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Official LP reissue of 'Peace & Harmony' by Nigerian funk royalty Harry Mosco, Originally released in 1979. Incl the big tracks ''Sexy Dancer'', ''Step On'' and ''Do It Together''

Isle Of Jura digs deep going back 40 years for the reissue of Harry's 1979 album which is something of an undiscovered gem that touches upon Disco, Funk, Boogie, Soul and Dub. Harry passed away in 2012 and we’ve worked closely with his son on the reissue.

Harry Mosco is best known as the founder of legendary 1970s Nigerian Afro-Funk band The Funkees. Originating as an Army band after the Nigerian Civil War they lead the wave of upbeat music produced by young artists in Nigeria in response to the darkness of the recently concluded civil conflict. Following a notable hit single ‘Akula Owu Onyeara’ the band split in 1977 and Harry pursued a solo career.

‘Peace & Harmony’ was Harry’s third LP continuing the rich vein of form found in previous albums ‘Country Boy’ and ‘Funkees’ (For You Specially). He was a visionary who wrote, arranged and produced each song on the LP assisted by Mark Lusari on engineering duties (P.I.L, Jah Wobble & Prince I), whose Reggae and Dub influence can be felt on title track ‘Peace & Harmony’ and ‘Peaceful Dub’. The LP contains two certified floorfillers of Studio 54 era Disco Funk in the shape of ‘Sexy Dancer’ & ‘Step On’ and two slow jams, the soulful ballad ‘She’s Gone’ and horn lead album closer ‘Do It Together’. Mr Funkees was printed on the cover to help record buyers make the connection between Mosco and his former band

In The Red Vol. 2 (A Britfunk Selection by Saint-James) is released almost a year and a half after the first compilation. This second volume still focuses on the britfunk genre - or british jazz-funk - mainly produced in London between the end of the seventies and the eighties. It defines a unique mix of jazz-funk & disco including reggae & dub techniques from Afro-Caribbean communities who were at the heart of the movement.

Parisian DJ, activist and producer Saint-James has again selected the most exciting, rare and powerful tracks from that era (1981-1988). Included in this compilation are Stikki Stuff, Cruzial, Potion, The Breakfast Band, Yeow Band and Scratch (better known as Gonzalez). Expect powerful synth solos, crazy slap bass grooves and lovely vocals on the top when the horn section is not busy doing its funky thing.

Back in the days, these young musicians gave their music a unique British flavor and raw energy pushing the needle "In The Red". Almost four decades later these powerful tracks are again ready to burn up dancefloors.

“Growing up in the 80’s opened doors to the imagination. Like many of us, I watched a lot of music videos just when cable television was on the rise. It introduced me to a new way of storytelling – and because of that, I’ve always liked the idea of cinematic concepts and visual movement.” Ron Trent’s 30+ year oeuvre has encompassed many genres of dance music with a signature, cinematic sound – organic, powerful, and emotive. His new EP WARM treads surprising territories, which to the listener may encompass unexpected influences, while maintaining that sense of space and narrative.

Balearic opener On A Journey feels equal parts Cluster and Yo La Tengo, with kosmische guitar and elastic bass entwining around a strutting drum line, while closer Exhale is a slow, heavy number with New Age and soft rock overtones, pairing natural percussion with subdued bass and deep, emotive guitar. Night Ride has the most familiar sound to listeners – those piano lines, synths, chord progressions, and earthy vocal refrains and percussion – sounding like a long lost production finally seeing the light of day.

Listeners may wonder “This is Ron Trent?” – and upcoming works are bound to also provoke this question; works that are dreamed up and created by one of the most unique and important figures in dance music. Whatever direction Ron Trent may take, what he makes will always be something special.

4 tracks, 2 bangers: D.K. starts a new season in the Antinote league with a 12” 100% dedicated to the dancefloor. There’s a perfume of jungle (not the genre, the one from Donkey Kong Country, in case someone has still not made the connection between Nintendo’s #1 gorilla and the French producer) emanating from the whole record. The Parisian producer has also been taking a peep on some early 1990’s rave records (but who isn’t at the moment?), as demonstrated by the two first songs, Mystic Warrior and perhaps even more flagrantly Elements – with its emotional pads and sad mock Jon Hassel-like trumpets.

