Quiet Slang (Beach Slang)

Everything Matters But No One Is Listening

    Since Beach Slang came into being, bandleader James Alex has taken to performing his group's heartfelt anthems as more intimate solo renditions. Appropriately dubbed "Quiet Slang," these alternate reality versions of Beach Slang's music have now simultaneously been stripped down and fleshed out in the studio to include piano and cello. Following on from the recent We Were Babies & We Were Dirtbags EP, Quiet Slang now bring you a full album of such songs - 'Everything Matters But No One Is Listening' .


    Coloured LP Info: Indies exclusive coloured vinyl.

    “Dock Of The Bay Sessions” was compiled with input from Roger Armstrong of Ace Records and Otis biographer Jonathan Gould and has the Redding family’s full endorsement. Although the individual tracks have been previously released across a smattering of posthumous albums and compilations, this marks the first time they have been assembled to resemble what this album could possibly have been.

    This year marks the 50th anniversary of the album’s opening track “(Sittin’ On) The Dock Of The Bay,” one of the last songs Redding ever recorded. Released in January 1968, it soon topped the charts in March 16th in the US becoming the first posthumous #1 single in the history of the U.S. music charts. It also reached number 3 in the UK, and went on to sell more than four million copies worldwide.


    Ltd LP Info: 180 gram black vinyl, direct to board jacket.

    Scottish producer & DJ Graeme Clark AKA The Revenge releases his second album on his own Roar Groove imprint.

    "When The Thrill Comes" is a demonstration of a producer achieving a point of maturity in their work, able to exercise a sense of restraint, to allow for their sound to have space. It is also the opportunity for The Revenge to explore his own electronic music roots with a deeper, pared-back sound more in touch with his earliest production experiences in house and techno.

    Clark is no novice to the art of production and the sweaty alchemy of animating bodies on dancefloors. He has been producing and playing electronic music since 1995, in many forms, though is well known for 'some of finest modern disco dubs and re-edits on the block' (DJ Mag). This passion for dusty disco and deep cuts is reflected in his long-standing collaboration with Craig Smith as 6th Borough Project which has yielded 3 albums and provided the foundation for the influential but now defunct Instruments Of Rapture label.

    2015 was a momentous year for Clark with the release of his debut album "Love That Will Not Die" on his own Roar Groove imprint. The LP picked up 'Best British Album' from DJ Mag, was shortlisted for Scottish Album Of The Year and drew support from leading DJs including Jackmaster, John Talabot, Solomun, Craig Richards, Axel Boman amongst others. Recent production work has both cemented and extended his reputation; with his future-facing remix for Auntie Flo being re-touched by Dixon for the Philomena label and his two EP’s for Berlin’s Dirt Crew Recordings reinforcing his love for solid club jams.

    Those looking for wall-to-wall disco re-rubs and slow mo excursions are gonna be disappointed! On the album Clarke demonstrates a keen ear for electronix and a producer who's more than able to conjure up groundbreaking new sounds. Multi-textured house music, Berlin-friendly minimal, growling tech-house and advanced exercises in downbeat are all presented here with as much prowess and ingenuity as his straight up disco edits and 4/4 cosmic numbers. Three albums in and The Revenge continues to surprise and inspire. This is mega. 

    Rich P & Lee drop some fresh AF techno tackle for the delectable Deep Bass records. I'm really feeling the ethos of this label at the moment - one-off runs, pressed in house at their own plant and featuring unique, under-hyped, little known artists that are absolutely smashing out the jams in the house and techno multiverse.

    Rich P & Lee's first release, "Duff Groove" contains four shimmering club tracks powered by overdriven mechanics and dizzying technoid hooks. There's a deep Detroit mood, but not obviously from the Motor City; rather, Rich P & Lee use waymarkers left by Delano Smith, Anthony Shakir and Carl Craig as signposts to their final destination - a unique sound space occupied by jazzy chords and scatty rhythms, looping away with a militant repetition. Excellent!

    Mastered by Ballyhoo Records and pressed by Deepgrooves vinyl pressing plant. This release is limited to 300 copies with full colour artwork.

    Seekers International

    Meets MX7 Inna Dancehall Showdown

    Exceptional release from an infrequent but much welcome visitor to Piccadilly Records: Toronto's SeekersInternational deconstruct dub, dancehall and soundsystem culture down to its bare ether, base molecules and reversed alchemistry, piecing back the fragments into a thoroughly lysergic and hallucinatory collage. Possibly the most abstract and yet instantly recognizable mutation that the dub cannon has thrown up in recent years, these cats are the real deal, building tape delays, sirens and fx themselves whilst working with artists across the dub spectrum and indeed the world pushing the movement forward under a wave of modernity and post-everything chaos. Riding on waves of delay and looped repetition, SKRS rarely need beats to carry their tracks along, instead relying on chopped pirate radio snippets, rude boy soundsystem shout outs and the natural undulation of space echo to form incomprehensible but highly addictive grooves that transverse normal dancefloor mechanics and head for something altogether more cerebral. One of the most exciting things in modern music right now and criminally under looked by many (including us, until now!). You need this in your life.


    Matt says: Right now, THIS is my jam! Existing in a completely alien, unique world; Sun Araw and James Ferraro may well have orbited this planet at some stage. Completely far-out 'dub' in the loosest sense of the world. Holographic refractions from dancehall, pirate radio and soundsystem culture existing as a sonic philosophers stone permanently suspended in the ether of space time.

    It’s the return of the sexual vigilante Sex Judas and his trusted sidekick Ricky. This time in full album mode. Norwegian producer Tore Gjedrem of Ost & Kjex fame, channels his love of comix, bohemia and fascination with human vice, the unspoken, the Red Light districts, the alleys of the mind into his alter ego. Sex Judas is no bad character but certainly says what it’s author cannot.

    “I wanted to create a world where any musical idea is possible, wound together by the world and word of Judas, the ultimate sinner, reborn as a child of Venus.”

