Liner notes by Byron Coley. “Join Pelt in celebrating the ecstatic joy that results from refusing to accept the alleged primacy of shit-culture. It does not exist if we will not believe in it. And we must refuse it on all levels always. The proof of its surrender is at hand. Yr hand. Right now, motherfucker!” —Byron Coley.

                                                              Phrydderichs Phaelda

                                                              Bruchstuecke

                                                              Reissue of the amazing "Bruchstuecke" LP by free-jazz artists Phrydderichs Phaelda.

                                                              This band was a short living school band project of the Gymnasium Voerde Mitte (West-Germany) led by pianist and music teacher Friedrich Schepers joined by other teachers and students (Hans Klimek on bass, Lutz Leonhardt on drums, Wolfgang Kulawik on guitar). In 1975 they went to the studio to record 6 instrumental tracks in a style that could be best described as jazz / fusion with hints of r’n’b and rock, which are brimming with crisp snare drums played in polyrhythmic and ever-changing patterns and tempos. Alongside that the astounded listener gets to enjoy thrilling electric guitar lines and breathtaking electric piano excursions together with ultrawarm and elaborate bass guitar parts. All this is held together by the four musicians great overview and ability to improvise and react spontaneously to their fellows. This creates a kind of magic which is rare to hear in music these days.

                                                              Stefan Leisering and Juergen von Knoblauch, the two record digging members of Jazzanova have immediately understood the unique quality of "Bruchstuecke" and decided to re-release this overlooked masterpiece. In the course of the original release of this album in the early 1980s only a small amount has been pressed. Now re-mastered from original vinyl by Oliver Haertel at Upstairs Studio Berlin, and produced for reissue by Oliver Glage, Stefan Leisering & Jürgen von Knoblauch. Product management by Oliver Glage.
                                                              Reissue artwork by Frohe Zukunft Export.


                                                              Piccadilly Records

                                                              Black Heavyweight Fair Trade Cotton Tote - Orange Print

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

                                                                Robert Pollard With Doug Gillard

                                                                Speak Kindly Of Your Volunteer Fire Department

                                                                  Guided By Voices brings you 20th anniversary vinyl reissues of two early gems from the Fading Captain Series. Originally issued as small vinyl pressings (1000 copies) in 1999, used copies of these Guided By Voices “side-projects” have regularly re-sold for hundreds of dollars each. Both have been remastered from the original analog tapes. Speak Kindly of Your Volunteer Fire Department is the first album of Robert Pollard’s fruitful collaboration with long-time guitarist Doug Gillard (later to be known as Lifeguards).

                                                                  Gillard recorded all the instruments on Tascam 4-track cassette in Cleveland, then sent them via US Postal Service to Pollard who added vocals in a studio in Dayton. Eleven Pollard compositions followed, along with four songs which Pollard wrote and recorded melodies over Gillard-penned instrumentals, starting an unusual songwriting process that Pollard pursued for several years with various long-distance collaborators. Nearly half the songs on the album became staples of the GBV live set for several years, including “Pop Zeus,” “Tight Globes,” “Frequent Weaver Who Burns” and “Do Something Real,” which was featured in the Stephen Soderbergh film, Full Frontal.

                                                                  FORMAT INFORMATION

                                                                  Ltd LP includes MP3 Download Code.

                                                                  Robert Pollard

                                                                  Kid Marine

                                                                    Guided By Voices brings you 20th anniversary vinyl reissues of two early gems from the Fading Captain Series. Originally issued as small vinyl pressings (1000 copies) in 1999, used copies of these Guided By Voices “side-projects” have regularly re-sold for hundreds of dollars each. Both have been remastered from the original analog tapes. Kid Marine, the first-ever release of the Fading Captain Series and Robert Pollard’s third solo album, features “Far-Out Crops,” “Submarine Teams,” and the sublime “White Gloves Come Off.” Pollard handles all guitar and keyboard duties as well as vocals, joined by GBV’s Greg Demos (bass) and Tobin Sprout (piano) and The Breeders’ Jim MacPherson (drums), soon to join GBV for Do The Collapse.

                                                                    FORMAT INFORMATION

                                                                    Ltd LP includes MP3 Download Code.

                                                                    An African artist, born in Ghana (1945) during the English colonial occupation, Mack Porter moved to the Netherlands and then to Italy in the late 60's where he released four pop and soul-oriented singles for the small Naples label Fans. In 1969 he won the Un disco per l' Europa song contest in Lugano, Switzerland which got him signed to the RiFi label. In 1972 he made a concept album (under the name of Mack Sigis Porter) and this album is the masterpiece that is "Peace on You". After his musical career Porter stayed in Italy and became a stylist under the name Mack Squire.

                                                                    "Peace on You" was strongly inspired by psychedelic soul influences and progressive atmospheres, with wild guitar solos (and some Hendrix-like vocals), and even some orchestral arrangements. Mack Porter’s only album (featuring many famous Italian guest musicians) is an acclaimed favorite when it comes to African psychedelic rock. Riddled with long folky introductions, funky strings, soulful organ breaks, soft progressive rock, fuzz guitars…combine all of this with Porters sad bluesy voice and you have a unique sounding record that gets more interesting with repeated and concentrated listening.

                                                                    It was rumored that this rare and expensive album (original copies tend to go for silly money on the second-hand market) only came out on a handful of promo copies, but the sad truth is that it simply received no promotion at all and sold in minimal quantities.