Worries In The Dance, and Earth People are more of a warm up business – so to speak, in the language of the club. D.K. takes a step back, BPM-wise, only to allow a deeper exploration of the surroundings – namely shamans with bamboo flutes circling around you, monks meditating under a cascade, others ringing a prayer bell – that have more to do with Age Of Empire or any 1990’s adventure game set in a fantasized Asia than anything that actually exists IRL (probably a distinctive signature of the French producer). Anyway, there’s a Bruce Lee sticker on the sleeve that says it all, in a much more concise way.

Left Ear are issuing two previously unreleased Full-Length versions of Space Farm’s mid 90’s Egyptian inspired tracks. Both, ‘The Dawn of Birds’ and ‘Camels in Desert Air’ were initially cut short to allow for additional remixes on the original release. For their 2019 issue, Left Ear have decided to focus only on these downtempo original songs allowing the heavy percussion and synth workouts to shine through on a loud 45RPM press.

Space Farm is the story of three friends Darrin, Bill and Waleed their love for 80’s NY culture, Egyptian music and a cross continental business plan that never materialised. Darrin and Bill grew up in North New Jersey only a few miles from NY city and met while studying in ’90. Bill spent his formative years listening to the emerging sounds of 80’s left-leaning New York radio stations, while Darrin immersed himself in the DJ and B-Boy culture. Fast-forward to ’94 and the two found themselves living in Boulder, Colorado. By this time the tag-team had started producing music and would look to their NJ roots for a group name, deciding on the title ‘Space Farm’ after a kooky local petting farm they often cracked jokes about. Armed with an open mind and a bunch of old studio gear the duo began producing music inspired by 80’s NY, however after a budding friendship began with Egyptian native Waleed they were inspired to start experimenting with Egyptian and Arabic sounds. After hearing their output Waleed pushed for the release of an Egyptian inspired record saying “it would sell like crazy in Egypt”, that “he would bring it back to Egypt on his next visit and get it to all the right people that need to hear it”. The record got done but, due to circumstances beyond their control it never made it over to Egypt. The duo performed live a few times in Boulder before finally returning to NJ. Darrin recalls playing their final party in Boulder in which the Space Farm record was played from start to finish, “Some joker ran up to us while we were playing and kept signalling to up the tempo we were like F Off! raver boy”.

Tempo Dischi is an italian label created on a mission to discover and repress classics and rare gems of the italo disco, afro and cosmic scene. With the support from all the main players who has made that era magic, we work to put back on records stores shelves a piece of art that may have been lost but it’s still timeless. The first release is one of the key projects of the underground Italo Disco scene, probably not the most famous one, but surely it is among the most loved one by DJs and connoisseurs: Steel Mind.

‘It was the end of the '70s and at that time Disco Music was very popular. I was in a band called Caelestium, and we were playing in the most important clubs in Italy…Around the beginning of the 80s, I started to feel the desire to make a different kind of sound and I decided to start my solo project creating songs like 'Boss Man' and 'Lionel' that were closer to the Krautrock style’ recalls Piero Torsani, the producer behind this project.

These songs have become a cult for many djs, including Daniele Baldelli, Beppe Loda and Alexander Robotnick and they still sound contemporary. The Tempo Dischi collective is responsible of a club friendly edit of ‘Boss Man’. And after a deeper search into Pietro Torsani’s original music archive, an unreleased track has surfaced we could not resist to give to the world: 'Summer in The City’ featuring the voice of Marisa Lucà , at that time singer of Caelestium.

Cory Kilduff

When It All Gets To Be Too Much

    Growing up in the 1980s Dallas suburbs, Cory Kilduff was all about pushing the boundaries. Specifically, the boundaries of which videos his parents would let him rent each weekend. Escaping into equal parts sci-fi (Tron, Alien), outcast teen classics (Gleaming the Cube, The Breakfast Club), and cult classics (Beat Street, Rad), his range was eclectic and loaded with soundtracks that transitioned him easily into an interest in music.