    Inspiration ranges from Africa to 80’s NYC, from Bohannon to Quasimoto, from Norwegian New Wave to Acid House. With contributions by friends in the Oslo scene as hometown legend Dj Pål Strangefruit Nyhus, composer Ole-Henrik Moe, jazzpianist Bugge Wesseltoft, Sidiki Camara from Mali playing that beautiful Ngoni, and multi instrumentalist Ivar Snuten Winther, the album touches anything from blues, funk, disco and post-punk to IDM, acid house and electronic explorer music.


    Patrick says: In true Optimo fashion, this LP spits in the face of categorisation, serving up those low/high Funkadelic vocals, mellow ballads, African-flavoured Balearic grooves, synth pop, acid house and most other forms of music real or imaginary. Tore Gjedrem of Ost & Kjex leads us on a baffling but irresistibly hooky journey through his strange sonic world, introducing a who's who of the Scandi scene on the way.

    A cosmic, phased-out percussion adventure by Shimshon Miel, a lone-wolf hippie from Tel-Aviv who experimented with hallucinogenic psych-folk, and self-released his only album in 1977. Fortuna Records reissues two of the album's killer cuts for the very first time, alongside a late-night club edit by Kalbata. Expect extra trippy percussion soundscapes layered on top of a thumping bass guitar in wild 70's style stereo action. Kalbata's remix is a straight up voodoo ritual, adding much needed 808 subs to the jacked-up original.

    Barcelona's king of electronic jazz and synth funk, the mighty Skymark returns to his Modern Sun imprint for a brand new LP inspired by 80's / new era boogie, disco and jazz fusion. Equally in tune with the sunblushed sound of Dam-Funk (or equally Garrett) and the soulful depth of early 90s Larry Heard, Skymark patches his cerebral cortex into a packed synth rack (ARP, Prophet, Moog, Roland and Korgs) and flexes his songwriting, vocal and drum programming skills. After the cinematic sweep of the Dolby styled "Introduction" we get stuck into the groove, getting slick and soulful with the cool keys, smooth vocals and jazzy synth licks of "More Than A Friend" (major Larry Heard influence here) before bounding along to the smooth boogie bump of "This First Special Feeling" (shouts to Legacy FM on a sunday). "Yesterday's Flame" pulls in fusion tonalities and squelching synthesis (James Mason's "I Want Your Love") before "A Better Place For The Next Generation" gives us the perfect blend of club soul and rare groove. The deep, soulful and sweet sounds continue with "Insomnia" and the uptempo, latin tinged house jam "Our Shelter", before "The Center Of My Joy" hits hard for the club boogie crew. Skymark signs off in spectacular fashion with a high flying, uptempo sway through full on jazz fusion brilliance.

    SMX / Koehler

    WHYTBLU 02

    SMX are Max O'Brien and Sam Purcell (Blank Mind). "Sleep" is an intoxicating live jam recorded in October 2015 during a period of emotional upheaval, exploring themes of discordance and euphoria. It contains concentric sawtooth waveforms encased in brick-wall compressed, slightly sidechained drums, with emotive strings attempting to pierce the flatline and get into the headroom. Although skeletal and stripped back, it's a powerful and attacking listen.

    "Thief", by comparison, is a rambunctious and unrelenting modern techno hybrid complete with ruff drums, sharp bleeps and some system pleasing sfx. Likely to cause an eruption of energy wherever it's played, it keeps succinct with some similar fx and sounds but opts for a harder edged, jugular hitting momentum. Mega.


    Sil says: Techno slammers from Whities firm here with SMX and Koehler providing two very different but equally arresting numbers.


    Sleepwalking (Black Man's Cry) / Natural Mystic

    For the best part of two decades now, South London Afro-Dub dons Soothsayers have been preaching their politically charged good vibrations to a growing and loyal fan base. 

    Having recently filled London’s Jazz Caf to much acclaim, and in anticipation of their new album, "Tradition", out on Wah Wah 45s in June, Soothsayers unleash the second single to be taken from it. It’s a double header of sorts that shows the band’s knack of reinterpreting a cover version or two for the dance floor. "Sleepwalking" is a take on Fela Kuti’s 1971 classic "Black Man’s Cry". It’s a chant of frustration aimed at disenfranchisement from the process and features Afrobeat Ambassador Dele Sosimi on guest vocal duties.
    It questions if we are sleepwalking into the abyss, and is a revolutionary song about taking power back into our own hands!
    Although it’s challenging to do justice to a Bob Marley cover, on "Natural Mystic" Soothsayers cradle the spirit of the originator and turn it upside down, transforming the familiar into a journey back to Africa via their trademark groove. Spiritual jazz flutes and percussion combine with the floating vocals of the mighty Cornel Campbell, while the song’s main melody is emphatically reproduced by Soothsayers horn section to stunning effect.

    Archeo's 12th release is dedicated to Sth Notional's organic, meditative and groovy 1992 Japanese release, collecting all the original CD tracks alongside the rare 12" versions and 4 Special remixes from Japanese based producers, Kuniyuki, Chee Shimizu (Organic Music), Max Essa and Tadashi Yabe (U.F.O.). A killer chiller, Sth Notional's "Yawn Yawn Yawn" came to the attention of regular music fans (as opposed to bearded Balearic fetishists) as the opening track of bearded Balearic fetishists Moonboots and Balearic Mike's 'Originals' compilation. In true 1992 fashion, the original 12" featured three original tracks in a plethora of different and distinct mixes, all incomparably calming. Here, we get all those lovely variants of "Yawn Yawn Yawn", "Beyond The Outside" and "Song With No Words" with additional Brucey bonus mixes from a few of our favourite cats. Acclaimed Japanese digger Chee Shimizu soothes our cares with a horizontal dip in the ambient paddling pool for his version of "Yawn Yawn Yawn" while Yabe brings the Balearic beats on his mix, working through acoustic strumming, organic percussion, avant explorations and an ever present kick drum. Ex pat hero Max Essa takes "Beyond The Outside" for a sunny stroll through the cherry blossom trees, injecting the original with a trademark drum machine groove before Kuniyuki closes the package in wholly horizontal fashion. 