                                                                    FORMAT INFORMATION

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

                                                                    Redd Kross

                                                                    Beyond The Door

                                                                      Redd Kross invite you to explore Beyond the Door, an album inspired by the band’s “total commitment to having the best f*cking time we can have while we’re all still here” (what they like to call “the Party”). It’s a rock and roll record and a celebration of everything brothers Jeff and Steven McDonald love, from cultures both high and low. Musically, it’s guitars, bass, and drums topped with a generous portion of sweet vocal melodies often delivered with an ambiguous edge. Beyond the Door marks Redd Kross’ most collaborative record to date. Steven describes this evolution: “Jeff is still very much the driving force behind the compositions, but with more help from me than ever. Jeff and I haven’t shared this much of the writing and singing since Born Innocent in 1981.” Guitarist Jason Shapiro and drummer Dale Crover (Melvins, OFF!) are longtime members of the Redd Kross live band, but this album marks the pair’s recorded debut with the group. Mixed in Los Angeles by Steven McDonald, Beyond the Door includes notable guest appearances from Anna Waronker (That Dog), Geré Fennelly, Buzz Osborne (Melvins), and Josh Klinghoffer. Setting the stage is album opener “The Party,” a raucous cover of the Henry Mancini-penned title theme from a 1968 Blake Edwards film.

                                                                      The opening line of the song (“The party is groovy and everyone here loses control, yeah…”) is the perfect declaration Redd Kross want to make—and they don’t just mean some beer-guzzling teen hesher affair, either. The Redd Kross party is groovy, yeah… Just listen! Of title track “Beyond the Door” Steven recounts, “I started the track as just a fun glitter romp, and during tracking, Jeff decided to take a stab at writing the vocal melody and lyrics. Seems like an obvious way to work, but we’ve never done it before. From that came a tale of childhood obsession with demonic possession nurtured on TV brain junk food and the golden age of rock and roll, 1971–73.” On the surface, the album title is a playful reference to an Italian horror film the McDonald brothers watched as children, a loose rip-off of both The Exorcist and Rosemary’s Baby that stars Juliet Mills of ’70s television program Nanny and the Professor. But like all things Redd Kross, it would be a sad injustice to stop digging there.

                                                                      No one knows what lies Beyond the Door… but we’re all in front of it. Inspirations as varied as K-pop, glitter gangs, embarrassed tweens, long-term relationships, a mysterious character named Fantástico Roberto, and much more all contributed to Beyond the Door, an album that lures the listener into Redd Kross’ secret club full of riddles and inside jokes, with the ultimate reward of the perfect pop moment! 

                                                                      Bill Ryder-Jones

                                                                      Yawny Yawn

                                                                        At the end of 2018, Bill Ryder-Jones released the critically acclaimed Yawn – his beautiful fourth album. He has now reimagined the songs from Yawn, this time with only vocals and piano, opening an even more intimate window onto his world. Taking inspiration from The Beach Boys, Bill has titled this alternative version of the record Yawny Yawn.

                                                                        In his own inimitable style, Bill Ryder-Jones says: “I can't remember why I thought it was a good idea to make a piano version of Yawn, I presume at some point I felt that the original had too much pep. Was actually quite fun to make although I've since developed a dislike for the way my hands look”.

                                                                        Similarly to Yawn, the album artwork for Yawny Yawn features a family photo. Bill adds: “Much like the artwork for Yawn, this photo just looked like it should be an album cover. Whereas Yawn featured my brother, our babysitter and myself in the background, the artwork for Yawny Yawn shows me at my aunt's house aged 3 and playing my keyboard.

                                                                        Of indisputable +313 vintage, Scan 7, with deep roots in the rich musical heritage of Detroit techno, drop their new triple vinyl album since 20 years on Deeptrax Records!

                                                                        Scan 7,closely related to Underground Resistance, forms a mysterious Detroit underground collective and with this triple album, the enigmatic outfit raises the flag for Motor City techno once more!

                                                                        Metroplex-era electro, rushing orchestral techno, deep Detroit house and galactic funk aplenty, it instantly harks back to that 'classic' Detroit-patented sound. Starting with the energizing flurry of "Stringing me along" with thick Deja-Vu UR / DJ Rolando flashes, towards the political tinged new electro monster "It's time" and from Berghain / Tresor-influenced bangers like "I'm Covered" with the frightening words 'no weapons formed against me shall prosper' until deep vibin' floating house sounds close off the EP with a more organic palette and relaxed tempos.

                                                                        Fun fact!: SCAN 7`s name originates from the word DETROIT, which consists of 7 letters, and its area code, 313 (which, added up, equals 7)!


                                                                        STAFF COMMENTS

                                                                        Matt says: Bang! Fresh-as-u-like, Dee-troit patented alchemy here from master sorcerors Scan 7 who herald a new age for Motor City techno. You need this!

                                                                        Singapore Sling

                                                                        Killer Classics

                                                                          Discordant, claustrophobic and unforgiving, Icelandic psych-rock heavyweights Singapore Sling – the project of Reykjavík-based noisenik Henrik Björnsson – have been conjuring their own scuzzy nihilistic anthems for nearly two decades and have picked-up a cult-like following along the way. Two years on from the Kill Kill Kill (Songs About Nothing) LP, the band are now back with their tenth full-length, Killer Classics. An eleven-track collection of macabre rock’n’roll scuzz, Killer Classics sees Singapore Sling return on top form. Throughout its running time, the record pools together the primal gusto of The Stooges paired with a (un)healthy smattering of Mary Chain fuzz-pedal belligerence and Suicide-esque proto-punk.

                                                                          More than the sum of their influences, though, each song is delivered with the same trademark charm – or perhaps, lack of – that the band have been cultivating since Henrik founded the project back in 2000. Outlining his mission statement for the record, Henrik says: “The last record [‘Kill Kill Kill’] was about music. This one is about songs. The title of the record is ‘Killer Classics’ because that is what I set out to make: Killer Classics. Just simple, catchy rock’n´roll songs. As rock’n’roll songs should be. Of course.” The album borne out of a particularly challenging period in his life, which he wound up channelling into the new material, he goes on to explain: “Before I recorded this new album I had many frustrating months where I didn’t have the time, space or peace of mind to write and record. When I was finally able to do that again I had to let all that frustration out and I did that by making a lot of noise and saying fuck a lot.” 