    Now signed to Burning Witches Records, Cory has been creatively supported in composing and completing a new passion project paying homage to John Hughes’ flame-haired muse, Molly Ringwald. When It All Gets To Be Too Much is inspired by Ringwald’s roles in Hughes’ movies, specifically the moments when she can’t hold back the tears. With a few other references blended in for depth and breadth, the tears of Sam, Claire and Andie remain at the forefront for perfectly synthesized nostalgia, anchored in 1980s drama—think the train scene in Risky Business or the death in Less Than Zero—and tempered by the pure and true teen angst of Ringwald’s iconic characters. 

    STAFF COMMENTS

    Barry says: Remember that time that I went insane because Burning Witches released D.A.L.I's 'When Haro Met Sally' and they basically designed the entire album around my exact tastes? Well, they've done it again. This really is absolutely stunning, saturated 80's synths, pulsing hazy atmospherics and flickering, siney arpeggios. profoundly brilliant and stupidly limited. Get on it.

    FORMAT INFORMATION

    LP Info: Coloured LP, Very limited!

    Over the course of the last few months a small coterie of DJs have been armed with specially encoded secret weapons. From clubs and festivals across the globe, COD3 QR 001 & 002 have been road tested, extensively scrutinized and passed fit for public intrigue…

    For now the artists are known only via their encrypted aliases. This is Music to Arouse Curiosity. Quite simply, Cod3 QR (Code QR) puts the music first. The who, the what, the where will be revealed over time on the label’s website but for now we venture into the…?

    The people behind the label remain in the shadows, curating for the curious, the seekers, the adventurers and the brave. Cod3 QR is about going back to basics. About that feeling of discovering hidden gems and long sought after oddities. Not knowing who made what. If it’s good, it’s good. The music is the message.

    Seahawks

    Eyes Of The Moon - Piccadilly Exclusive Violet Coloured Vinyl

      From their coastal studio in Cornwall, Seahawks deliver a collection of mystic pop, sparkling new age and psychedelic ambience. Since forming in 2009, the UK duo (consisting of visual artist Pete Fowler and prolific musician / Lo Recordings label co-founder Jon Tye) has steadily accrued an impressive catalogue, spanning several albums and including collaborations with Laraaji, Peaking Lights, Laurel Halo and more. Eyes Of The Moon, their latest album as Seahawks — and their first for Cascine — is a transportive aural journey.

      FORMAT INFORMATION

      Coloured LP Info: Exclusive transparent violet coloured vinyl.
      This is only available via Cascine's webstore / Bandcamp and ourselves.

      Crown Ruler Records returns with a slab of unreleased disco-funk from Miami musician, Aaron Broomfield. HEAVY tune, in two mixes.. TIP

      “Boomerang” was first recorded in 1979, when the Broomfield Corporate Jam leader was attempting to plot a solo career. It was the first cut Aaron Broomfield recorded under his own name – Initially, at the family band’s home studio, Kilimanjaro, and later at professional studios in L.A and Miami – but it was never released.

      “I always wanted to be able to share ‘Boomerang’ with my fans some day – I didn’t release it back then because I thought the time wasn’t right,” Broomfield explains. “It was so different to what was considered commercial then and felt ahead of its time.”

      Before deciding against releasing it, Broomfield had two test pressings made. It was the accidental discovery of the
      one remaining record by digger Arun Brown (the other perished when Broomfield’s Kilimanjaro studio was damaged by a fire in 1996) that set in motion the chain of events that finally led to its release.

      The jacket boasts a written essay by Broomfield himself, telling the remarkable story behind the song. The wax
      features the two versions of Boomerang, of which both were meticulously restored and re-mastered by celebrated
      Australian sound engineer, Dan Elleson.

      Head to side A for the “test press” version, a cosmic, starry-eyed chunk of elastic Miami disco-funk where the
      Broomfield family’s killer instrumentation – all rubbery bass, deep space synths and crunchy Clavinet motifs – arcs
      around the sound space like a boomerang in flight. The vocal arrangement, in which Aaron Broomfield’s conscious
      lyrics come through loud and clear, brings it home. On the flipside, you’ll hear how dynamic the band was through the

      “Demo Version” - a relaxed, loose and spacey groover that sounds as ahead of its time in 2018 as it would have when it was recorded in 1979.

      This album is the result of some musings on what drives us in life and how we come to terms with our place in the world. I wrote it around the time I was finishing my philosophy degree. I had also come to a point where I wanted to make music that was more personal, emotional and conceptual than before.

