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Syclops

Pink Eye

    Written and produced by Maurice Fulton. "An Original Dr. Scratch Mix" Published by Buttrubb Music. players. Karo Brandi, leader of all of what you see, plus all of the artwork. Hanna Sarkari ,all guitars. Mim Suleiman all drums and percussion. Maurice Fulton. All keyboards bass and drum programming. Recorded and mixed at BubbleTease Communications Sheffield UK.

    Klaus Schulze

    La Vie Electronique Volume 1.2

      Now available for the first time on vinyl, One Way Static Records presents the THIRD volume in our new archival series ‘La Vie Electronique’. This volume (1.2) focuses on the years 1970-1972 and is spread over two glorious LP’s containing +77 minutes of Klaus Shulze rarities. This deluxe vinyl set also comes with an insert containing extensive liner notes. Available as a limited classic black vinyl retail edition (700 copies) with obi strip.

      Klaus Schulze is a German electronic music pioneer, composer and musician that needs very little introduction. In the late sixties & early seventies he was a member of several iconic bands such as ‘Tangerine Dream’, ‘The Cosmic Jokers’ & ‘Ash Ra Tempel’ before launching a solo career consisting of more than 60 albums released across five decades. Collaborations were numerous and highlights include working with Steve Winwood, Brian Eno & Alphaville… just to name a few.

      Klaus Schulze’s proto moog-synthesizer work is regarded as a milestone in electronic music & during the decades he released landmark albums in genres catalogued as ‘Ambient’, ‘Electronic’, ‘New Age’, ‘Berlin School’, ‘Experimental’, ‘Kosmische Musik’ & ‘Krautrock’. Mr. Schulze had a more organic sound than most electronic artists of the time, often he would throw in decidedly non-electronic sounds such as acoustic guitar and a male operatic voice. Schulze is also known for developing a Minimoog technique that sounds uncannily like an electric guitar, which is quite impressive in concert.

      On occasions he would also compose film scores such as Body Love 1977), Barracuda (1978), Next of Kin (1982), & Angst (1983). His best known song ‘Freeze’ has been used in films like Manhunter (1986) and more recently in Sofia Coppola’s ‘The Bling Ring’ from 2013.

      In 2009, producer Klaus D. Mueller and Schulze began releasing La Vie Electronique ("The Electronic Life"), a series of sets that collected rare sought-after early works & unreleased tracks put in chronological sequence. These sets contain some of the best music Klaus ever created and are early 70’s masterworks that will appeal to both fans and collectors.


      * Officially sanctioned by original members Charles Bullen and Charles Hayward
      * Remastered from the original analog tapes
      * First time ever on vinyl
      * This Is Not This Heat first US show 7/23/2018 at Pitchfork Festival in Chicago, IL.

      Formed in 1976 in Brixton, a multicultural, and – at the time – down-at-heel part of south London, This Heat were born into a music scene in rapid flux, first thanks to the punk explosion and then via new wave and its myriad offshoots into pop, rock and art-rock. But while many sought to apply punk attitude to chart-friendly sounds, This Heat were concocting some of the most experimental ideas ever committed to tape, taking influence from musique concrète, krautrock, the burgeoning industrial scene and even the dub reggae blasting out in their home borough.

      In many ways, the nuanced sound worlds created in the studio by This Heat are tailor made for sedentary headphone listening. But pulling off such complicated, genre defying compositions live was surely something to witness. Until now, there was no real official document of the group’s live performances. Compiled by Charles Hayward and Charles Bullen from rough cassette tape recordings of European gigs in Tilburg, Nijmegen, Ärhus, Apeldoorn, Vienna and Rheims between April 1980 and June 1981, Live 80-81 is an essential document of This Heat's powerful live performances.

      Following Modern Classics Recordings’ 2016 reissue campaign to mark the band’s 40th anniversary, these new releases Made Available, Repeat / Metal, and Live 80-81 round out the story. Each release is sanctioned by surviving members Charles Bullen and Charles Hayward and features newly remastered audio sourced from original tapes.


      * Officially sanctioned by original members Charles Bullen and Charles Hayward
      * Remastered from the original analog tapes
      * First time ever on vinyl

      Formed in 1976 in Brixton, a multicultural, and – at the time – down-at-heel part of south London, This Heat were born into a music scene in rapid flux, first thanks to the punk explosion and then via new wave and its myriad offshoots into pop, rock and art-rock. But while many sought to apply punk attitude to chart-friendly sounds, This Heat were concocting some of the most experimental ideas ever committed to tape, taking influence from musique concrète, krautrock, the burgeoning industrial scene and even the dub reggae blasting out in their home borough.

      Recorded from 1979 – 1980 Repeat / Metal is essentially This Heat’s third proper album, although it was released posthumously in 1993. Arguably their most radical work, Repeat / Metal features side-length tape experiments ranging from the dubby drum loops of “Repeat”, a 20 minute edit / reworking of their landmark piece “24 Track Loop”, to the gamelan-inspired sounds of “Metal”, an electro-acoustic work recorded outside of their studio, Cold Storage, and helmed by member Gareth Williams.

      Following Modern Classics Recordings’ 2016 reissue campaign to mark the band’s 40th anniversary, these new releases Made Available, Repeat / Metal and Live 80 – 81 round out the story. Each release is sanctioned by surviving members Charles Bullen and Charles Hayward and features newly remastered audio sourced from original tapes.


      * Officially sanctioned by original members Charles Bullen and Charles Hayward .
      * Remastered from the original analog tapes .
      * First time on vinyl in 20 years.

      Formed in 1976 in Brixton, a multicultural, and – at the time – down-at-heel part of south London, This Heat were born into a music scene in rapid flux, first thanks to the punk explosion and then via new wave and its myriad offshoots into pop, rock and art-rock. But while many sought to apply punk attitude to chart-friendly sounds, This Heat were concocting some of the most experimental ideas ever committed to tape, taking influence from musique concrète, krautrock, the burgeoning industrial scene and even the dub reggae blasting out in their home borough.

      Given the difficult, abrasive, and involved nature of their furiously forward-thinking sound, This Heat never found anything approaching mainstream success, but patronage by the influential Radio 1 DJ John Peel meant they reached a national audience – whether that audience was ready for them or not. Made Available collects This Heat’s two Peel Sessions, recorded for BBC Radio 1 in April and October of 1977 and features essential songs that would later appear on their debut album, This Heat (1979) and the follow-up, Deceit (1981), as well as electro-acoustic works unique to these sessions. These are the earliest public recordings of the band, showing even in their infancy, masterful use of live tape loops and radical song structure.
      Following Modern Classics Recordings’ 2016 reissue campaign to mark the band’s 40th anniversary, these new releases Made Available, Repeat / Metal and Live 80 – 81 round out the story. Each release is sanctioned by surviving members Charles Bullen and Charles Hayward and features newly remastered audio sourced from original tapes.


      Pale Fountains

      Something On My Mind - LP And Bonus CD

        Les Disques du Crépuscule presents an anthology of classic early recordings by The Pale Fountains, the pioneering indie-pop band from Liverpool whose first single appeared on the label in 1982.

        Something On My Mind combines a 12 track vinyl album with a bonus 19 track live CD. Side one of the album features six studio tracks, including all tracks from the maxi single released by Crépuscule/Operation Twilight in June 1982, as well as unreleased second single Longshot For Your Love plus two songs recorded for the Crépuscule compilation albums Ghosts of Christmas Past and Moving Soundtracks.

        Side two features 6 live tracks recorded in October 1982 on the celebrated Crépuscule package tour Move Back-Bite Harder, which saw the Paleys matched with Antena, 23 Skidoo, Cabaret Voltaire and Tuxedomoon. The bonus live CD packaged with the album includes complete performances by Pale Fountains from Brussels (5 October) and Leuven (6 October).

        At the end of 1982 the group signed to Virgin and went on to release the acclaimed albums Pacific Street and From Across the Kitchen Table. Praised as “our greatest songwriter” by NME, Michael Head went on to form Shack in 1987 with brother John, while percussionist Nathan McGough moved into management. Trumpet player Andy Diagram also played in Diagram Brothers, Dislocation Dance and James. Sadly bassist Chris ‘Biffa’ McCaffrey passed away in 1989; a donation from the proceeds of sale of this album will be made to The Brain Tumour Charity in his memory. www.thebraintumourcharity.org

        TWI 119 cover art by Benoît Hennebert. Liner notes by Paleys historian Geoff King.

        FORMAT INFORMATION

        Coloured LP Info: Limited edition clear vinyl pressing (500 copies).

        Tangents

        New Bodies

          After an eventful year of touring throughout their native Australia - including runs with labelmates MONO and likeminded pioneers Tortoise - and featuring alongside the work of artist David Hockney at the National Gallery of Victoria, post-everything quintet Tangents return with another album, and another stylistic detour. New Bodies continues Tangents' rummage through countless varieties of electronics, rock, dub, noise, and free improv jazz that defines the group's acclaimed aesthetic.

          The spacious dub of a plucked cello gives way to a minimalist breakbeat tableau resting over rhythmic prepared piano; a staid electronic groove is gradually absorbed into washes of frenzied improv; staccato synths are woven into tumbling avant-rock; and shimmering free drums phase over static loops of piano, guitar and cello. To quote FACT Magazine, "The quintet are so comfortable working with jazz, folk music, postrock and electronic music that it comfortably hangs in a space between the m all." On New Bodies, that description rings more intuitive and authentic than ever. 

          Lay Llamas

          Thuban

            Four years on from Lay Llamas’ Rocket Recordings debut Østro, this Italian-based astral-voyaging collective, led by Nicola Giunta - have manifested a revelatory official follow-up in the form of Thuban - a travelogue powered by a pan-global fascination with rhythmic hypnosis and an unquenchable experimental mindset. Dwelling in the night sky of the Northern hemisphere, Thuban was the star closest to the North pole from the fourth to the second millennium BC. For Giunta. this mysterious stellar icon offers pause for thought. “A polar star is something that drives the travellers towards a safe place. But in the age we’re living now it seems hard to recognise a polar star.” Indeed, his mission has been as much one of discovery for himself and listener alike “Everything around us is transforming, always!

            You know, I’m not a proper songwriter, I consider myself a sound crafter. An experimental alchemist of sounds and visions” True to form, Thuban maps out terrain in which collaborators from Clinic and Goat contribute to the air of earthy vibrancy and fertile exploration. Moreover, Mark Stewart of The Pop Group’s spoken-word contributions to the searing ‘Fight Fire With Fire’ (styled by Nicola as ‘dystopian afrobeat’) steers the album to new pinnacles of intensity informed by science fiction yet with explicitly political force “Thuban talks about ancient sea travels, ancient cultures, ancient rites, but also about today’s travellers, travellers from all ages” Nicola surmises “Travellers that are still looking for their Thuban, for their polar star to reach a safe place to live with their family.” 

            FORMAT INFORMATION

            Indies Exclusive LP Info: Incadescent Orange/Black UK Indies Only.

            Uji

            Alborada

              Uji spins a hypnotic spell of sounds on his debut solo release; “Alborada”, joining the canon of recent producers re-imaging world sounds within the realms electronic music - think Auntie Flo, Nicola Cruz, Clap! Clap! And Populous. Yet his music has thoughtful nuance and textural depth, exploring a rich organic palette of sounds that will easily appeal to fans of Nicolas Jaar, Pantha Du Prince and John Talabot too.

              Having been born in Buenos Aires, Argentina, and raised throughout Latin America - the album reflects his experiences in both the Latin American and Afro-Latin diasporas. On tracks like “La Descarri“ featuring Corina Lawrence and Miss Bolivia, Uji skillfully crafts scenes from the high plains of Bolivia in their yearly carnaval celebrations before transporting us to Colombia’s tropical “pueblos” (villages) - dancing into the sweaty night on his remix of Petrona Martinez’s “Mariangola/Milagros” and then to daybreak in a Berlin warehouse on “Kiok” featuring Barrio Lindo.

              Most of the sounds on the album are field recordings done by Uji himself, compiling a vast sound bank over the years on his global travels, including a wide array of instruments from his collection such as; congas, cununo, marimba, balafon, charango, bombo leguero, sonajas, as well as analog drum machines, samplers, synthesizers and vocals. A multi layered assemblage with deep and rich textures from around the world.

              FORMAT INFORMATION

              2xLP Info: The LP comes in deluxe reverse-board sleeve with double-printed metallic gold Pantone design.

              Roisin Murphy

              All My Dreams / Innocence (Produced By Maurice Fulton)

              First in a series of four 12” singles produced by Maurice Fulton

              Today Róisín Murphy announces a series of four 12”singles produced by Maurice Fulton and released across consecutive months this summer through The Vinyl Factory, and shares the first pair of songs “All My Dreams / Innocence”.

              From Moloko onwards, Murphy has always gravitated towards a deep groove. But here, with Baltimore maverick musician/producer/DJ Maurice Fulton, she's gone and made some of the most hip-twitching, pleasure-centre-stimulating music of her life. And it's being released in the only correct way for sounds so intimately connected to the dancefloor: on a series of 12” singles, with stunning graphics from Portuguese New Yorker Braulio Amado.

              “Ultimately its about dancing,” says Murphy. “My kind of dancing: all low and funky, allowing itself to be a little out of control. It's all very simple in a way but Maurice has spent a lifetime immersed in music for dancing. His experience and depth of knowledge is undeniable. I did as I was told!”

              Across all eight original songs, her lyrics are intense, exploratory, probing into dark parts of her own and the listener's psyche – all the while working on the immediate, endorphin-stimulating dancefloor level too – and her voice is finer, richer, more expressive than ever. The tracks are full of the unadulterated, but deeply warped funk which Maurice has honed over his decades of dancefloor experience. This is as vivid and urgent as Murphy has ever sounded, and it bodes more than well for whatever comes next in her absurdly exciting on going voyage of discovery. “I've got more projects on the go,” she says; “I've got some new and exciting collaborators on board and I'm hoping an interesting patchwork of ideas and formats will emerge in due time. But for now I'm just gonna dance it out!!!”

