MAGIC MIX

Balearic . Yacht Rock . New Age . Downbeat

WEEK STARTING 23 Aug

Genre pick of the week Cover of Undercover Lovers Vol.2 by Undercover Lovers (Psychemagik).

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...

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".

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.

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.

    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...

    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.”

    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.


      This Sunday (August 25) we are down @ThePilcrowPub next to the CIS building celebrating the launch of our new beer… https://t.co/ng2LNvz2SY
      Fri 23rd - 3:22
      Our very own Ryan here looking very happy with his new @HorsebeachBand album ‘The Unforgiven Current’ which is out… https://t.co/5hvcgSqC3w
      Fri 23rd - 1:02
      Coloured vinyl from Ghost Funk Orchestra, Tropical Fuck Storm aka @tfs_theband Augustus Pablo Meets King Tubby and… https://t.co/gwcS9ATOYT
      Fri 23rd - 12:56
      Out day. @work1ngmensclub 7” ‘Teeth’ Limited to 500 copies only. Don’t sleep. https://t.co/2zZgwq94dq Label… https://t.co/Chh4EcsdiT
      Fri 23rd - 11:28
      Happy New Music Friday everyone. We are open all weekend and we have brand new banners gracing our walls today from… https://t.co/ACNwFvdjHy
      Fri 23rd - 10:21
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