                                                                          The Snivelling Shits

                                                                          Bring Me The Head Of Yukio Mishima / Et Moi, Et Moi, Et Moi

                                                                            “The UK, the country that bought us Johnny Rotten, Sid Vicious and The Snivelling Shits.” Stephen King (Danse Macabre). On December 15th 2018 The Snivelling Shits played their first show in over 40 years, supporting Croydon legends Johnny Moped at London's Lexington. On August 2nd they appeared at the Blackpool Rebellion Festival and to celebrate the occasion have released a single featuring never before heard studio versions of ‘Bring Me The Head Of Yukio Mishima’ and ‘Et Moi, Et Moi, Et Moi’. Formed in 1977 by three SOUNDS journalists- Giovanni Dadomo (vocals), Peter Makowski (guitar) and Dave Fudger (guitar) the band recorded some songs under production guidance of Eddie & The Hot Rods mentor Ed Hollis (RIP) featuring contributions from members of the Hot Rods, Sniff’n’The Tears, Ratbites From Hell, DJ Scratchy and legendary producer Steve Lillywhite. Sadly frontman Giovanni Dadomo passed away in 1997 but his sharp/incisive lyrics and eviscerating vocals can be heard on the single.

                                                                            “Bring Me The Head Of Yukio Mishima” celebrates the life and death of actor/model/poet/film director and nationalist - Yukio Mishima-who formed Tatenokai, his own private militia, and after a failed coup committed suicide by Hari Kari and was beaheaded by a follower (hence the title!) “Et Moi, Et Moi, Et Moi’ was originally a hit for iconic French singer/ actor Jacques Dutronc in 1966. It since covered by, amongst others, Yo La Tengo’s James New, M and co-opted by Mungo Jerry in Alright,Alright,Alright. According to Jaques Lanzman – the songs co-writer Et Moi is: "about complete selfishness...all the terrible things that go on a stone's-throw away, that touch us but that, nevertheless, do not prevent us from continuing to live and enjoy the evening's barbecue"

                                                                            Spike Fuck

                                                                            The Smackwave EP

                                                                              Newly signed to Partisan Records (IDLES, Fontaines D.C., Cigarettes After Sex), Spike Fuck first came to prominence as a striking figure in the explosive flourishing of musical creativity that has recently occurred in Melbourne.

                                                                              Partisan release ‘The Smackwave EP’ physically for the first time, including the bonus track ‘Body By Crystal’. Her debut album is due for release next year.

                                                                              Drawing from a difficult period of heroin addiction, Spike creates beautifully infectious, Triffids-tinged rock and roll songs which describe, with unflinching candour and white hot urgency, the peaks and valleys of that lifestyle, recalling at times the febrile music scene of 80’s New York and cult heroes like Jim Carroll and Johnny Thunders.

                                                                              Spike Fuck is inspired primarily by love and obsession, addiction, sexual disorientation, Catholic guilt and washed up 60s musicians who make overproduced comeback albums a decade later crying out for redemption and maybe even just a little bit of the limelight back. Spike Fuck describes her work as “smackwave” - a blend of late 80s new wave with equal parts late 70s post-punk, with a dash of country music/singersongwriter sensibilities delivered in Las Vegas Ballroom karaoke vocal style.

                                                                              “Is Spike Australia's most exciting songwriter?” - Vice

                                                                              “Meet Spike Fuck, Rick Owens’ new favourite musician” - Dazed

                                                                              “With that first release she started a beautifully honest conversation about addiction, loneliness and gender identity” - i-D

                                                                              “Honest and unvarnished, ‘Junkie Logic’ details its writers’ problems with drug abuse through the odd, yet apt lens of glistening, 80s power-balladry/loner-rock that patrols the darkest of tunnels, forever seeking the light at the end.” - God Is In The TV

                                                                              Synthia

                                                                              Tonight You Might / Dissolve

                                                                              Big Crown records is proud to present their first foray into the exciting and moving world of boogie-informed synth-pop with a Big Crown super group of sorts, aptly named Synthia. Side A, "Tonight You Might", finds Lady Wray on vocals while production is handled by Leon & Homer. The song starts with drums that could seamlessly mix in with Juicy Fruit or Juicy, whichever is your preferred flavor. As promising as the song starts, Nicole's entrance on vocals guarantees that you've just put the needle on a Certified Banger. Side B, "Dissolve" is an instrumental designed for peak hour dancefloor play. With swinging flutes and sexy sax provided by El Michels himself, and drumming programmed by the best actual drummer in the land, Homer Steinweiss, Dissolve is just a good ol' time from start to finish. Big Crown records has been sitting on a grenade and were ready to set her off baby!

                                                                              STAFF COMMENTS

                                                                              Matt says: Deee-licious soul musica here from a unique voice and bolstered with some incredible muscianship. Two tracks for rainy days, sunny days, lonesome nights and loved up evenings.

                                                                              The Teardrop Explodes

                                                                              Kilimanjaro - Vinyl Reissue

                                                                                Kilimanjaro the debut album by the neo-psychedelic Liverpool band The Teardrop Explodes, which featured Julian Cope as its lead singer was released on 10 October 1980. It contains versions of the band’s early singles including ‘Sleeping Gas’, ‘Bouncing Babies’, ‘Treason’ their biggest hit, ‘Reward’. This new 180gm vinyl edition has been cut at Abbey Road and features the Kilimanjaro cover which was used when ‘Reward’ was added to the album.

                                                                                The Teardrop Explodes

                                                                                Wilder - Vinyl Reissue

                                                                                  Wilder is the second album by neo-psychedelic Liverpool band The Teardrop Explodes, and the final completed album released by the group. This new 180gm vinyl version of the album was cut at Abbey Road and uses the original Inner bag as well as cover.