              Most definitely her own artistic-director, Murphy recently took on a bold, experimental venture, issuing a clarion call to “dancers, choreographers, actors, dreamers” to collaborate with her at an exciting two-day residency in London’s The Store X. With the purpose to create epic video work that will span the entire project. As with the stunning visuals from her last two albums all the videos are directed by Murphy herself. In her own words: "We made a rave with a purpose. In the run-up I had made several funny little adverts asking people to come and join us. Sort of "shout going out" across my social media platforms, I was astonished by the response. I have just begun an intense editing process. Incredible people came to the shoot and gave it their all for two days solid, total dedication. A most humbling experience and one of the best of my entire creative life, regardless of the outcome." Keep your eyes peeled for the “All My Dreams” video, the first in a series of visuals, coming on May 18th.

              Wax Doctor

              Heat / Offshore Drift

              Classic drum & bass from '96, recorded at Acid Lab Studios, London and produced by Paul Saunders. A 'jazzy' standard from its golden era, big with the Metalheadz / Goldie crowd when it was originally released, prices on this beauty have sky-rocketed of late, hence this well timed re-ish from the label on which it was originally release: R&S.

              On the flip "Offshore Drift" languidly introduces itself through wandering keys, swirling ambience and suspended pads before dropping into some light and skitty dnb flavoured with summery chords and nice subs.

              Mega release, hopefully opening up the floodgates for more records to those who missed this iconic, groundbreaking UK sound the first time round. One thing we SHOULD be proud of being British...!



              Talaboman

              The Nightland Remixes - Inc. Superpitcher / Samo DJ / LB Dub Corp Remixes

              John Talabot and Axel Boman return together for another inspired joint effort. The two electronic artists have been independently successful in their respective careers, but as Pitchfork expressed in their glowing review 'Their collective output doesn’t sound much like either’s work; it doesn’t even necessarily reflect the thin, convex sliver where their interests overlap. Instead, they’ve hit upon something new.' This new sound also proved to be a hit with the likes of Mojo, Phonica, XLR8R, Self Titled and DJ Mag all including it their annual best of lists.

              The artists have now handpicked three remixers to add further depth and dimension to the Talaboman sound.

              Superpitched gets to work on "Dins El Llit", escorting it away from its esoteric, tribal-electric roots into something more charged, reinforced and in tune with stadium-slaying techno sets.

              "The Ghosts Hood" sees Swedish sound wizard Samo DJ ensorcells another typically magical canvas, powered by broken electronic rhythms and haunted by vocal fragments and techy bleeps.

              "Brutal Chugga Chugga" sees a warehouse friendly rub-down from LB Dub Corp, utilizing long grainy vox, stabby acid bass and loads of white noise fx swirls - excellent! 


              Cómeme writes a new chapter of its own history, introducing a new artwork, a new logotype and new music starting with these three V/A EPs.

              They've called it “Solidarity Forever”, as a motivator for our everyday actions, as the three different twelves introduce artists new to the label along with new collaborations and approaches. Volume one features tracks by Matias Aguayo, Katerina, Daniel Maloso x Red Axes and Gladkazuka. You will be able to hear heavy modern Latin riddims, technotic melancholia, lysergic disco fantasy and post internet underground funk - utopian music against dystopian times. A challenging and forward thinking set, it's delightfully aligned to our meta-dancefloors - whether it's in the physical presence or steamed n beamed n downloaded for posterity. The future is now! 


              Parquet Courts

              Total Football

                Parquet Courts release a special edition 7” for album track ‘Total Football’ just in time for the World Cup.

                The package includes a Panini-style sticker sheet which fans can use to create the cover art themselves.

                Exclusive B side track ‘Goofy vs Pluto’.

                Thee Hypnotics

                Righteously Recharged - Remastered Vinyl

                  “Thee Hypnotics brought the house down with their Stooges-like raw power, singer Jim Jones prowling like a feral Rob Tyner-meets-Jerry-Lee and backed by a cut-price Heartbreakers build around flamboyant guitarist Ray Hanson.” - Mojo (4 stars)

                  “Thee Hypnotics care only for their own generic past and frenetic present. The future doesn’t even get a look in... forget regression, this is reincarnation! Past, present and future!” - Melody Maker

                  Nineties hell-raising rock ‘n’ rollers Thee Hypnotics announce the release of ‘Righteously Recharged’, a coloured, heavyweight vinyl anthology including rare and unreleased material via Beggars Arkive. The band have also reformed for live EU and UK dates.

                  ‘Righteously Recharged’ will feature four LPs including Thee Hypnotics’ acclaimed debut album ‘Come Down Heavy’ (on violet coloured vinyl), the swamp-rock follow-up ‘Soul, Glitter & Sin’ (on red coloured vinyl) and their Chris Robinson, Black Crowes produced third album ‘The Very Crystal Speed Machine’ (which never saw a UK release and will be on clear vinyl), along with a fourth disc, called ‘In A Trance’ on white vinyl, with their very first single ‘Love In A Different Vein’ plus early demos and Peel Sessions.

                  The set also contains in-depth liner notes by journalist Julian Marszalek, featuring interviews with the band and a savvy look at the band’s rip-roaring career, featuring outrageous tales of rock ‘n’ roll excess and exhilaration.

                  Taking their cues from the Detroit militancy of The MC5, the corrupting output of The Stooges and the gospel according to The Cramps, Thee Hypnotics’ devastating brand of rock ‘n’ roll was propelled by near punishing decibel levels and a fervour bordering on the evangelical.

                  Blazing a devastating trail of high-octane thrills and annihilation, Thee Hypnotics occupied a bizarre hinterland that sat somewhere between the British neo-psychedelic scene of the late 80s and the detonation of garageinfluenced rock from the Pacific northwest of the early 90s. Little wonder that a band that shone so bright would burn out before the end of the century.

                  For the first time in 20 years, the classic line-up of co-founders Jim Jones (vocals) and Ray Hanson (guitar), with Phil Smith (drums) and Jeremy Cottingham (bass), have hit the road with all the power of a Viking raiding party. Still harbouring an intense belief in assaultive rock ‘n’ roll as liberation and delivering their sonic payload with a savage intensity, this influential and legendary group is back to testify one more time.

                  Kiefer

                  Happysad

                    Kiefer is a jazz pianist and beatmaker based in LA.

                    ‘Happysad’ is his debut album for Stones Throw, following ‘Kickinit Alone’ (released 2017 on Stones Throw’s experimental imprint Leaving Records).

                    Kiefer has production credits for Kaytranada and Anderson .Paak, has shared the stage with Terrace Martin and Moses Sumney and is a constant in labelmate Mndsgn’s live trio.

                    ‘Kickinit Alone’ was nominated for the A2IM Libera Award for Best Jazz Album.

                    For fans of BADBADNOTGOOD, Mndsgn, Thundercat.

                    Flasher

                    Constant Image

                      Washington, DC trio Flasher release their debut album, ‘Constant Image’, via Domino.

                      Recorded in 2017 at Rare Book Room in Brooklyn, NY, ‘Constant Image’ was produced by Nicolas Vernhes (Animal Collective, Deerhunter, The War On Drugs) and crackles with invention. This isn’t the sound of a band finding their feet, it’s the rare sound of three people - Taylor Mulitz on guitar, bassist Daniel Saperstein and drummer Emma Baker - who know exactly what they want to achieve from the start.

                      FORMAT INFORMATION

                      Coloured LP Info: Indies exclusive clear vinyl.

                      Coloured LP includes MP3 Download Code.

                      The Drowning Craze

                      Singles '81/'82

                        The history of post punk is full of curious footnotes and sudden dead ends. Fascinating bands that flared up, intoxicated with the rush of ideas and sense of creative freedom in that fertile period where there were no rules and boundaries to creativity for groups, leaving a vapour trail of a handful of singles and inevitable John Peel sessions before disappearing back into the ether.

                        The Drowning Craze are typical of those bands. Their legacy is three singles and a John Peel session, a glimmer of possibility and a hint of something quite wonderful and then gone. Fortunately for them their constituent members re-emerged years later in other projects leaving them flagged up on the history train with the band’s bassist Simon Raymonde going on to play in the Cocteau Twins before setting up his own label, Bella Union and original vocalist, Angela Jaeger, joining Pigbag whilst their next singer, Frankie ‘Fun’ Nardiello, joined the esoteric Chicago industrial disco band Thrill Kill Kult.

                        The Drowning Craze had formed in early eighties London with Simon Raymonde - the son of Ivor Raymonde who wrote hits for Dusty Springfield, such as ‘I Only Want To Be With You’ and ‘Stay Awhile’ and then string arranging for all the Walker Brothers hits. Simon played piano and violin at school but took his own tangent when punk rock arrived and bought his first bass in 1977 aged 15 and learnt the whole of ‘Never Mind The Bollocks’, the Sex Pistols’ first album, in one afternoon.

                        Inspired by punk rock / post punk and John Peel he was very much a child of those times. Glued to Peel’s lugubrious tones on the radio that were signposting a way out of the crashed car of punk rock and into new musical soundscapes he would also help to carve as a foot soldier with The Drowning Craze.

                        Claptone

                        Fantast

                          In his second artist album, ‘Fantast’, the Claptone universe is at its deepest and most vivid. He is the master of his domain and in his most artful offering yet the assured 13 tracks of ‘Fantast’ come together to create an album full of varied colours and atmospheric textures.

                          In music Claptone seeks not to create a world of secrecy but one of great depth and intrigue. An enigma with a tireless desire for creativity and thirst for new music, Claptone has brought together a diverse group of collaborators such as Bloc Party’s Kele Okereke, Blaenavon, Tender, Jones, Zola Blood, Austra’s Katie Stelmanis, The Boxer Rebellion’s Nathan Nicholson, Clap Your Hands Say Yeah, Joan As Policewoman and Matt Simons.

                          Boy Azooga

                          1,2,Kung Fu!

                            Boy Azooga is the shape-shifting musical mystery tour piloted by Cardiff’s Davey Newington, co-produced by the band and Eddie El Shakarchie aka Dr Ed Boogie and recorded in part in Eddie’s front room in Cardiff.

                            A prodigious musical talent, Davey was inspired by his art teacher at school who sent him off to town to buy Can’s ‘Ege Bamyasi’ and he takes musical cues from the likes of Sly & The Family Stone, Caribou, Black Sabbath, Outkast, Van McCoy, Ty Segall and The Beastie Boys.

                            With Davey recruiting friends Daf Davies, Dylan Morgan and Sam Barnes to form the Boy Azooga live quartet - an ensemble that swings smoothly from filmic instrumentals to a churning, rave-tinged rock that hints at both Can and their progeny the Happy Mondays - the band played a number of headline and support shows across the UK at the end of last year, including a manic sold-out hometown show in Cardiff at Clwb Ifor Bach almost a year to the day they made their debut in the city at the same venue.

                            FORMAT INFORMATION

                            Coloured LP Info: LP format pressed on pink vinyl with digital download code.

                            Rex Orange County

                            Apricot Princess

                              It’s been a pretty crazy 12 months for Rex Orange County, aka 19-year-old Alex O’Connor, from Haslemere, Surrey. After two guest slots on Tyler the Creator’s album Flower Boy, he’s played live with Frank Ocean and Skepta, all the while working on his debut album, Apricot Princess. The self-released record is full of sumptuous hooks, jazzy piano figures and musical left-turns that suggest a true original at work.

                              FORMAT INFORMATION

                              Coloured LP Info: Limited edition orange vinyl.

                              Various Artists

                              Still In A Dream - A Story Of Shoegaze 1988-1995

                                “Shoegaze” was a term invented circa 1990 to describe a new breed on UK Indie guitar bands inspired by the likes of 4AD Records, My Bloody Valentine and US acts like Sonic Youth.

                                Bands like Ride, Moose, Lush, Pale Saints and The Telescopes married dreamy, off-kilter melodies, skewed, heavily effects-laden guitar riffs and psychedelic production values.

                                Although “Shoegaze” was initially a somewhat derogatory term to pigeonhole a clutch of new acts, the term quickly evolved to become an accepted genre of music which has influenced successive generations of bands, especially those outside of the UK.

                                Housed in a lavish ‘book’ set, STILL IN A DREAM pays tribute to that seminal period with numerous classics, cult favourites, rarities and tracks new to CD.

                                Across five discs, the evolution of the sound labelled as “Shoegaze” is charted from the bands who inspired it on Disc 1 to many of the US and other non-UK acts on Disc 5. Awash with rare memorabilia, 12,000 words of sleeve-notes from journalist Neil Taylor and band biographies, STILL IN A DREAM is the ultimate tribute to what was also called ‘The Scene That Celebrated Itself’!

                                Quotes from Beautiful Noise, a film documentary about the ‘Shoegaze’ era.

                                “If Nancy Sinatra had Einsturzende Neubauten as a backing band, that’s how we wanted to sound.” - Jim Reid, The Jesus & Mary Chain

                                “Ride were a fantastic band – one of my favourites of all time.” - Robert Smith, The Cure

                                “Those first three Slowdive EPs defined that era for me. Absolutely beautiful.” Ivo Watts-Russell, 4AD Records

                                “Swervedriver were my favourite because they just sounded in a Mary Chain way like this American rock band.” - Toni Halliday, Curve

                                “Emma from Lush had a really unusual, original songwriting style.” - Kevin Shields, My Bloody Valentine

                                STAFF COMMENTS

                                Andy says: Perfectly titled, exhaustive document of all things Shoegaze, and related artists caught in it's orbit. I love this as this was a once-derided genre that just would not go away: modern dreampop and arty swathes of sound are all over the place these days, and no-one's laughing now! Beautiful.

