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Tim Maia

Disco Club

    Official Mr Bongo reissue. Replica original artwork. Mr Bongo brings another Brazilian rarity to the masses with this sublime reissue of Tim Maia’s Disco Club. Recorded in 1978, it’s a latter-period gem from the larger than life legend, combining the glitz and glamour of disco’s heyday with Maia’s raw funk and soul roots.

    When Maia first heard Little Richard as a teenager, he knew what kind of singer and artist he wanted to be. Five formative years spent in the US, where he ran wild in NYC and joined a doo-wop group called the Ideals, did little to dampen his enthusiasm for black music.

    Stirred by the civil rights movement in the US and driven by a punk spirit, Maia went on to blaze his own trail through the early 70s over the course of four successful albums for Polydor. Moving away from the straight MPB, Tropicalia and international rock dominating the airwaves, his sound represented a new black Brazilian consciousness. When he sang, he could be raspy and defiant one moment ... and then romantic and reflective the next. But always on a groove and with a hook. It was an irresistible combination.

    Yet by 1977 he was bankrupt and in limbo having first joined a religious cult called Superior National and then alienated listeners with his first album sung entirely in English. To complicate matters further, Brazil was feeling the Saturday Night Fever. Gloria Gaynor, Chic and Kool & the Gang were dominating the charts and filling hotspots such as New York City Discotheque in Ipanema and Frenetic Dancing Days in the Gavea Mall.

    Maia left his usual band and went into the legendary Estudios Level with a mighty ensemble of Rio’s finest including Paulinha Braga on drums, Jamil Joanes on bass, Robson Jorge on clarinet, Hyldon De Souza on guitar, Sidinho on percussion, trombonists Edmundo Maciel and Darcy Seixas, and Juarez Assis on tenor sax.

    The album kicks off with a trio of floor fillers: the exuberant party starter ‘A Fim De Voltar’, a sing-a-long anthem in ‘Acenda O Farol’ and the undeniably funky hit ‘Sossego’ (file that one next to Fatback). But then Maia drops it down and gets existential on ‘All I Want’, questioning the meaning of happiness. He also shows his tender side on slow burners such as ‘Murm rio’ (written by the great Cassiano) and ‘Pais E Filhos’, the latter featuring a supersoft bed of harmonies you can’t help but lay down on. But the party ain’t over and mid-tempo groover ‘Juras’ gets the feet moving again before ‘Jhony’ sends us swaying off into the night.

    Maia’s appetite for excess would eventually get the better of him. But Disco Club is the sound of an unpredictable genius on top form. Get ready for the time of your life.

    Prhyme

    Prhyme 2

      PRhyme 2 is the second official full-length collaboration from two of Hip-Hop’s most respected artists.

      PRhyme marks the first time that DJ Premier has been part of a group since being of the legendary Gang Starr. The PRhyme 2 album exclusively samples the work of composer and producer AntMan Wonder, produced by the Legendary DJ Premier.

      PRhyme is Royce da 5’9” and DJ Premier Guest features include Dave East, Yelawolf, CeeLo Green, 2 Chainz, Big K.R.I.T., Curren$y and Rapsody (2x Grammy Nominee - 2018)

      After their stunning debut on ART, electro purveyors LONDON MODULAR ALLIANCE return as they keep up their unstoppable momentum on the contemporary electronic scene. With a slew of high profile live shows behind and in front of them - LMA go from strength to strength as evidenced by this 5 track EP spanning deep, emotive ambience all the way to heavy wobble electro bass. Unmissable!!

      Instrumental music is supposed to be asemantic and yet a rich language of rhetorical gestures has grown up around it.
      None of them may have a specific meaning but they easily lead the listener towards an emotion, a sensation, an embryonic story. Does any of this mean that music is abstract? Or does it, to the contrary, mean that music tells a story? There is no abstraction without a story. Is there a story without an abstraction? The composition on this album, is it a radio play? Tropa Macaca = André Abel and Joana da Conceição

      Check out their earlier albums, they’re just as great.

      Iori

      Galaxy - Lord Of The Isles Remix

      LAs the first release on Phonica White back in 2009, ‘Galaxy’ by Japan’s Iori is an expertly crafted piece of dancefloor-focused Techno, led by a rolling bassline and crisp hi-hats, with hypnotic melody patterns skittering off the surface. As we described it upon release, it’s a trippy but accessible heads-down affair that has the depth and the bite to do damage at peak-time and in the after-hours alike. A decade later, those words still ring true and as it’s now one of the most sought after records on Phonica White it’s the perfect time to revive it - with a twist.

      This time we have freshened up the record by swapping original B-side ‘Urge’ with a previously unreleased remix of ‘Galaxy’ from Lord Of The Isles, the producer behind two of Phonica’s best received 12”s on the main label; ‘Year Of The City’ & ‘Greane / Gigha’. Countering the original’s functional sonics, his remix takes the track in a deeper, widescreen direction, swirling the original’s components around immersive pads and piano.

      To keep collectors of the first pressing happy as well as to differentiate the two versions, the label artwork is the same Pedro Carvalho de Almeida design yet inverted and slightly tweaked to reflect the new tracklist and catalogue number.

      Sordid Sound System

      Psychedelic Dungeon Disco Vol. IV

      Having recently relocated to the remote redwood forests of Northern California in order to set up a satellite mixing studio for his old stomping ground, Glasgow’s Green Door Studio, Sordid Sound System returns to Invisible Inc with 4 cuts of Psychedelic Dungeon Disco.

      The EP opens with his most blissed out track to date ‘Die Ewige Nacht’, an eight and a half minute inverted sun ritual based around shimmering cascades of dubbed up electronic percussion and an overdriven tintinnabulated FM arp.

      Hi-NRG meets 80s B-Boy electro on ‘Crescent City’ with a careering off-road excursion into tripped out mutant carnival cavalcade territory.

      Dia De Muertos’s offbeat eerie percussion and driving low frequencies are met with spectral buzzing melodic refrains from the furthermost reaches of a decaying Oaxacan cemetery.

      The acid drenched ambient lullaby ‘You & Me’ brings proceedings to a fittingly fucked up close.

      Sordid Sound System’s last release on Invisible Inc, 2017’s ‘Fear Eats The Soul’, received plays and praise from the likes of Manfredas, Trevor Jackson, Sascha Funke, Optimo’s JD Twitch and Thomas Von Party.

      We Are Scientists

      Megaplex

        We Are Scientists, the Brooklyn, New York based power pop troupe are set to return with their sixth album. Titled ‘Megaplex’ and released via 100% Records on April 27th, the infamous duo, Keith Murray (guitar/vocals) and Chris Cain (bass), are once again set to dazzle the world with ten brand new splashes of colourful and utterly addictive pop that serve as a welcome distraction to these bleak times we live in.

        “In the past we’ve used our music to educate, to enlighten, to awaken people to the depth and complexity of moral concerns. This time, we really wanted to drop a fun-bomb. Something to dance or f*** to,” states Chris and ‘Megaplex’ achieves just that. Recorded at Tim Wheeler from Ash’s Atomic Heart Studios in NYC and once again produced by Max Hart (ex-Katy Perry), the duo set about honing down a sprawling burst of creativity to make the concise pop beast that is ‘Megaplex’.

        "At this point in our career, we’ve written so many songs,” explains Keith. “The pool for this record alone was something like 90 songs deep — that we know exactly what we want out of a We Are Scientists record. We want it to be taut, to bang hard, to have a big hook every four seconds or so. We don’t have to be precious about which songs make it onto a record; we can listen to the ones that didn’t make it at home, on our own time. ‘Megaplex’ is just the ten most delicious songs that we have — a stacked-up compound of entertainment."

        "It takes a lot of hard work, a lot of honing of craft to make it to six records,” continues Keith. “ I mean, the Velvet Underground never made six albums. The Smiths didn’t. Pavement, Guns N’ Roses, The Stooges — none of them could do it. So, I guess we’re just objectively better than those bands now? It’s just a mathematical fact, right? Van Halen made six with David Lee Roth but only four with Sammy Hagar, so I guess we’re better than Hagar-era Van Halen but only just as good as Roth-era? Which, saying it out loud, makes total sense, yeah."

        These are stark facts that cannot be argued when faced with the ten melodious molten nuggets that are simply blinding in their brightness. Yes folks, We Are Scientists are very much back.

        “Our brilliant work in pop song writing is unsurpassed,” summarises Keith. “And will probably make the We Are Scientists Name live beyond eternity.”

        FORMAT INFORMATION

        Coloured LP Info: Limited edition white vinyl.

        Various Artists

        Inside Out - Will Saul

          Inside Out is a brand-new series that invites DJs and producers to blur the boundaries between traditional artist albums and mix compilations. Coming from Aus Music label head and DJ-Kicks curator Will Saul, the concept encourages artists to showcase their own music and or the music of those in their own individual circles. The mix will be release digitally and on CD, while a selection of the tracks will also be available on double gatefold vinyl.

          Each instalment will feature 100% new and unreleased music. It is a chance for artists to take sole creative charge, A&R as they see fit and then commission brand new music specifically for the cause. Depending on who is at the helm, Inside Out will take different forms: producers may wish to represent their own sound with only music they have made themselves or with close collaborators, while DJs and label heads may wish to reflect the sounds and scenes that surround them. The results will be a window into an artist’s world that works as a coherent mix, but also as a treasure trove of fresh new music that steps outside the usual lines of a dance album.

          The idea stems from Will Saul’s own approach in the club, which often finds him seeking out brand new and unheard music to play for the first time. That feeling of taking people into the unknown is one that reminds him of the energy and excitement of his early days as a dancer.

          For Will’s mix he enlists an array of artists who he’s worked with over the years, many of whom have released on one of his labels in that time. These include the likes of Lone, Pearson Sound, Move D, Gerd, Youandewan, Martyn, Falty DL, Dauwd, Appleblim and Marquis Hawkes.

          Ionnalee

          Everyone Afraid To Be Forgotten

            Swedish singer, songwriter, producer and filmmaker, ionnalee (Jonna Lee), brings the evolution of her ten-year creative career to a new peak with the release of her new self-produced solo album EVERYONE AFRAID TO BE FORGOTTEN on 23rd February 2018 on To whom it may concern.

            Even considering Lee's past endeavors as the creator and frontperson of iamamiwhoami, who have captured the internet's attention since 2009, this is the most ambitious project which the Stockholm-based master of audiovisual artistry has embarked on.

            EVERYONE AFRAID TO BE FORGOTTEN is a studio album and standalone filmic counterpart directed by ionnalee and cinematographer John Strandh, made in visual alliance with fashion and art trail-blazers, COMME des GARÇONS.

            Breaking from tradition, the feature is not a sequential track-by-track visualization of EVERYONE AFRAID TO BE FORGOTTEN, rather its own separate organism, combining a dramatic plotline, music and art house cinematography with an avant-garde fashion slant.

