Castles in Space announces first ever vinyl release for Mordant Music’s landmark 2006 release “Dead Air”. Remastered for vinyl with all new artwork from Admiral Greyscale.

Baron Mordant is always present but slightly elusive – not so much hidden as just lurking in the shadows. Remarkably individual, Dead Air sounds like a surreal car crash between Saint Etienne and Throbbing Gristle with the warm tones of Phillip Elsmore taking the place of Cracknell/Orridge. A Proustian madelaine to a particular generation if ever there was one, Elsmore had worked as the voice of Thames TV across the 70s and 80s and his instantly recognisable voice being dropped into this electronic hall of mirrors still plays havoc with your brain. Dead Air’s loose concept of a dead TV station was embellished with a unique design concept from Admiral Greyscale that played with 70s iconography (bizarre wallpaper, the Magpie logo and so on).

Jonny Mugwump, Fact Magazine.

Phil Heeks delivers a stunning homage to ‘70s BBC LPs and vintage soundtrack compilations in this debut record from The British Stereo Collective.

Although the Mystery Fields album cover has the look and feel of a BBC Radiophonic Workshop release, the album itself is a wider nod to various TV theme compilations that Phil grew up with in the 1970s and early 1980s, including the classic Geoff Love releases and the BBC themes and sound effects albums. What comes across most is the love and affection for the period, beautifully recreated in the meticulous detail of the album artwork and the effortless precision with which the tracks are put together and sequenced.

Says Phil, “After revisiting the 1979 conclusion to the Quatermass saga on Blu Ray in October 2019, I was hugely inspired by the music and atmosphere and embarked on creating a specific brand of retro electronica under the guise of “The British Stereo Collective”.

“The album is my homage to a beloved era of classic TV themes, 'space music' and general cosmic noise, inspired by the combined influence of Jeff Wayne, Peter Howell, Mike Oldfield, Jean-Michel Jarre, Tangerine Dream, Barry Gray, Roy Budd, Francis Monkman, Brian Bennett, Paddy Kingsland and countless others.”

Pressed up on beautiful Mystery Blue vinyl and featuring a radio Times referencing insert, the album works as a complete and aesthetically gorgeous time capsule for those who are perennially nostalgic for the golden age of Sunday afternoon TV and your uncle’s Vangelis and Hi-Fi stereo albums.

Balmat’s second release comes from Hoavi, aka Kirill Vasin, a Russian electronic musician whose work approaches what might be familiar reference points - deepest dub techno, atmospheric ambient, liquid drum’n’bass - with a singular and refreshing point of view.

Compiled during a fruitful interchange between label and artist, “Music for Six Rooms” has been culled down from a huge selection of tracks, its disparate moods distilled into 10 profoundly immersive tracks that touch upon dream pop, dub techno, and new age, all swirled together into the headiest of ambient dreamscapes.

Active since the early 2010s, when he founded his Shells Rattle label, Hoavi has released on a number of labels including floe, Snare Tapes, Fauxpas, and Minor Notes. “Invariant”, released on his own label, Peak Oil has suffered the wrath of the Great Pressing Plant Scandal of 2021, and is only just surfacing now, after being recorded in 2019! We think that, along with this what you’ve got in your hands (or on your browser) offers a wonderfully complementary view of Hoavi’s talents - one rhythmic, the other largely beatless, yet both of them sensuous in the extreme. Hoavi is an artist to get immersed and obsessed with – we hope you enjoy “Music For Six Rooms” as much as we do! 

TRACK LISTING

A1. Sosnovka Voices
A2. Cosworth
A3. Music For Six Rooms
A4. Arpdx
A5. Destination
B1. Antaxis
B2. Tanto
B3. Transition State
B4. 3301
B5. Siren

Jaga Jazzist's 'Pyramid' displayed a wonderful mix of soaring electronics and jagged avant jazz, and their latest eandeavour sees a number of shining lights in today's electronic music landscape pull out the stems for a brilliantly diverse and wonderfully exploratory set of remixes. 

Petter Eldh's remix of 'The Shrine' sees the main refrain chopped up and scattered liberally among a few shards of industrial noises and shimmering synth swells, kicking things off in wonderful fashion before the pulsing dystopian glimmer of the OKIOK rework of the same piece. It seems odd to have two remixes of the same piece following each-other but in this instance they're so wildly different that you can hardly even tell they're from the same stock. 

Lindstrom' & Prins Thomas' rework of 'Apex' is one of the top cuts for me, forging a perfect mixture of the former's airy euphoric electronica, and the latter's laid-back house into a by-the-pool groover that continues to grow organically into a not inconsiderable near-12-minute anthem. 

Prins makes an appearance again later on with the snappy tribal funk of 'Spiral Era', before the set closes out with André Bratten's woozy saturated ambient rework of the wonderful 'Tomita'. 