                                Two years in the making, Close To The Noise Floor is a 4CD, 61-track set exploring the origins of electronica in the UK. Featuring tracks from key figures on the cassette label underground alongside early releases by future stars of the movement, this is part primitive rave, part synthesiser porn & part history lesson. Enthralled by the mysterious electronics of Pink Floyd, Hawkwind, Gong & German Kosmische artists such as Tangerine Dream, Harmonia & Cluster, & inspired by the DIY ethos of punk, a quiet revolution took place across the UK in the late 70s & early 80s. The rise of the microchip & the advent of affordable synthesisers enabled countless artists for whom guitars, drums & bass had become old hat, & in grubby bedsits, unremarkable living rooms & art school halls across the British Isles, UK electronica was born.

                                Exploring every corner of this fascinating & often overlooked chapter in musical history. For proto synth-pop look no further than 100% Manmade Fibre & Spoon Fazer, whilst British Standard Unit & Five Times Of Dust lay out techno templates which wouldn’t take full form until many years later. Elsewhere, the synthesiser laden ambient music of Zorch & the found sound collages of A Tent sit comfortably alongside early forays by familiar names – Blancmange, The Human League, OMD & Throbbing Gristle – in over four hours of futurist, entirely modern music.


                                The Saxophones

                                Song Of The Saxophones

                                  The Saxophones began as the solo project of Erenkov - a project that was loosely started over a decade ago but gained full momentum and dedication in recent years - he wanted to bring in some primitive drum and percussion playing and couldn’t think of anyone more suited than his wife. “I wanted to share the band with her,” he says. “Plus, I would be devastated if I had to leave for weeks at a time to tour without her.”

                                  The songs which make up the debut album were formed and written during a period in which the pair were living on a boat during a very wet winter in the San Francisco Bay Area. “Much of the music was written over rainy mornings on acoustic guitar inside the cabin of our boat and outside of the city in a little guesthouse in Pt. Reyes,” he reflects. It was then recorded in Portland over 10 days, the recording was an intense and occasionally tense process.

                                  Taking inspiration from 1950s exotica and Hawaiian albums (Edhen Abhez, Buddy Fo, and Martin Denny), 1970s outsider Italian songwriter Vittorio Impiglia, and a host of third-stream and West coast jazz records, the result is a unique offering.

                                  Various Artists

                                  Wanted 60’s Garage Rock

                                    Various Artists

                                    Wanted 60’s British Rock

                                      Various Artists

                                      Wanted 50’s Rock N’ Roll

                                        The Beginning Of The End

                                        The Beginning Of The End

                                          Strut presents the definitive reissues of two all-time classic Caribbean soul and funk albums, The Beginning Of The End’s ‘Funky Nassau’ (1971) and ‘Beginning Of The End’ (1976).

                                          Emerging from Nassau in the Bahamas in 1971, the band was formed around the Munnings brothers (Ray, Leroy and Frank) and the first song they recorded, ‘Funky Nassau’, became a No. 1 Billboard R’n’B hit, selling over a million copies. “We wanted to create something new,” remembers Ray Munnings, “something that was truly Bahamian. We loved funk but wanted to include elements of junkanoo, the indigenous music of The Bahamas.” An album was written within a week and recorded at Criteria Studios in Miami. “We brought in more Bahamian themes, like ‘Monkey Tamarind’, a wild fruit that grows there.”

                                          By the time of their second album in 1976, the band was managed by Don Taylor, also Bob Marley’s manager. “Don took us to Byron Lee’s studio in Jamaica and used Teddy Randazzo (Little Anthony & The Imperials) to direct the sessions,” recalls Munnings. “He gave us more of an uptempo jazz funk sound with Chicago-style horns.” The album led to a run of incredible bad luck. Booked to support Marvin Gaye’s ’What’s Goin’ On’ tour, the US Musicians Union stepped in and ordered a US group to fill the slot. They were then added onto a major Bob Marley tour in 1976 before he injured his foot, cancelling all dates.

                                          These definitive official reissues of ‘Funky Nassau’ and ‘Beginning Of The End’ are remastered by The Carvery from original tapes and feature full length tracks from the studio sessions. Both albums feature a history of the albums and the band by vocalist Ray Munnings, alongside rare photos. ‘Beginning Of The End’ appears on loudpress 2LP for the first time. The CD edition features both albums + all extra singles recorded by the band.

                                          The Beginning Of The End

                                          Funky Nassau: The Difinitive Collection

                                            Strut presents the definitive reissues of two all-time classic Caribbean soul and funk albums, The Beginning Of The End’s ‘Funky Nassau’ (1971) and ‘Beginning Of The End’ (1976).

                                            Emerging from Nassau in the Bahamas in 1971, the band was formed around the Munnings brothers (Ray, Leroy and Frank) and the first song they recorded, ‘Funky Nassau’, became a No. 1 Billboard R’n’B hit, selling over a million copies. “We wanted to create something new,” remembers Ray Munnings, “something that was truly Bahamian. We loved funk but wanted to include elements of junkanoo, the indigenous music of The Bahamas.” An album was written within a week and recorded at Criteria Studios in Miami. “We brought in more Bahamian themes, like ‘Monkey Tamarind’, a wild fruit that grows there.”

                                            By the time of their second album in 1976, the band was managed by Don Taylor, also Bob Marley’s manager. “Don took us to Byron Lee’s studio in Jamaica and used Teddy Randazzo (Little Anthony & The Imperials) to direct the sessions,” recalls Munnings. “He gave us more of an uptempo jazz funk sound with Chicago-style horns.” The album led to a run of incredible bad luck. Booked to support Marvin Gaye’s ’What’s Goin’ On’ tour, the US Musicians Union stepped in and ordered a US group to fill the slot. They were then added onto a major Bob Marley tour in 1976 before he injured his foot, cancelling all dates.

                                            These definitive official reissues of ‘Funky Nassau’ and ‘Beginning Of The End’ are remastered by The Carvery from original tapes and feature full length tracks from the studio sessions. Both albums feature a history of the albums and the band by vocalist Ray Munnings, alongside rare photos. ‘Beginning Of The End’ appears on loudpress 2LP for the first time. The CD edition features both albums + all extra singles recorded by the band.

                                            Sam Evian

                                            You, Forever

                                              As it has been said: no matter where you go, there you are. With his new album You, Forever, Sam Evian, the project of New York-based musician, songwriter, and producer Sam Owens, is here to add some eternity to that sentiment.

                                              “This is you, forever,” he says. “It’s about accepting that you are responsible for you, that you’re in charge of your actions. Everything you do affects others and yourself, so, no matter what you choose to do, be there and learn from it.”

                                              It’s a mantra that powers self-starter Owens, a producer and sound engineer by trade who entered the scene with his debut Sam Evian full-length, Premium, in the fall of 2016. The notion takes on a dual meaning that is echoed across You,Forever.

                                              “There’s a ton of romance on the record,” he says. “Maybe it’s all romance.”

                                              You, Foreveris Owens’s first foray into a more soul-baring sensibility and places the artist directly in the sightlines and heartlines of his listeners. The album (as well as 2017’s “Need You,” a collaboration with the multi-hyphenate musician Chris Cohen) was written on the heels of his experience touring Premiumwith his band and was recorded across the latter half of last year. The tours—which included opening shows for bands like Whitney, Teenage Fanclub, Luna, Nick Hakim and Lucius—taught him much about feel and interaction. Further fueled by a desire to escape from the glow of screens and to embrace a sense of limitation, he quickly developed a new set of instrumental songs written for a band rather than just himself and recorded them on a Tascam four-track cassette recorder in his parents’ house in North Carolina.

                                              “Just like most people, my recording studio day job had me staring at a computer eight hours a day,” he says. “I just needed to get away from the glowing rectangle. The only way to do that was to work on tape. The four-track is so limiting; you’re forced to get only the bones of the song down. You can’t do any overdubs, so it was fun to work on that with the experience of the live band behind me. And something about playing my family’s instruments in the garage where I grew up spurred a set of songs that became the new record.”

                                              Inspired by these limiting techniques, Owens borrowed an eight-track reel-to-reel tape recorder from a friend, rented a house in upstate New York, and took his band – Brian Betancourt (bass), Austin Vaughn (drums), Adam Brisbin (guitar), and Hannah Cohen (backup vocals) – there to record the new album in July of 2017. Focusing on instrumental grooves and the vibe he had achieved on the original four-track recordings, Owens found the process so enlightening he decided to up the ante yet again by banning tuning pedals from the house.

                                              “Tuning pedals make it so easy to sound good together, so when you eliminate them it takes everything back to the ’60s, which is when all my favorite records were born,” he says. “It makes everything more questionable, weird, and unruly in a really simple way.”

                                              Dreamy album opener “IDGAF” explores the notion of embracing one’s passions and pursuing one’s goals no matter the impositions in their path. On one hand a subtle stand against the current political climate and on another a call to be responsible, Owens calls it a romantic song that embodies his act of self-mixing his record: “I had to put myself aside and let the music happen.”

                                              “Health Machine” is a crunchy, slow-burning but deliberate stomper glowing with warm electric guitar noodling, saxophone wailing, and Owens’s reverb-laden lyrics that he says detail an abstract version of how he relates to his own physical form. “It’s about the unattainable health that I would like to imagine for myself on tour. The line ‘We slither out on a Tuesday feeling tired and hopeless’ is such a hilarious picture: four people in a minivan slithering out of Atlanta, Georgia, stopping at a CVS and getting a bunch of Zicam. Health is your job if you’re touring as a musician, although it’s a job I don’t do so well.”

                                              “Country” is a fleet, nimble driving song written after Owens and his girlfriend (Hannah Cohen, who also sings throughout the album) took a cross-country road trip and encountered what they perceived to be a dust storm in rural Nevada. “For a hundred miles we didn’t see a person or even a tree, then all of a sudden this giant dust cloud appeared which turned out to be ten cowboys on horses lassoing cows. It was the most real thing I’ve ever seen.” In fact, Owens wrote every song on the album with the act of driving-while-listening in mind, and says many of the lyrics came together following that life-changing road trip—the only time he has ever driven across America without anyone waiting on him to show up for a soundcheck. But despite the allure of the transient life, his heart belongs to one place.

                                              “The record is about romance, and about my love for living in New York and trying to separate myself from any idea I had previously of living in New York,” he says. “I’ve kind of designed my own world there.”

                                              Whether behind the wheel in the dust bowls of America, navigating the bustle of his adopted home, playing festival stages with rock legends, or getting back to basics in his parents’ garage, no matter where Sam Evian goes, there he is…forever.

                                              Express Rising

                                              Fixed Rope II

                                                The fourth Express Rising LP (and second featuring the expanded lineup of William Suran and Kevin Blagg, in addition to leader Dante Carfagna) finds the trio largely eschewing percussion in favor of twelve concise, three-minute-or-so-long bittersweet excursions that nevertheless retain the restrained, measured, and highly melodic scaffolding of their previous work. There’s more than a bit of Santo & Johnny at their most somnambulant here, slightly glazed, definitely reverb’d out, mysteriously bottling the flaring, saturated light of the desert at dusk.

                                                Brisa Roché

                                                Father

                                                  With Father, her sixth album, American Brisa Roché delivers her most personal and accomplished album to date. A gem of minimalist folk, haunted by the unique voice of the singer and produced by the grand John Parish- who directed among others the magic To Bring You my Love of PJ Harvey, a record with which Father shares common points: a twilight ambiance, fantomatic, something of Gothic Americana, a disquiet climate underlined by mythic Jean Babtiste Mondino’s cover photos.

                                                  In this album, written half in Paris where the singer lives and half in the small town in Northern California where she grew up, the timbre of Brisa Roché reveals itself more bewitching than ever. She inscribes herself in the line of great folk singers of the 60’s such as Karen Dalton or Vashti Bunyan and artists today like Alela Diane, shaman-singers, daughters of water and fire, capable of reviving the dead and reminding us of family operas, passion and the passing of seasons.

                                                  As its title indicates, Father is an out-of-the-ordinary project. In it Brisa Roché sings the immense, impossible quasi-incestuous love she lived, as a child and teen in Northern California, for her father (who died when she was 16), a dealer who recited poetry and lived at a hundred miles per hour, a charismatic and sulphurous adventurer, a man of endless conquests.

                                                  Far from being too personal or too centered around the artist’s own story, these songs reveal themselves to be universal, exploring all facets of love: longing, fascination, sadness, seduction, the desire to save the beloved. Songs everyone can see themselves in. And in them Brisa plays all roles: the tearful child seeking to hold her wildfire of a father back from death (the poignant Trying to control and Carnation), the role of a mother/wife (the marvelous Patience), or even the role of the unsettling dealers surrounding her pater (Holy Badness and its powerful refrain like an impious canticle).

                                                  Each sketch takes us further, into cabins lost in the forest (48) or onto backseats of cars parked in front of liquor stores, as Brisa Roché proves herself an accomplished songwriter, capable of the most beautiful texts, stories magnified by the work of John Parish. We rediscover the spare, pure production that is the signature style of the English musician: folk chords rough as old pieces of wood, strident electric guitar riffs (Nick Zinner of the Yeah Yeah Yeahs lent a strong hand), a few epic bass drum hits… Midnight full of Nature’s rustling, where rises the lustral voice of the Inconsolable.

                                                  If Dean Moriarty, the hero of On the Road, by Kerouac, had had a daughter, SHE would have recorded this album. Curled in the back of the Buick, criss-crossing America she would have scribbled these lyrics while watching the tanned neck of her “badass” father. In the career of every artist, there’s a piece of work that brings us into the depths of his/her heart, into its internal womb, where is crafted the need for expression, the very desire to sing. “Father” is of this kind. We are the closest one can get to lava. And, fuck, how it burns.

                                                  Nite Jewel

                                                  Want You Back

                                                    Nite Jewel is the performing moniker of Ramona Gonzalez. She is a composer, songwriter, and multimedia artist from Los Angeles, California, where she has exhibited a number of video and sound installation pieces. The Nite Jewel project is a combination of revisionist Bronx pop and hazy musical impressionism. This re-release from Italians Do It Better features "Want You Back", a sparkling, hazy electro-pop / oddball post-disco song sounding like it's been made on vintage 80s keyboards. We get two mixes of this, plus two versions (English! Spanish!) of B-side gem "All Out Of Order", a slo-mo electronic groover which gives Ramona's vocal the vocoder treatment.