            “John Strandh and I were discussing the format of what we do and how the online distribution arena affects that format”, ionnalee says. “Our work is predominantly regarded as a form of music video because there is music and movement in it. But, in reality, we have been at the very forefront of the audiovisual format and, in the past couple of years, a lot of other works have patently drawn inspiration from ours, so that the term “visual album” is now part of common parlance and practice.” Consequently, ionnalee and Strandh wanted to try an alternative configuration, rather than treading the same old ground and to go closer to the feature film format”.

            The official album cover is shot by John Strandh and features a sculpture made by ionnalee.

            Nova Gain Records returns with the purple side of disco life. Mr. Konfuze deliverers a funky nu-disco anthem with big beat-ish drums, soulful vocals and massive dancefloor bass. Colour up your dj bag musically and physically and get one of these limited 7 Inches!



            Prophets Of Peace

            Get It On

            Prophets of Peace are roaring over here with this sizzling track ‘Get It On’, it’s on fire on this new release on Athens of the North. These two unreleased tracks, including ‘You Can Be’ were miraculously found by the team at Numero Group and these were in dying need to be pressed on vinyl. Recorded at Audiotek Studios Inc in 1975, David Z, who engineered Lipps Inc's "Funkytown" and several Prince productions, piloted both these recordings. Everything you need for a funk-filled enjoyment is here. 

            STAFF COMMENTS

            Millie says: Blasting out from the speakers is the exact sort of funk-disco grooves I like to hear. Dreamy vocals paired with the sensational underlying rhythm is perfect. This 7” is going to fly out so don’t wait around!

            Three years in the making, "Lead The Way" is Soulstance's fourth album for Schema and sees the Lo Greco brothers refining their method of blending melodies with rhythms; at times in a swinging jazz-bop style with Latin-house shades, at others more on a melodic samba tip. Some moments are spiritual and modal; others are more atmospheric. Enzo and Gianni Lo Greco are joined by five other musicians and singer Alice Ricciardi for a mix of Latin-jazz harmonies and percussive dancefloor grooves, full of flowing improvised instrumentation. Substantially is the mere natural evolution of a music language, which starts from solid grounds, gets contaminated by multiple experimentations in various directions, to then go back to great music of the past. Soulstance's objectives are to fill with emotions and involvement the listeners; either they are connoisseurs or complete strangers to the broadest horizons of sound (well, that's what the Schema sales notes say anyway...).

            STAFF COMMENTS

            Millie says: Bright Latin-Jazz paves the way to be a standout record in any Jazz collection, energetic grooves with a mixture of soft swaying percussion makes this a lovely listen.

            Austin Collins & By The Sea

            Blade Jogger

              A concept piece, part sonic science fiction part monologue; "Blade Jogger" is the palpably clammy tale of an erstwhile Salford doorman with a taste for ‘SWENDAB’ - a new drug of potent psychotomimetic efficacy - set to a backdrop of Brexit bruxism. Conjured by author and artistic director of The White Hotel, Austin Collings (Renegade: The Lives at Tales of Mark E. Smith & The Myth Brilliant Summers), narrated by James Stannage, and set to a synthesised score by Bill Ryder-Jones (The Coral) and By The Sea. Think Anthony Burgess meets Savoy with sound by Martin Hannett in Delian mode. The White Hotel’s shadow looms large over proceedings. Jog on…

              The place is England: a horrible electronic slum. The time is 22 minutes and 11 seconds into the future. A new drug - SWENDAB - is doing the rounds, sending everybody round the bend - as per. And as ever, here in this ‘less-than-United-Kingdom’, the rain must fall continuously. (It’s a wonder we haven’t all rusted by now.)

              Rebelling against the drudgery of his surroundings, trapped inside his own fragile psyche - with no map nor money - meet GAZ-15: ex-bouncer/ex-lover/full-time-fuck-up.

              Tonight, like every other night, he will go AWOL, lost in ‘the hallways of always’ of another SWENDAB-binge, searching for a meaning he knows he will never find. All those memories leaking into the eternal drainpipe. What a monster he’s made of himself. Not quite human. Oh to be a clone of others.

              Thundercat, OG Ron C, & The Chopstars

              Drank

                Brainfeeder presents a special "chopped not slopped” mix of Thundercat’s incredible album “Drunk” (2017) by DJ Candlestick and OG Ron C of legendary Houston DJ collective The Chopstars. Slowed down, chopped up and pressed on purple vinyl, the mix has been appropriately re-titled “Drank”. “If you got ‘Drunk’ it’s only right that you get ‘Drank’. I feel like they go together” declares Thundercat.

                Recommended if you like… Flying Lotus, BADBADNOTGOOD, Kendrick Lamar, DJ Screw ∙ 2LP limited edition purple vinyl edition housed in artworked inners inside a 5mm spined outer sleeve. Photography by Eddie Alcazar and artwork by Zack Fox.

                Includes MP3 download code.

                STAFF COMMENTS

                Millie says: In the words of Kendrick Lamar 'Pour up, drank, head shot, drank, sit down, drank, stand up, drank'. Drank is the sequel to Thundercat’s previous release last year ‘Drunk’, remixed and all freshened up to provide the jazziest of vibes you could ever need.

                FORMAT INFORMATION

                2xColoured LP Info: Double LP on purple vinyl housed in artworked inners inside a 5mm spined outer sleeve with digital download code.

                Courtney Barnett

                Tell Me How You Really Feel

                  The Grammy and Brit nominated Courtney Barnett returns with her second album - 'Tell Me How You Really Feel.' It follows her critically acclaimed 2015 debut album 'Sometimes I Sit And Think And Sometimes I Just Sit', and a recent top 10 collaborative record, 'Lotta Sea Lice', with Kurt Vile. One of the most distinctive voices in music, Courtney is known for mixing witty observations with unflinching self-assessment - fast forward to now and although all of the cleaver turns of phrase and an eye for story telling are still there; this new collection of songs see a more serious and outwardly tone capturing the current social landscape yet still retaining moments of intimacy and warmth. As the world becomes more familiar with Courtney Barnett these songs feel comforting and emphatic yet that raw energy and the ability to make the listener think still remain.

                  FORMAT INFORMATION

                  Coloured LP Info: Indies exclusive in gatefold mirror board sleeve. Limited red vinyl.

                  Coloured LP includes MP3 Download Code.

                  Deluxe CD Info: Limited hardback with exclusive 24 pp photo booklet.

                  King Tuff

                  The Other

                    When asked to describe the title track from his new record, Kyle Thomas—aka King Tuff—takes a deep breath. “It’s a song about hitting rock bottom,” he says. “I didn't even know what I wanted to do anymore, but I still had this urge, like there was this possibility of something else I could be doing… and then I just followed that possibility. To me, that’s what songwriting, and art in general, is about. You’re chasing something. ‘The Other’ is basically where songs come from. It’s the hidden world. It’s the invisible hand that guides you whenever you make something. It’s the thing I had to rediscover to bring me back to making music again in a way that felt true and good.” After years of non-stop touring, culminating in a particularly arduous stint in support of 2014’s Black Moon Spell, Thomas found himself back in Los Angeles experiencing the flipside of the ultimate rock and roll cliche. “I had literally been on tour for years,” recalls Thomas. “It was exhausting, physically and mentally. I’m essentially playing this character of King Tuff, this crazy party monster, and I don’t even drink or do drugs. It had become a weird persona, which people seemed to want from me, but it was no longer me. I just felt like it had gotten away from me.” The ten tracks that make up The Other represent a kind of psychic evolution for King Tuff. No less hooky than previous records, the new songs ditch the goofy rock-and-roll bacchanalia narratives of earlier records in favor of expansive arrangements, a diversity of instrumentation, and lyrics that straddle the fence between painful ruminations and a childlike, creative energy untarnished by cynicism. The soulful and cosmic new direction is apparent from the album’s first moments: introduced by the gentle ringing of a chime, acoustic guitar, and warm organ tones, “The Other” is a narrative of redemption born of creativity. As Thomas sings about being stuck in traffic, directionless, with no particular reason to be alive, he hears the call of “the other,” a kind of siren song that, instead of leading towards destruction, draws the narrator towards a creative rebirth. Elsewhere, tracks like “Thru the Cracks” and “Psycho Star” balance psychedelia with day-glo pop hooks. “The universe is probably an illusion, but isn’t it so beautifully bizarre?” he asks on “Psycho Star,” providing one of the record’s central tenets. At a time when everything in the world feels so deeply spoiled and the concept of making meaning out of the void seems both pointless and impossible, why not try? Thomas self-produced the record, as he did his 2007 debut, Was Dead, but on a far grander scale. He recorded it at The Pine Room, the home studio Thomas built to work on the record, and playing every instrument aside from drums and saxophone. He pulled Shawn Everett (War On Drugs, Alabama Shakes) in to assist with the mixing process. While it would be easy to think of The Other as a kind of reinvention for King Tuff, Thomas views the entire experience of the record as a kind of reset that’s not totally removed from what he’s done in the past. “I can’t help but sound like me,” he says. “It’s just that this time I let the songs lead me where they wanted to go, instead of trying to push them into a certain zone. King Tuff was always just supposed to be me. When I started doing this as a teenager, it was whatever I wanted it to be. King Tuff was never supposed to be just one thing. It was supposed to be everything.”

                    FORMAT INFORMATION

                    Coloured LP Info: Loser edition coloured vinyl.

                    Makeness

                    Loud Patterns

                      Makeness is pleased to announce his debut album, Loud Patterns, coming out April 6th on Secretly Canadian. Crafting tracks which make a virtue of disparate influences, Kyle Molleson manages to pull off something difficult: songs which have been tirelessly worked on, although sound loose-limbed and to-the-point.

                      Loud Patterns is noticeably indebted to house and techno; there are 4/4 rhythms, and a no-nonsense directness that harks back to the Detroit pioneers. Channeling avant-garde experimentalism and an outsider’s interest in pop, Kyle embraces the distance between those two poles.

                      Cosmic Slop, an underground institution in Leeds, was another touchstone. As Kyle recalls, “That place was definitely an awakening in terms of dance music.” It boasts a hand-built, peerless soundsystem, a near-pitch black dancefloor and a music policy that ranges from Dilla instrumentals to Detroit house.

                      Loud Patterns arrives after a series of releases that have established his particular, in-between approach to dance-minded music. He put out two EPs on Manchester-based imprint Handsome Dad, a one-off single with Adult Jazz and self-released Temple Works EP; Whities also released a limited-edition white label of a Minor Science dub of one of his tracks.

                      Along with today’s announcement, Makeness is sharing a video for his new single, “Stepping Out Of Sync.” “‘Stepping Out Of Sync’ for me is about losing a little bit of a grip on reality,” says Kyle. “There’s a big nod to the world of pop music in the track and I wanted to reflect that in the video too. Josha and Felix, who directed the video, came up with this great time splicing technique using a custom 3-camera rig. The idea was to use the technique as a character in the video to add a sense of detachment from reality and subtly invert the upbeat aspect of the music. I had also been talking to my friend Maddie who is a brilliant dancer about working on some choreography for the video. These aspects seemed to come together perfectly when Josha and Felix started sending ideas across. I think the video really captures the range of emotions that exist in the track, it’s upbeat and positive aspect alongside a layer of dissonance and confusion that lies under the surface.”