      We are deficient creatures. Powerless and ignorant of reality as a whole, and unfortunately our characteristic existence makes us painfully aware of that. Reality is fundamentally hostile (or indifferent rather) and we are not well 'fit' to live in it. We try to deal with this through emotional means. We seek comfort for our deficiencies, a sense of purpose and belonging...

      W.H. Lung

      Incidental Music

        W. H. Lung’s arrival at their debut album has been less conventional than most. A trait shared with the music they make, which weaves between shimmering synth pop and the infectious grooves of 70’s Berlin. The band never had any intention of playing live when forming, aiming instead to be a primarily studio-based project.

        That approach was challenged when they released their debut 10” ('Inspiration!/Nothing Is') in 2017, which meant that they were quickly in demand. Booking requests started to flood in and W. H. Lung found themselves cutting their teeth on festival stages that summer. Though whilst some new bands may have let that interest change the course of the project, W. H. Lung stayed true to their original reticence and worked mainly as a studio band with their formidable live shows kept sporadic.

        W. H. Lung have allowed this album to naturally gestate over the course of two years . The result is a remarkably considered debut - the production is crisp and pristine but not over-polished, the synths and electronics radiate and hum with a golden aura and the vocals weave between tender delivery and forceful eruptions. There is a palpable energy to the songs, as experienced in 10 glorious minutes of opening statement 'Simpatico People'.
        “I think it’s important to erase the distinction between ‘high’ and ‘low’ culture,” states Joseph E. This colliding of worlds not only exists in the potent mix between whip-smart arrangements, lyrics and seamlessly danceable music but also in the fact that they are named after a cash and carry in Manchester. As Tom P. explains, “I thought it was funny juxtaposing those kind of austere associations with W. H. Auden and other initialed poets, writers, artists, etc. with the fact that it’s really just a Chinese supermarket.”


        FORMAT INFORMATION

        2xDinked Edition LP Info: 180g Double LP in Gatefold Jacket.
        Pressed on Bone coloured vinyl.
        Includes an exclusive 260gsm Art Print.
        Printed On The Rough Side of 350gsm Card.
        Limited to just 400 copies.
        Includes Download Code.
        Hand Signed and Numbered By The Band.

        2xDinked Edition LP includes MP3 Download Code.

        2xLP Info: Black 180g double LP in gatefold jacket.

        2xLP includes MP3 Download Code.

        CD Info: CD In Card Wallet.

        The fifth release in the sonic saga of San Francisco's electric noise factory Squirrels On Film is the first solo EP from label co-founder C.l.a.w.s., and his first solo release since 2017's “Stygian Morass” on Left Hand Path.

        His distinctive, idiosyncratic take on Techno has found its way onto the Various Squirrels, and as half of Kit 'n C.l.a.w.s with Joshua Kit Clayton, but “Splat City” is his party, and you're invited.
        The dance begins with “Into The Eyes Of The Zombie Queen,” its Liquid Sky cold-wave disco throb complete with laser zaps, Simmon's tom fills and drunk punk Moroder bass. This is C.l.a.w.s. in full-on Fun Mode, so feel free to break out the party favors. “Pacific Fog Authority” escalates the mirror-ball Goth Drama to delightfully inappropriate crescendos. “Slug Bait” gets a bit tougher, the motorik, leather-bar shuffle exploding in ecstatic strobe light seizures . “Splat City” keeps things heavy and depraved, a sleazy nightmare smoke-machine Strip Anthem.
        Your next late-night Cosmic Adventure has a perfect soundtrack.

        Slow things down into a full balearic groove with this latest EP on Dekmantel by the Dutch production duo. Barely breaking a sweat over 100bpm, these smooth sunset synth rhythms, full of muted 80s Italo funk, and breezy drum machines, syncopated with the warm, exotic blend of retro keys and ambience, set the EPs five tracks coastal, vibrant dynamic.

        PVP

        Thsilidzi / Siya Jola

        Banging kwaito double sider! Two of the best tracks pressed on a 12 - Nicely remastered.