                                                    Invisible Conga People

                                                    Cable Dazed/Weird Pains

                                                      For their tenth release, (now re-released) Italians Do It Better offer up some psychedelic electro-acoustic Kraut-disco boogie by Justin Simon (guitar, other, runs Mesh-Key Records) and Eric Tsai (synths, other, makes some of the band's equipment himself). "Cable Dazed" is a slowly building epic that features a muted kick and shaker rhythms, watery keyboards and scratchy guitars, plus subtle vocal. "Weird Pains" has a similar backing track, but with an edgy, infected 'vocal' and urgent, pulsing keyboards. Think "E2-E4" meets early house music!

                                                      Desire

                                                      If I Can't Hold You Tonight

                                                        As you may know, Desire's "II" album was one of our favourites of 2009, so this 12" re-release has got us all excited here at Piccadilly Records HQ. Basically we get four versions of "If I Can't Hold You Tonight" spread over two sides of wax, all exclusive to this release. Singer Megan Louise is at her melancholic, sultry best here, as her vocals get pushed forward in the mix, and the backing track is stripped right down to ultra-minimal house - just a kick drum, ocassional percussion, a few chime fills and a bit of keyboard work. And then there's a shorter version of the same mix. Deeeeeep! "I Can Dream About You" is another of these "If I Can't Hold You Tonight" mixes, this time instrumental, while the final '8 Track Demo' version is more like the LP mix, but - you've already guessed it - in demo form. Delicious.

                                                        The Flaming Lips

                                                        Greatest Hits Vol. 1

                                                          The Flaming Lips have pushed the envelope and bent boundaries for more than two decades with the band’s Grammy®-winning music and ground-breaking concerts.

                                                          Greatest Hits Vol. 1 will compile eleven WBR-era singles and album tracks on a single black vinyl pressing.

                                                          The Deluxe 3-CD Edition of Greatest Hits Vol. 1 significantly expands the concept of their “hits” and gathers some of their best-loved album tracks from the aforementioned albums plus deep cuts from their WBR album debut, Hit To Death In The Future Head (1992), along with music from, Zaireeka (1997), The Flaming Lips And Heady Friends (2012) and The Terror (2013). The Deluxe Edition will also compile a generous hatful of International single B-sides, studio outtakes and several previously unreleased tracks to present an essential view into the extraordinary body of work from one of the most influential and enduring rock bands of all-time.

                                                          Some the aural treasures found on disc 3 are among the rarest recorded curios in The Lips musical medicine chest including the previously unreleased demo track “Zero To A Million” which features The Lips short-lived line-up that included Jonathan Donahue on guitar (Mercury Rev) and Nathan Roberts on drums. This track was on the original cassette tape which led to The Lips Warner Bros. Records signing. Another early obscurity “Jets (Cupid’s Kiss Vs. the Psyche of Death)” is one of the three tracks from The Lips first-ever WBR CD EP, Yeah, I Know It's A Drag...Wastin' Pigs Is Still Radical.

                                                          Various tracks included here that have never been available on CD until now include the epic, fan favorite “The Captain” which was left off The Soft Bulletin and a welcome addition to this set. “We Can’t Predict The Future” is taken from a June 2000 John Peel BBC Session. “Your Face Can Tell The Future”, and “You Gotta Hold On” are outtakes from At War With The Mystics sessions. Another rare gem, “Noodling Theme”, is from the 2001 Lips soundtrack to director Bradley Beesley’s indie-film "Okie Noodling" about bare-handed fishing in Oklahoma. Those lucky enough to attend early screenings were handed a copy of this now ultra-rare 3-song CD upon entry. “Spiderman Vs Muhammed Ali”, originally recorded for 2007’s Music from and Inspired by Spider-Man 3 soundtrack has never released in any form. Prior to this collection, “Enthusiasm For Life Defeats Existential Fear Part 2” existed on a USB drive -- along with two other tracks -- buried within the edible Gummy Fetus sold on tour in 2011. Closing out the collection is “Silent Lord” which is comprised of The Lips mash-up of “Silent Night” with Spacemen 3’s “Lord, Can You Hear Me” from a Christmas 2008 limited edition 7” picture disc.


                                                          FORMAT INFORMATION

                                                          LP Info: 140 gram vinyl.

                                                          3xDeluxe CD Info: 3CD with 12 page booklet.

                                                          Neko Case

                                                          Hell-On

                                                            Producer / singer / songwriter Neko Case has won a large and loyal audience for her smoky, sophisticated vocals and the downcast beauty of her music. Now more than 23 years into her musical calling, Case is the consummate career artist--fearless and versatile, with a fierce work ethic and a constant drive to search deeper within herself for creative growth.

                                                            On June 1st, Anti release Neko Case’s ‘Hell On,’ an indelible collection of colorful, enigmatic storytelling that features some of her most daring, through-composed arrangements to date. Produced by Neko with help from Bjorn Yttling (Peter Bjorn & John), ‘Hell On’ is simultaneously the most accessible and most challenging album in a rich and varied career that’s offered plenty of both. Rife with withering self-critique, muted reflection, anthemic affirmation, and her unique poetic sensibility, the 12 tracks of ‘Hell On’ — which features collaborations such as Joey Burns, Beth Ditto, Kelly Hogan, KD Lang, AC Newman, Paul Rigby, Laura Veirs, and more.

                                                            FORMAT INFORMATION

                                                            2xColoured LP Info: RSD Stores Exclusive 2xLP Peach Coloured Vinyl. 500 copies only!

                                                            Damien Rice

                                                            O

                                                              O, originally released in the summer of 2002, was one of the last albums to build a true word-of-mouth following before widespread streaming. Peaking at #8 in the UK, the seminal “O” will be available on vinyl for the very first time on June 1st.

                                                              This version is extended to 16 tracks, and includes four additional recordings:

                                                              ‘The Professor & La Fille Danse’ and ‘Moody Mooday’ were both originally B-sides to ‘The Blower’s Daughter’ – ‘Moody Mooday’ also appeared alongside ‘Lonelily’ as a limited edition 7” single release in 2004. ‘Woman Like A Man’ was recorded live in session at Galway Bay FM and was the lead track for the song’s single release. ‘Prague’ and ‘Silent Night’ (featuring Lisa Hannigan), which were hidden bonus tracks after the album’s closing song ‘Eskimo’, are also included.

                                                              All three of the singles from the album went on to chart upon release, with ‘The Blowers Daughter’, ‘Cannonball’ and ‘Volcano’ peaking at #27, #9 and #29 respectively. Along with being gold certified, ‘Cannonball’ has been subject to multiple cover versions, most notably by Little Mix after they won The X Factor in 2011.

                                                              “O” will comprise of 2 x 180g vinyl housed in a gatefold with lyrics and album artwork, including 4 additional tracks not on the original album.


                                                              White Denim

                                                              Performance

                                                                White Denim are back - regenerated and resolute.

                                                                The Austin quartet have long pulled hard at the parameters of rock & roll, admitting garage punk, soul, psychedelia, prog, jazz and blues while holding onto its vital goodtime core.

                                                                Their up-tempo drive has produced a body of work defined as much by stellar musicianship as off-the-chain exhilaration.

                                                                Energy and adventurism have always been paramount.

                                                                Here are nine songs with clarity and renewed purpose as well as a truckload of attitude.

                                                                A new studio, new collaborators, and new techniques for writing and recording influenced the elastic possibility and liberation felt throughout.

                                                                Theirs is music that aims for the whole body, while equally satisfying the mind. While it has morphed, expanded, and even burst apart, White Denim’s sincere, human drive and ability to spark true exhilaration have been unerring constants of the band’s existence.

                                                                Ever progressing, never content to camp out on a plateau of their creative accomplishments, there is no other band quite like White Denim – unique in talent and legendarily potent as a live band, they are quite simply a very special band.

                                                                FORMAT INFORMATION

                                                                Coloured LP Info: 140g clear vinyl - indies exclusive.

                                                                The Vryll Society

                                                                Course Of The Satellite - Bonus Disc Edition

                                                                  One thing The Vryll Society aren’t short of is admirers, Lauded at just about every turn by press and public alike, the release of their debut LP for Deltasonic Records is hotly anticipated thanks to the promise this band have shown through their live sets and recent single releases.

                                                                  Discovered and nurtured by the late and much missed Deltasonic founder Alan Wills, they fitted the type for him perfectly. He instantly saw in them similar attributes he’d previously found in the early days of The Coral and The Zutons. The confident swagger, the solid union formed by their band-of-brothers gang mentality, their willingness to stand outside the conventional and often stifling jangly Liverpool scene, and the work ethic. Always the work ethic.

                                                                  Wills instilled in The Vryll Society something which has become over the ensuing years a key element of what they are, what they’ve become, and of the music they produce. He gave them belief. A belief that hard work and determination will bring them to the place they wanted to reach.

                                                                  “Alan taught us that all you need to conquer the world is a rehearsal room, your instruments, a good work ethic and a positive attitude and you’ll get there. He kind of taught us the rules and the attributes that you need to have to be successful so we’ve just continued on that path” says frontman Mike Ellis.

                                                                  Ellis has stated that it was that attitude and that work ethic which got them through the subsequent tragic loss of their friend and manager in 2014, driving them forward through those times, propelling them to harder work, and bonding them even closer together as a unit.

                                                                  That unit have spent the intervening time creating and honing their own brand new-psych sound, and building up a fanbase with their superlative live shows. Drawing from an eclectic palette of influence from deep funk to Krautrock, electronica and prog, they’ve created a heady, intoxicating, pin sharp, and tightly wound mellifluous groove, washed over with cyclical motifs, acres of effects laden guitar hooks, and shimmering, textural technicolour soundscapes. It is at once blissful, dizzying and madly infectious. It’s that eclecticism, that kaleidoscopic swirl of influences which brings together hip hop flavours, with the prog stylings of names such as Aphrodite’s Child and The Verve - pre Urban Hymns - when the drugs were still working. The dynamic leaps and folds through all these influences is where you find The Vryll Society’s own brand perfect pop. Its all there in the loops, in the hooks, the drive and the vibe of this unique band. But this isn’t frippery, these aren't throwaway cheap thrills for our disposable times. No, this is heavier. This is music too feed your head.

                                                                  Live too, The Vryll Society are a formidable force. That gang mentality binds them together over the ideas formed by spending long hours together in the rehearsal every day. Hotwiring these ideas into the heads of the crowd through extended psych jams and deep solid grooves gives a different show every time, and with each and every set, the offer gets better. Recent travels have seen them take SXSW 2017 by storm as guests of BBC Introducing as well as major festivals such as Glastonbury and Leeds/Reading.

                                                                  The songs that fill the delicious grooves of Course Of The Satellite weren’t so much written as devised or developed, brought together organically over months in the band’s underground lair, or over weeks in Liverpool’s Parr Street Studios. Working closely with producers, Wills’ right hand man and Deltasonic brother-in-arms Joe Fearon and Tom Longworth, the album took shape organically, biding its time and finding its way. The result is a work of impressive confidence and stature. It’s a record that believes in itself, and for all the right reasons. This is an effortlessly cool album, the sort of record that makes friends easily. The world is ready, willing and more than able to take The Vryll Society even deeper to their heart. The path Alan Wills showed them awaits. It’s a path that leads to greatness.

                                                                  FORMAT INFORMATION

                                                                  Coloured LP Info: Transparent red vinyl. Includes 4 track bonus CD while stocks last.

                                                                  LP Info: Includes 4 track bonus CD while stocks last.

                                                                  CD Info: Includes 4 track bonus CD while stocks last.

                                                                  Tim Burgess

                                                                  As I Was Now

                                                                    November 16th 2017 Tim Burgess tweeted, asking his followers who they would recruit if they were putting together a band: “Who would you have in your supergroup? Excluding Charlatans, mine would be: Vocals: Me & Ladyhawke Guitar: Josh Heyward (The Horrors) Keys: Martin Duffy (Primal Scream) Bass: Debbie Googe (My Bloody Valentine) Drums: Steffan Halperin (The Chavs/ Klaxons)” The difference was that Tim's band was not only a real band but they had also recorded an album. As I Was Now was recorded in Cheshire in December 2008 by a group of friends and is now being released, nearly ten years later.

                                                                    “We were complaining about how boring things were between Christmas and New Year, so we got together to record some songs. Some songs were more complete than others, others appear on this record more finished than others.” Tim Burgess 

                                                                    FORMAT INFORMATION

                                                                    LP Info: Initial copies are SIGNED!!

                                                                    Comprised of Vancouver producers and multi-instrumentalists Nick Wisdom and Astrological, Canadian duo Potatohead People boast a number of noteworthy accolades thanks to a their signature sound drawing influences from 90's boom-bap, future soul, classic jazz, deep house and boogie/funk. Beginning with a series of EP's, including their landmark "Kosmichemusik" EP, Potatohead People's productions quickly made their way to artists like Illa J who tapped the duo to produce his now critically acclaimed self-titled album, as well as producers like Kaytranada (who co-produced Illa J's "Strippers" with the pair). Supporters such as Soulection, Nightmares on Wax, Pomo, DJ Spinna, Big Boi, and Phife Dawg have also played formidable roles in championing the sound of Potatohead People worldwide.

                                                                    Now with three years since their last release, 2015's critically acclaimed debut album Big Luxury, Potatohead People are back their long awaited new album Nick & Astro's Guide To The Galaxy (due out May 11th via Brooklyn label Bastard Jazz) The record picks up right where the pair left off, showcasing a leap forward in production chops, musicality, and songwriting. The first single "Quest For Love" "with it's neck snapping drum break, lush rhodes chords, cosmic synths, guitar & horn flourishes and unexpected musical changeups bring in the hip-hop infected musicality the duo has become so loved for, while Nick & Astro collaborate vocally on top. "Morning Sun" featuring Danish vocalist (and Anderson.Paak collaborator) Nanna.B is in part a melancholy piece with knocking drums, an infectious bassline and a soulful, shimmering hook, while "Do My Thing" featuring Canadian singer Kapok and Illa J is a neck-snapping Hip-Hop joint perfect for the dancefloor. "Liftin' Up" featuring San Francisco's K-Maxx ventures into West Coast boogie territories, while the album's closer "Rituals" goes for a deeper more atmospheric electronic vibe.