                      DJ Nigga Fox

                      Cranio

                        The future and history of bleeding edge dance music collide on DJ Nigga Fox’s new Crânio EP, where the relentless young artist crafts an even deeper level of musicality into his innovative, riotous creations.

                        Following his appearance on the seminal CARGAA compilation series, this collection feels deeply fitting for a Warp project, as it manages to un-self-consciously straddle the bass and bleep alchemy of the label’s early club classics while sitting firmly in the artful post-genre nexus of the current roster of artists.

                        Ever pushing forward, DJ Nigga Fox (néRogério Brandão) has enlisted a veteran percussionist from his home country of Angola to expand the manic palette of his sound. The outcome is a constantly shapeshifting form of psychedelia made for dancefloors, that still manages to spark synapses as a complete listening experience. Yet another beguiling leap forward for the sound of contemporary Lisbon.

                        FORMAT INFORMATION

                        Ltd 12" Info: 12” in 3mm printed outer sleeve with paper inners and download card insert. Limited to 1000 copies worldwide (150 for the UK)

                        Forth Wanderers

                        Forth Wanderers

                          Forth Wanderers employ a tin-can-telephone style of composition which they use even when living in the same area code. Since first collaborating in 2013 as Montclair, New Jersey high schoolers, guitarist and songwriter Ben Guterl and vocalist Ava Trilling have passed songs back and forth like pen pals. Guterl will devise an instrumental skeleton before sending it to vocalist Ava Trilling who pens the lyrics based off the melody. The duo then gather alongside guitarist Duke Greene, bassist Noah Schifrin, and drummer Zach Lorelli to expand upon the demo. It’s a patient and practiced writing system that has carried the quintet through two EPs (2013’s Mahogany and 2016’s Slop) and one LP (2014’s Tough Love). Forth Wanderers, the group’s sophomore record and Sub Pop debut, is the groups’ most comprehensive and assured statement yet.

                          Now living in Ohio and New York respectively, Guterl and Trilling have evolved their separate but collaborative writing process. “The only way I can really write is by myself in my room with a notebook, listening to the song over and over again,” Trilling says. “I’ve never sat down to write a story, I write the song as it unfolds.” Since her lyrics are often embedded with intimate truths from her life, the private writing experience often leads to intense self-reflection.

                          On Forth Wanderers these introspections include meditations on relationships, discovery, and finding oneself adrift. Despite the inherent heaviness of those themes, Forth Wanderers feels joyous, a rock record bursting with heart. Take “Not for Me,” a romping track about “the ambivalence of love.” Trilling’s confession of “I can’t feel the earth beneath my feet/Flowers bloom but not for me” resists feeling like a dreary, pitying complaint; instead, as her bandmates bolster her melancholy with interlocking harmonic intricacies, she soars with self-actualization. Opener “Nevermine,” is a surge of confidence inspired by an ex-lover who is still captivated by her image. “I don’t think I know who you are anymore/And I think I knew who I was before,” she jabs with relish. On “Ages Ago” Trilling paints the image of a constantly-shifting enigmatic lover. “I wasn’t sure who they were, they changed constantly (hence the metaphor describing the “grey coat” and cutting their hair just to “stay afloat”),” she says. “I wasn’t going to wait any longer to find out.”

                          Recorded over five days by friend and audio engineer Cameron Konner at his Philadelphia home studio, Forth Wanderers amplifies the heartfelt sentiments of their earlier works into massive anthems. Guterl and Greene’s guitars have never sounded sharper, Schifrin and Lorelli’s terse rhythm section is restless, and Trilling sounds more self-assured than ever. These are exuberant, profound songs driven by tightly bound melodies and a loving attention to detail.

                          FORMAT INFORMATION

                          Coloured LP Info: Orange coloured Loser edition.

                          DMA's

                          For Now



                            FORMAT INFORMATION

                            Coloured LP Info: Red coloured vinyl.

                            Ben Frost

                            All That You Love Will Be Eviscerated

                              Ben Frost has announced details of All That You Love Will Be Eviscerated, a brand new EP featuring new tracks and previously unreleased remixes from Alva Noto and Steve Albini.

                              In collaborating with Albini, Frost chooses a new immediacy and raw directness. As an artist whose command of sound design lies at the heart of his practice, by placing himself primarily in the role of live performer and handing the studio recording process over to Albini, Frost continues pursuit of Theseus’ paradox; the question of whether a ship restored by replacing every single part remains the same ship.

                              Halo Maud

                              Je Suis Une Ile

                                Halo Maud’s first release on Heavenly is a recap of the story so far ahead of an album release later this year – three tracks of this EP originally came out on a Canadian label last year, with the difference that ‘Du Pouvoir’ now features some English lyrics, and ‘À La Fin’ and ‘Dans La Nuit’ cropped up on a La Souterraine compilations in 2015 and 2016 respectively.

                                Maud Nadal has been a member of both Moodoïd and Melody’s Echo Chamber’s live bands, and of course at times there are comparisons to be drawn with MEC, with both teetering on a crystalline peak where extreme joy and despair meet. But if anything Nadal’s own melodies are even more indelible, and her voice turns them into vapour trails.

                                Boy Azooga

                                1, 2, Kung Fu!

                                  Boy Azooga, the shape-shifting musical mystery tour piloted by Cardiff’s Davey Newington have announced details of the release of their debut album, 1,2 Kung Fu!, on Heavenly Recordings.

                                  A prodigous musical talent, Davey Newington is a young man with a rich musical heritage. One of his granddads was a jazzer who played drums for the Royal Marines. Davey’s dad (violin) and his mum (clarinet) both played, and met, in the BBC National Orchestra Of Wales. Davey himself took up drums at the age of six and also enjoyed orchestral engagement, playing in various Welsh Orchestra’s and Jazz bands as a teenager as well at latterly finding gainful employment playing drums as part of Charlotte Church’s Late Night Pop Dungeon.

                                  Inspired by his art teacher at school who sent him off to town to buy Can’s Ege Bamyasi, taking musical cues from the likes of Sly & The Family Stone, Caribou, Black Sabbath, Outkast, Van McCoy, Ty Segall and The Beastie Boys and with arrangements which carry the wonky tunefulness of The Super Furry Animals they nabbed their name from the 1994 film The Little Rascals.

                                  With a 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 U.K. 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.

                                  They take their loose-limbed live show on the road later this year and the dates include their own headline shows, support slots with The Magic Gang & Rolling Blackouts and Coastal Fever and an appearance at this year’s Heavenly Weekender at the Trades Club in Hebden Bridge.


                                  FORMAT INFORMATION

                                  Coloured LP Info: Limited pink coloured vinyl.

                                  U-Ziq

                                  Challenge Me Foolish

                                    ‘Challenge Me Foolish’ is an almost lost album of µ-Ziq material circa 1998-99, an era that saw Mike Paradinas release ‘Royal Astronomy’ on the now defunct Virgin subsidiary Hut records, and also tour with Björk.

                                    It’s an era of his music that’s definitely worth re-exploring, in which Mike went against the grain by producing music that was baroque, melodic and whimsical, while the IDM movement he was lumped with made instrumental music that was often neurotic and complicated. His taste for melody and dreamy beauty above roughness and intricacy confused people who were hanging on too tightly to the rules. He even brought in Japanese vocalist Kazumi, adding an extra human touch.

                                    ‘Challenge Me Foolish’ is something of a companion to the Royal Astronomy record; arguably even better given the fresh ears selecting the material. It’s imbued with a confident sense of pastoral colour, and a gentle optimism, utilising bells, studied orchestral arrangements and airy synthesisers that sit the album somewhere between, Jean Jacques Perrey (the French electronic composer whose whimsy was always balanced with serious innovation and chops) and the colourful, optimistic soundtracks of Joe Hisaishi. There’s a strange sense of the old and new throughout, the sentimental and utopia, with nary a hint of darkness. Even when the album dips into the hyperkinetic rhythms of jungle, the melodies and mood still retain a sense of gentle warmth. Dive into peak time Paradinas.

                                    Spacemen 3

                                    Playing With Fire - Reissue

                                      Originally released in February 1989 and after having been out of print on vinyl for nearly 20 years Space Age Recordings are pleased to announce an official vinyl release of the third and penultimate studio album "Playing with Fire" by Spacemen 3 (Sonic Boom a.ka. Peter Kember (Spectrum / E.A.R.) and Jason Pierce (Spiritualized). Featuring the single "Revolution" first released in November 1988: “one of the best records released by an independent band this year. Adjectives that come to mind are unrelenting, punishing, psychedelic. The razor-blade riffs lead you into a sonic underworld of alienation, desolation and raw power...the band are one of the most interesting around. — Ron Rom, NME. “a powerful, anthemic "mind-melting crunch" (Ned Raggett, AllMusic).


                                      FORMAT INFORMATION

                                      LP Info: Black vinyl edition.

                                      Space Age Recordings are pleased to announce an official limited edition release of the fourth and final Spacemen 3 studio album "Recurring"; the follow up to their seminal “Playing with Fire” album. By the time the album was recorded, relations between the band had soured to the extent that the record is essentially in two parts; the first seven tracks written and performed by Sonic Boom a.ka. Peter Kember (Spectrum / E.A.R.), and the last seven tracks written and performed by Jason Pierce (Spiritualized) punctuated by the cover version of Mudhoney’s ‘When Tomorrow Hits’ the only track on which both Kember and Pierce appear together. The lead track from the album “Big City" recently featured on the season 27 premiere of ‘The Simpsons being the sound track to Homer Simpson’s wild night out on the town, mixing alcohol with prescription drugs.

                                      FORMAT INFORMATION

                                      LP Info: Black vinyl edition.

                                      CD Info: Presented in a shrink-wrapped 6 panel fold out card wallet featuring the original vibrant cover artwork used on the original US release of this album.

                                      NDATL continues with new HOT tracks from the label's creator Kai Alcé. While Mr Alcé has been remixing on the regular, his own output has been minimal so it's refreshing to hear new material from the man himself. Alcé offers up 4 dope tracks "Back In This Shit" the title track reminiscent of 90's with updated flavor "Not" with it's warm keys & driving drums, the Sheed's Move ft Rasheed Ali on flute is underground like only Mr Alcé can provide & "Jam Tight" is a Detroit flavored burner! This 12" has something for all the vinyl pushers out there!

                                      Still Music presents a compilation of Let’s Dance Records - Mike Macharello & Duane Thamm Jr.'s iconic Chicago label from 1983-85. The origin of house music, at least in a commercial sense, is generally associated with young African American producers from Chicago’s South Side, but one of the first Chicago house music labels was started by a young, white, gay DJ from the far west suburbs. The Let’s Dance story will take you back to the beginnings of Mike Macherello and Duane Thamm Jr. when Chicago’s house music was in its infancy.Back then, after starting as young roller disco Dj in the late seventies, Mike Macherello gradually made its way to the best radio station in 1981 - WBMX - and started a movement that still ripples through the city today. Let’s Dance’s founder, Mike Macharello, was a DJ who bridged diverse music scenes, from rock clubs to discos. The Let’s Dance record label helped establish Chicago’s dance music industry between 1983 and 1985, before becoming Play House Records (which will be reissued by Still Music in an upcoming set). Macharello’s pal, DJ Duane Thamm Jr., also from the ’burbs, became the label’s main producer and one of house music’s most important studio engineers and producers.