        Patience, Violet ,and Pinky recorded their first Album in 1992. Knowing each other from the music scene, the back up singers turned friends teamed up with Emmanuel Diale and signed with Mob Music to embark on their music career as their own act. The first two albums were straight African Disco, A leftover sound of the 80's that some had still hoped to capitalize on. By the time they released their third album Why O Nketsa so Baby, loosely translated to "Why are you doing this to me Baby", Kwaito was still called either Disco or International House, and it was new sound that was taking over. The third album was influenced by the Shangaan sound made largely popular by artists like Penny Penny and Peta Teanet. Looking back now, at the time Mob Music was really leading the pack with this new sound. Being one of the last labels to have official releases with artwork and a group of young talented producers given full creative freedom they pushed the sound in a way only few other labels of that time can be given the same credit.

        For their fourth and final album on Mob Music they worked with legendary producer/songwriter Malcom "X" Makume. With three years of songwriting experience and stellar talent behind the desk the result was the LP Malende. Eight tracks that would combine the early kwaito sound with the more uptempo International House topped off with productions heavily inspired by what had been slowly making its way from Chicago over the last 10 years. At the time they had some success and to this day are well known amongst the real heads.

        The girls would go on to record one final album once their contract with Mob was up and then after a 5 album catalog would hang up their matching outfits for work a in a newly free South Africa. They remain friends to this day.

        *For this release LCT have chosen two of their favourite tracks from the album Malende, wonderfully remastered and pressed loudly on a 12" single for the Deejays

        Bartosz Kruczynski & Poly Chain

        Pulses

        For the second instance in their international parallel series, Into The Light Records treat us with seven lush, rich and warm recordings by currently Warsaw-based producers Sasha Zakrevska (Poly Chain) and Bartosz Kruczyński.
        Soon after releasing their debut albums - Baltic Beat’ and ‘Music For Candy Shops’ - and realizing similar interests and traits in their solo music, Zakrevska and KruczyÅ„ski sketched out a plan for an album and live performance. The record is to a large extent fashioned after the show, with most of the tracks performed live and edited down. ’Pulses’ is a result of hours spent in studio with a minimal set-up of Prophet ’08, Moog Sub 37 and Korg Minilogue; The work present their mutual attraction to minimal synth, repetitive arpeggios and drone music. A perfect blend of poly-rhythmic patterns, ambient textures and beat-less acid moments by one of the most fresh and unique collaborations!

        Welcome to the richly rhythmic and deeply esoteric world of Zaliva-D. Based in the Chinese capital of Beijing, they’ve been circling the country’s borders for more than a decade due to the extreme difficulty of streaming music there. Zaliva-D consists of musician Li Chao and Aisin-Gioro Yuanjin, who’s responsible for their stunning live visuals. We’re very proud to present Forsaken, their 4th album, but first ever vinyl release. Wrapped around a core of gut wrenchingly ferocious kicks and haunting vocals, these tracks possess a mantra-like quality and drown the listener into a world of Chinese and South East Asian textures. Forsaken, mastered by Wouter Brandenburg, is their most well-written, organic and esoteric record to date, showing a more fragile, sensitive side. Soon Zaliva-D will perform on European soil, accompanied by this Knekelhuis debut.

        Debut album from this fantastic Dublin based singer and musician. Stirring and beautiful songs, with a consistent optimism underlying even the murkiest moments. TOP TIP! Recorded in Connemara and Dublin (in a studio space shared with mates). Mixed by Brendan Jenkinson. Mastered by The Bastard.

        Delroy Edwards follows up his smashing "Aftershock" lp from 2018 with a new six track ep of pure old school 80s style Chicago House. While many may have moved on, Delroy Edwards steers the course, carrying the torch like not many cannot do, as he executes stripped down 808 beat tracks with a Gherkin bounce to perfection.

        Sounding like cuts from a lost WBMX tape, this timeless six tracker is sure to get the all house fiends mouths watering. Think of the primitive styles of Virgo meets Harvey Harris meets Saunders and you're on the right path.

        Mar & Sol presents the new album of the legendary band África Negra,"Alia cu Omali". New songs and some popular classics recorded between Lisbon and S.Tomé.
        This album Its a reflection of the old rumba and soukous music that this epic band of São Tomé e Príncipe got us used to. They are an icon and one of the main bands of this island, representing in their music the authenticity and culture of the former Portuguese colony on the equatorial meridian.

        It is our mission to expand this culture and here it is the testimony in our series of Luso Afro music which could best represent São Tomé.