                                                                    STAFF COMMENTS

                                                                    Millie says: Providing the most elective hip hop vibes around this stunning album, I particularly like the quantity of time Illa J appears and how it effortlessly creates a soulful hip hop masterpiece.

                                                                    It was Vladimir Ivkovic who introduced me to the world of Rex Ilusivii. A world where the spirit of a genius holds sway. I remember spending an entire night at Vladimir's house in Germany, listening to all those recovered pieces, and feeling like I had entered another space-time.

                                                                    Mitar tragically left us, one November night in 1999 in Brazil, leaving behind an extensive body of work consisting of more than 500 pieces, for the most part never released. Being submerged in such a unique universe, so singular, brought me happiness. It also filled me with hope, because I tell myself that today there must be many other outstanding musicians who produce in the shadow of the traditional circuit, just for the pleasure of making music.

                                                                    Listening to the music of Mitar Subotić makes you part of his world. He did not stop producing from 1983 to 1999, in different styles, but with an instantly recognizable touch.His music also marries the evolution of recording techniques with new instruments that have appeared over this time, from the TR808 to the digital samplers. It took me more than two years to select the music for this record, as each time I listened to the material it revealed other details and other possibilities.

                                                                    I am extremely happy and honored to present this record to you, in which I try to do justice to the different, "versatile" facets of Suba.

                                                                    Various Artists

                                                                    Boombox 3 - Early Independent Hip Hop, Electro And Disco Rap 1979-83

                                                                      Soul Jazz Records’ new ‘Boombox 3’ continues their story of the first rap records to be put onto vinyl. It is a jam-packed collection of original independent old school hip hop, created with just one thing in mind - to get this party jumping.

                                                                      After the explosion of hip hop in the parks and clubs of The Bronx in the mid-1970s, it was in Harlem where the first rap records emerged at the end of 1979 - an avalanche of superb rap tracks released on small independent labels all trying to capitalize on the success of ‘Rapper’s Delight’.

                                                                      Like hip hop culture itself, these first rap singles are the product of their own unique set of aesthetics - exciting and innovative rap performed with Bronx block party B-Boy funk breaks, disco jams and Jamaican sound system culture.

                                                                      The extensive sleevenotes discuss hip hop’s trajectory from the first wave of Bronx creativity - the legendary DJs Kool Herc, Grandmaster Flash and Afrika Bambaataa - through to its arrival in Harlem via the entrepreneurism of old-school African-American rhythm and blues producers and émigré Jamaican producers all living in New York. Along the way the notes discuss everything from the New York power blackout of 1977, the Italian mafia involvement in the music industry, the links between rap and Jamaican dancehall and more besides.

                                                                      ‘Boombox 3’ features a line-up of stunning, near unknown New York rap artists, classic disco breaks (including Chic’s omnipotent ‘Good Times’, MFSB’s ‘Love Is The Message’, Queen’s ‘Another One Bites The Dust’), proto-electro and more. And by the early 1980s the first rap records outside New York began to emerge - Los Angeles, Houston, Milwaukee, Phoenix - and the first of these are also featured here in this new collection.

                                                                      FORMAT INFORMATION

                                                                      3xLP Info: Heavyweight triple vinyl (plus download code) with full notes.

                                                                      2xCD Info: Double CD pack with 44-page outsize booklet and slipcase.

                                                                      Patrick Higgins

                                                                      Dossier

                                                                        Nicolas Jaar’s Other People label are proud to present a new solo record of guitar and live custom electronics artist Patrick Higgins, an American avant-garde composer and producer from New York City. Higgins is known for his work in experimental and contemporary classical music, playing guitar and composing in the ensemble Zs, said to be one of the strongest innovative bands in New York. His work as a composer traverses the styles of the European avant-garde styles with the post-minimalist sounds of New York.

                                                                        His upcoming release on Other People, ‘Dossier’, is a new solo record of guitar and live custom electronics, all original programming and live sampling using midi triggers mapped to the guitar, a four-movement work of dark intense material all performed live without overdubs or edits, this material was developed over a two-year and premiered during a European concert tour across 10 countries in November 2016. The record is both an engagement with contemporary electronic music and yet is entirely performed - transforming the guitar at once into an instrument and a controller, where the performer is swallowed by processes that result from the playing and at the same time envelop it. All of the samples and synthetic patches were custom built and specifically engaged to become elements of live guitar manipulation.

                                                                        The sound world is post-apocalyptic in style but builds to a very intimate and introspective emotional finish. It is a consummate and highly unique aesthetic statement, engaging with the alienation and inner emotional economy of contemporary digital life, its politics, erotics and violence. The work is also, in this respect, a meditation on the social space of the individual in the increasingly digital, alienated world. An attempt at a poetics at home with the violence and delicate, fleeting emotion of the times. The cover art is by Alfredo Jaar.

                                                                        Bodega

                                                                        Endless Scroll

                                                                          ‘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 Info: Indies exclusive teal coloured vinyl.

                                                                          Axolotes Mexicanos

                                                                          Salu2

                                                                            Axolotes Mexicanos are from Asturias in Spain, and following a mini-album and singles from Elefant Records, here is their debut full-length album. They play unhinged, hyper-energetic, catchy, youthful and speedy pop-punk with lyrics that twist your heart into a knot. Only two of the thirteen songs on the album reach the three-minute mark. "Trececatorce" dives head first into sped-up J-pop. "Nacida Para Sufrir" and "Sin Ti" are euro-pop, disco, pop-punk...Helen Love, Juniper Moon, Shampoo, early Phoenix.

                                                                            FORMAT INFORMATION

                                                                            Coloured LP Info: Limited edition of 500 on clear vinyl, plus download.

                                                                            Waak Waak Djungi

                                                                            Waak Waak Ga Min Min

                                                                              NEXT UP FROM THE LABEL THAT GAVE US THE WONDERFUL 'SKY GIRL' COMP..

                                                                              Efficient Space is honoured to share the little-heard recordings of three Yolngu songmen from Northeast Arnhem Land - Bobby Bunnungurr, Jimmy Djamunba and Peter Milaynga (d. 2007) - working in collaboration with Victorian musician Peter Mumme. Yolngu are the indigenous peoples of Arnhem Land in Northern Territory, Australia; their clans are the Marangu and Malabirr, the languages Djinang and Gannalbingu. Their songs are of instruction, story and ceremony.

                                                                              A connection first initiated by Yolngu actor David Gulpilil, Waak Waak Djungi’s mid-90s recordings were preceded by years of respectful sharing of culture. Mumme explains that “the aim was to produce something that is new, not in the sense of a breakthrough, but what emerges from the combining of existing ideas”. What developed was sonically unique - sprawling vocal/electronic soundscapes and field recordings that reimagine the traditional songs of black crows and white cockatoos, sharing, creation spirits and of leaving and returning home to country. Spacious and patiently durational, the songs resound in a big land with a big story to tell.
                                                                              On the 1997 Waak Waak Djungi album Crow Fire Music, these interpretations were assembled with traditional recordings and additional material from Sebastian Jörgensen and Sally Grice. Falling short of generating public interest, it became well known in the Yolngu homeland. Nearly two decades later, a CD copy filed away in the 3RRR FM library would prompt a three year investigation to meet the people behind the music.

                                                                              Waak Waak ga Min Min (Black Crow, White Cockatoo) combines the previously unreleased Gandi Bawong with five contemporary versions from the original album, with a new cover painting by Bobby Bunnungurr. Tracing 1997 back to many millennia ago, this is a captivating window into the richness of Aboriginal culture and collaboration. 


                                                                              Vital Idles

                                                                              Left Hand

                                                                                Debut album from Glasgow indie rock quartet that channel Kleenex and The Smiths, featuring members of Golden Grrrls (Slumberland / Night School). Following on from the band’s two cassettes of demos on Comfortable On A Tightrope and their sold out and well regarded 7”.

                                                                                “somewhere between the oblique minimalist pop of Flying Nun and early Rough Trade signings such as The Raincoats.' CLASH.

                                                                                Playing their first shows in Glasgow in 2015 during a summer that never threatened to show up, Vital Idles’ origins are closely tied with a tireless underground culture, a culture that informs the band’s refusal to take it easy. Matthew Walkerdine, Nick Lynch and Higgins are responsible for Glasgow DIY publishing institution Good Press - an independent volunteer-staffed zine and art book shop - while Guitarist Ruari MacLean’s pedigree stretches back to breakneck-indie-pop group Golden Grrrls and the Rose McDowall band.
                                                                                Following two self-released demos and a sold out debut 7”, Vital Idles arrive on Upset The Rhythm with ‘Left Hand’, a bare manifesto layered with meaning and non-meaning. The group can conceivably be called artists, or Artists, but in approaching their debut album Vital Idles have stripped away all extraneous ornamentation to sculpt an incredibly life-like, vibrant pop music completely détourned and re-thought.

                                                                                For a conglomerate of art outsiders and aesthetes, Vital Idles are primitive, whimsically brutal. Sculpting a skeleton from a body already lean, there’s a thrilling minimalism that runs through every beat and strum, a sparseness that feeds Jessica Higgins’s surreal, oblique vocal delivery all the nourishment it needs.

                                                                                Following practice room and bigger-budget recordings with Glasgow engineer Andy Monaghan, Vital Idles took complete control of their debut album, with Edwin Stevens (aka recording artist Irma Vep) providing an outside perspective on the hermetically sealed group’s music. Engineered by Stevens and MacLean, ‘Left Hand’ crackles with a raw, punk approach to writing warped pop songs that don’t just talk of disorder but often actively demonstrate it. At the heart of ‘Left Hand’, the beating pulse in the tool box, is a conflict never resolved. Higgins manages to create dialogues that she narrates both parts of, Dada-ist songs that seem obfuscated by layers of meaning that, when taken on their own terms as evocative mini-worlds, reveal themselves to be pieces that have an internal melancholy and logic. Like Gertrude Stein growing up on Dunedin pop groups, peel away the deliberate awkwardness and ‘Left Hand’ reveals itself to be a book of complex, literary short stories at pleasing odds with the wired, no-frills melodic thud MacLean, Lynch and Walkerdine serve.

                                                                                At times a perilous journey into the unknown and at others an immensely enjoyable foray into form deconstruction, lyricist Higgins repeatedly builds narratives out of mis-hearings, peons to doing things wrong, sideways-glances at conventional narrative. The delivery tightrope-walks between deadpan epithets and a Smiths-ian pop singing which gives many of the lyrics bite, pathos, and a surprising amount of surrealistic positivity. With Chains’ Troggs-ist chug stomping, Higgins flips the symbolism of the Chain into something to be tendered, cared for, is it a warped metaphor for the future, is a chain an aspiration? There’s an existential friction at the heart of Cave Raised that sees the narrator attempting escape, perhaps, unsure of themselves, “a poorly appointed project manager who says the best part is bowling around, which is a little like knocking around” that breaks into a melodic reprieve that feels like an unexpectedly romantic pay-off in the middle of “white space,” “Let’s tread the tides of time, to live it down, we’ll stretch these shores of mine to steal away.” Like many of Vital Idles songs, it can be read as a mini treatise on the song itself, or enjoyed as a visceral song that never does what you want it to.

                                                                                Like fellow Glaswegians Life Without Buildings, Vital Idles make the oblique sound essential. On Like Life, Higgins is at her most precarious with straight-up emotion; MacLean’s melodic bassline seems to duet with the vocal as it seems, for once, to be straightforwardly vulnerable. After telling us “I don’t really care but I could, I should” our narrator begs the listener “Don’t leave me at home with all the people I lost and all the things I forgot. For all the people I lost, I care.” Whether it’s a slip of the artist’s mask of distance or a deliberate trick to fool us into caring, we care. It’s indicative of the tension in Vital Idles: pop songs unwilling to bend to convention, chart hits in the alternative timeline where Messthetics compilations are Now That's What I Call Music, endlessly inventive linguistics that reveal emotional depth, a dry, punk minimalism able to turn on a dime into a mouldy, witty kitchen sink story narrated by Samuel Beckett. It’s a tension that threatens to fall apart into dissonance or resolve into sweetness but thankfully does neither, rather it keeps Vital Idles moving forward, never standing still, never taking it easy.


                                                                                FORMAT INFORMATION

                                                                                Ltd LP Info: Randomly picked yellow or black 180gm vinyl with poster and download code. 500 only.

                                                                                Ian MacFarlane

                                                                                Planetarium

                                                                                  * Rare private press Electro and Ambient Synth
                                                                                  * Solo album from former Cybotron member Ian MacFarlane
                                                                                  * Electronic Outsider Music

                                                                                  Post-Nuclear Mind Music? Lizard Strategies? Void Spirit…? These bizarre titles are just a few of the self-coined terms that Australian electronic musician Ian MacFarlane has conjured to represent his eccentric sonic world. An artist whose unique style of electronic experimentalism has balanced dangerously close to the edge of popular convention, existing outside the mainstream and extending well beyond the fringe of any sanctioned independent scene. A futurist outsider whose extraordinary musical vision has explored the uncharted realms of consciousness and fantasy.

                                                                                  Following a brief stint with the legendary Australian Krautrockers Cybotron, MacFarlane produced three independent solo albums throughout the late 1970s and early 1980s. His debut LP Void Spirit, an experimental album issued under the pen name ‘Violet Lightning’, was followed by a further two albums published under his own name, the cosmic influenced Back From Beyond and finally the privately issued electro-ambient suite Planetarium.

                                                                                  Presented with hours of unreleased home recordings, The Roundtable has begun a dedicated search through the fascinating archives of this under exposed artist. Beginning with a vinyl release of the rare cassette-only album Planetarium; this private press sees MacFarlane armed with a bank of Roland Synthesizers, Drum Machines and field recordings, spawning a mutant amalgam of German Kosmische Musik, French Library electro and Private Issue New Age.