    Sugar Candy Mountain

    Do Right

      Do Right is the follow up to Sugar Candy Mountain’s critically acclaimed 2016 album, “666”. Part travelogue, part response to the current, turbulent climate, Do Right gives voice to the deeply nested anxiety of modern times and attempts to offer a balm. Nature, it seems, is where the band often goes to calibrate its’ moral compass so frequently upended by the daily news-cycle. Sugar Candy Mountain invites you to join them on this journey singing “There’s a quiet place I go when I need to fifind my way/ There’s a quiet place inside/ Come on in just knock and a door will open”.

      Musically, the band remains rooted in 60’s and 70’s rock, with their signature honey sweet vocals. “Do Right” leans more heavily on synthesizer than the band’s previous records, lending the album a more modern feel. The album pairs the ephemeral orchestral arrangements of The Beach Boys with the pop sensibility of George Harrison on “All Things Must Pass”. Oscillating between the hazy psychedelic pop of Mild High Club, the driving energy of Dungen and the danceable familiarity of The Supremes Do Right is a perfect cocktail of old and new, imploring the listener to take a ride into the sunset with Sugar Candy Mountain. 


      Coloured LP Info: Limited edition blue vinyl with postcard.

      Coloured LP includes MP3 Download Code.

      The second release on Kon's officially licensed KONtemporary imprint is here and once again he flips one of disco's anthems to devastating effect, deftly reworking Sylvester's evergreen 'Over & Over'.

      A true dance-floor bomb, 'Over & Over' is just one of THOSE records that has everyone on the floor and full of feels. Originally written by the legendary team of Ashford & Simpson it's inevitable that this jam oozes class. Kon has lovingly freaked the original master tapes into 2 brand new, fresh versions that will undoubtedly find their way into any self-respecting disco freaks DJ set. On the A-side we have his 'Found A Friend Remix', a beautifully reimagined and restructured version that leaves lots of space and let's those wonderful strings really soar, finally peaking in total disco glory! It's no wonder that the mighty DJ Harvey has been closing his sets with this one. Pure class and perfect for losing yourself in pure emotion. On the other side we're treated to an amazingly bold 'Dub mix', in keeping with the traditions of the classic labels, West End, Prelude, Fantasy and Co, it's sparse, melodic and contains just enough juice to keep the people dancing and asking for more! 


      Patrick says: Currently killing it as Harvey's end-of-nighter, Kon's fresh flip of this Sylvester classic comes through with a whole load of hands in the air energy, stranger hugging emotion and soulful Southport power. Killer!

      Music From Memory’s latest release in their 12” series focuses on the little known UK band The System. A project masterminded by Bob Lamb, a somewhat cult figure in Birmingham's music history; the short lived group released only one album ‘Logic' and a single in 1983 on the somewhat obscure French label ‘Romantic Records’. This distinctively forward thinking new wave/synth pop album met with poor distribution and with almost no promotion to speak of at the time and quickly dwindled into obscurity. The albums sense of technological exploration, outstanding production value coupled with the band’s gift of writing deeply emotive, yearning pop tunes, make it sound though perhaps more relevant today than many other far more successful albums of it's time.

      Whilst the band and the album might have sunk into obscurity, the band were no novices to the music business. In fact the highly regarded producer Bob Lamb had played as a drummer throughout the late sixties and into the late seventies for a number of progressive rock bands. The last of which, The Steve Gibbons Band, found moderate success both at home and in US, even opening up for The Who on their world tours. Having travelled the world as a musician, in 1979 Lamb would set up a 4-track recording and mixing studio in his basement flat to focus on production. In this state of the art Birmingham studio he would work with Duran Duran on their earliest work as well as producing UB40's very first album. With this highly developed sense of production, it was here in Bob Lamb’s studio that the four members of The System set out to make a pop record very much driven by the new possibilities of technology and developments within studio recording.

      With instrumental tracks ‘Vampirella’, sounding almost prophetic of Detroit techno tracks that would not be made until some 10 years later and ‘Pendy! You’re In Some Awful Danger’ a vaporous synth excursion and anthemic drum-heavy vocal track ‘Almost Grown’, this 12" also features the unreleased end of the night jam ‘Find It In Your Eyes’, a track which somehow never made it on to the original LP release.


      Patrick says: After it sold out in seconds first time round, MFM treat us to a swift repress of this synth pop gem. Little known Birmingham act The System failed to hit the big time, but their flawless set of dreamy 80s pop gems rival Talk Talk and Blue Nile at their finest. Weirdos should take note of 'Vampirella', a blast of Balearic-techno which takes us to the factories of Detroit via a Saint Tropez beach.


      Music Exists Disc 4

        Fourth in a series of 4 Vinyl Only "Discs" by Tenniscoats. In their 20 year career the band collaborated with The Pastels, Jad Fair, Norman Blake and others. LP Incl. double sided fold-out Insert Alien Transistor and Tokyo-based label Afterhours release the vinyl-version of Volume 4 of tenniscoats' masterpiece "music exists" and therefore eventually accomplish this magic quadruple release by the Japanese experimental folk luminaries. "It may even be their greatest ever music, essential plus" Monorail Music, Glasgow.

        Emotional Response returns to the SchleiBen series, with another offering of 4 split albums. Again artists are given free reign, encouraged to push the boundaries of their studio and live experimentation in form and texture.
        For parts 5 - 8 the net is cast wide, from the psychedelic moons of Tomaga to Matthewdavid's meditative live improvisation, a collection of A Man Called Adam's commissioned sound-works to Jon Keliehor's new age visions.
        First Tomaga, a duo that grew out of engine of psychedelic rock outfit, The Oscillation, to become a respected entity of it's own. Featuring long time friend of the label, Tom Relleen and drummer extraordinaire Valentine Ma, the project has grown to become greater than the sum of its parts. With 4 albums in 3 years and one more upcoming - plus their ridiculously overlooked solitary remix of Not Waving for the label - the output doesn't come close to matching their live "events", from almost constant touring.
        The 2 pieces were recorded in an improvised session as an interzone between their last album, which was recorded entirely in non-studio spaces and their newer material. Featuring heavily processed long form studio recordings, the pieces, with Tom's bass and audio manipulation set over Valentine's exemplarily, intricate percussive interplay, provide a perfect, brooding introduction to the second series of SchleiBen.
        This is contrasted with the first 'official' solo output of Neil Tolliday. As Nail, he has gained respect for over 25 years crafting deep, bumpin' House music on labels like DiY Discs, Remote and Classic, including the sought after Big D's Lounge album. After a sojourn as one of half of off-kilter pop duo, Bent, the Nail moniker has been recently resurrected for a new generation of followers. 