        Jenny Lewis

        On The Line

          Jenny Lewis returns with her fourth solo album, On The Line - the follow up to 2014’s critically acclaimed The Voyager.

          The 11 all new original songs were written by Lewis and recorded at Capitol Records’ Studio B, and feature a backing band of legendary talent including Beck, Benmont Tench, Don Was, Jim Keltner, Ringo Starr and Ryan Adams. 


          FORMAT INFORMATION

          Coloured LP Info: Indie Exclusive Blue Vinyl.

          Imagine if you could put together a dream line-up of MCs and producers from all four corners of the rap world? That’s what artist and illustrator Gangster Doodles set out to do when he put together a stellar collection of tracks by the rappers and talent that inspire his work.
          The all-star line-up features everyone from hotly-tipped emerging producers like Eets, Caleb Stone, Maze Mountain and LoVibe next to underground perennials like Onra, Mndsgn and Jon Wayne all the way up to top flight producer Kaytranada and established rap vets like Madlib, Oh No, Blu and Defari.
          This second collaboration between All City Records and Gangster Doodles is a jam-packed sonic adventure featuring 27 killer tracks from some of the finest creators out there. Doodles had the idea for a comp two years ago. Hyped after partnering with All City for Knxwledge’s "Wraptaypes" project back in 2015, they initially set out to put together an EP but as the tracks kept coming in it exploded into the sprawling double LP of low-slung grooves and bangers from the best in the business.
          With everyone on the record being a friend or friend of a friend, the comp just kept growing as GD went to work with the hustle he has learned from penning his post-it sketches day in day out for the last decade.
          Word spread fast and soon he was being sent beats from all over, even reaching behind the prison walls of Bergen County Jail, New Jersey and securing a track from former Dipset affiliate Max B.

          The last few years have been busy for Marlon "Gangster Doodles" Sassy. He released his acclaimed Gangster Doodles (The Book) alongside an ever-expanding array of prints, original works, apparel and exhibitions across the globe. Topping that off with animation projects, a graphic novel in the works and now, with this LP titled " Gang$ter Music Vol 1", he is about to debut his first ever music compilation.
          He says himself: “Every time a new track came in it was like running down the stairs on Christmas morning to open a present. What started as a slow trickle of work coming in soon turned into a tsunami with some of my heroes like Onra, House Shoes, Blu, Jeremiah Jae joining up with young guns Kojaque, Kean Kavanagh, Dream Panther and others to beef up the record”

          “When an email pinged through with a track from brothers Oh No and Madlib it felt like the final gift and Gang$ter Music Vol. 1 was complete.”

          STAFF COMMENTS

          Patrick says: Absurd tracklist! Illustrator Gangster Doodles fires up his imessage and invites the hottest underground producers, backpack legends and cats like MADLIB, KAYTRANADA and YOUR OWN DROOG to lend a track to his first ever comp. You wanna hear what hip hop sounds like in 2019? Listen to this!

          Jumanjí is the joint persona of RAMZi and Priori. This eponymous album is a deep adventure in Houti Kindom, featuring a cast of colorful characters practicing interspecific altruism in communion with the invisible world. All songs written and produced by Francis Latreille and Phoebé Guillemot at Jump Source Studios in Montreal, Canada. 

          Thinktank return to Stepback Records with another colony of underground styles. Hive Mind Mentality further expands on the diverse, unique in your face club tracks that Thinktank have made a signature of their sound.

          First up on the A side is Them. Budding entomologists Vinnie and The Leph aka Thinktank have unearthed what some might say as Sci-Fi Classic Techno of The Atomic Age. Underpinned by a Sheffield style Bass crawl coupled with Bleeps that will crush any dancefloor. This is the electronic sound of nature running amok.

          Burrowing further on the B side STW serves you Techno in it’s most creative form – synth led with a sick groove and huge drum rhythms.

          Last but not least – Waaaassps DG is a classic Thinktank track with a sting in it’s tail. Snapping, clapping, alive and kicking. You will be buzzing when the break-beat drops.



          Mancunian Hidden Spheres has showcased himself as one of the most innovative producers out there, releasing across the likes of Lobster Theremin, Rhythm Section International and his own imprint Fruit Merchant, all of which have been the perfect outlets for his inspiring blend of house and jazz. Church now features as the latest addition, who continue their stellar discography with 'Words Can't Explain', a collaborative EP which sees Hidden Spheres alongside singer-songwriter and guitarist, Oscar Jerome.