                                      Mike and Duane went on to release a few legendary singles for Let’s Dance that are still to this day considered to be the earliest house music records coming from Chicago.

                                      The 12” pack includes faithful reissues of Selenia’s “Single Girl”, Duane Thamm Jr. “Jump Trax”, the insane Knight Action “R-Trax/D-Rail” 12”s along with a 5 tracks 12” compilation and an accompanying poster insert including rare pictures and artifacts with the story of the label.


                                      STAFF COMMENTS

                                      Matt says: It's time to go back.... waaaaay back. Before Kickin' Pigeon (or Jeremy Underground for that matter) was but twinkle in his father's eyes... Learn your roots as plunge into the fertile explosion of what would later become HOUSE!!!

                                      King Gizzard And The Lizard Wizard

                                      Gumboot Soup

                                        This is the 5th instalment of King Gizzard’s five albums from 2017 finally out on physical formats. 

                                        FORMAT INFORMATION

                                        Coloured LP Info: Limited opaque orange coloured vinyl.

                                        Gerry Read steps up for the sophomore release on Finn’s 2 B REAL label, Mass Media - four booty-indebted house tracks, as freaky as they are straight-forward.

                                        The A side lurches into action with a huge buzzy bassline on Mass Media, followed by eerie pads, pops and whistles on Big Boobs.

                                        The B side provides some breathing room with Dreama That Girl’s spacey chops and sauntering bassline, before Pinky reaches a bouncy filter-house climax to close the EP.

                                        Fantasy Life was a one-off Italo disco studio project that consisted of various producers, songwriters, and vocalists from Turin, Italy. The line-up included Lorenzo Avico, Maurizio Camoletto and Sergio Bergamin. They recorded their only single “Over and Over” at Minirec Studio in 1985 with mixing engineer Gigi Guerrieri. It was released that same year by Thick Record a sublabel of Il Discotto Productions and became one of the most coveted Italo Disco 12”s. “Over and Over” is a parable that describes the story of a girl growing up, comparing her life to the changes of the moon. Signature Linn drum and Simmons drums create the driving rhythm track that hauntingly sways back and forth. The vocal version has a nearly two minute extended instrumental break in the middle of the song heightening the dramatic pace. On the B-side is a Dub Version with extended instrumental breaks, bass lines and occasional vocals. Both songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl is housed in the original jacket featuring a painting by Andrea Franzoso and includes a double sided postcard with lyrics and notes 

                                        John Zorn

                                        The Urmuz Epigrams

                                          Desperate from Having Been Left without a Bladder With The Urmuz Epigrams Zorn returns to his roots, using the recording studio as instrument to create an intensely personal suite of compositions in the style of his legendary File Card compositions and Zoetropes. Dedicated to the visionary Romanian writer Urmuz whose small, scattered body of work predated Dadaism by decades, The Urmuz Epigrams is a suite of surrealistic miniatures more akin to philosophical aphorisms than actual music. The pieces are presented here in two iterations, as a set of “rare 78rpm records” complete with surface scratches and limited dynamic range, and as a modern reconstruction of same with the full blown studio sound presented in all its perplexing glory. Some of the craziest music in the Zorn catalog!

                                          Tuxedo With Zapp

                                          Shy

                                            Tuxedo is back with a new single, “Shy,” the follow up to their critically acclaimed “II” album. In collaboration with the iconic funk band, Zapp. Tuxedo delivers a highly addictive new funk single for the dance floor. 

                                            Dark Entries Editions is proud to reissue “Ghost Town” the 1984 debut 12” single by Mono Band from Italy. The project was conceived by producer Rene 'D'Herin and Massimo Fantinatiti aka Fantenax. They teamed up with songwriter and guitarist Luigi Venegoni aka Svengile who had previously worked with progressive and jazz-rock bands Arti & Mestieri and Venegoni & Co. as well as cosmic disco group Stratosferic Band. Treading the lines between Italo Disco and the darker side of New Wave, the trio crafted a mysterious sound. Melancholic arpeggiators, a throbbing baseline, stuttering samples, and the classic Linn drum machine run throughout the track. Vocals were handled by an uncredited Carlo Rossi who raps about a ghost town filled with fear. When female vocalist Elena Sansonetti begins to softly whisper the chorus one might get goose bumps. The trio were joined in the studio by DJ Mike aka Michele Paolino of Make Up/Mike Up, DJ Moody, Fabrice Bellini of Art Fine and producer Miceli. The song was recorded in a few days at Dynamo Sound Studio in Turin and originally released on the popular Discomagic Records. This reissue includes the original vocal version, backed with a longer dubbed out instrumental “Ghost Version” on the B-side. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The 12” is housed in an exact replica of the original sleeve with an astrological photo the planets orbiting the sun. Each copy also includes a 2-sided postcard.


                                            Fabulous Dynamics

                                            Get Hip To Yourself / Every Time I See A Pretty Girl

                                              Big Crown Records is proud to present a recording that could have easily been lost forever like so many others from it’s era. Taken from the only known copy of this acetate that appears to be a rehearsal recording for the group to solicit local gigs, these stripped down versions of “Get Hip To Yourself” and “Every Time I See a Pretty Girl” are American relics. The only information about the acetate is handwritten on a piece of masking tape affixed to the A side, the name of the group, The Fabulous Dynamics, and the track listing. Of the 6 songs on the demo, we pulled the 2 most buttery, delectable, sweet & savory slices of mid 60’s group soul. Stripped down to vocal harmonies and acoustic guitar, both sides of this 7 capture the lo-fi, intimate sonic landscape of yesteryear, something that is often emulated, but never quite duplicated. Another pretty cool detail about this acetate, it was found in the personal record collection of Lamont Dozier

                                              Fockewulf 190 was a New Wave group from Milan formed in 1980 by Vittorio Barozzi aka Victor Life and Dario Dell'Aere. In 1979 the duo met outside a cinema and began a lifelong collaboration of projects: Diamond Dogs, Ice Eyes, Demode Boulevard and Fockewulf 190, named after the model jet planes Dario fanatically built. Musically, the duo were inspired by the Human League’s “Reproduction” and John Foxx’s “Metamatic”, while they took visual cues from the New Romantics Visage and Ultravox. With the Fockewulf 190 moniker, they created their own dark blend of Italo disco and New Wave, and released two singles in 1984 and recorded an album’s worth of music that eventually saw the light of day in 2010.

                                              By 1983, local DJ and guitarist Salvatore Nonnis aka Stan After was added to the group. The band were searching for a producer and found Giuseppe Mincioni of Market Records who serviced the local DJs at the Taxi Club where Stan worked. Mincioni immediately proposed to make a hit with the Italo Disco production team Miki Chieregato and Roberto Turatti behind such acts as Den Harrow, Joe Yellow, Stylóo, Flexx. Dario handed them a demo called “Walking Out” and Turati thought the John Foxx-esque vocals were not commercial enough so they suggested vocalist Fred Ventura. Fred accepted their offer and wrote lyrics for the song politically inspired by living in a world divided in East and West, the Cold War, terrorism, and street violence. The debut single “Body Heat” was released in 1984 on Market Records with the band’s name misspelled as Fokewulf and vocals wrongly credited to Dario. Clocking in at over 6-minutes, the song features Fred’s New Beat style vocals over melancholic, sweeping keyboards and hard edged drum rhythm patterns. On the B-side is an instrumental version with the occasional “Hey you take a look at me” chorus. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. The record is housed in an exact replica of the original jacket featuring a black and white mannequin bust shrouded in fog by Filippo Maniscalco. Each copy includes a double-sided postcard with lyrics, notes and photos. This reissue is dedicated to Vittorio Barozzi aka Victor Life who passed away in 2014. 

                                              Kool & Together

                                              On A Red Hot Stove / Nassau Beat

                                                Big Crown is proud to present this reissue 7 inch from Texas’s own Kool & Together. The A side, “Sittin’ On a Red Hot Stove” is an infectious, medium-paced funk movement that chugs along with the help of some sharp drums from Joe and a rolling bass line that never quits. Originally edited by Texas record mogul Huey Meaux, the 45 version clocks in at just under two and a half minutes, and gave the band its strongest single. It’s an anecdotal tale of a woman who is lusted after but so mean-spirited, she could melt the romance away. Side B is an unreleased demo version from Kool & Together working up the monster “Funky Nassau”. Clearly something they never finished, the raw recording and lo fidelity of it is what give what they call “Nassau Beat” it’s charm. 

                                                Asha Puthli

                                                She Loves To Hear The Music

                                                  From her early days raised as a youth in Bombay, Asha Puthli initially trained in Indian classical music and opera, but over time gravitated towards contemporary western pop, upon discovering talents like Nat King Cole, Ella Fitzgerald, and Dusty Springfield. After making a name for herself in her native country, she found her way to New York, where she happened upon John Hammond of CBS Records. Hammond would introduce Puthli to the avant-garde legend Ornette Coleman, who utilized her unique vocal stylings on his 1971 record Science Fiction.

                                                  Her work on the album earned widespread praise, and though It didn't lead to further work in the United States, it did bring her a record contract in Europe. After her self-titled debut in 1973, Puthli wasted little time in recording her next album, heading back into the studio, and re-emerging with 1975's She Loves To Hear The Music. Building on the eccentric amalgamation of pop, avant-garde, jazz, and proto-disco that her debut contained, her sophomore release once again featured production from constant collaborator Del Newman, as well as a new array of covers ranging from Cole Porter to Van McCoy to Neil Sedaka

                                                  Various Artists

                                                  Mississippi Blues

                                                    Since its inception during the late 1960s, Yazoo Records has long been considered the standard-bearer for the rural roots sounds of America. From its ranks came collection after collection of some of the rarest early blues, jazz, country, folk, and gospel artists in music history, re-introducing the world to lost legends like Ma Rainey, Blind Lemon Jefferson, Mississippi John Hurt, and many more. Artists whose impact has been felt generations later, and continue to inspire and influence. This class of artist can be found all across the 14 tracks of Mississippi Blues, a compilation of country blues music originally released in 1968, and now re-issued here decades later. Featuring tracks recorded between 1927 and 1941, and an artist lineup that is the stuff of legends: Charley Patton, Robert Johnson, Son House, Skip James, Mattie Delaney, and so many more. 

                                                    Hunger

                                                    Strictly From Hunger

                                                      The latest release in Now-Again’s Reserve Series is Hunger – Strictly From Hunger: the band’s preferred version of the album, unedited, fuzz-guitar heavy late 60s psych-rock, restored and remastered from a rare test press. The CD is presented as a triple disc issue – packed with bonus material and a 31 page booklet filled with rare photos and liner notes by Clark Faville, Eothen Alapatt & Jim Cherry. Hunger arrived in L.A. from Portland in late 1967 as the Outcasts, a teenage cover band, but within a six months they had signed with a connected manager, played all over Los Angeles, embraced psychedelia and signed on to record an album of original music for the label their manager founded for them: Public! Records.