        Ron Trent

        Dance Floor Boogie Delites

        Hefty slice of big Ron comin' back atcha here courtesy of One Music, Germany. Originally released in 1995 on Prescription, this thick but languid house epic is tailor made for long, sweaty sessions; it's deep organ licks keeping you locked into a its tribal thrust for its extended, ten minute+ duration... On the flip "Morning Fever" is equally languid and relaxed, a shuffling hi-hat pattern guiding us through gospel tinged organ lines, xylophone licks and a grinding, low tuned bassline. Clav patterns add life and vibrancy to the mix, as this daytime romp continues in earnest - adding more leads and an advanced musicality to the pot as it casually saunters onwards.

        Wonderful stuff from Ron Trent here, timeless house music made with passion, love and nothing but sympathy for the style. Essential. 

        Ron Trent's masterpiece from 1993 "I Feel The Rhythm" back again with an official remaster. Now with the added bonus of including the killer Paul Johnson remix from 1999 (on Prescription). There's none that did 90s deep house quite as well as Ron Trent, and this is one of the best examples of the genre. Sounds literally burst from the wax, with liquid synths, jittering chords and chiming FM bells encompassing a buoyant deep house groove. With one of Big Ron's gloriously long arrangement, it invites the listener to get totally lost in its tantalizing, feel good energy. On the flip Inner Experience provide the first revision, taking the track out of the church and into celestial realms. Floaty but direct, this blissed-out slice of house power should ensure a whole portion of the floor dances eyes-wide-shut, with carefree abandon and tangible pleasure. Finally, Paul Johnson unloads his clickity, jacking drum patterns onto the foundations of the track, keeping true to the OG but adding a different rhythm for the dancers. This is the first time all three versions have appeared on one 12" - don't sleep!


        Matt says: Massive, massive re-ish here from Big Ron. The first time all three essential mixes of "I Feel Rhythm" have been collated on one disc. You need!

        TT (Theresa Wayman Of Warpaint)


        'Debut solo album from Warpaint guitarist & vocalist Theresa Wayman - It’s been 14 years since Wayman and her bandmates formed Warpaint in their early 20s, LoveLaws allows her to explore ideas that otherwise are difficult in a band. Though she’s a guitarist, she’s not much inspired by other guitarists. It’s been beats, basslines and samples since her teenage years. “I’ve never wanted to be a rock person, so I'm finally fulfilling my vision from 20 years ago”, she says. 


        Darryl says: Theresa Wayman of Warpaint fame is signing copies of her new album 'LoveLaws' here at Piccadilly Records on the release date of Friday May 18th at 1pm.
        Pop in to say hi, and get your copy signed!
        (It's FREE entry and no tickets are required)


        Coloured LP Info: Gatefold Rose coloured LP.

        U Brown’s "Repatriation" album includes 8 previously unreleased bonus tracks by Dickie Ranking (aka Snagga Puss) including a sweeeet-ass set of dubs that's instantly got Kickin' P snaffling a copy into his section. Released in '79, it sees the production venture into that cleaner, 16-track format that would dominate the eighties.

        With Sly and Robbie and the Revolutionaries, plus a host of other JA talent, it's a stupendously strong set which perfectly displays U Brown's inheritance of influences from U-Roy, Big Youth and I-Roy.

        Originally released on Hit Sound, Burning Sounds have now taking extra care at re-releasing this amazing reggae collection on beautifully pressed 180g vinyl, with the bonus tracks included on an equally well manufactured 10" 8 track EP. Superb!

        Souvenir is an album by one of the most promising and talented music makers from today's Japanese underground scene: VIDEOTAPEMUSIC.
        Videotapemusic is a young music and video producer from Tokyo who uses old Japanese and Asian VHS tapes collected in dusty recycle shops and closed rental video stores as raw material for his sampling work and video production, creating a singular and highly unique musical world that has created waves on the Japanese scene since 2009. Starting out strong with three self-released albums, followed by two albums on Japanese label Kakubarhythm and a collaboration 12" on EM Records, "Souvenir" is now the first Videotapemusic album released outside of Japan, available as a limited 180g heavyweight vinyl LP edition, and in digital format. The LP comes with a download card. The eight tracks in "Souvenir" also feature the cream of the crop from the current Japanese scene: Beipana on steel guitar, MC.sirafu on steel pan, saxophonists Satomi Endo, Satoru Takeshima and Kaoru Masuda, trumpetistsTaichiro Kawasaki and Makoto Takahashi, DJ Eskimo, guitarist Yuichi Ushioda, percussionist and hand sonic player Hajime Matsushita, keyboardist Yu Arauchi, Videotapemusic on pianica and vocalists Sansuke Yamada, Toshihiko Ikeda and Ryu Tsuruoka. Dive into a world of musical delight and discover today's best music from Japan!

        Tom Waits

        The Heart Of Saturday Night - Remastered

          Expanding beyond the folk and pop stylings of his first album, Waits’ second studio release Heart of Saturday Night established his reputation as a versatile and distinctly American songwriter. Its bluesy jazz arrangements featured bass, drums, sax and Waits on piano. The title track, a melancholy ode to Saturday night rituals, and the tenderly romantic hymn-like “San Diego Serenade” are enduring classics covered by an array of artists from Diana Krall and Nancy Griffith to folk hero Eric Anderson. The album also features “Diamonds on My Windshield”, the first of what would become a signature for Waits’, the spoken word-poetry song. Waits’ delivers these lyrics as pure beat jazz in the stylings of Kerouac, Langston Hughes and Bob Kaufman.


          LP Info: 180g black vinyl in gatefold sleeve.

          “I was under a lot of stress because I was trying to make an anti-folk record and I was having trouble doing it. I wanted to make something deep-fried and more me-sounding. I didn’t want to be jammy acoustic guy anymore. I just wanted to make something weird and far-out that came from the heart finally. I was always trying to make something like this I guess, trying to catch up with my imagination. And I think I succeeded in that way — it’s got some weird instrumentation on there, and some surreal far-out words.