                                                                                  Techfunkers

                                                                                  Techfunkers The Album: Techfunk Is Where It's At (Vol 2)

                                                                                  Second volume from this imperative re-issue series by DJ Duke aka Techfunkers, originally released in 1995.

                                                                                  Vol. 2 features three more tracks from the album, remastered and sounding ultra crisp.

                                                                                  "Da Bomb" is a groovy, concentric, early doors number; with flanging stabs skipping across a rotary Chi-town beat peppered with electronic cowbell and a phased breakbeat.

                                                                                  "Moon Light" deploys wet hats and wetter snare flaps for a submarine dive into the depths of celestial house goodness. Two, wonderful, winding synth brass & synth flute lines decorate the track as the aquatic groove rudders on and on - dreamy AF and yet totally danceable - mega!

                                                                                  "Sunlight" is equally fathoms deep, but undampens the perc section for more direct hitting drums. Goosebump inducing leads slowly converge of rippling arps and warm pads, making for that perfect moment of next-day unity; pick your crew and embrace each in the glorious "Sunlight"!


                                                                                  STAFF COMMENTS

                                                                                  Matt says: Second installment of this mind-blowing Techfunkers LP. They've split up the original 1995 release into three volumes, giving each track much more length (and therefore fidelity) on the wax - these Chi-town rollers sound grrrrreat!

                                                                                  Masahiko Togashi, Don Cherry, Dave Holland, And Steve Lacy

                                                                                  Live At Yubin Chokin Kaikan Hall, Tokyo On May 14, 1986

                                                                                  For this historical concert held at the Yubin Chokin Hall, in Tokyo on May 14, 1986, the legendary Japanese drummer Masahiko Togashi brought together an amazing line-up with such modern jazz luminaries as Steve Lacy (soprano sax), Don Cherry (pocket trumpet), and Dave Holland (bass). This particular album consists of four previously unpublished tracks (on vinyl), including some highly regarded Lacy compositions such as "The Crus" and "Quakes" and Don Cherry's African flavored anthem called "Mopti". The Lacy-Cherry frontline flies over the agile, airy rhythm section of Holland and Togashi and the interplay between the four master musicians sounds loose and relaxed. This is a must-hear for any post free jazz fan.

                                                                                  Highly anticipated second album, 1.5 years after their critically acclaimed debut LP. Featuring members of the now-defunct band The Drones. RIYL: King Gizzard and the Lizard Wizard, Nick Cave, The Slits, Protomartyr, The Drones, Gang of Four, IDLES.

                                                                                  “I've invented fake news as a genre of music,” Gareth Liddiard observes with a laugh. He's talking about “Maria 63”, the closing track on Tropical Fuck Storm's sophomore LP ‘Braindrops’. The song takes aim at the once-marginalized alt-right conspiracy theories that now seem to be a driving force behind the rise of fascism in global politics. “It may be the most stupid song ever written,” Liddiard jokes. He's wrong, “Maria 63” is emblematic of Tropical Fuck Storm's keen ability to mine the extreme edge of pop culture's periphery for potent musical and conceptual spice.

                                                                                  Tropical Fuck Storm were formed around 2017 in the city of Melbourne, Victoria along Australia's south-eastern coast. The band released their debut long-player A Laughing Death in Meatspace on Joyful Noise Recordings in 2018. Each of the band's four members bring considerable experience to the group. Liddiard and Fiona Kitschin were part of the long-running and critically-acclaimed act The Drones, while Erica Dunn and Lauren Hammel have performed in a variety of well-received projects. Perhaps it's that wealth of rock and roll experience that allows Tropical Fuck Storm to so expertly deconstruct and distort the genre's norms.

                                                                                  “Everything we do, we try to do it in a weird way. The whole album is full of weird beats, and just weird shit everywhere,” Liddiard explains. He cites Doc at the Radar Station-era Captain Beefheart as a key sonic touchstone, and Braindrops certainly shares the Captain's penchant for pounding abstract grooves. Tropical Fuck Storm have achieved a uniquely off-kilter sound on Braindrops Liddiard partly credits this to the group's use of unconventional equipment, “We use lots of techno gear to make rock and roll because rock and roll gear is boring, and all sounds like Led Zeppelin.”

                                                                                  Liddiard's own description of Tropical Fuck Storm's sound is nearly as interesting and evocative as the music itself. He describes the LP's title track as “Fela Kuti in a car crash,” and talks of creating a sonic atmosphere that “sounds like chloroform smells” for “Maria 62”. A recurring theme on Braindrops concerns the various ways the human brain can be manipulated and controlled for exploitative gain. The bracing “The Planet of Straw Men” is a study of human behavior inside the social media comments section, a place where otherwise reasonable people are seen gleefully engaging in psychotic chest-thumping rhetoric. Listening to Braindrops is a jarring and exhilarating experience, full of pulsating grooves, dissonant experimentation, and unsettling dystopian plot-lines. Braindrops is an unrelenting work, from an unrelenting musical ensemble. “Tropical Fuck Storm is a full on thing,” Liddiard offers. “Everything we do, we do it to death.”

                                                                                  STAFF COMMENTS

                                                                                  Barry says: A completely nuts, clashing collection of fragmented melodies and post-punk spirit, encompassing psychedelic freeform, spoken word vitriol and arty noise into a confounding but strangely addictive listen.

                                                                                  FORMAT INFORMATION

                                                                                  Dinked Edition LP Info: • Limited exclusive edition of 500.
                                                                                  • Highlighter Yellow & Electric Blue split-colour vinyl.
                                                                                  • Includes bonus 7” featuring a Missy Elliott cover.
                                                                                  • Numbered.
                                                                                  • Includes download.

                                                                                  Coloured LP Info: Hot Magenta coloured vinyl.

                                                                                  Coloured LP includes MP3 Download Code.