                                                                                  Surrender to the stars and welcome to the first instalment of “Muzak To Moralize By”. 

                                                                                  Luca Lozano

                                                                                  Boss Moves EP

                                                                                    Assertiveness can be virtue. Hence, “Boss Moves” - Luca Lozano's debut for Running Back – is aptly titled. Generously spread over two vinyl plates, Lozano investigates the hybrid sound that once was embodied by groups like Future Sound of London, labels like Guerilla and DJs such as Sasha or Dave Angel.

                                                                                    Blessed with the production of skills of today, the eyes of a tailor and the chemoreceptors of a perfumer, the Klasse Wrecks and Grafiti Tapes man delivers nine tracks that do it all: tribal, trance, breakbeats, house, 303s, bleeps, rave, dubby deepness and pianos. Like a trip down the 3d-visual-kaleidoscopic-artwork* hole or a snake charmer without a flute.

                                                                                    Intake as a whole, record it to your tape desk and feel like tuning into on a pirate station in '95. Happiness is just around the bend.

                                                                                    *None of that can be found here. See explosive black-and-white sleeve for further reference.


                                                                                    Âme

                                                                                    Dream House

                                                                                      In the world of electronic dance music, Âme stand apart. Since 2003, the duo of Frank Wiedemann and Kristian Beyer have cut a singular path through techno, house, minimal, ambient and more with their anthemic singles and mixes. But 2018 reveals their finest achievement yet, their debut full-length album Dream House. It both sounds unmistakably like Âme and unlike anything you’ve ever heard from the duo, an evocative home listening journey enacted after 15 years spent crafting dancefloor weapons.

                                                                                      FORMAT INFORMATION

                                                                                      2xLtd LP Info: 2LP Gatefold Vinyl + Extensive Spot Varnish + Sticker.

                                                                                      CD Info: CD with Sleevepack + Extensive Spot Varnish + Sticker.

                                                                                      Pepe Bradock

                                                                                      Exodus 8

                                                                                        Pepe continues on the regular Atavisme Catalogue Number Order. And again two classique straight up, longue and “burning” 4 2 the floor House tracks as only Bradock can do. IS THIS REALLY A PARTY ? Yes you bet !! or in Pépé ´s unfiltered words: / The legal age of majority and the right to vote. 1<3 : chronology and timing is mandatory to make things happen supposedly.. After the terrible plague of awful doppelgängers, it is time to smoke out the disgusting trolls, using the best ingredients possible, Is this really a party ? Yes you bet !! Is hunger healthy or unhealthy ? Moderation is key, Oui guess. But ” À table!”

                                                                                        Feon

                                                                                        The Sun Is High

                                                                                          A new Optimo Music Disco Plate and the debut release from Feon. When these tracks first came my way I instantly knew they were ripe for a release on the label. Original, idiosyncratic, full of imagination and featuring a couple of dancefloor hits, how could I resist? ’Also, “The Sun is High” was surely destined to become a sun-blissed summer anthem…..

                                                                                          Feon has a few things he’d like to say about this EP -

                                                                                          “I wrote these tracks in a manic ten-day session, shortly after an unravelling ayahuasca ceremony, which is evidenced in the psychedelic sound of the first track in particular. Upon reflection there is something of a primal quality to “The Sun Is High”, we were all sun worshippers at one point in our ancient history. The vocals are my voice stacked thirty odd times in different harmonies, then put through a space echo, and they're followed by some gratuitous Moog noodling to boot! For use at the beach party.

                                                                                          The flip goes into darker more experimental territory, with “Holland Fly By” taking clear inspiration from an old iMPLOG track, and “Without Sound” getting stranger still, the vocal refrain's mournful, tense landscape interrupted by boisterous drums.

                                                                                          Its a real joy and honour that I can add something to the Optimo sound world as it is one that has given me great pleasure over the years.”


                                                                                          MIKWAJU Ensemble

                                                                                          KI-Motion

                                                                                            WRWTFWW Records is over the moon to announce the official reissue of legendary album KI-Motion by Japanese percussionist Midori Takada’s MKWAJU ensemble, sourced from the original masters and available in two versions: a vinyl LP cut at Emil Berliner Studios and housed in 350g old Stoughton tip-on sleeve, and a digipak CD.

                                                                                            A highly creative and transcendental fusion of marimba, vibraphone, bamboo percussion and synthesizers, KI-Motion was recorded in 1981 and captures the birth of Midori Takada’s exploration of minimalism, African rhythmic tradition, and ambient music.

                                                                                            The album takes its conceptual inspiration from the tamarind ( 'mkwaju' in Swahili), a drought resistant tree notably used to craft some of the first mallets and marimbas but also known for its culinary and medical uses, an essential symbol of life and identity for the Central African grasslands. Drawing from the region’s culture and music as well as the crucial notion that rhythms represent the very fabric of life, Midori Takada leads her ensemble into environmental heaven to create one of the highlights of her recording career and an absolute must-have from the golden age of Japanese ambient…the ideal companion to her majestic Through The Looking Glass opus!


                                                                                            Boards Of Canada

                                                                                            Hi Scores

                                                                                            Skam Records are very proud to announce the re-release of Boards of Canada 'Hi Scores'. This follows the reissue of their other seminal records by Warp in 2013.

                                                                                            The new edition has been re-recorded and re-mastered from the original DAT tapes and has been re-cut onto heavyweight collector’s edition vinyl.

                                                                                            The CD is placed in a digi-pak sleeve with some extra art and the vinyl includes a double-sided 12” poster.

                                                                                            The original image on the back of the sleeve is in colour. There is a spot varnish finish on the images and text alongside the usual Skam Braille sticker to give the whole package new depth and a refreshing look and feel.

                                                                                            Originally released in 1996, this six track EP signalled the arrival of a major force on the electronica scene. Everything you love about the BOC sound is here; crunching breaks, busy electronic infills, crystalline tones, synth lines reminiscent of the theme tunes and incidental music from 1970s Programmes for Schools and Colleges. Included are the wonderful title track 'Hi Scores', haunting 'Turquoise Hexagon Sun', electro-funker 'Nlogax', dancefloor slammer 'June 9th', sleazy, queasy 'Seeya Later' and melancholic hip hop cut 'Everything You Do Is A Balloon'.

                                                                                            'Hi Scores' hasn't been available since 2005, so take advantage of this limited remastered repress and grab yourself a copy of BOC history!


                                                                                            Martyn

                                                                                            Voids

                                                                                              Martyn releases new album Voids, his first for Ostgut Ton Over the past year, Dutch-born, Washington D.C.-based producer Martyn has undergone a metamorphosis – one that began with a medical emergency and has dovetailed into personal musical transformation.

                                                                                              Having narrowly avoided death after suffering a heart attack, Martyn reentered his studio and began a process of reassessing the elements that drive him to make music: sampling, unpredictability, melancholy, sci-fi, polyrhythms, texture, ecstatic oments, Detroit, interlocking percussion and bass. However, the initial spark to start producing again came through his experience listening to Max Roach’s 1979 ensemble percussion album M’Boom.

                                                                                              In his own words: “That was the first record I listened to in my studio after coming out of the hospital. It's a project where he works with a slew of top-notch percussionists and drummers and rotates them for every composition. Playing this record was such a surreal experience, the first music I consciously listened to after my recovery. I could hear so much space in the music, something I had never noticed before; almost like a 3D experience, with the most striking aspect being the emptiness between the players.”

                                                                                              Over the next 8 months Martyn would go on to write Voids, his first LP for Ostgut Ton and in a few other ways markedly different than previous records; it features no guest appearances or collaborations and at 9 tracks, is musically stripped down to the essentials. It’s also a highly personal take on forging new paths forward in genres where the Berghain/Panorama Bar resident has long been known for his production wizardry and innovation: post-dubstep and UK garage.

                                                                                              Voids is roughly split between these musical foundations, recontextualized with elements of Nyabinghi, drum ‘n‘ bass, and gqom to form snarling, bass-driven hybrids. The direction was hinted at last November on his GL Outtakes – reworks of his landmark 2009 album Great Lengths. In contrast however, Voids is also an attempt to work through personal trauma and loss, including the passing of close friend and fellow producer Marcus Intalex aka Trevino, to whom the track “Manchester” is dedicated.

                                                                                              The sound of Voids is big and unapologetically rough around the edges. It is music as therapy, drawing on the healing elements of music past, but is far from retrospective.

                                                                                              Indeed, Martyn is no stranger to electronic futurism, as his numerous solo productions for Ostgut Ton, Dolly, Hyperdub, Brainfeeder, Ninja Tune, Warp and his own 3024 label (run together with visual collaborator Jeroen Erosie) have shown. On Voids, however, these futuristic sonic qualities coalesce into something darker, more biographical and untethered from expectations.

                                                                                              “Woken by the spirits of a new life dawning.” – The Spaceape. 


                                                                                              Gui Boratto

                                                                                              Pentagram

                                                                                                Brazil has one of the most invigorating scenes in dance music and Sao Paulo’s GUI BORATTO has been there as an innovator and leading member of the community both at home and internationally. His versatility to cross genres and remain faithful to the dance floor has been proven over and over again. Be it from “Beautiful Life” to “Azzura” or “No Turning Back”, his influence has struck a permanent chord in melodic dance music.

                                                                                                - PENTAGRAM is a varied full length that takes a leap in both GUI BORATTO’s production and creative progression. From the driving club 1st single FORGOTTEN, to the return of BEAUTIFUL LIFE vocalist Luciana Villanova with OVERLOAD to what could be his biggest pop music accomplishment to date as THE PHOENIX, there is a focus in his music like never before.

                                                                                                It’s been over 10 years since the release of Gui Boratto’s breakthrough full length debut 'Chromophobia'. As to what its title suggests, he shook up the techno game with a contrast of lushly coloured minimal grooves and melody, whilst many will recall that the album included the highlight single “Beautiful Life” which became a dance floor anthem for that era. Four albums in and countless EPs and remixes under his belt, the Brazilian producer's unique savoir-faire in carving out a functional album out of diversely routed singles and features is back at it on his fifth studio LP, 'Pentagram'. Here Gui Boratto lays down a nuanced 12-track narrative that reinvigorates his signature sound into a refreshingly different perspective that feels all too familiar – including the return of “Beautiful Life” vocalist (and Gui Boratto’s wife) Luciana Villanova on the single "Overload".

                                                                                                Through his signature kaleidoscopic approach, Boratto delivers an album built as a far-reaching hub-and-spoke system, broadly inclusive as can be. From the opening cut, 'The Walker' - hot on the trail of Tears For Fears 'Elemental' (one of Boratto’s "favourite 80's bands") - to the hi-NRG euphoria of 'Forgotten' and its pounding tech alter ego 'Forgive Me'. "I was going into 2 different directions", Boratto says; "the typical “indie- electronic-rock” Boratto kind of production like “It’s Majik” or “Like You” and a much more techno approach." He goes on, "I decided to split them into two twin sister songs. When I play live I always put these two songs together."

                                                                                                The Brazilian Producer further embraces the pop-friendly essence of his past work on tracks like 'The Phoenix', featuring vocalist Nathan Berger, and 'Overload', both melding acidulous synthlines with laser-precise breaks, vox hooks and drops calibrated for extended radio and club use, although sieved through his distinctive rainbow-hued musical prism. For the symbolists out there, the album's pared-down closer '618' duration accidentally happens to equate the proportions of the said pentagram. "Coincidence?" Boratto questions, and capsulises, "not so ufanista and supporter of Brazilian neo-concretism, but I guess the brazilian sculptor Lygia Clark also inspired me a lot. Not the meaning of her sculptures, but the shape of the hinge of most of her work. I’ve wanted to transmit the scientific pentagram’s point of view. It’s not a religious kind of thing."

                                                                                                Whereas 'Spur' (a field-tested 808 and 909-heavy "purist track", "very, very old school" Boratto insists) and 'Alcazar' are sheer smooth-edged four-to- the-floor epics, the album also shares its lot of startling moments, such as with the John Barry'esque 'Scene 2' (with a hint of Amon Tobin, 'Easy Muffin' style, throw in) and its refined string-laden buildup, 100% fitted for a 007 opening credit sequence; or with 'Hallucination' (feat B.T.) and the further James Holden-ish title-track 'Pentagram' (think 'The Idiots Are Winning'); "one of those exercises I did when I got my Buchla modular synth" Boratto analyses, "I think I’ve used more then 30 different snares, with different delays and reverbs. The whole song is alive". And so is 'Pentagram' in its entirety: alive and definitely just as manifold and hopeful as its architectonics are the stuff of science and dreams all at once. 


                                                                                                FORMAT INFORMATION

                                                                                                2xLtd LP includes MP3 Download Code.

                                                                                                Sun Araw

                                                                                                Guarda In Alto - The Original Motion Picture Soundtrack

                                                                                                  Cameron Stallones aka Sun Araw is the quintessential contemporary cosmic courier. Emerging from the fumes of an ancient Egyptian civilization and now settled in one of the meccas of the American lysergic experience, Austin, Texas, our hero boasts an endless discography and collaborations with luminaries of the caliber of Laraaji (a solo new age traveler discovered by Brian Eno) and the legendary Rastafarian group, Congos.

                                                                                                  For the soundtrack of the feature film 'Guarda In Alto', directed by Fulvio Risuleo (the daring story of a baker who has access to a parallel universe on the roofs of the city) Sun Araw looks towards the possible horizons. Bypassing psych and electronic glitch, Sun Araw jets through a double album that seems to refer to the golden age of computer music as well as to the inventions of the Lovely house (the legendary New York label specializing in minimalism and 20th century avant-garde) and to a certain immeasurably psychotic dub aesthetic.

                                                                                                  A disk composed of many micro-cells, which marries the adventure to the 'edge of heaven' of the protagonist, reiterating that dreamy feeling that the protagonist has accustomed us to for several years now. 