                                                      They showed tremendous promise – and their producers invested heavily into a band that was going to be the next marquee act at the Whiskey A Go-Go, bringing in members of Strawberry Alarm Clock, including future Lynyrd Skynyrd star Ed King, to produce an album. But Hunger broke up before their album’s release and their entry in rock’s canon was shadowed for years. This is the definitive Reserve Edition reissue of a late ‘60s psych–rock classic, overseen by Hunger’s band members John Morton, Steve Hansen and Mike Lane: the band’s preferred, unedited, fuzz-guitar heavy version of the album, restored and remastered from a rare test press. This is the first time that band’s vision for the album has been issued in full on vinyl. Contains an extensive booklet by Jim Cherry, Eothen Alapatt and Clark Faville that corrects many factual inaccuracies told over the record’s celebrated past three decades as one of rock’s holy grails. The booklet is filled with never-published photos from lead guitarist John Morton’s archive. Here’s an example of what’s in store – the full version of “Open Your Eyes” featuring Ed King’s lead guitar lines – all but absent on the Public! Records issue – and nearly double the length of the issued version!

                                                      FORMAT INFORMATION

                                                      LP includes MP3 Download Code.

                                                      FREE SHIPPING This item has FREE UK shipping!

                                                      Echo Ladies

                                                      Echo Ladies

                                                        Their mixture of guitars, synths and drum machines is more like a Venn diagram of your favourite bands and records. At various points you can hear The Cure’s ‘Disintegration’, The Jesus And Mary Chain’s ‘Automatic’, New Order and A Place To Bury Strangers’ total sonic annihilation, but crossed with the soaring indie-pop melodies of The Radio Dept, Alvvays, Camera Obscura and even a little bit of Saint Etienne. The band’s self-titled debut EP was released by Hybris in Scandinavia last year, but will be reissued for the first time on vinyl and digital via Sonic Cathedral on March 23. It includes the tracks ‘Close To Be Close To Me’ and ‘Nothing Ever Lasts’, the video for which was premiered on The Line Of Best Fit and which went on to get plenty of airplay on BBC Radio 6 Music, BBC Radio 1, XFM, Amazing Radio, Beats 1 and more. Echo Ladies are Matilda Bogren, Mattis Andersson and Joar Andersén. They are three school-friends who, after playing together in a few different bands, realised that they worked best on their own.


                                                        In 2014, after looking for “a name that represented our sound”, they became Echo Ladies, partly inspired by the name of the drum machine from another of their favourite bands, Echo & The Bunnymen. (Their own drum machine, for now, remains nameless.) They don’t just look back for inspiration, however, also citing The Raveonettes, The KVB and Black Marble as helping to shape their sound, but they claim their biggest influence to be effects pedals (they are now making their own to sell on tour) and “the feeling of nostalgia and hope for the future mixed with angst over defining who you are and what you will become”. This explains why so many of their songs hit that melancholy/euphoric, happy/sad sweet spot. They are in good company at the moment, too, with other Swedish bands from Gothenburg and Malmö all making similar noises; FEWS, Hater, Pink Milk, Makthaverskan and Wy are all achieving varying degrees of international success. 

                                                        Andrew Liles

                                                        The Flesh Creeping Gonzoid: Speciality Offal & Other Choice Cuts

                                                          Sister collection to “The Flesh Creeping Gonzoid & Other Imaginary Creatures.” Studio out-takes, deleted obscurities, compilation appearances and vinyl and download releases. The DVD included is an extended version of the very limited DVDR of “Life Is An Empty Place”. (N.B: DVD may not play in all territories – it is REGION 2). All discs are over 75 minutes in length and feature a wealth of previously unreleased material. The discs are housed in individual card sleeves. Box includes a 4 page insert with the track-listing. Limited to 500. 

                                                          The Fall

                                                          Live In Clitheroe 2013

                                                            RSD vinyl only album now sees a CD release. A sell out concert at Clitheroe Grand at the start of The Fall's 2013 tour including the now departed Elena Polou - yes the first date of the 2013 tour - one Fall fan said "I really cannot remember ever seeing the group (any of the various line ups of the group) look so happy, smiles all round." In typical Mark E Smith style the last 3 songs were sung from the dressing room

                                                            Entourage

                                                            Ceremony Of Dreams:Studio Sessions & Outtakes, 1972-77

                                                              Sampled by Four Tet, their name whispered in reverence through the decades, Entourage forged bold musical ideas on their two rare ’70s Folkways LPs. Now, collected for the first time, 30 previously unreleased tracks from their archives. Notes by J.D Considine, and by sole surviving Entourage member, guitarist Wall Matthews. 

                                                              Various Artists

                                                              The Ballad Of Shirley Collins

                                                                Widely regarded as the 20th century’s most important singer of English traditional song, Shirley Collins is someone who was born to invoke the old songs. Alongside her sister Dolly, she stood at the epicenter of the folk music revival during the 1960s and ‘70s. But in 1980 she developed a disorder of the vocal chords known as dysphonia, which robbed her of her unique singing voice and forced her into early retirement. The Ballad Of Shirley Collins – which premiered at last year’s London Film Festival – tells this story, though to reduce it to that single aspect does everyone (not least of all Shirley!) something of a disservice. The story proves itself to be something of a time-travelling Transatlantic road-movie of sorts, utilising a motherlode of archive audio to recount the tale of her seminal 1959 song-collecting trip around America’s Deep South alongside her then-lover (and legendary ethnomusicologist) Alan Lomax.

                                                                As well as these songs (notably Alabama Sacred Harp Convention, Texas Gladden and Sidney Hemphill-Carter) there are more recent offerings, a home recording of Shirley’s sister Dolly Collins, and a BBC session from 1958, “Eight Five Spiritual” which gets its first release, some 60 years after it was recorded. Shirley Collins spent her life in song. Even during her time without her performing voice she was telling the stories of others’ music. Not once has she dropped the baton in keeping these songs, these stories, these people alive. The soundtrack to ‘The Ballad Of Shirley Collins’ – though diverse – showcases just a fraction of the facets that make up an extraordinary career by anyone’s standards. Deliberately eschewing a straightforward biopic approach, Rob Curry and Tim Plester’s follow-up to their award-winning documentary WAY OF THE MORRIS, is a lyrical response to the life-and-times of this totemic musical figure. Granted intimate access to recording sessions for Shirley’s first album of new recordings in almost four decades, and featuring contributions from the comedian Stewart Lee and David Tibet of Current 93, what emerges is a meditative and carefully textured piece of portraiture. A timely delve into the arterial blood, loam and tears of our haunted island nation. The film was released in October and has played more than 50 venues to date. December brings the last few screenings, before a major new wave of activity in January. January 9th is the date to look out for, with the film showing at around 30 venues across the country. 

                                                                FORMAT INFORMATION

                                                                Coloured LP Info: Pink vinyl LP

                                                                Coloured LP includes MP3 Download Code.

                                                                Various Artists

                                                                The Purple Collection

                                                                  Fresh from releasing Bill Brewster's 'Tribal Rites' compilation, a critically acclaimed trawl through the past 4 decades of dance music, Belgium's Eskimo Recordings return to the present and look to the future with the release of 'The Purple Collection', the 7th release in the label's annual colour series of compilations. Featuring brand new tracks from the likes of Simple Symmetry, Cavego and Future Feelings alongside recent label highlights from Horixon, Atella, Paresse and NTEIBINT, 'The Purple Collection' provides another essential snapshot into today's electronic music scene, covering everything from underground house & disco to sparkling electronica and leftfield pop.

                                                                  Kicking things off in style hotly tipped Norwegian duo Atella team up with bonafide Scandinavian sensation AURORA for the frosty ambience of 'Ascension'. Taken from their recent 'Beacon One' EP it's a prime example of why the likes of DJ Mag have been tipping them for great things in recent months. Vibe well and truly established Berlin duo Languages pick up the baton with the stunning Balearic heart-melter, 'Helicopters'. Having caught the label's attention with the release of their debut EP on Days of Being Wild, their mix of dreamy laidback beats and hypnotic vocals (sung in their own made up language no less) fits in perfectly amongst their new label mates.

                                                                  Inspired by the Turkish music of his grandfather Dogu Civicik is another artist making his debut on the label and judging by the slow paced, hypnotic 'Andromalius IV' this won't be the last we hear of him. The kind of music that really should come with a warning for those driving or operating heavy machinery, it's a heavy, psychedelic brew of chugging beats, delicate jazz flourishes, drones and industrial sounds echoing off into oblivion. Pulling us back from the brink of pure ego-death Brooklyn producer IV Edition teams up with Californian singer Lilianna Wilde for the languid, nostalgic jam that is 'Whose Man’s', a track that breathes light whilst also managing to sample the sound of rain falling in a forest and a close-up recording of fire ants, which is probably the point where any yacht rock comparisons end.

                                                                  Having made a splash with his contribution to last year's 'Red Collection', Russian producer Antenna continues to swerve any preconceived ideas of what music made in a region that regularly experiences -15°C temperatures sounds like. Rather than cold, austere and forbidding 'Sparks' instead is a vintage sounding cosmic disco gem, warm arpeggios that brim with the optimistic belief of a producer who believes that music can change the world. Parisian producer Simon Says has been doing his thing for over two decades now and it shows in the insouciant funk of 'Feel Me', the kind of outrageously funky sex jam that can turn on both electro kids and disco dads, and could be released on a brand new vinyl only imprint or have sat proudly on an old Ze Records compilation.

                                                                  If things have been chugging along at a more sedate tempo so far it's the turn of Mexican producers Dan Solo and Future Feelings to turn up both the heat and the tempo with 'What Else Can I Do', a perfect slice of electro-funk all topped off with the heartfelt vocals of Tony Browne. Keeping the party vibe going Norwegian producer Cavego steps up next with the snappily titled and irrepressibly upbeat 'Vår I Øyer' ('Spring in Øyer'), a track that funnily enough sounds exactly like that first sunny day of the year after months of dark clouds and sub-zero temperatures.

                                                                  Longtime fans of Eskimo Recordings won't be surprised to see the inclusion of Greek producer NTEIBINT on this collection. One of the label's veterans he's once more teamed up with his fellow Athenian Σtella for a sci-fi disco ballad, full of heartbreaks and mellow synth lines, it's another essential release from the pair. Swedish producer Paresse made his debut on Eskimo late last year with the 'Sloth Machine' EP, a release so successful the label elected to press up a limited edition 12" that quickly sold out. Taken from that EP 'Quiet Light' is the kind of sun kissed instrumental track that crate diggers would re-discover tucked away on the b-side of an 80’s pop single and would, decades later, go on to enjoy a golden second life on the beaches of the Adriatic coastline, timeless and beautiful music.