                                                                                  Alexander Tucker

                                                                                  Guild Of The Asbestos Weaver

                                                                                    “Essential listening for anyone who wants to hear why the psychedelic lineage of the past 50 years is fresh and alive” - The Quietus

                                                                                    Tucker’s boundless and singular vision is on full display in his most immersive and intoxicating music yet. Minimalist motifs are sculpted into deep drone constructions, weaving dense layers of maximalist sound to powerful disorienting effect. The songs occupy a unique territory somewhere between paranormal electronics and cosmosseeking psychedelia, standing as some of Tucker’s heaviest and most hallucinogenic work to date.

                                                                                    Alexander Tucker is a member of Grumbling Fur, his duo with Daniel O’Sullivan (This Is Not This Heat).

                                                                                    STAFF COMMENTS

                                                                                    Barry says: I remember seeing Alexander Tucker play about 15 years ago on his own, with a wealth of guitar pedals and even then, he sounded like about 5 people. In this recent, more bombastic iteration you can, at the very least, double that. Huge walls of psychedelic sound and twisting lysergic melody lines and airy drones make for a thoroughly intoxicating and rewarding listen.

                                                                                    Lina Tullgren

                                                                                    Free Cell

                                                                                      Mainly recorded and produced at Brooklyn’s Figure 8 Studios, with Ty Ueda later assisting on final tracking at his Mount Misery studio, Lina Tullgren’s Free Cell is masterfully confident. Some rock elements like nonlinear song structures and syncopated rhythms bleed over from the debut album Won era on tracks like “110717,” but the album offers a wider musical palette than its predecessor, with lush arrangements utilizing strings, brass and sculpted synths throughout.

                                                                                      “Golden Babyland” abounds in tension and claustrophobia, finding Tullgren alone and “in the kitchen melting Legos,” while the elegant and introspective ballad “Bad at Parties” scores a moment of quiet social paralysis. The strings (arranged by Simon Hanes) that carry through Free Cell echo back to Tullgren’s education as a classical violinist, and Lina moves deftly between these various soundscapes, resulting in their most dynamic music to date.

                                                                                      Throughout Free Cell , Tullgren looks back on their memories from the position of an analyst, often cool and cynical but always with an undercurrent of humor and deep feeling. In their poetry Lina Tullgren writes anthems for the alienated, for those alone on busses, at parties, at their parents’ house, for those who cannot help but feel lonely even if they are surrounded by others. Free Cell invites us to sit and listen, to reflect, but with no guarantee of any of those things being easy.

                                                                                      Undercover Lovers (Psychemagik)

                                                                                      Undercover Lovers Vol.1

                                                                                      The first of 2 salvos from the wizards of re-editing - Psychemagik.
                                                                                      Part 1 is a selection of far-flung and undiscovered lysergic renderings of some 'well-known' pop & dance classics.
                                                                                      These aren't your common dime a dozen covers either, these are straight killer, bizarro rearrangements that will have you scratching your head in wonder, and hitting the discotheque dance-floor in equal measure. As always, the Psychemagik boys strive to bring you that heat, reworking from only the prime source material sourced from their regular global jaunts and epic record trades in far-flung places. Welcome to the soundtrack to a funky alternative dimension where things seem somewhat familiar, but perhaps a little off.... in the best way! Pure sonic trips all over this one. Dig it! Answers on a postcard please!

                                                                                      STAFF COMMENTS

                                                                                      Matt says: Two new volumes of sought out, editted-up rare goodness from Brothers Psych. The Magik is laid bare across the cutting table as the delectable duo ditch the obvious for the unusual, sure to appeal to fans of their Light Sounds Dark series...

                                                                                      Undercover Lovers (Psychemagik)

                                                                                      Undercover Lovers Vol.2

                                                                                      EP number 2 from the wizards of re-editing - Psychemagik.
                                                                                      A selection of far-flung and undiscovered lysergic renderings of some 'well-known' pop & dance classics.
                                                                                      These aren't your common dime a dozen covers either, these are straight killer, bizarro rearrangements that will have you scratching your head in wonder, and hitting the discotheque dance-floor in equal measure. As always, the Psychemagik boys strive to bring you that heat, reworking from only the prime source material sourced from their regular global jaunts and epic record trades in far-flung places. Welcome to the soundtrack to a funky alternative dimension where things seem somewhat familiar, but perhaps a little off.... in the best way! Pure sonic trips all over this one. Dig it! Answers on a postcard please!

                                                                                      STAFF COMMENTS

                                                                                      Matt says: Two new volumes of sought out, editted-up rare goodness from Brothers Psych. The Magik is laid bare across the cutting table as the delectable duo ditch the obvious for the unusual, sure to appeal to fans of their Light Sounds Dark series...

                                                                                      Universal Togetherness Band

                                                                                      Saturday Night / More Than Enough

                                                                                      While in pursuit of a Radio and TV Broadcasting degree from Chicago State University, Cynthia C. Gibson directed the music video for the Universal Togetherness Band’s “More Than Enough.” Backed with the unreleased party anthem “Saturday Night,” “More Than Enough” is available for the first time in an attractive picture-sleeve 45 and sounds super funky and sublime. The raw drums collide with nicely picked guitar lines while the male-female chorus is like golden syrup on fresh pancakes! Soul collectors you need this!

                                                                                      STAFF COMMENTS

                                                                                      Matt says: High grade jazz-funk that'd you catch plenty of jocks utilizing to devastating effect on the more sophisticated 'floors. Both sides strut and canter like a prized show horse, but it's the smoochy b-side love-in, "More Than Enough" that does it for me...