A worthy and wonderfully varied collection of home listening house, or cosmic jazz for a VERY chilled dancefloor. 

TRACK LISTING

A1. The Shrine (Petter Eldh Remix)
A2. The Shrine (OKIOK Remix)
B1. Tomita (Paul Bender Remix)
B2. Apex (Lindstrøm & Prins Thomas Remix)
C1. The Shrine (Ian Chang Remix)
C2. Tomita (OKR Of Once And Future Band Remix)
D1. Spiral Era (Prins Thomas Remix)
D2. Tomita (André Bratten Remix)

American singer songwriter and LGBT Icon LP, who has more than two billion streams to their name and a devout global fan following, releases their highly anticipated sixth album, ‘Churches’, via [PIAS] Recordings.

A 15-song track listing of lush, captivating creativity, described by LP as such: “This album feels like a friend. A friend who took me through one of the most trying times in human history and a fairly trying time in my own personal history. So many real stories and realizations that I feel like I was able to share here.”

With a run of UK tour dates planned, plus a performance at London’s Hammersmith Apollo on 25th of January 2022, LP is ready to shake up the UK with this new record.

‘Churches’ features the singles ‘Angels’, ‘Goodbye’ and ‘One Last Time’.

‘Churches’ was executive produced by Mike Del Rio (Kylie Minogue, X Ambassadors, Skylar Grey).

TRACK LISTING

When We Touch
Goodbye
Everybody’s Falling In Love
The One That You Love
Rainbow
One Last Time
My Body
Angels
How Low Can You Go
Yes
Conversation
Safe Here
Can’t Let You Leave
Churches
Poem

"Night School announces a new pressing of the long sold out debut album by Molly Nilsson, These Things Take Time, on clear with black smoke vinyl and for the first time on CD. As a significant cultural artefact of the underground pop movement that bubbled up in the early 21st century it's an important landmark. In Molly Nilsson's herstory it remains one of her most adored works"

It would be easy to say that Molly Nilsson needs no introduction, but These Things Take Time is an introduction. Originally self-released in 2008 on a limited CDR run with handfolded sleeve, Nilsson’s debut album has slowly taken over the hearts of many. In 2014 this modern classic of autonomous, DIY pop and punk-as-you-like attitude was released as a double vinyl a beautiful edition featuring unreleased bonus tracks across two discs, it sold out within a month of release.. Now repressed....

Following the recent release of 'X', the first new music from Working Men’s Club since their acclaimed self-titled debut was released in the autumn of 2020, the band share remixes from Paranoid London and Minsky Rock.

A side project of Syd from the band and producer Ross Orton, the Minsky Rock remix channels the energy of the primetime Detroit electro of Aux 88 or Cybertron while Paranoid London, the duo made up of Quinn Whalley and Gerardo Delgardo, turn in a bubbling 303 drenched acid workout.

TRACK LISTING

A1. X Paranoid London Remix
A2. X Minsky Rock Remix

B1. X Paranoid London Remix (Instrumental)
B2. X Minsky Rock Remix (Instrumental)

Love Record Stores Edition available instore from 10am on Saturday September 4th, any remaining copies will be available on online from 9pm on the same day.
Limited to one per person.

Though she’d been writing songs in her head since she was six, and on the guitar since she was 12, it took a long time for Nilüfer Yanya to work up the courage to show anyone her music. 'I knew I wanted to sing, but the idea of actually having to do it wasreally horrifying,' says the 23-year-old. When she was finally persuaded to do so, by a music teacher in West London where she grew up, she says 'it was horrible. I loved it'.

At 18, Nilüfer, who is of Turkish-Irish-Bajan heritage, uploaded a few demos to SoundCloud. Though she’s preternaturally shy, her music, which uniquely blends elements of soul and jazz into intimate pop songs with electronic flourishes and a newly expressed grungy guitar soun, isn’t. And it didn’t take long for it to catch people’s attention. She signed with independent New York label ATO, following three EPs on esteemed London indie label Blue Flowers, and earned a place on the BBC Sound of 2018 longlist. She also supported the likes of The XX, Interpol, Broken Social Scene and Mitski on tour.

Now, Nilüfer is ready to release her debut album, "Miss Universe". Though she recorded much of it in the same remote Cornwall studio she used to jam in as a much younger person, it is bigger and more ambitious than anything she has done before. "Angels", with its muted, harmonic riffs, channels ideas 'of paranoid thoughts and anxiety' - a theme that runs through the album, not least in its conceptual spoken word interludes which emanate from a fictional health management company WWAY HEALTH TM. 'You sign up, and you pay a fee,' explains Nilüfer of the automated messages, which are littered through the album and are narrated by the titular Miss Universe. 'They sort out all of your dietary requirements, and then they move onto medication, and then maybe you can get a better organ or something... and then suddenly it starts to get a bit weird. You're giving them more of you and to what end?'