                                                                  Next up we have Russian duo Simple Symmetry, having made a name for themselves with releases on Moscoman's Disco Halal imprint the duo made their Eskimo debut last year remixing Paresse's 'Temple' to devastating effect and now return with their original track 'Prince of Persia'. Melodic, emotional music that isn't afraid to wear its heart on its sleeve and will no doubt become a secret weapon for many more open-minded DJs. Inspired by the northern lights that can be seen dancing nightly above his home town of Reykjavik, Icelandic producer Hermigervill's 'Disco Borealis' is another stand out piece of cosmic-scandi-disco, playful yet still primed to cause a serious commotion on the dancefloor, it's no wonder he's regularly held up as one of Iceland's top electronic producers.

                                                                  Norwegian's BOKA claim their influences range from The Avalanches to black metal, and whilst 'Space Issues' may not display any deep throated roars or existential angst it does show off a wonderfully eclectic attitude that sees the track skip between classic cosmic disco arpeggios, Skatt Bros style chanting, thumping house pianos and acidic squelches to wonderful effect. Finally to close out the collection we have a contribution from two artists who again should be no strangers to Eskimo fans, British based duo Horixon and Norwegian singer Else Born whose 'Hello' is a quiet storm of numinous pads, sparse piano chords and an almost 2-step beat that serves as the perfect outro.

                                                                  Since launching in the year 2000, Gent based Eskimo Recordings has gone onto become one of the leading electronic music labels in the world releasing genre defining artist albums and compilations from the likes of Aeroplane, Lindstrøm, Prins Thomas, The Glimmers, Optimo, Psychemagik and many more. Since its launch in 2013 the ‘Colour’ series, now in its 7th edition, has continued to build upon the label’s reputation, not only for discovering and curating great music but for great design and the cover for ‘The Purple Collection’ features a stunning photo by Danish photographer Ken Hermann.


                                                                  Michael Chapman

                                                                  LIVE VPRO 1971

                                                                    For a self confessed ‘journeyman’ musician who has spent most of his 50 year career on the road live Michael Chapman albums are curiously rare items and even more rare from his earlier years. This one, recorded by dutch “hippie” radio station ‘VPRO’ on 6th May 1971 is the earliest known live recording so far discovered of Michael Chapman after he started releasing records on the legendary UK based Harvest / EMI record label in 1969. This period is for Chapman fans the classic period, that more recently has drawn belated media coverage and recognition in response to the more recent kudos bestowed upon Michael from the likes of Thurston Moore, Kurt Vile, Jim O’rouke and the late, great, Jack Rose. A beautiful clear, warm and intimate recording of Chapman duetting with long time collaborator Rick Kemp on electric bass and which documents material from all three albums in a free flowing improv inflected style very much in favour at the time. it is with this free flowing vibe in mind that we include with both CD & vinyl editions the complete 90 minute concert via a download code card so listeners can experience the whole set. Chapman sounds in a confident, gentle and relaxed mood. The Audience Is Initially Tentative, Possibly Unfamilar With chapman’s work but gradually warming to his complex dexterous ‘not folk’ playing. The recordings make for a fascinating snapshot of the time, with a loose and open approach that offers a rare chance for guitar buffs to evesdrop between songs on some those bespoke Chapman guitar tunings!. The set begins with another very rare Chapman item – a cover version - in this case of Tim Hardin’s 1965 “A Reason To Believe’. A song which had just reappeared that year as the A side of a Rod Stewart solo single (The B side being ‘Maggie May’!). 

                                                                    FORMAT INFORMATION

                                                                    Coloured LP Info: Limited red vinyl version

                                                                    Coloured LP includes MP3 Download Code.

                                                                    CD includes MP3 Download Code.

                                                                    Whyte Horses

                                                                    Empty Words

                                                                      Enigmatic Mancunian psychedelic pop group Whyte Horses release their wonderfully eclectic and uplifting 16-track second album 'Empty Words'.

                                                                      FORMAT INFORMATION

                                                                      Indies Exclusive LP Info: Very limited edition of just 500 copies featuring a different sleeve (yellow) to the standard edition.

                                                                      LP Info: Standard sleeve edition.

                                                                      Blackwater Holylight

                                                                      Blackwater Holylight

                                                                        The notion of 'heavy music' is continuing to expand of late, with many intrepid artists finding new ways to incorporate the power of traditional metal into new music, but without all of its trappings. Enter Portland, OR quartet BlackWater HolyLight to further swirl musical elements into a captivating hybrid of emotional intensity. Heavy psych riffs, gothic drama, folk-rock vibes, garage-sludge and soaring melodies all collide into a satisfying whole with as much contrast as the band’s name itself.

                                                                        'I wanted to experiment with my own version of what felt ‘heavy’ both sonically and emotionally,' says founder and vocalist/bassist Allison Faris. 'I also wanted a band in which vulnerability of any form could be celebrated.' BlackWater HolyLight — Faris, guitarist/vocalist Laura Hopkins, drummer Cat Hoch and synth player Sarah Mckenna — formed upon the breakup of Faris’ longtime band and she sought a fresh start. 'In my last band I was the only female in a group of 6, so I wanted to see how my song writing and vulnerability could glow taking the drivers seat and working with women.'

                                                                        The band’s self-titled debut begins with a simple, almost grunge-like riff as a chorus of voices introduce a melodic line in call-and-response until the band kicks in, slowly building into crescendo like a lost outtake from Led Zeppelin’s Houses of the Holy. Elsewhere, “Sunrise” begins with a chorus-drenched post-punk groove until a sonic boom of heavily distorted guitar skree erupts out of nowhere. Nearly as suddenly, the song returns to its lulling core, subtly building the tension until it ruptures completely in a blast of noise. Likewise, “Carry Her” establishes a dark, sparse melody and distinctly thin sounding drums not far removed from early work of The Cure. However, BlackWater HolyLight’s penchant for surprise attack finds a sudden shift into a doom-like dirge, colored with eerie synth notes and pounding shards of fuzz. Throughout the album, their songs shirk traditional verse-chorus-verse structure in favor of fluid, serpentine compositions that move with commanding grace. The band expertly, yet subconsciously, incorporates hints of Chelsea Wolfe, Celebration, Captain Beefheart, The Raincoats, The Stooges, Pink Floyd, Jane’s Addiction and more to form their unique brand of dark’n’heavy transcendence.

                                                                        BlackWater HolyLight was recorded by Cameron Speice at Gold Brick Studios and The Greenhouse, and with Eric Crespo at Touch Tourcher Recording in Portland. 

                                                                        Swampmeat Family Band

                                                                        Too Many Things To Hide

                                                                          Having become something of a cult favourite in their hometown for their raucous live shows, Too Many Things To Hide is the long-awaited debut LP from Birmingham, UK quartet Swampmeat Family Band, which includes members Low Cut Connie, PWEI, Bentley Rhythm Ace, The Castillians, Terror Watts etc. Combining their inner ‘70s country soul and glam pop with more traditional heartbreak laments the quartet’s created a lasting collection of tracks that resides somewhere in the realm between Americana and garage rock, and Too Many Things to Hide is set to be released on March 23 via the Stockholm based indie label PNKSLM Recordings.

                                                                          Hatis Noit

                                                                          Illogical Dance

                                                                            Japanese vocal performer Hatis Noit will release her enigmatic EP Illogical Dance via Erased Tapes worldwide on 23rd March 2018. The arresting 4-track record creates unique song-worlds with transcendent vocal interpretations that at once deconstruct and recombine Western Classical, Japanese folk and nature’s own ambience atmosphere. Illogical Dance also features Björk-collaborators Matmos, who were so impressed with Hatis Noit’s recordings, they volunteered to edit the lead track Illogical Lullaby.
                                                                            Hailing from the distant Shiretoko, a small town in Hokkaido, which is the largest island in north Japan, Hatis Noit’s accomplished range is astonishingly self-taught, inspired by everything she could find from Gagaku — Japanese classical music — and operatic styles, Bulgarian and Gregorian chanting, to avant-garde and pop vocalists. The sounds she created on Illogical Dance, co-produced by Haruhisa Tanaka and Matmos, bring to mind the experimental vocal patterns of Meredith Monk with the attentive production of Holly Herndon. It was at the age of 16, during a trek in Nepal to the Buddha’s birthplace, when she realised singing was her calling. While staying at a women’s temple in Lumbini, one morning on a walk Hatis Noit heard someone singing. On further investigation it was a female monk singing Buddhist chants, alone. The sound moved her so intensely she was instantly aware of the visceral power of the human voice; a primal and instinctive instrument that connects us to the very essence of humanity, nature and our universe.

                                                                            The name Hatis Noit itself is taken from Japanese folklore, meaning the stem of the lotus flower. The lotus represents the living world, while its root the spirit world, therefore Hatis Noit is what connects the two. For Hatis Noit, music represents the same netherworld with its ability to move and transport us to the other side; the past, a memory, our subconscious. It is the same for Illogical Dance, a set of transformative songs that taps into our most primal instincts.

                                                                            “The human voice is our oldest, most primal yet most powerful instrument. I use it to describe nature’s many sounds, a language that isn’t logical. Yet it forms a beautiful conversation that isn’t restricted to words like the human language is. I want my music to remind us of that.” — Hatis Noit
                                                                            Wanting to interpret and mimic the sounds Hatis Noit hears in nature, Illogical Dance is as unpredictable, beautiful and mysterious as the world around us. Each track is made up from multi layers of vocals, all improvised and without words, before being carefully pieced together. Astonishingly no samples are used throughout, even the sound of crushing leaves came from Hatis Noit’s own vocal chords. The result is a stunning array of sound sculptures that see her switching between multiple styles with great ease. From the sweet operatics on Illogical Lullaby, the manipulated vocal loops duplicating electronic production on Anagram c.i.y. to the primordial chanting call to arms of Angelus Novus, a 10-minute odyssey that features whispering and leaves crunching, it showcases Hatis Noit’s full range and introduces a truly original artist. 

                                                                            Guided By Voices

                                                                            Space Gun

                                                                              In 2018, Guided By Voices will release precisely one new album, Space Gun. Once you hear it, you will know why. With a renowned work ethic and a daily pot of coffee, Robert Pollard continues to outclass younger generations of come-and-go rock bands. After 20+ years, 100+ albums, 2000+ songs, Pollard still can’t really explain (or doesn’t want to explain) his secret: “The songs just come to me.” In 2017, the new GBV line-up (veterans Doug Gillard and Kevin March and newcomers Mark Shue and Bobby Bare Jr) blew audiences away and toured behind the ambitious and sprawling multi-vocalist double album August By Cake, followed just months later by the concise punchy and catchy How Do You Spell Heaven. Pollard has acknowledged that this line-up’s adroit talents pushes him to more daring and dizzying heights. The band will be touring throughout 2018. And now, here it comes: Space Gun, the fullest realization yet of Pollard’s song talents, with the band firing on all cylinders. There’s humor and whimsical childlike musings, cinematic grace and elegance, heavy duty propulsion, dark futuristic undercurrents, twists and turns and kinetic magic. This is a band that turns on a dime, rips it up, psychs it out and can radically shape-shift to realize a threeact rock opera in 2 minutes and 48 seconds. Robert Pollard is a lyrical master; not a word out of place, every line bristling with surprise, telling a story that’s both irresistible and impossible. Invention and imagination remain the undiminished life-forces of a Guided By Voices record and this one absolutely crackles with this energy: this band is on fire.