          I’m lucky enough to have some people who are playing on it who had a big part in shaping the songs and writing with me. Cooper Crain, the guy who engineered it, and played all the synthesizers. And when the flute guy, Nate Lepine came in, that was really something that made it special. The producer was this guy LeRoy Bach. I love LeRoy, he’s a really talented guy. He did the last record too.

          And it’s more Chicago-y sounding. Chicago sounds like a train constantly coming towards you but never arriving. That’s the sound I hear, all the time, ringing in my ears.” – Ryley Walker.


          Barry says: Narcotics enthusiast and all-round ledge Ryley takes us on his newest journey into the wilderness with 'Deafman Glance', with the same tender plucking acousticry we've come to know and love, but with the psychedelic element all the more pronounced. Brilliantly progressive and nuanced songwriting with Walker's imitable style.


          Ltd LP includes MP3 Download Code.

          Charles Watson

          Now That I'm A River

            Charles Watson – the London based songwriter/producer and member of indie duo Slow Club and garage-rock super group The Surfing Magazines – announces the release of his debut solo record.

            Not only is this Watson’s solo debut but it also marks his first foray into production. Exploring his relationship with traditional harmony singing, Watson worked with sampled versions of his own voice to create unusual vocal textures.

            A former writing student of Central St Martins and The Faber Academy, Watson uses his own fiction writing as a spring board for his lyrics, a method he has also used for his previous records. The new album takes inspiration from the reoccurring themes and language of the JG Ballard novel 'Hello America'. Now That I’m A River was co-produced by Watson with longtime collaborator David Glover at Tesla Studios in Sheffield and features a hand-picked band, including Guillemot's Fyfe Dangerfield and Hot Club De Paris' Paul Rafferty. Rozi Plain and members of The Deep Throat Choir and Trashkit also make an appearance on the album title track 'Now That I'm A River'.


            Coloured LP Info: Pink marble vinyl.

            Wax Chattels

            Wax Chattels

              Guitarless Guitar Music. This is the self-imposed one-line description chosen by Auckland, New Zealand’s Wax Chattels. The keyboard, bass and drums trio don’t have a guitar player, but their overwhelming sound and energy create an atmosphere akin to a traditional power trio though their music is anything but traditional. They create darkly hypnotic and frenetic music that’s rhythmically complex and sinister; there’s heavily treated keyboards, unrestrained basslines and punishingly simple drums. And, it’s loud.

              Peter (keyboards/vocals), Amanda (bass/vocals) and Tom (drums) met while studying Jazz Performance at the University of Auckland. After living abroad, completing Law School and/or performing in a myriad of other music-related projects, they started Wax Chattels, working up their material for a year prior to recording. “We tracked the songs as a live band to capture the energy of the live show, restricting ourselves to instruments which we play live and keeping all production to a minimum to focus on the band’s sound itself.”

              Live, they are not to be missed. While they do come across as a “rock” band, it’s coming from so many places so quickly that you’re kind of left wondering where you’re going. The opening of the one-chord tour de force “Concrete” begins in a downright frightening and jarring place and ends up in a Krautrock-via-Suicide crescendo. It was after a particularly insane live performance that they were signed by both Captured Tracks and Flying Nun Records on the spot.

              Wax Chattels recall the other side of Kiwi underground rock history that’s a bit less sunny and a bit less jangly. The small, yet constantly groundbreaking nation has put forth a new act and album that demands your attention.


              LP includes MP3 Download Code.

              Fresh from a debut on 100% Silk, Berlin artist Westcoast Goddess continues to set forth a vision of psycho-spiritual house music with this debut release on Omena.

              "Springtime Forever EP" consists of 4 tracks dating from 1998 to the present, each representing a joyful season of the artist's heart.

              Beginning with the Roule-indebted "Summer Song '98" - coursing with searing strings, flanging hooks and a loose house beat, this instantly transports the listener to a better time; before fear, surveillance and narcissism really grabbed hold of our society (Dave's just informed by that there was plenty of narcissism in the late 90s... but hey ho - ed).

              "Better The..." is a highly musical number, with interplay between various synthesized elements, a stomping house beat and some brilliant keyboard solos. It has that getting-towards-the-end-of-the-session exuberance that you need when the DJ's only got a few records left to play and should find itself soundtracking a thousand 'lights-on' moments across clubland.

              "No One Has 2 Know" sees an authentic NY house banger rolled out with aplomb. Complete with vocal, pumpin houz beats and tight synth stabs it's a no brainer for any main room or festival crowd.

              "Blisstonia Babies" completes the set with another high end show boater; rich piano chords paired with lavish synthlines, trilling keys and arm-raising strings; an absolutely stonking house anthem with spine-tingling musicality and fathoms-wide smiles throughout. Nothing has embodied the feel good spirit of house music as much as this track this year! Massive.

              As always, Ivo Kiusalaas has provided the label art.

              As the title suggests, Rejuvenate marks a rebirth for South London musician Paul White. Abandoning sampling altogether, White wrote, played and produced all of Rejuvenate's music himself, and the result is an album of playful, psychedelic pop.

              It would have been far easier for White - previously described as a 21st century DJ Shadow, often compared to Madlib and best known as Danny Brown’s go-to producer - to construct an album of loop-based, hip-hop-orientated beats. Instead, taking an ambitious left turn, he worked on honing his songwriting and instrument playing abilities and embarked on creating a totally original record worthy of sitting alongside those he’d usually sample.

              Rejuvenate’s broad sonic palette includes cosmic rock, ambient, electronic, jazz, folk and more. Retaining a groove-heavy, psychedelic aesthetic throughout, White successfully melds these various influences in to his most cohesive, fully-realised offering yet.

              Paul White is joined on this sonic trip by a trio of likeminded souls; British-Jamaican singer Denai Moore adds heartwarming, crystalline vocals to the aptly named Set The Tone and See Through, Zimbabwean musician and poet Shungudzo (aka Shun) shares nuggets of wisdom on Spare Gold and dreamy, melting vocals for Ice Cream Man. White reunites with his sister, Sarah Williams White, and the pair draw on childhood memories for Laugh With Me and All Around.