                                                                                      The Vision Featuring Andreya Triana

                                                                                      Heaven - Inc. Mousse T. / Nightmares On Wax Remixes

                                                                                      After revealing Kon’s edit of "Heaven" on their blissful 7” debut, The Vision return to release the original on 12”, along with remixes from Mousse T. and Nightmares on Wax. Opening the A-Side is the original, a fiery, funk-laden track vocally-led by Andreya Triana. It pairs her soulful tones with lush instrumentation (featuring frenetic clavs and heavy b-line) and ratchets up the energy levels as it careers through its arrangement. 90s household house don, Mousse T. is called in and drops an "E-Funk Mix", galvanizing those disco stems with just the right sheen of house glamour. On the flip side are the two mixes from dance legend Nightmares On Wax. Bringing his trademark funk-flavoured grooves into the mix, it finds the prolific producer / DJ in fine style, so much so we get a seriously wiggly house 'dub' to conclude this essential record. Party time!

                                                                                      Vuelveteloca

                                                                                      Sonora Remix

                                                                                        For over a decade Vuelveteloca, based in Santiago, Chile, have been shaking up the South American underground with their unhinged, doomy psych-rock. With their notorious reputation extending further afield soon enough – especially following a lauded performance at 2015’s Liverpool Psych Fest – in 2017 the band signed to London-label Fuzz Club for their fifth full-length, Sonora. Two years on and Vuelveteloca are now set to release a remix version of the album which features electronic reworkings by A Place To Bury Strangers, The Holydrug Couple, The KVB, The Men, Al Lover and more. Where Sonora originally dealt in a warped motorik assault that pooled together Sabbathian stoner-rock grooves with full-throttle psych wig-outs a la King Gizzard and Oh Sees, the remixes on display here trade their careening guitar noise for mechanical, pulsing electronics.

                                                                                        Take the oscillating, industrial dub of opening track ‘El Lade Frío’ (remixed by fellow Chileans The Holydrug Couple), the throbbing repetitive synths in The KVB’s reworking of ‘La Niebla’ or A Place To Bury Strangers’ twisted, overblown take on ‘Chepical’. ‘Cientologia & Altiplano’ is given a spaced-out ambient reworking via IIOII, an electronic duo from Santiago who are close friends of the band, and then in the following track, Portugal’s Pedro Pestana turns ‘Ataque Masivo’ into a piece of distorted, motorik drone not too dissimilar from his own work in 10 000 Russos and Tren Go! Sound System. This is followed by a minimalist deconstruction of ‘Carnaval’ courtesy of Brooklyn outfit The Men, who strip the song down to its bare bones. The penultimate cut sees ‘L.A.’ turned into a piece of sprawling, kosmische synthesis by LA-based producer Al Lover, who has remixed every psych band worth their salt today and is a masterful beat-making experimentalist in his own right.

                                                                                        Then, bringing the album to a menacing close is an eerie, barely-recognisable reworking of ‘Tormento’ via Tierra Del Fuego, a NYC-based project comprising members of Psychic Ills and Argentinian dub band Nairobi: the original songs driving rhythm section submerged under layers of dark, glitched-out electronics and manipulated samples of news broadcasts describing worldwide environmental disasters. 

                                                                                        FORMAT INFORMATION

                                                                                        Coloured LP Info: 180g Gold-coloured vinyl.

                                                                                        This is the second collaboration of Joe Buhdha and Terri Walker, the first being 2014’s "Untitled to Entitled" EP featuring "Feel Right" and "Tired Out". The EP received major support from many taste makers and top DJs around the world and now the pair are back with a full length album! With a smorgasboard of high grade collaborations throughout - Children Of Zeus, DRS, Rodney P - Terri Walker merges reggae, house, soul and hip-hop into a distinctly UK-centric brew. 

                                                                                        STAFF COMMENTS

                                                                                        Matt says: Tasty merging of flavours makes this a highly accomplished UK offering. Rich with a multi-coloured, carnival energy, with a skilled and attentive songwriting to boot. A winner!

                                                                                        Working Men's Club

                                                                                        Teeth

                                                                                          Madding crowds may have found their bounce to the beat of ‘Bad Blood’s post-punk groove but Working Men’s Club will defy all expectation with their eagerly anticipated follow-up. Forcing backs off the wall and deeper onto the dancefloor, electric stomper ‘Teeth’ possesses enough bite to set pearly whites on edge and induce a wildly ecstatic feeling that’s anything but comfortable.

                                                                                          “It is a metaphor,” teases the band’s singer, guitarist and beat-maker, Sydney Minsky-Sargeant. “It could be about going insane or what you see, what you think you feel inside, a lot of things… put through a drum machine… basically we just want to confuse the fuck out of people, in a good way!”

                                                                                          For Syd, alongside fellow Club members Giulia Bonometti, Jake Bogacki, and recently recruited bassist Liam Ogburn, the last 12 months has seen the 4-piece buckle up for a meteoric rise that’s been a hell of a ride. “Signing to Heavenly was a big deal for us,” offers Jake. “We’ve worshiped the label and its bands for a long time so it’s nice to be part of the family. It’s a culture; we’re all running in parallel.”

                                                                                          Shows with Fat White Family and a day of packed-out Great Escape appearance have paved the way for the band as they hone their rhythm ahead of Bluedot, Manchester Psychfest, Latitude and Manchester International Festival later this summer, before a tour with Bodega and their first headline tour though October and November.

                                                                                          After ‘Bad Blood’ received early support from Steve Lamacq, demand brought about a third repressing of their debut 7”, and it topped the vinyl charts; giving rise to a band subconsciously making us all slaves to the rave. “We do this because we love it.” says Syd. “But it’s not about us, we’re just faces. Working Men’s Club is about the music, the vibe, and that feeling, forcing you to move. Anyone can join.”

                                                                                          FORMAT INFORMATION

                                                                                          Ltd 7" Info: Limited to 500 copies.

                                                                                          Working Men's Club

                                                                                          Teeth - Feat. Gabe Gurnsey Remixes

                                                                                          Madding crowds may have found their bounce to the beat of ‘Bad Blood’s post-punk groove but Working Men’s Club will defy all expectation with their eagerly anticipated follow-up. Forcing backs off the wall and deeper onto the dancefloor, electric stomper ‘Teeth’ possesses enough bite to set pearly whites on edge and induce a wildly ecstatic feeling that’s anything but comfortable.