                                                                              Once And Future Band

                                                                              Brain

                                                                                2017’s “Once & Future Band” landed upon our brains like the birth of a starchild - fully formed, otherworldly, yet comfortingly familiar in its contours…Floyd, ELO, Queen, Steely Dan, and Beach Boys rearranged into an unapologetically poignant pop moment, underpinned by 4 guys that could play their way out of a Faustian bargain. While we await whatever warlock’s potion they are brewing up next, they’ve pulled a maxi-EP Brain from the vaults for a moment in the sun. All of the mastery you’ve come to expect is at play here; enough chops to make a vegetarian’s mouth sweat, songs that tug at the heart while they play tricks on your mind, and with the steady hand of a of studio wizard sprinkling stardust around the edges just so. 

                                                                                Guided By Voices

                                                                                See My Field

                                                                                  “See My Field” is the second single from GBV’s masterful Space Gun (coming March 23) The new GBV line-up (Robert Pollard / Doug Gillard / Kevin March / Mark Shue / Bobby Bare Jr.) is blazing hot, and recently wowed audiences at Growlers Fest and Coachella. The band boasts that the album is so good, they are putting out just one new album in 2018! Two non-LP power pop b-sides, sung & written by drummer Kevin March (“Leave Tomorrow”) and bassist Mark Shue ("Disconnected Eyes”) available on vinyl only.

                                                                                  Guided By Voices

                                                                                  Ogre's Trumpet

                                                                                    Limited edition (1000 copies of each format) double album from a magical night in Asbury Park, New Jersey in August 2017. The incendiary new GBV line-up of Robert Pollard, Doug Gillard, Kevin March, Mark Shue and Bobby Bare Jr. play songs from the 2017 albums How Do You Spell Heaven and August By Cake, along with a healthy dose of GBV classics and a The Monkees cover to boot. Excellent sound recording and the band’s performance smokes all the GBV bootlegs.

                                                                                    Simply Saucer

                                                                                    Cyborgs Revisited

                                                                                      Simply Saucer’s Cyborgs Revisited is an explosive time capsule from one of the great Canadian cult rock ‘n’ roll groups. Formed in Hamilton, Ontario, these sci-fried proto-punks created a sound fusing Hawkwind, The Kinks, Pink Fairies, Syd Barrett-era Pink Floyd, and the omnipresent Velvet Underground. Originally recorded from 1974-1975, the album became a critically revered classic when it was finally unearthed in 1989 by Mole Records.

                                                                                      Now, In The Red is proud to release the definitive, remastered double album edition featuring new liner notes by band biographer Jesse Locke, unseen images, and the complete live recordings available as a second album for the first time ever. As a means to escape his oppressive experiences while living in a practice space surrounded by biker gangs, singer and fretboardshredding guitarist Edgar Breau wrote a set of songs filled with dystopian visions of the future, conjuring metalloid thugs, Eva Braun’s cyanide love affair, and “dancing the mutation.” With nimble-fingered bassist Kevin Christoff, clatterwauling drummer Neil DeMerchant, and electronic cosmonaut John “Ping Romany” LaPlante (Breau’s foster brother and answer to Pere Ubu’s Allen Ravenstine), his lyrics were launched into a sonic supernova.

                                                                                      Their first recording session took place in the basement of brothers Bob and future superstar producer Daniel Lanois and was initially intended as a demo. Naturally, interest was non-existent for the sneering six-song set. It’s shocking how anyone could have overlooked “Bullet Proof Nothing,” an undeniably catchy VU-swiping anthem for the used, abused, and confused. Shelving these sessions, the band ascended into the future with 15-year-old drummer Tony Cutaia. This set off a series of gigs before the band touched down on the roof of a local shopping center! Following their 2006 reformation, Simply Saucer continue to tour and perform to ecstatic fans while being celebrated with a belated wave of releases, reissues, and documentation, including a rarities compilation, Jesse Locke’s book Heavy Metalloid Music: The Story of Simply Saucer (Eternal Cavalier Press), and an upcoming 7-inch. At long lost and at the top of this towering stack, In The Red’s expanded reissue of Cyborgs Revisited gives the Canadian cult classic the deluxe treatment it so greatly deserves.

                                                                                      Shark Toys

                                                                                      Labyrinths

                                                                                        "Whether you know it or not, Shark Toys are one of the best bands in LA…and they have been for quite some time. I think the Urinals would agree and now they can finally call them labelmates. Their first single came out back in 2009, but Labyrinths is a far more developed record than that or any of their subsequent releases. Gone are most of Danny Clodfelter’s former band members, but not because of some Mark E. Smith-type drama. The turnover is more likely due to nearly a decade passing and life happening. That said, this current line-up is by far the strongest. “Drummer Emanuel Farias and bass-man Bill Gray (formerly of The Mae Shi, Man’s Assassination Man, and a million other Smell bands) are one of the tightest rhythm sections in 21st century post-punk. They allow Clodfelter to do what he does best: thrash and wail all over his Fender six string. His angular guitar attack is well informed (by thousands of obscure punk and post-punk records) and executed (albeit after no more or less than three beers) and Gray and Farias hold it down so effectively, one might make the incorrect assumption that they’re playing sober. “This album at times reminds one of Weirdo Rippersera No Age on Tyvek uppers. There’s an occasional sax skronk, piano plink-plunk, and the spare synth squiggle here and there, but more often than not it’s a batch of fouron-the-floor pogo-friendly numbers that will have even the most jaded message board lurkers rethinking what the Los Angeles underground has to offer. Shark Toys are proofpositive that the local scene is a hell of a lot deeper than the LA River.” - Lance Barresi / Permanent Records.

                                                                                        Dick Stusso

                                                                                        In Heaven

                                                                                          That old blues hound dog Bonnie Raitt probably sang it best and most lucid in her timeless, pedestrian hit “Nick of Time": “Life gets mighty precious when there's less of it to waste.” And so now, her wise lyrical turn seems to be ringing true for Oakland muso Dick Stusso. When we last caught up with this Bay Area BBQ gaucho on his debut, Nashville Dreams, he'd hit that special zen layer of loserdom. He’d thrown up his hands into the folly of failure. He was the affable, bumbling red-cheeked drunk lurking around the edges of the cookout — bumming smokes, putting down all the white wine and cocktail shrimp he could get away with. But now, a couple years on, that early-30s existential dread has crept its way into Dick’s purview.

                                                                                          With his sophomore long-player In Heaven, Stusso's numbered human days are on his mind. Without stumbling into pomposity, Dick has taken back the wheel on his life and is doing a bit of hotdogging. The album sounds so assured, you'd never guess the whole endeavor was almost completely down the tubes. “I was about 75% done with the album and then my apartment got burgled,” Stusso said of In Heaven’s bummer origins. “They took it all.” Having laid it almost exclusively to tape, there weren’t even files to pull from. But what seemed like another sour turn for Dick actually ended up being a little lemon zest in his G&T. He ended up teaming with psych visionary producer Greg Ashley in a defunct old church, making for a leap in fidelity on In Heaven. The new peacock strut to Dick's vague longing and malaise suits his countrified T. Rex sound quite well.

                                                                                          Exhibit A: album standout “Modern Music,” a sort of State of the Union and State of the Soul all set over a warm, gauzy glam bass line. “Nobody wants to look at the dark heart, I don’t blame you/Nobody wants to look at the dark heart, myself included,” he sings a low-register Orbison sneer. “I’m just looking for a good time and a little cash-uh.” Employing deft songcraft, which includes a wide open ambient midsection to really get you thinking about The Void, Dick manages to take down both capitalism and the bullshit conditions of human mortality without sounding all that put out by either.

                                                                                          Dedekind Cut

                                                                                          Tahoe

                                                                                            Northern California electronic producer Fred Welton Warmsley III’s solo work as Dedekind Cut (pronounced “dead-da-ken cut”) has evolved from fractured industrial design into increasingly subdued and sublime ambient meditations across two years of dedicated activity. His second full-length collection, Tahoe—so named after the mountain lake town he now calls home—swells with widescreen grandeur, evoking vistas both inner and outer. There are echoes of his earlier, more tempestuous mode in tracks like “MMXIX” and “Spiral” but overall the album skews panoramic and pensive, muted synthetic mists contoured with choral melody, field recordings, and radiant drone. His compositional instincts feel alternately classical, contemporary, and conflicted, befitting an artist whose discography spans labels as divergent as Hospital Productions, Ninja Tune, and NON.

                                                                                            Warmsley characterizes Tahoe as a “time peace,” sifting through “the past, the present, future, and fantasy.” Recorded primarily in New York, with additional sessions sourced from Berlin, Cambridge, and Placer County, California.


                                                                                            Orquesta Akokan

                                                                                            Orquesta Akokan

                                                                                              Direct from Cuba! Daptone Records is proud to introduce Orquesta Akokán, a big band collective of Havana's top musicians both young and old, joining forces with some of the most creative and spirited talents of New York's Latin music scene.

                                                                                              Born out of a shared vision by singer José "Pepito" Gómez, producer Jacob Plasse, and arranger Michael Eckroth, the group reinvigorates the sound of the golden era of Cuban mambo with a bold new energy.

                                                                                              Featuring all-original music cut live to tape over a three day session at Havana's hallowed state-run Estudios Areito - one of the longest operating studios in the world and where seminal Cuban records have been made since the early '40s, and more contemporarily with the 1997 release of the Buena Vista Social Club album - the group's self titled debut feels like a heartfelt gift from the band to listener. Which is no coincidence being that Akokán is a Yoruba word used in Cuba meaning "from the heart", and indeed every song presented here is just that.

                                                                                              This is a fascinating next step for Daptone, which released the final album by Sharon Jones and the Dap- Kings and mourned the loss of Charles Bradley in 2017. ‘Orquesta Akokán’ finds the label branching outside its own studios to release its first Spanish language album.


                                                                                              Isaac Hayes

                                                                                              Hot Buttered Soul - 2018 Remastered Edition

                                                                                                On March 2nd, UMC will release newly remastered editions of three classic albums from soul icon Isaac Hayes: Hot Buttered Soul, Shaft, and Black Moses. Each LP boasts audio remastered by leading engineer Dave Cooley at Elysian Masters from the original analog tapes and comes housed in a faithfully reproduced package, complete with old-school style tip-on jacket.

                                                                                                All titles pressed on 180-gram vinyl and include a download card.



                                                                                                FORMAT INFORMATION

                                                                                                Ltd LP Info: 180-gram vinyl, includes a download card.

                                                                                                Isaac Hayes

                                                                                                Shaft - 2018 Remastered Edition

                                                                                                  On March 2nd, UMC will release newly remastered editions of three classic albums from soul icon Isaac Hayes: Hot Buttered Soul, Shaft, and Black Moses. Each LP boasts audio remastered by leading engineer Dave Cooley at Elysian Masters from the original analog tapes and comes housed in a faithfully reproduced package, complete with old-school style tip-on jacket.

                                                                                                  All titles pressed on 180-gram vinyl and include a download card.