              Paul White’s previous output includes a treasure trove of mostly instrumental solo records, plus collaborations with Charli XCX, Jehst, Homeboy Sandman, Guilty Simpson, Jamie Woon, Obongjayar, Eric Biddines (as Golden Rules) and Open Mike Eagle. More recently, White reconnected with frequent collaborator Danny Brown, producing most of the Detroit rap maverick’s mind-blowing Atrocity Exhibition album.



                Wire’s first three albums need no introduction. They are the three classic albums on which Wire’s reputation is based. Moreover, they are the recordings that minted the post-punk form. This was adopted by other bands, but Wire were there first. These are the definitive re-releases. Each album is presented as an 80-page hardback book – the size of a 7-inch, but obviously much thicker. After a special introduction by Jon Savage, Graham Duff provides insight into each track. These texts include recording details, brand-new interviews with band members, and lyrics.

                This stunning set of presentations also includes a range of images from the archive of Annette Green. Wire’s official photographer during this period, Green also shot the covers for Pink Flag and Chairs Missing. Promotional and informal imagery – in colour and black and white – is featured throughout the books. Most of the photographs have not been seen for 40 years – and many have never been published anywhere before.

                These special editions are something every Wire fan will want to own. It has been a number of years since these albums were readily available. The aim with these new vinyl and CD releases is to approximate the original statements as closely as possible, but with remastered audio. The vinyl releases have the same covers and inners as the originals (minus the Harvest logo). The digipack CDs have identical tracklistings to their vinyl counterparts. These versions should be considered Wire’s classic 1970s albums, pure and undiluted.


                Chairs Missing

                  Wire’s first three albums need no introduction. They are the three classic albums on which Wire’s reputation is based. Moreover, they are the recordings that minted the post-punk form. This was adopted by other bands, but Wire were there first. These are the definitive re-releases. Each album is presented as an 80-page hardback book – the size of a 7-inch, but obviously much thicker. After a special introduction by Jon Savage, Graham Duff provides insight into each track. These texts include recording details, brand-new interviews with band members, and lyrics.

                  This stunning set of presentations also includes a range of images from the archive of Annette Green. Wire’s official photographer during this period, Green also shot the covers for Pink Flag and Chairs Missing. Promotional and informal imagery – in colour and black and white – is featured throughout the books. Most of the photographs have not been seen for 40 years – and many have never been published anywhere before.

                  These special editions are something every Wire fan will want to own. It has been a number of years since these albums were readily available. The aim with these new vinyl and CD releases is to approximate the original statements as closely as possible, but with remastered audio. The vinyl releases have the same covers and inners as the originals (minus the Harvest logo). The digipack CDs have identical tracklistings to their vinyl counterparts. These versions should be considered Wire’s classic 1970s albums, pure and undiluted.


                  Pink Flag

                    Wire’s first three albums need no introduction. They are the three classic albums on which Wire’s reputation is based. Moreover, they are the recordings that minted the post-punk form. This was adopted by other bands, but Wire were there first. These are the definitive re-releases. Each album is presented as an 80-page hardback book – the size of a 7-inch, but obviously much thicker. After a special introduction by Jon Savage, Graham Duff provides insight into each track. These texts include recording details, brand-new interviews with band members, and lyrics.

                    This stunning set of presentations also includes a range of images from the archive of Annette Green. Wire’s official photographer during this period, Green also shot the covers for Pink Flag and Chairs Missing. Promotional and informal imagery – in colour and black and white – is featured throughout the books. Most of the photographs have not been seen for 40 years – and many have never been published anywhere before.

                    These special editions are something every Wire fan will want to own. It has been a number of years since these albums were readily available. The aim with these new vinyl and CD releases is to approximate the original statements as closely as possible, but with remastered audio. The vinyl releases have the same covers and inners as the originals (minus the Harvest logo). The digipack CDs have identical tracklistings to their vinyl counterparts. These versions should be considered Wire’s classic 1970s albums, pure and undiluted.

                    FORMAT INFORMATION

                    CD Box Set Info: Deluxe 2CD.

                    Somewhere between electro soul and melodramatic pop, this is music focused towards the youth and set in some strange dream.  
                    Aset was a collective founded by a group of individuals deeply involved in community improvement initiatives and the struggle for justice and equality. A project that would link motivated adults with talented young people in the Washington, DC metropolitan area.
                    The compilation takes songs from three released projects of Aset, and one semi-unreleased single. Latonya, a spunky 11 year old kid singing about divorce, love, and dancing. The poster child of Aset. Treo, a trio of high school gals in harmony singing about love and relationships. Whax, the high school boys who were a bit stranger; the silly side of Aset. All backed by The Aset Players. Release comes housed in a newly designed jacket with inner sleeve containing info on the label/artists and an interview with the label director, Mba Mbulu.

                    STAFF COMMENTS

                    Patrick says: Last time out Smiling C were introducing us to the Arabic rap of Shams Dinn, and the imprint continue to expand our musical horizons on their second release, a retrospective of D.C. community initiative Aset. Youthful electro, jazz-funk and street soul with a hint of freestyle thrown in for good measure. It's a killer curio that'll make you move.

                    For the third volume of compilations curated by confirmed crate diggers, Spacetalk invites you to take a trip to the magical Mediterranean resort of Club Meduse in the company of Beachfreaks Records co-founder Charles Bals.

                    A creative director, designer and curator by trade, Bals spends the majority of his spare time searching for superb, unknown, small-run music releases made between the 1970s and 1990s. While some of these are made available for other enthusiasts to buy via Beachfreaks' mail-order service, many more make it into the racks of Bals' private collection. With Club Meduse, Bals is sharing rare, hard-to-find and just plain brilliant gems from his personal stash for the very first time.

                    For Club Meduse, Bals was inspired by countless magic childhood summers spent playing amongst the rocks, beaches and warm seas of the Cote D'Azur. The compilation, then, is a soundtrack to the greatest soft-focus, sunlit teenage summer holiday you've never had, with a gaggle of forgotten musicians and overlooked artists for company.