                                                                                          “It is a metaphor,” teases the band’s singer, guitarist and beat-maker, Sydney Minsky-Sargeant. “It could be about going insane or what you see, what you think you feel inside, a lot of things… put through a drum machine… basically we just want to confuse the fuck out of people, in a good way!”

                                                                                          For Syd, alongside fellow Club members Giulia Bonometti, Jake Bogacki, and recently recruited bassist Liam Ogburn, the last 12 months has seen the 4-piece buckle up for a meteoric rise that’s been a hell of a ride; “Signing to Heavenly was a big deal for us,” offers Jake. “We’ve worshiped the label and its bands for a long time so it’s nice to be part of the family. It’s a culture; we’re all running in parallel.”

                                                                                          Like hopping aboard Willy Wonka’s psychedelic boat trip through their own funked-up factory, ‘Teeth’ puts the ‘itch’ into glitch and urges everyone to embrace the rave. Recorded with producer Ross Orton (The Fall, Roots Manuva, M.I.A, Arctic Monkeys) at his Sheffield recording studio, between a brothel and Fat White Family’s base, the vibrations of ‘Teeth’s chatter cut like fork lightning across a fog-filled Hope Valley. As the needle hits the groove, its threatening cowbell and motoric Techno beat buzzsaws Syd’s Mark E mantra, “I see grit in your teeth,” whilst a drum machine and frenetic guitars reinforce the party vibe. “We’re definitely a dance band,” Syd affirms. “If you can make someone move that’s a big thing.” Jake agrees; “When you can convince a person to subconsciously dance without understanding why, it’s a religious feeling and taps into this primal instinct.”

                                                                                          Shapeshifting through the band’s collaborative writing process, ‘Teeth’ offers an epic fusion of the band’s broad repertoire of influences from godfathers of early Techno, Stingray to Thelonious Monk’s jazzy piano riffs - not to mention LCD Soundsystem or Delta 5 bounce. “It works because there’s a conflict of what we each want from it,” Jake tells. “It’s like tectonic plates and that friction causes an earthquake. When we meet in the middle, ‘Teeth’ is what comes out.” Reworked from Syd’s electronic-heavy demo, laid-down at his Todmorden home through synthesizers and drum machine, the track’s climactic shakedown ignites a love of Detroit House, Acid House, Afrobeat and Cuban rhythms from his DJ beginnings and stepdad’s influence. “I’ve always been into Nigerian 70s funk, like William Onyeabor,” Syd tells. “It’s happy, jolly, danceable; I don’t think my own lyrics are that happy - but it’s not just about that. It’s about how great music can make people dance.”

                                                                                          Capturing moments to write, whether walking through woods, splitting crisp packets open at the local pubs around their northern hometowns or between chapters of reading Hunter S. Thompson and Sylvia Plath, Working Men’s Club put the groove first, unafraid to rear the wise heads on their younger shoulders. "We’re brought together by the fact we care about being 100% ourselves,” reveals Giulia. “We sing and talk about what needs to be said, to put it out of our minds and bodies. Music is an outlet, a medium to communicate.” Aspiring to the lyrical greats John Cooper Clarke, Lou Reed, Ian Curtis, Glen Campbell and Townes Van Zandt, the band first bonded over back catalogues rather than passing trends. “You should never deny your influences; you do things your own way,” suggests Syd. As for politics? “Bands like Squid, Black Midi, us, Orielles; we’re taken seriously, but aren’t politically adverse for sake of it,” Jake says. “Essentially, the country’s fucked and not enough of us are talking about it. That doesn’t necessarily mean we’re a political band, but we’re not gonna, not talk about it.”

                                                                                          "Watermelon Woman" on Ninja Tune's Technicolour imprint is Yu Su’s most direct nod to the dancefloor since her 2017 breakout "Infi Love".

                                                                                          The release comes with Yu Su’s own ‘Dub’ version, which stretches out the original track’s momentum and urgency to a more languid pace.

                                                                                          Francis Inferno Orchestra’s ‘Augur Sacrifice Dub’ completes the EP, offering a rhythmic, percussive take on the original.

                                                                                          For fans of Leon Vynehall, Anthony Naples, Hunee, Spring Theory, Nathan Micay,

                                                                                          Artwork by Alan Briand.



                                                                                          STAFF COMMENTS

                                                                                          Matt says: Nice percussive shamanic house business here from the multi-talented Yu Su. Perfect for those tribal sessions under the foliage.

                                                                                          Hans Zimmer And Benjamin Wallfisch

                                                                                          Bladerunner 2049 - Original Motion Picture Soundtrack

                                                                                            Hans Zimmer and Benjamin Wallfisch were given the near impossible task of scoring the sequel to one of the greatest and most beloved science-fiction films of all time. The original BLADE RUNNER had an incredible score by Vangelis that has gone on to be one of the most iconic pieces of music in film history, so it’s to their credit that they absolutely knock it out of the park with 2049.

                                                                                            What they do with the music in 2049 is astonishing. It makes you feel like you’re in the same universe as the original film, but it’s also apparent that things have changed. There are hints at the past but also strange and beautiful new sounds to explore and get lost in. Expansive, dreamy yet forceful, and propulsive when it needs to be, the score to 2049 is a little more downbeat than the original. The sonics throughout are incredible, and it really feels like you’re wandering strange neon-lit alleyways with no clue where you are.

                                                                                            It’s a truly beautiful (and beguiling) listen that captures real human emotion alongside more artificial replicant soundscapes. BLADE RUNNER 2049 features Viktor Kalvachev’s art with a spot Varnish Cover and layout by Chris Bilheimer.

                                                                                            FORMAT INFORMATION

                                                                                            2xColoured LP Info: Webstore edition pressed on 180 Gram Teal and Pink coloured vinyl.