                                                                                                  FORMAT INFORMATION

                                                                                                  2xLtd LP Info: 180-gram double vinyl, includes a download card.

                                                                                                  Isaac Hayes

                                                                                                  Black Moses - 2018 Remastered Edition

                                                                                                    On March 2nd, UMC will release newly remastered editions of three classic albums from soul icon Isaac Hayes: Hot Buttered Soul, Shaft, and Black Moses. Each LP boasts audio remastered by leading engineer Dave Cooley at Elysian Masters from the original analog tapes and comes housed in a faithfully reproduced package, complete with old-school style tip-on jacket, and in the case of Black Moses, a replica of the legendary, iconic four-foot cross-shaped fold-out image of Isaac as Black Moses.

                                                                                                    All titles pressed on 180-gram vinyl and include a download card.

                                                                                                    FORMAT INFORMATION

                                                                                                    2xLtd LP Info: 180-gram double vinyl, includes a download card.

                                                                                                    Garth Cartwright

                                                                                                    Going For A Song

                                                                                                      The in-depth history of the rise, fall and rise of the independent record shop in the UK. Travelling the length and breadth of the UK, Garth Cartwright conducted 100+ interviews with many record shop pioneers, noted musicians and record collectors. Utilising comprehensive research, Cartwright traces record retail history across a century of unprecedented social, cultural and political change.

                                                                                                      With foreword by Stewart Lee

                                                                                                      From market traders selling music hall 78s via HMV's gloved classical emporium through Soho's post-WW2 jazz, blues and folk scene to mods hungry for imported ska and soul 45s, Going For A Song documents how popular music and youth fashions took shape around influential record shops. Brian Epstein, the genius behind Liverpool's NEMS shops, utilises his trade contacts to launch The Beatles. Psychedelia's golden dawn is overseen at Mayfair's One Stop (Jimi Hendrix's being a regular) while A Clockwork Orange is filmed in the Chelsea Drug Store. The '70’s finds Richard Branson’s Virgin shops leading a revolution in record retail. Rough Trade and Small Wonder launch punk record labels from within their respective shops. Disco and reggae, techno and dubstep, are all shaped by visionary record shops. Then, at the dawn of this century, hundreds of record shops crash. From these ruins rise independent shops surfing the vinyl revival and Record Store Day.

                                                                                                      Never before published research documents how a young Bob Dylan records in the basement of a Soho shop while David Bowie, Dusty Springfield, Elton John, Danny Baker and Pete Burns all first entered the music industry via working in record shops. Here friendships were forged, knowledge shared, bands formed and history shaped.

                                                                                                      Okkervil River

                                                                                                      In The Rainbow Rain



                                                                                                        FORMAT INFORMATION

                                                                                                        Coloured LP Info: Opaque blue/purple swirl marbled vinyl.

                                                                                                        Tom Waits

                                                                                                        Closing Time - Remastered

                                                                                                          'Closing Time' is the debut record of Tom Waits and it foreshadows the distinctly lyrical storytelling and original blending of jazz, blues and folk styles that would come to be associated with the artist. Waits performs enduring classics of his career such as Ol’ 55 (covered by the Eagles), the heartbreaking “Martha” and the gentle acoustic folk of “I Hope I Don’t Fall In Love With You”.

                                                                                                          FORMAT INFORMATION

                                                                                                          Ltd LP Info: Remastered and pressed on 180g vinyl.

                                                                                                          Ministry

                                                                                                          AmeriKKKant

                                                                                                            With a new line up, incredibly full sound, and some might say a return to the roots of Ministry, the band is prepared to release a record that is socially relevant and sonically effective. Fans can look forward to a hearty future for not just Ministry, but Surgical Meth Machine, and Revolting Cocks as well. There is simply too much insanity in this world for Jourgensen not to speak his mind and keep our senses alive with his vast array of decibels and visuals: “I’m afraid for the stupidity of not embracing nonsense. I think nonsense is a great escape from the rigors of being in life’s hamster wheel.”

                                                                                                            FORMAT INFORMATION

                                                                                                            Ltd LP Info: Ltd Gatefold 140g Black Vinyl.

                                                                                                            Sonny Smith

                                                                                                            Rod For Your Love

                                                                                                              Sonny Smith, of Sonny And The Sunsets, will release his tenth studio album, Rod For Your Love via Dan Auerbach's new label, Easy Eye Sound. The record, produced by Black Keys front man Dan Auerbach at his Nashville studio, roots itself in old-school, guitar-driven rock & roll, and is equally built for the garage and the dance floor, with big-hearted melodies and thick harmonies. "I think a lot of albums are made in reaction to the one that came directly before," says Smith, whose earlier recordings were released by labels like Fat Possum and Polyvinyl. "By the time we got to Nashville and began working with Dan, I was thinking 'let's just make a fun, guitar-driven record. I don't want to have any extracurricular stuff here. I just want it to be really pure.’” The album’s first single is ‘Pictures of You’.

                                                                                                              Rod For Your Love was recorded at the end of a cross-country tour, and features Smith and his band firing on all cylinders, their rough edges sanded down by weeks of nightly shows. Hearing that The Arcs, Auerbach's side-project, had covered one of his own songs during their own tour, Smith reached out to the Black Keys singer. From there studio time was booked, and when Smith wound up finishing his countrywide tour in Nashville, he and his road band tracked the album at Auerbach's studio. The result is a deeply personal album, filled with heart-of-sleeve songwriting, which shines a light on the songs and the band, without many overdubs or assorted clutter.


                                                                                                              FORMAT INFORMATION

                                                                                                              Ltd LP Info: Heavyweight 140 gram high-performance vinyl, with download card and insert.

                                                                                                              Two of Russian electronic music’s rising stars, Phil Gerus and Alexander Lay-Far,invite you to join them at the Solitary High Social Club. While table service is provided, they’d much rather you throw caution to the wind and head to the dancefloor. Before joining forces in the studio, both Moscow-based musicians have delivered a string of memorable solo productions. Lay-Far has previously released a wealth of material on such labels as Local Talk, City Fly, Lazy Days 4Lux Black, while synthesizer fetishist Gerus has showcased his electrofunk and disco-fired cuts on Futureboogie Recordings, Sonar Kollektiv, Public Release and Superior Elevation Records.The five tracks that make up Solitary High Social Club deliver a perfect marriage
                                                                                                              of the two producers’ distinctive solo styles, combining the rich musicality of
                                                                                                              Lay-Far’s house productions with the spacey, intergalactic electronics of Gerus’s discoid adventures. In many ways, it’s a marriage made in heaven – or in LayFar’s celebrated In-Beat-Ween Studio, at least.
                                                                                                              The duo’s spacey and melodious musical fusion is arguably best exemplified
                                                                                                              by lead cut “City 2 City, Star 2 Star”, a widescreen, mid-tempo disco epic rich in tactile Rhodes riffs, supernova synth solos, delay-laden drum beats, tumbling melody lines and heavy analogue bass. Fittingly, the track returns in “Reprise” form – think sweeping, weightless ambient bliss – to round off the EP. Elsewhere, the duo provides further proof of their combined musical talents. Check, for example, the gentle drum machine electro beats, cascading new age melodies and sparkling, stretched-out synthesizer chords of the impeccably beautiful “Am I Tripping”, or the devilishly percussive, mind-altering brilliance of“Love Life”, where mutant electro bass, wide-eyed chords and alien melodies rise above a heavy, Afro-influenced groove. As for “Snowflakes On Her Lips”, you’ll struggle to find a more confident and
                                                                                                              positive dancefloor workout all year. Blessed with killer piano parts, darting
                                                                                                              analogue synth-bass and a range of disco-tinged musical flourishes, it’s by far and away the most celebratory moment on an already happy-go-lucky EP. It
                                                                                                              confirms, too, our initial hunch: at the Solitary High Social Club, life is always
                                                                                                              good.

                                                                                                              It was May 2017 when Earthboogie’s debut release dropped on Leng. The
                                                                                                              soundsystem-loving East London duo rightly won praise for a fine EP that
                                                                                                              brilliantly joined the dots between all things intergalactic, terrestrial and tribal.
                                                                                                              Having spent the last ten months recording their adventures, Izaak Gray
                                                                                                              and Nicola Robinson return with “Silken Moon”, the first single from their
                                                                                                              forthcoming debut album, Human Call.
                                                                                                              In typical fashion, “Silken Moon” cannily combines musical elements from a
                                                                                                              myriad of styles – most notably Afro-disco, samba and mid-tempo Chicago
                                                                                                              house – to create a humid hybrid that defies easy categorization. There are
                                                                                                              bouncy organ riffs, undulating acid lines, clipped Afro-funk guitars, tons of
                                                                                                              tropical percussion and the chanted, carnival-friendly vocalizations of guest
                                                                                                              singer Nina Miranda.
                                                                                                              The release comes backed with remixes from two members of the extended
                                                                                                              Leng family: long-serving producer Felix Dickinson and Turkish rising star Ali
                                                                                                              Kuru. Dickinson sticks close to the original of “Silken Moon” with a mix built
                                                                                                              around gently jacking machine drums and Earthboogie’s sweaty guitar licks
                                                                                                              while Kuru takes “Human Call” in an altogether more cosmic direction. Pushing
                                                                                                              the track’s psychedelic TB-303 lines and tropical textures to the fore whilst
                                                                                                              adding his own mind-altering electronics – most notably a fat new synth bassline
                                                                                                              – Kuru cleverly re-casts the track as a pulsating, late night throb-job.

                                                                                                              The next collaborative release between Freeride Millenium and Pauls Musique is a terrific two-tracker from Manchester artist Joseph Louis Harland of Menage A Trois / Dream Lovers fame, and sees a duo of dreamlike synth excursions, beautifuly delivered through a hazy filter of irradiated saturation. 

                                                                                                              On the A-Side we get 'L'Amour', kicking things off with a digital choir sound, shorly joined by a parallel but suboctaved string pull, both working together to create a dreamlike backdrop for the whimsical guitar melody that takes things from a charming background ambeince through the realms of dreampop into euphoric eye-closing bliss. Warmly reassuring through it's unabashed use of tried-and-tested melodic refrains, but cleverly tipped on it's head with the percussive and vocal elements falling behind the amplitudinal intensity of the 'background' elements, skilfully increased to seratonin-spouting levels, it's a heady and intoxicating juxtaposition. 

                                                                                                              On the flipside we see the seratonin burst of the former piece rounding out into a slowly progressing synthetic bubblebath, keeping the choirs at work but tapering their contribution into a warm sea of glimmering LFO'd pads and warm, Roland chorus. 

                                                                                                              STAFF COMMENTS

                                                                                                              Barry says: A beautifully retrospective, but unflinchingly modern take on synth ambient, mixing elements of Emeralds (more specifically Mark McGuire / Steve Hauschildt's solo work) with the juvenile optimism of IDIB (Johnny Jewel / Chromatics) without ever sounding like a tribute. These are intelligent, beautifully written odes to years gone past,with a forward-facing melodic ideal, and a keen ear for a tune. Lovely.

                                                                                                              FORMAT INFORMATION

                                                                                                              7" Info: White Vinyl


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