                    Take a barefoot stroll from the campsite to the beach with Ara Macao, whose warm and lucid "Canyon" is a softly-spun delight, before splashing in the crystal clear waters to the accompaniment of The Clean-Hands Group and their 1984 Balearic blue-eyed soul gems "Night Fly" and "Shake It On".

                    As the sun comes down, clamber across the cooling rocks with the tumbling, sun-kissed guitar solos and sparkling analogue synthesizer motifs of The Keyboys' leisurely "Savannah" ringing in your ears, before using the words of Gemini's "Take A Chance" – undoubtedly the most Balearic record to emerge from Sweden in the last 50 years – to get flirtatious under the moonlight.

                    Should you fancy a dance down the camp disco, Bals' selections will gently ease you onto the dancefloor and into the gaze of the boy or girl of your dreams. The fuzzy Italo-boogie of the C.V.Q Band's "Whatever You Do (Instrumental)" will get you going, while Miss's 1984 French electro gem "Hip Hop" should guarantee a celebratory conclusion to the night's party. 

                    Another on point project from Berlin's creative record store hub OYE! Following a sun soaked day on a trip to Tel Aviv, OYE counter culturist Delfonic wandered into an intriguing spot called Kuli Alma. Coincidentally Berlin based Tel Avivian Moscoman was playing at the club that very afternoon. Call it fate, call it afternoon drinking, call it sun stroke - whatever the reason, after a mind-blowing track dropped, he asked Moscoman about its origin, and not so long after, Disco Halal was born. This fresh label dedicated to Middle eastern and Oriental sounds, is gonna hit us with a string of originals and edits from artists such as Acid Arab, Memhet Aslan, Red Axes, Naduve, Autarkic and Moscoman himself, so make room in your collection! Volume 1 features a trio of edits alive with those hypnotic and psychedelic touches which are so central to middle eastern music. Acid Arab kick us off with the blistering electro-tech and 303 sequences of "Le Gaz Qui Fait Rire", a mindbending collision of tradional folk violins and vocals with all out club filth! On the flip Autrakic calms things down a little with the bordeline Balearic dub of "Palgey", a lilting lullaby with a touch of synth strings which could only come from the coast of North Africa. Last but not least, Mehmet Aslan drops "Yasadim", a beefed up house rework of a traditional Turkrock groove which balances a thumping bottom end with the high register strumming of the Baglama Saz. Exotic, inventive and addictive, Disco Halal looks set to make an instant impression on the dance music world.

                    After a chance, boozey meeting between OYE's Delfonic and Berlin based Tel Avivian Mowscoman back in the latter's home town, the excellent Disco Halal came into being with a sell out compilation EP. Now the dust has settled, the hookah begins to bubble for volume two. This time round, Moscoman is joined by two leaders of the Israeli new school, the infamous Red Axes and Whiskey Disco affiliates Rabo & Snob, alongside a fresh face on the production scene, Sofia's Kmtr. Moscoman takes the lead with "Machintosh", a rolling, rattling percussion number topped with chanted vocals and see-sawing fiddle and mangled synth. Red Axes make the most of their moment in the spotlight, delivering the show stealing "Hamathil", a dubby groover in the vein of "Iko Iko", complete with didgerido sequences, chanted vocals and handclaps. When you chuck in the killer percussion, low slung bass groove and occasional burst of screaching guitar, you've got all the ingredients for a winning track. Rabo & Snob take us further into wonky cosmic territory on the flip, getting low, slow and funky on "Hilbeh", a bass and clav led groover that'd have me throwing the strangest shapes you've ever seen in no time. Proggy synths reach for the stars while occasional blasts of breathy female vocal coo away, paving the way for a deep and dirty acid line. Last but not least, Kmtr makes his wax debut with "Sorarim", a syrup disco stomper which slowly builds into an all guns blazing, orchestral funk number perfect for at least a thousand and one Arabian nights! Yalla!

                    Blazing a Habibi House trail through dusty desert sands and sunbaked lands, Disco Halal return with another fragrant serving of spiced dancefloor flavours from the near East. Basel's Mehmet Aslan opens proceedings with a trance inducing dervish right in line with his globetrotting DJ sets or new label Fleeting Wax. The traditional sounds of zurna and davul fill the club with the energy of a bustling bazaar while rattling percussion, fizzing electronics and regimented machine drums. Recent Golf Channel signings and Tel Aviv cold wave stalwarts Autarkic take control for A2 cut "Zaffa", synchronising a growling bassline and solid kick under the massive folk vocal for a dark and dusky basement winner. Over on the flip, Naduve takes things deep and immersive with the saz and woodflute vibes of "Jose's A Star". Set to a lopsided, undulating rhythm, this melodic portion of dancefloor exotica should win over the psyche freaks and Balearic beards in equal measures. It falls to Dogu Civcik to bring the set to a close and the producer keeps quality sky high with the stripped back, cinematic and emotive "Mitrin". This groovesome treatment of a jazzy folk cut fits more into the Western Tradition, bringing to mind recent downbeat cut ups by the likes of Ptaki and HNNY and closes the set on a high. Yalla!

                    The latest edition of K7!'s ever essential DJ Kicks compilations sees Forest Swords take on curatorial duties. Following acclaimed albums on Ninja Tune and Tri Angle, soundtrack and installation work, and remixes of the likes of Bjork, Matthew Barnes aka Forest Swords has curated a 25-track compilation that draws a line between past inspirations and his current peers. "During all of the nights that shaped me as a music fan there wasn't really a focus on DJing etiquette; sticking to genres, perfect transitions – it was all pretty DIY and purely like having someone cook up their personal mixtape in front of you, to surprise you and to explore different sounds" says Barnes. "That kind of rough-around-the-edges approach is so much more exciting to me than something sterile and seamless and I wanted to carry that spirit into this compilation." Chosen over the course of a few weeks in winter 2018, the mixed version was cut on Barnes' laptop during a wintery cross-country train journey. Like much of his own output, his DJ-Kicks skirts around pristine electronics and embraces more organic textures: 80s post punk (Anna Domino, Dead Can Dance), classic 90s British electronica (Orbital, Mira Calix), and smokey digi-dub (Rhythm & Sound), all rub up alongside some of the most forward-facing producers working today (Demdike Stare, Laurel Halo, Fis). The compilation sifts through rhythms, shifting speeds and emotions: from pop icon Neneh Cherry's primal thudding to the zombified throb of exclusive Forest Swords track 'Crow' via Deena Abdelwaheed's clattering deconstructions to the euphoric two-step of Djrum. It's a collection of tracks that feels as restlessly curious and weighty as Barnes' own work

                    Various Artists

                    Spider-Jazz - KPM Cues Used In The Amazing Animated Series - That We Are Not Allowed To Mention For Legal Reasons

                    At the good ship Piccadilly we almost always offer our own reviews, but on this occasion I'll leave it to the man himself, Mr. Jonny Trunk.