                                                                                                  FORMAT INFORMATION

                                                                                                  2xLtd LP Info: 3-sided 2LP with etching on the 4th side.

                                                                                                  Domestic Exile present their first vinyl release together with Glasgow's Grim Lusk.

                                                                                                  For those who are already familiar with Grim Lusk’s varied recording projects, established elements are further developed as sublimely demonstrated on the sample and loop based ‘Search’, a dub / lo-fi hip-hop excursion that shuffles and shimmers before becoming more narcotically lysergic. Free from constraints, we transcend into ‘It’s My Nature’, as all of that serotonin depletion is suddenly transformed into nutritional sustenance. A gleaming, hallucinogenic, hypnotic collage of exotic rhythmic disco percussion patterns which blossom and take flight to the sky above like the wildlife on the front sleeve with uninhabited adventure and freedom; a luscious, evocative, beguiling anomaly. ‘Sea Club-Rush’ develops the experimental shape shifting, with a dense, sludgy quagmire of oddball techno discombobulations, before the record submerges into the deepest of voids, a k-hole induced sense of purposeful confusion and disorientation.

                                                                                                  Depressurized as if drifting in the mysterious vacuum of space whilst subtle layers of distorted bass prod at you to keep you afloat, ‘It’s Happening’ utilises a descending Risset glissando to leave you barely clinging on to reality, almost as if you are experiencing an astral projection but trapped within a detached nightmare that you can’t escape. ‘Yes He Did’ has an infectious and killer bouncing boogie bass guitar spread over a lopsided beat which never quite settles; weaving in and out further bewitching your mind. The record culminates in the downtempo ‘Laces’, pulling you into the all-consuming squelch and pressure of the suction below; a claustrophobic suffocation that intensely builds up suspense, squeezing and melting as it develops. Reminiscent of Sherwood’s exceptional technique of incisively slicing, cutting and pasting manipulated dub / industrial percussion, ‘Laces’ works equally well at 45rpm.

                                                                                                  In its fullness, the sounds presented on ‘SUNP0101’ are an intoxicating slip down a neon-lined chute into eternal dance floor darkness. Immaculate sleeve artwork by Australian-born, London-based designer Brodie Kaman.


                                                                                                  Essential for fans of fellow Glaswegian travellers - 12th Isle, LAPS, So Low, Golden Teacher, Night School, Cucina Povera etc


                                                                                                  FORMAT INFORMATION

                                                                                                  Ltd 12" Info: Limited 12" release with full picture sleeve.

                                                                                                  Next up on DABJ, Hissman aka Fabio Monesi is an artist we have been massive fans of since we started playing "Nobody's Talking" [which featured on our 2014 DABJ BBC Radio 1 Essential Mix] a few years back... Through his labels Hardmoon and Wilson Records, he has brought some of the freshest jams to our ears in quite some time.


                                                                                                  For his first outing on DABJ, shit gets real. Masterfully crafted mechanized, rough, tough techno belters in that inimitable Hissmanstyle... don't sleep on this.

                                                                                                  Michal Turtle Feat HOVE

                                                                                                  Middle Of The Road Less Travelled

                                                                                                  'Middle of the Road Less Travelled' is not only the debut release by Michal Turtle on Light of Other Days, it is also his first new material released since the amazing reissues put out by Music From Memory in recent years. The three tracks on this EP were written and produced by Michal in 2017 with additional production and guitar playing by Light of Other Days’ very own HOVE.

                                                                                                  The two met back in 2016 when HOVE contacted Michal after he heard the 12“ «Are you Psychic» and was blown away. As it turned out Michal was living in Basel which is only a short train ride away by train from the Light of Other Days home base in Zurich. The two started meeting and playing music together. Soon after, they put together a live-show for Michal’s music which had its debut show at Phono Festival in Denmark in 2017. During this time, they started working on new music together as well. The result is this EP.

                                                                                                  The music on 'Middle of the Road Less Travelled' is a continuation of Michal’s musical exploration into other-worldly territory. Michal is a master in building hypnotic textures from repetitive rhythms that collide with trippy and atmospheric synthesizers. The delayed and dubby guitar lines by HOVE were recorded during rehearsal sessions in Michal’s living room in Basel and the last track of the EP 'Agallo (Real)' ends with vocals performed by Lucianne Lassalle. Besides playing in local bands with Michal back in the 80s, Lucianne also performed and co- wrote early Michal Turtle tracks like 'Phantoms of Dreamland' or 'Village Voice' from his first record 'Music from the Living Room'.

                                                                                                  Our Girl

                                                                                                  Stranger Today

                                                                                                    At first, it’s difficult to pinpoint exactly what makes Our Girl so special, or why the Brighton-formed, London-based trio’s music stands out within a busy crowd of fellow guitar-wielding-types. But if an explanation didn’t jump out when they first emerged with a debut EP of mighty fuzz-soaked songs in November 2016, it surfaces with ‘Stranger Today’, a debut album of personal, emotional juggernauts that could have only been made by these three people: Guitarist / vocalist Soph Nathan, bassist Josh Tyler and drummer Lauren Wilson.

                                                                                                    Since forming in Nathan and Tyler’s Brighton home four years ago – Wilson joining as a late recruit when she was wowed by a demo of their self-titled debut track, and ‘Stranger Today’’s opener – Our Girl’s members have only had pockets of time to work together. A day booked in a local studio here, a soundcheck there, full-time jobs and other projects meant the three rarely had a concentrated, collective patch. This changed in September 2017, when they stayed in Eve Studios in Stockport for a week, recording with Bill Ryder-Jones. Their week in Stockport became a crucial catalyst for what would follow. Ryder-Jones is a guitar virtuoso himself (“He did stuff neither me or Soph had ever seen anyone do before,” Tyler remarks), and he became an unofficial fourth member of the group.

                                                                                                    ‘Stranger Today’ is a special debut for several reasons: First, because it’s the sound of a band beginning to grasp their own value and place in the world. Secondly, because you can hear the trio’s hunger to finally get in the same room and put to tape years’ worth of scrapbooks, half-finished ideas, and a slowly-forming feel for how their first album would actually sound. “What band isn’t itching to make their debut? But it’s quite frightening, knowing you’re about to do it,” Wilson remembers.

                                                                                                    The real clincher, however, is Our Girl’s dynamic, and how it plays out across ‘Stranger Today’. Best friends in person, the trio share the same close kinship and chemistry on record. On one side is Nathan’s visceral lyricism, which has a habit of detailing and chipping away at precise moments; the first heart-flutter of a new crush; the moment a long-term friendship begins to ebb away. Around her, Tyler and Wilson’s rhythm section carefully mirrors each feeling Nathan conveys. When she sings pointedly about love (‘I Really Like It’), she’s backed by a major-key afterglow. When the subject turns on its head (‘Josephine’), out steps a wall of taut, earth-shaking noise. They each “serve the song,” in Wilson’s words, moving in sync but with their own personal slant. Not least on the closer ‘Boring’, where all restraint is thrown aside and the trio let out one final, violent thrash. They inhabit a space bigger than the first loves, sleepless nights and growing pains that define this record.

                                                                                                    Nathan remembers being in Brighton four years ago, shortly after Our Girl formed, and realising, “I was finally in the band I wanted to be in.” Almost half a decade later, and this eureka moment is sewn up on ‘Stranger Today’. It’s the sound of three friends totally at ease in their own space, discontent with being anywhere else; a vibrant document of what it’s like to be young, invigorated and amongst people who feel the same.

                                                                                                    FORMAT INFORMATION

                                                                                                    2xColoured LP 2 Info: Orange and black vinyl. Initial quantities includes 12"x12" art print.

                                                                                                    2xDeluxe CD Info: Limited edition signed copies.

                                                                                                    Chvrches

                                                                                                    Love Is Dead

                                                                                                      The hugely anticipated third studio album from the adored electro-pop trio from Glasgow, Chvrches. Following on from their critically acclaimed 2015 album 'Every Open Eye'. They've got a knack for writing massive, emotive synth-led and 80's inspired tracks.

                                                                                                      Love Is Dead is an album about growing up and 'coming to terms with the fact that there are great things in the world and there are awful things in the world and that you can’t get one without the other'.

                                                                                                      FORMAT INFORMATION

                                                                                                      Coloured LP Info: Indie stores limited transparent / clear vinyl edition.

                                                                                                      CD Info: CD comes in a mint pack and contains a 16 booklet.

                                                                                                      Snow Patrol

                                                                                                      Wildness

                                                                                                        Seven years have passed since Snow Patrol's last album 'Fallen Empires'. In that time the band have all ventured off into a variety of projects. Gary Lightbody continued his work with his Tired Pony side project with members of Belle and Sebastian, R.E.M, Reindeer Section and Fresh Young Fellows and moved to Los Angeles to begin writing songs for movies and doing a number of high-profile co-writes with Ed Sheeran, Taylor Swift, Biffy Clyro and One Direction. Taking this extended break from Snow Patrol proved to be a source of inspiration, and writing songs that were not pulled directly from his own psyche helped heal what Lightbody considered to be not so much writer’s block as life block.In the meantime the band have been working on Wildness, Snow Patrol's 7th studio album.

                                                                                                        The album finds the band searching for clarity, connection, and meaning, while staying true to the melodic songwriting prowess that brought them to prominence. Wildness taps into something raw and primitive, and lead-singer and songwriter Gary Lightbody says of the album: “There are many types of wildness, but I think it can be distilled into two: the wildness of the modern age, all it’s confusion, illogic and alienation and a more ancient wildness. Something primal, alive and beautiful that speaks to our true connectivity, our passion, our love, our communion with nature and each other. This is the kind of wildness the album is centered around. The loss of it. Trying to reconnect with it. To remember it.”

                                                                                                        FORMAT INFORMATION

                                                                                                        Picture Disc Info: Indie store Picture Disc edition.

                                                                                                        Deluxe CD Info: CD Book pack with deluxe booklet and hard back sleeve with 15 tracks.

                                                                                                        Alanis Obomsawin

                                                                                                        Bush Lady

                                                                                                          A re-issue of the rare, legendary and long out-of-print album recorded by First Nations and Canadian cultural icon Alanis Obomsawin in the mid-1980s. Remastered from the original analog tapes, now on CD for the first time. Bush Lady is the only record ever made by Obomsawin, rising to cult status in recent years, while Obomsawin has meanwhile received Canada’s highest accolades for her 50-year career as an activist documentary fillmmaker, including the Order Of Canada.

                                                                                                          Alanis Obomsawin is a member of the Abenaki Nation and one of Canada’s foremost activist documentary filmmakers. Based in Montréal, she has directed 50 films with the National Film Board of Canada (NFB) that explore the lives and concerns of Canada’s First Nations, receiving some of the country’s highest accolades, including The Order of Canada, the Governor General’s Award in Visual and Media Art, and most recently the 2017 Order of Montréal.

                                                                                                          Before establishing herself as a filmmaker, Obomsawin began her artistic life as a singer-songwriter in the 1960s, as Indigenous artists from across North America were rallying in new assertions of cultural identity, consciousness and political rights, calling for reckonings with oppressive colonial history. She was invited by Folkways to perform at Town Hall in New York City in the early 1960s and spent most of that decade primarily identifying as a musician and social activist, channeling traditional First Nations songs hand-in-hand with modern composition and arrangements. Obomsawin kept her musical output percolating alongside her burgeoning documentary film career, with performances at the legendary Mariposa Folk Festival among others. In the mid-1980s Canada’s national broadcaster (CBC Radio) invited Obomsawin to record an album; unsatisfied with these recordings, she reclaimed the master tapes, remixed the material, re-recorded the title track from scratch, and issued the ensuing Bush Lady album on her own private press in 1988 complete with her own artwork and liner notes.

                                                                                                          Lacking formal distribution – and with Obomsawin focused primarily on her documentary film career – only a portion of this pressing was sold at the time, the remainder occupying a closet in her Montréal home. The album has grown to become an increasingly legendary rarity ever since. Bush Lady is a unique and magical record by any definition. It’s an invaluable example of contemporary First Nations music that blends traditional folkways with avant-garde composition. 

                                                                                                          Saint Ballantine

                                                                                                          All Saint's Day

                                                                                                            Before coming together to form Saint Ballantine, Brooklyn-based duo Andrew Thomas Reid and Brian “Sene” Marc were busy pushing creative boundaries on their own. As one half of Denitia & Sene, Brian notably caught the attention of Rolling Stone with the group’s lilting electro-soul and striking style. Andrew, an artist, creative director, producer, and visionary with a penchant for branding, helped to materialize a communal incubator for young artists in Brooklyn called the Clubhouse (aka ClubCasa).

                                                                                                            The production duo pride themselves on blending aspects of various genres in both their musical elements and lyrical content. Dark and meaningful concepts are often encased in intricate downtempo jams, making each Saint Ballantine track worth exploring. Both musicians specialize in mixing numerous influences and shared priorities, but the music is never harsh or restrictive. “Although Saint Ballantine has sharp sonic opinions, it’s really accessible to a lot of people and I think that’s important,” says Reid.

                                                                                                            He and Marc successfully touch on complex situations as well as lighter universal topics, allowing virtually anyone the chance to connect with the group. Hollis Wear, who previously appeared on Macklemore & Ryan Lewis’ “White Walls” with memorable results, is the lone feature on a cross-cut album of minimal neo-soul, R&B and indie pop, with millennial takes on folk and psych. “All Saint’s Day” celebrates the moody and ethereal, its layered soundscapes as much a sharp, angular pop record as one that stays poised, watching in the wings as an outsider. The humanized synthetics are sure to catch the ears of fans of The Weeknd, H.E.R., Frank Ocean, Porches and Børns.