          The collection begins with the original mix, lowering you into slick jazz guitar licks and echoing vocals, before Hidden Spheres provides a tight groove to lock around the melodies in fine form. The hybrid creation of jazz meets house binds perfectly as warm keys hang effortlessly in the air and popping guitar lines carry you onwards, supporting the sublime vocal from Oscar.

          The dub version opens up room for the guitar licks and synth top lines to take centre stage, a real opportunity to marvel at the arrangement here.

          On the flip is Yu Su's rework who ups the tempo and dims the lights for a punchier rework.. The half way point welcomes a percussive led break before the hats return and pick up the groove once again, closing the 'Words Can't Explain' EP in style.

          The Sundowners

          Ancient Cares / Pig Pen Blues, Stinkeye

            Drag City / Sea Note mystery artists.

            So say the label: “Another single from the jolly blokes who brought you ‘Goat Songs’, ‘The Girl With The Thing In Her Hair" and ‘Singing Death Chants To The Stars’.

            Never mind rumours about who this might be - just listen to the music.

            Once it's loud enough to dominate all attention in the room, then it's at correct playing volume - a fairly sonic approach”.

            Limited edition 7”

            Rev Magnetic

            Gloaming

              Rock Action announce the first release on the label by Rev Magnetic.

              Combining elements of dream pop, R&B, shoegaze and post rock, Rev Magnetic revolves around the core of musician and author Luke Sutherland, a long-time Mogwai collaborator on stage and on record. 

              ‘Gloaming’, with its celestial tale of disappearing love, provides a snapshot of the band’s forthcoming debut album which, with a cosmos of transformative sound references ranging from My Bloody Valentine to Teebs, Lemmy-era Hawkwind to ABBA and Vaughan Williams to Stravinsky, is due for release later in the year

              Dark Grooves Records starts with the aim to rediscover cult tracks from Deep-House to Uk Garage and old-school Techno. This first release was originally produced in 1994 by Miguel Graça under the alias of "Self Control", three super warm deep-house tracks that are still very strong. 

              LP includes an insert with pics & liner notes, and comes as 2LP (45rpm) set which is limited to 1000 numbered copies + download card

              "I recorded 'Live Without Fear' on May 31 1979 with some of my friends. We drove up into Evanston from Chicago in 3 cars on a day that smelled good and spoke all day sunshine… to 'Live Without Fear' means to live in material reality with faith… Peace on you!" - Soji Ade' 2018

              With a price of well over $1000 on the few occasions the original LP has hit the market, 'Live Without Fear' is a beautiful album of humble purity and peaceful spiritual jazz vibes that lives up to the hype. With the blessing of creator Soji Ade and colleague Kahil El Zabar, we're delighted to be able to finally share their music with you, 40 years since it was recorded. As so often with private pressings, few copies were pressed and those that were suffered from little or no distribution. However, with our new remaster and with added liner notes from Chicago music archivist Steven Emmerman, their message of love and spiritual unity can now be revealed and appreciated worldwide.

              NOTE: The original LP was released with both sides approaching 30 mins in length. This is extraordinarily long for an LP and as such the quality of sound will suffer during playback. We have therefore taken the opportunity to release the album as 2 x 12" sides, each cut at 45rpm, and the sound quality has greatly improved as a result.

              FORMAT INFORMATION

              LP includes MP3 Download Code.

              Pinty

              City Limits

                “I was raised off tapes by Skibba
                Learnt the streets off Skinner
                Where the walls are thin and the grey cloud thick Tick tock, another day’s lost
                As I drown in smog..."

                Peckham MC & DJ Pinty is set to release his debut EP ‘City Limits’ this March on Rhythm Section International. Following the recent release of his debut single ‘Tropical Bleu’ , a laid-back broken-beat roller produced by friend and collaborator King Krule under his DJ JD SPORTS alias, Pinty has quickly become the talk of the town.