                                                                                            Various Artists

                                                                                            Ann Arbor Blues Festival 1969

                                                                                              Ann Arbor Blues Festival 1969, is a 50th anniversary celebration collecting previously unheard songs by such blues legends as Howlin’ Wolf, Muddy Waters, B.B. King, James Cotton, Son House, Magic Sam, T-Bone Walker, Junior Wells, Big Mama Thornton, Clifton Chenier, Son House, Mississippi Fred McDowell, Lightnin’ Hopkins, J. B. Hutto & His Hawks, Roosevelt Sykes, Luther Allison, Otis Rush, Big Joe Williams, Charlie Musselwhite and more. 

                                                                                              The historic gathering was presented by a small group of blues-obsessed University of Michigan students determined to give their blues heroes a public spotlight where they might shine before it was too late. Among those enterprising student-promoters was John Fishel, whose teenage brother Jim Fishel, gathered some friends to help record the festival as a personal memento. Taking advantage of their all-access pass and juggling a small Norelco tape recorder from set to set, the friends let the 1⁄4” tape roll. Though field recordings in the literal sense of the term, they capture the brilliance of the musicians, the excitement of the crowd and the loose, convivial nature of the entire festival. Those tapes, long thought to be lost, have now been lovingly restored to capture the electric energy of the landmark concert. Both volumes include never-before-seen photographs, an exclusive reminiscence from Jim Fishel, and extensive liner notes by Parker Fishel, Sophie Abramowitz and David Beal.

                                                                                              Light In The Attic’s Japan Archival Series continues with Kankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980-1990, an unprecedented overview of the country’s vital minimal, ambient, avant-garde, and New Age music – what can collectively be described as kankyō ongaku, or environmental music. The collection features internationally acclaimed artists such as Haruomi Hosono, Ryuichi Sakamoto and Joe Hisaishi, as well as other pioneers like Hiroshi Yoshimura, Yoshio Ojima and Satoshi Ashikawa, who deserve a place alongside the indisputable giants of these genres.

                                                                                              In the 1970s, the concepts of Brian Eno’s “ambient” and Erik Satie’s “furniture music” began to take hold in the minds of artists and musicians around Tokyo. Emerging fields like soundscape design and architectural acoustics opened up new ways in which sound and music could be consumed. For artists like Yoshimura, Ojima and Ashikawa, these ideas became the foundation for their musical works, which were heard not only on records and in live performances, but also within public and private spaces where they intermingled with the sounds and environments of everyday life. The bubble economy of 1980s Japan also had a hand in the advancement of kankyō ongaku. In an attempt to cultivate an image of sophisticated lifestyle, corporations with expendable income bankrolled various art and music initiatives, which opened up new and unorthodox ways in which artists could integrate their avant-garde musical forms into everyday life: in-store music for Muji, promo LP for a Sanyo AC unit, a Seiko watch advert, among others that can be heard in this collection.

                                                                                              Kankyō Ongaku is expertly compiled by Spencer Doran (Visible Cloaks) who, with a series of revelatory mixtapes as well as his label Empire of Signs (Music For Nine Postcards), has been instrumental in shepherding interest in this music outside of Japan. Together with Light In The Attic’s celebrated anthologies I Am The Center and The Microcosm, Kankyō Ongaku helps to broaden our understanding of this quietly profound music, regardless of the environment in which it’s heard.


                                                                                              STAFF COMMENTS

                                                                                              Patrick says: Now, while the Japanese ambient revival has been going on for some years (check out essential reissues on Palto Flats, WRWTFWW, 17853) Light In The Attic steal a march on their competitors with this sublime compilation of obscurities from the Land of the Rising Sun. Wonderfully packaged, presented and curated, "Kankyo Ongaku" is a fitting companion to "I Am The Center" and the "Microcosm", exploring the New Age and ambient sounds of 80s Japan. Minimal, relaxing and utterly beautiful, this music is almost heavenly.

                                                                                              FORMAT INFORMATION

                                                                                              2xDeluxe CD Info: 2xCD housed in a custom 7”x 7” hardbound book.

                                                                                              3xLP Box Set Info: Vinyl repress!!
                                                                                              Triple black vinyl LP with deluxe Stoughton “tip-on” jackets and slipcase.

                                                                                              Various Artists

                                                                                              Once Upon A Time In Hollywood

                                                                                                The soundtrack for Quentin Tarantino’s heavily anticipated music-laden film Once Upon a Time… in Hollywood/

                                                                                                Personally curated by Tarantino himself, the soundtrack is a love letter to the music of 1960s-era Hollywood. The Once Upon a Time… in Hollywood soundtrack features over 20 standout tracks from artists such as Paul Revere & The Raiders, Deep Purple, and Neil Diamond, as well as vintage radio advertisements, creating a true time capsule of a golden era of filmmaking.

                                                                                                Quentin Tarantino’s Once Upon a Time… in Hollywood visits 1969 Los Angeles, where everything is changing, as TV star Rick Dalton (Leonardo DiCaprio) and his longtime stunt double Cliff Booth (Brad Pitt) make their way around an industry they hardly recognize anymore. The ninth film from the writer-director features a large ensemble cast and multiple storylines in a tribute to the final moments of Hollywood’s golden age. Written and Directed by Quentin Tarantino. Produced by David Heyman, Shannon McIntosh and Quentin Tarantino. Georgia Kacandes, YU Dong and Jeffrey Chan serve as executive producers. The film also stars Margot Robbie as Sharon Tate plus Al Pacino, Emile Hirsch, Timothy Olyphant, Dakota Fanning, Bruce Dern, Lena Dunham, and more.



                                                                                                FORMAT INFORMATION

                                                                                                Coloured LP Info: Indies exclusive limited double translucent orange coloured vinyl in a gatefold sleeve. Includes a (folded) 24" x 36" art poster.


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