                                                                                                            Tangerine Dream

                                                                                                            Miracle Mile

                                                                                                              The soundtrack to the original motion picture directed by Steve De Jarnatt (1989) and twelfth film score from Tangerine Dream, the tension in ‘Miracle Mile’, both the music and on the screen, make it one of their strongest and a masterpiece. Evocative 40 minutes plus Tangerine Dream soundtrack for the cult American apocalyptic thriller Miracle Mile. Featuring 11 super-tense pieces, a synth powered treasure. Featuring the classic line up of the late, great Edgar Froese and Paul Haslinger, it nods to John Carpenter’s Tangerine Dream-inspired early ‘80s musical masterpieces for Assault On Precinct 13 and Escape From New York. One of The Fader magazine’s 11 Brilliant Tangerine Dream soundtrack moments. 

                                                                                                              Kevin Krauter

                                                                                                              Toss Up

                                                                                                                “Useful Solitude” is the phrase Kevin Krauter uses to describe Toss Up, his upcoming full-length debut, both the conditions in which it was created and the prevailing theme of these nine iridescent indie-pop songs. In between tours the Indiana musician spent long hours in his basement, guitars and vintage keyboards his only company, and tested out ideas, explored new sonic avenues, savored new sounds, and taught himself how to play a few instruments.

                                                                                                                ‘Toss Up’ builds on the sonic worlds of Krauters’ first releases, conveying a similar mood with a greater array of instruments and influences. An insightful songwriter with a lyrical style that is both economical and evocative, Krauter crafts unique soundscapes that scramble a range of influences—‘60s flower pop, ‘70s easy listening, ‘80s New Wave, ‘90s alt-radio, ’00s indie rock. The secret tension on Toss Up, the engine that drives these songs: melody propelled by rhythm, melancholy fended off by the exuberance of simply creating art

                                                                                                                FORMAT INFORMATION

                                                                                                                Coloured LP Info: Clear green vinyl

                                                                                                                Big Black

                                                                                                                Headache (Remastered)

                                                                                                                  Remastered By Steve Albini And Bob Weston At Chicago Mastering. The Players: Dave Riley - Bass, Santiago Durango - Guitar, Vocals, Steve Albini - Vocals, Guitar, Roland Drum Machine - itself. Big Black was started by Steve Albini in 1982 while he was attending Northwestern University in Evanston, Illinois. Lungs, the first Big Black release was recorded by Steve on a borrowed 4-track. He played everything on the EP himself - except the sax bleating courtesy of pal John Bohnen and the drums courtesy of Roland. Soon after, Steve recruited Jeff Pezzati (Naked Raygun) on bass, and Santiago Durango (also Naked Raygun) joined them on guitar. In 1983, together with live drummer Pat Byrne, they recorded the Bulldozer EP.

                                                                                                                  By 1984, the band had done some touring and recorded the Racer X EP and the start of the Il Duce 7”. After that, Jeff returned to Naked Raygun and was replaced by Dave Riley. In 1985, Big Black recorded their first full-length, Atomizer, as well as finishing the Il Duce 7”. Atomizer was released in 1986 along with the release of the Hammer Party compilation CD. In 1987, the Headache EP and Heartbeat 7” were released. That same year, the band recorded and released the 7” of The Model/He’s A Whore as well as their second full-length album, Songs About Fucking. They toured extensively (for Big Black). And they broke up. “We liked to think we were ahead of our time. Now that time has caught up with us—well, this isn’t such a swell place, and having gotten here first doesn’t make it any nicer.” Steve Albini… 

                                                                                                                  FORMAT INFORMATION

                                                                                                                  LP includes MP3 Download Code.

                                                                                                                  Connections

                                                                                                                  Foreign Affairs

                                                                                                                    Fifth album from the beloved Columbus, OH band and first for TiM, after four albums on Columbus label Anyway Records. Features former members of 84 Nash. Since 2013, Columbus, Ohio's Connections have made four nearperfect albums of lo-fi pop majesty for the seminal Midwest label Anyway Records, and "Foreign Affairs" - their latest album (and first for Trouble In Mind), continues that winning streak with fifteen songs packed with sardonic tunefulness and Buckeye bombast, firmly planting them in the canon of the Ohio Sound.

                                                                                                                    Connections sprung forth from the ashes of Nineties pop band 84 Nash, infamous for being the only non-GBV related band released on Robert Pollard's own Rockathon Records and comparisons to the Indie Rock underdogs seem inevitable, if not a little shortsighted. Connections' brand of indie rock definitely has one foot in The Nineties but maintains a classicist's penchant for nuanced & timeless rock'n'roll. Many songs use
                                                                                                                    classic pop structures (see "Love Me Still"s quiet/loud/quiet power ballad-isms) but subvert them with a clever melodic twist, a bonkers twinguitar solo or unexpected synth squiggle underneath.

                                                                                                                    These guys have done their homework, but nothing feels studied - they've drunk from the waters of the Ohio Underground and the tunes flow forth naturally, with nods to their Nineties brethren (GBV, Breeders, Gaunt) as well as idiosyncratic Midwest legends like Mike Rep and The Quotas or Thomas Jefferson Slave Apartments. For every obvious, life-affirming hit on 'Foreign Affairs' (the bouncy "Good Cop" or bombastic "Low Low Low") there are equal numbers of stealthy earworms like the chiming "Short Line" (with it's humming anti-chorus), or the yearning, organ-drenched "Downtown" to name
                                                                                                                    a few. The sixteen songs ooze familiarity and an instant lyrical relatability, with singer Kevin Elliot's lyrics reveling in the everyday's little details; good friends, love and rock 'n' roll with restlessness and desire in a harsh, unforgiving but still beautiful world. 

                                                                                                                    FORMAT INFORMATION

                                                                                                                    Coloured LP Info: Limited red vinyl version

                                                                                                                    When you listen to the Shacks' self-titled debut EP, you might imagine that Shannon Wise and Max Shrager are much older than their respective 18 and 20 years. But when Shannon’s whisper-vocals breeze through the speakers, you hear the youthfulness of their sound which then in turn explains the fearlessness of their songwriting. Both vaguely familiar and completely fresh, The Shacks are one of the most interesting NYC bands to surface in a minute. Since the release of their first single, "Strange Boy," which they recorded with El Michels Affair, The Shacks have been compared to 90’s indie icons like Mazzy Star, Jesus and Mary Chain, and Broadcast. As good as those bands are, you wouldn’t find a single one of their records in Max and Shannon’s music collection. All these bands are drinking from the same well, just 20 years apart. Highlights from The Shacks EP include a cover of the Ray Davies-penned "Strange Effect," which Shannon sings as if it were written for her, giving the song an unnerving edge that’s way more interesting than Dave Berry’s tepid original. Also included on the EP is "Orchids," one of Leon Michels and Max Shrager's first co-productions, recorded at the legendary Diamond Mine studios. "Orchids" is a truly original piece of music that showcases The Shacks’ adventurousness in the studio. "Left It With the Moon" is a lo-fi lullaby written by Shannon and recorded to 4 track cassette at Max’s home studio in Princeton, NJ. And "Hands In Your Pockets" features the Frightnrs rhythm section laying down a pitch-perfect rocksteady backing track behind Shannon’s deadpan delivery a la Jane Birkin. The Shacks' full-length LP is due early 2017 on Big Crown Records

                                                                                                                    STAFF COMMENTS

                                                                                                                    Barry says: Twanging indie-rock guitars and 70's influenced fuzzy harmonies interwoven with the soothing and silky vocals of Shannon Wise. A bracing and enchanting listen, full of irresistible hooks and undeniable charm.

                                                                                                                    Immersion

                                                                                                                    Sleepless

                                                                                                                      Immersion are Malka Spigel and Colin Newman. Although best known for their work with, respectively, Minimal Compact and Wire, the duo’s work as Immersion provides an outlet for their ongoing fascination in crafting enthralling, unique musical soundscapes. Sleepless is Immersion’s latest album, a suite of ten distinctive, unpredictable instrumentals that effortlessly encapsulate a range of emotions and energies.



                                                                                                                      Brownout

                                                                                                                      Fear Of A Brown Planet

                                                                                                                        Twenty-eight years ago, pissed-off twelve-year-olds around the universe discovered a new planet, a Black Planet. Public Enemy’s aggressive, Benihana beats and incendiary lyrics instilled fear among parents and teachers everywhere, even in the border town of Laredo, Texas, home of the future founders of the Latin-Funk-Soul-Breaks super group, Brownout. The band’s sixth full-length album (out May 25th) Fear of a Brown Planet is a musical manifesto inspired by Public Enemy’s music and revolutionary spirit.
                                                                                                                        Chuck D., the Bomb Squad, Flava Flav and the rest of the P.E. posse couldn’t possibly have expected that their golden-era hip hop albums would sow the seeds for countless Public Enemy sleeper cells, one that would emerge nearly three decades later in Austin, Texas.

                                                                                                                        Greg Gonzalez (bass) remembers a kid back in junior high hipped him to the fact that Public Enemy’s “Bring the Noise” is built on James Brown samples, while a teenaged Beto Martinez (guitar) alternated between metal and hip-hop in his walk-man, and Adrian Quesada (guitar/keys) remembers falling in love with Public Enemy’s sound at an early age. “When I got into Hip hop, I was looking for this aggressive outlet . . . and I didn’t even understand what they were pissed off about, because I was twelve and lived in Laredo . . . but I loved it and I felt angry along with them.”  Joseph Abajian (Fat Beats’ owner) must have sensed the deep hip-hop well lying beneath the versatile band’s Latin-Funk veneer. “I thought their sound would work covering Public Enemy songs,” Abajian says, and, “it was good to know they were P.E. fans . . . We came up with a track listing and they went to work.” Despite the band’s eagerness to work on new original material (an album of original songs is slated for next year), they couldn’t pass up the opportunity to pay homage to this iconic and influential posse.

                                                                                                                        Translating sample-based music to a live band turned out to be more of a challenge than they anticipated. Adrian tried to get inside the Bomb Squad’s [Public Enemy’s producers/beat-making team] head in order to find the inspiration to reinterpret P.E.’s songs: “imagine the Bomb Squad going back in time and getting the J.B.s [James Brown’s funky backing band] in the studio and setting up a couple analog synths and then playing those songs.” While some songs closely follow the original musical blueprint, others use the source breakbeats as jumping-off points later sweetened by Trombonist Mark “Speedy” Gonzales’ horn arrangements, synth wizardry courtesy of friend-of-the-band Peter Stopschinski, and DJ Trackstar’s turntable scratches. 

                                                                                                                        Infinite Music

                                                                                                                        A Tribute To La Monte Young

                                                                                                                          Infinite Music is an entrancing drone experience. A breathtaking live collaboration between Spacemen 3’s Sonic Boom, Zombie Zombie’s Etienne Jaumet and Celine Wadier, a master of Indian Dhrupad singing and tanpura. Recorded live at Teatro Maria Matos, Lisbon in September 2017, the performance is released on magenta vinyl. Young was an inspiration on John Cale and original Velvet Underground drummer Angus MacLise, Philip Glass, Steve Reich, George Harrison, Brian Eno, Jarvis Cocker, Stereolab and the classic Spacemen 3 album Dreamweapon. La Monte’s influence in the hands of this eclectic trio is timeless and beautifully evocative. “I’m not suited for these times but I am suited for the world I created.” La Monte Young. 

                                                                                                                          FORMAT INFORMATION

                                                                                                                          Coloured LP Info: Limited Magenta colour vinyl LP, download card included

                                                                                                                          Jon Sable & Huerta

                                                                                                                          Alishan Forest Railway / Housework

                                                                                                                          The Alishan Forest Railway is a 86 km network of narrow-gauge railways running through the forests of Alishan Mountain in Chiayi County, Taiwan. During the Spring months, the iconic red train passes through an endless array of cherry blossoms and small, untouched villages. This peaceful scene is set in contrast to the stories told by locals, of wandering spirits seen deep in the forest. The spirits are believed to be the lost souls of the 32 passengers, who perished in the tragic derailment of the train in 1981.

                                                                                                                          Burn a candle in remembrance when you play this record at the club.

                                                                                                                          Robert Hood

                                                                                                                          Clocks / Low / Go

                                                                                                                          Returning victorious to M-Plant after the Floorplan album and EP takeover, Robert Hood, whose work under his own name has continued to garner equal support with the 'Paradygm Shift' series for Dekmantel, brings the heat with this triple-tracker.

                                                                                                                          The original minimal techno master wastes no time with 'Clocks'. There's a sense of urgency as the track builds, looping into its crescendo with waves of staccato hi-hats. Tick tock, tick tock.

                                                                                                                          Over on the flip side there's a familiarity in the opening chords of 'Low Life' that will resonate with fans of Hood's work. Instantly recognisable, it's stamped with his ability to bring funk and groove to the colder stomp of techno.

                                                                                                                          Final opus, 'Go' brings a spiralling samba tempo to the dancefloor. The punchy drumbeat is interwoven with sweeping cymbals for a highly effective infectiousness, like a call to arms, or better still, the Brazilian call to carnival. 


                                                                                                                          Chaos In The CBD

                                                                                                                          Global Erosion / Background Explorer

                                                                                                                          South UK hotbed of dance music culture seems to nurturing a lot of talent at the moment. Fuck Berlin, if you've got an MPC and an idea head to Peckham! Yam Records are one of the increasing number of boutique labels to be emerging from the area, all with its own highly contextual sound - records informed by a multitude of cultures, influences and varieties of people. It's the 'IN' vote solidified in musical form, but let's not go there now shall we? Beans and Louis make the highest quality house music, which is perfectly demonstrated on this two¬?track EP. "Global Erosion" sees long¬?time collaborator Isaac Aesili contribute horn hooks and live percussion to this truly deep and emotional journey. On the flip, "Background Explorer" turns up the heat with an 8 minute heads¬?down transcendental percussion and drum workout, the surging chords and rainforest calls forcing the head to follow the feet.
                                                                                                                          Being played by Benji B, Andy Blake, Bradley Zero and many more to come I'm sure! Massive! 


                                                                                                                          STAFF COMMENTS

                                                                                                                          Matt says: Biggest record outta Peckham for a while (well, a little bit anyway). Deep, Ron Trent inspired house vibrations on this tasty double A side.


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