                    'Rare and brilliant music as used in the late 1960s Amazing animated series we are not allowed to mention for legal reasons.

                    Way back in 1967, an animated superhero cartoon was released into the world. It was created by Grantray-Lawrence Animation and was based on a web-spinning, crime fighting blue and red dressed character that had originated in1962, in Marvel Comics by Stan Lee and Steve Ditko. This amazing series (that we’re not allowed to mention the name of for legal reasons) ran on ABC TV in the USA, then Canada, then a few years later started to spread its web further, running here in the UK throughout summer holidays, after school and possibly early mornings at weekends in the late 1970s. The series then got released on VHS video (and probably Betamax too) in the mid 1980s and still continues to spin its animated magic around the world through further broadcasts, YouTube and DVDs.

                    The series was notoriously low budget, with animated errors everywhere and numerous scenes, sequences and backgrounds being re-used all the time, often across the same episode. Even a certain spider logo on a costume would appear with six legs, then eight legs later on, then back to six again in the same show.

                    Series One opened with a newly written spider theme, a classic, hooky song all about doing whatever spiders can, and had, as Big George (RIP) once pointed out to me, a set of session singers falling slightly out of time with the backing track after the first verse. Series One also featured background music by jobbing composers Bob Harris and Ray Ellis but these cues and master tapes are now believed to be lost.

                    After Series One the company Grantray-Lawrence went bankrupt, so the amazing spider series (that we’re not allowed to mention for legal reasons) was taken on by producer Steve Krantz. He brought in new talent, including animation director Ralph Bakshi who later went on to turn a Robert Crumb strip cartoon into the feature Fritz The Cat. Krantz also slashed the already cripplingly small spider budget, and brought in the idea of using economic library music. Here, thanks possibly to an independent sync agent (it has been suggested that a company called Music Sound Track Services may have been the one) production turned to the KPM catalogue. This was one of the few really established library catalogues around at the time with a modern edge; it was full of fabulous, modern dramatic music tracks – often all on the same LP. But more importantly all the tracks were far longer than the one minute musical cuts that many of the fledgling USA library companies were issuing at the time. Not only would this KPM music be efficient, affordable and very easy to use, it would also mean syndication worldwide would not be held up by any future musical issues. Krantz produced two amazing spider series (that we’re not allowed to mention for legal reasons), and both were smothered with KPM music. In fact barely a spider second goes by without music playing in either the background or foreground.

                    For many years I – and many nostalgic others - have been thinking about putting this vinyl album together. For many enthusiasts this really is formative music – a junior foray into hip swinging crime jazz and esoteric musical grooviness. I’ve also read on line accounts by DJs from WFMU on the trail of original spider master tapes, and there’s even a whole forum dedicated to “Spidey-Jazz”. Then recently I was looking at an old spider tracklist and realized that several of my favourite KPM cues were there including Syd Dale’s “Hell Raisers” and “Walk And Talk”, both from one of the most elusive and desirable KPM albums of all time (yes, you just try and find yourself a copy of KPM 1002 right now), so I decided to push on and get the album made.

                    So, what features on this Spider-Jazz Lp? Well it’s music from the amazing TV series we are not allowed to mention for legal reasons, BUT, not music from Series One. No, but it is all from Series Two and Series Three. From looking at archival cue sheets, over 50 tracks from various early KPM 1000 series albums were used across episodes. I’ve distilled this down into one exciting and enthralling LP, and if this works a further Spider Jazz album may well swing in to production. If you’re interested (and I’m sure you may well be) cues here came from KPM1001, KPM1002, KPM1015, KPM1017, KPM1018 and KPM1043 and were composed by master library composers of the era – Dale, Hawkshaw, Hawksworth, Mansfield etc.

                    And if you are listening over there in the USA, you may well recognize many of the cues here not just from the amazing TV series (that we’re not allowed to mention for legal reasons) but also from classic 1960s and 1970s NFL highlight shows that we are allowed to mention. 

                    FORMAT INFORMATION

                    Coloured LP Info: Amazing red vinyl with blue splatter.

                    LP Info: Black vinyl edition.

                    Man Power’s Me Me Me label presents us with a very special new compilation, ‘We We We’, which will see all profits donated to the vital Help Refugees charity. Help Refugees, is the leading UK NGO in a new movement of humanitarian aid, helping to plug the gaps in services not provided to those displaced by war. The man behind the compilation’s concept is Man Power aka Geoff Kirkwood, an established producer with credits for his off kilter mix of house, disco, ambient and techno on labels like John Talabot’s Hivern Discs, ESP Institute and Jennifer Cardini’s Correspondent.
                    Kicking off the set, Pional’s ‘Night Charmer’ is a typically inventive cut with icy drones and dehumanised vocals, while ‘Quantume Reach’ by Juan Maclean (feat Amy Douglas) is gorgeously off beat house with thoughtful chords and spine-tingling vocals with a poignant message. Onto the B-side and Force Majeure up the intensity with a percussion packed tribal tonker which flirts with disco and Italo before settling down as a techy banger. The polyrhythmic rattle continues on Edmondson's "Village" a trippy mix of minimal-style sound design, future primitive rhythms and occasional melody.
                    This is a compilation jam-packed with a broad array of accomplished and standout sounds, and that it is all for charity only makes it an even more essential and welcome release.

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