                As the new voice of South London, Pinty’s witty wordplay and effervescent club sound take influence from the introspective poetry of The Streets, the downbeat moods of King Krule and the jazz tinged house tones of production partner Maxwell Owin. Since his self-released 2015 mixtape, the ten-track spectacle ‘Midnight Moods’, he has also begun to make waves with his distinctly individual live performances, playing in Paris with hip-hop star Rejjie Snow, in New York with RATKING, and locally for the likes of Boiler Room and Just Jam. Features on Glenn Astro and Jamie Isaac tracks along with gracing the Autumn issue of the Peckham Peculiar round off a noteworthy rise to prominence.

                Lead single ‘Tropical Bleu’ boasted the hallmarks of Marshall’s late-night production coupled with Pinty’s unique MC-led approach to the dancefloor.

                Now ‘Nightcrawler’ presents a simmering nocturnal dance cut, charged with glowing bursts of deep house, candid lyrics and aself-directed video portraying a woozy tale of London’s underbelly.

                Flitting between hip hop, house, UKG, and darker electronic sounds, Bradley Zero’s Rhythm Section International makes perfect sense for Pinty’s debut release, which takes its title from a prolific early 2000’s South London graffiti legend. With deeply personal lyricism and wry humour, ‘City Limits’ adds colour to a mostly grey city. Music and creativity was a core part of Pinty’s youth, his dad was a poet and older brother an MC during the golden age of garage and jungle. Fast forward to 2019 and he’s part of a dynamic collective of producers, singers, musicians and rappers, as well as hosting radio shows on influential stations Reprezent and Balamii.

                Already a major pull in the capital, ‘City Limits’ marks Pinty’s graduation from local sensation to international proposition, as he prepares to fly the nest of the city that spawned him. 

                Nick Zammuto

                We The Animals: An Original Motion Picture Soundtrack

                  The limited edition super-deluxe vinyl format is pressed onto 100% virgin vinyl in a custom Yellow-White-Clear March-Up color mix. The records is packaged in a full-color gatefold jacket, and includes a full-sized 28-page full-color diary, and an original hand-numbered animation print cell from the We The Animals film production. The soundtrack to the massively acclaimed, aware-winning motion picture, We The Animals. We The Animals has received near-unanimous acclaim (91% on Rotten Tomatoes), and the soundrack has been praised as an integral part of the film’s profound resonance. We The Animals is the award-winning new film from Jeremiah Zagar (In A Dream). Based on the best-selling novel by Justin Torres, We The Animals is Zagar’s first narrative feature.

                  It reunites Zagar with Nick Zammuto, the renowned composer and co-founder of beloved collage-pop pioneers, the Books. Inspired by the film’s setting in rural upstate New York – and influenced by the early ambient electronic music that galvanized the Books two decades ago – Zammuto pairs that earthen, wooded isolation with dynamic pulses of customized electronics and sparse, crystalline layers of melodic soft synths. The juxtaposition is arresting, and gives the soundtrack a unique heft befitting of its subject matter – and betraying of its minimal instrumentation. Beautifully edited and sequenced to act as both a companion to the film and a standalone album, We The Animals: An Original Motion Picture Soundtrack is as subtle as it is startling, and succeeds in making even the heaviest emotions feel momentarily weightless

                  Gnod (R&D)

                  Vol. 3

                    GNOD (R+D) is an alternative version of GNOD, in case of this album consisting of co-founders Paddy Shine and Chris Haslam.

                    This project is to be understood as a platform to research, develop and expand on sound environments as well as collaborators for the future workings in their main band. They have worked in many different disciplines of left-field music in their twelve year run already, transforming droney Kosmische Musik/Krautrock explorations into something way more unique by ways of incorporating noise, ambient, „world“ and outsider music leanings.

                    Last years „Just Say No to the Psycho Right-Wing Capitalist Fascist Industrial Death Machine“ for example sounded more like a vengeful marriage between The Fall and post-reunion Swans than the rather introspective journeys they have been known for.

                    The follow up to the two cassette-only releases on Tesla Tapes, „Vol. 3“, sees GNOD (R+D) evoking four long-form suites that essentially take on the form of 21st century ritual music for the west, lamenting, contemplating and trying to dissect said capitalist industrial death machine.

                    A deep plunge under the surface, we are confronted with emissions of a modular synth that seems to be hidden in a deep nest of industrial flashbacks. Big blocks of sound give way to a mystic talking in tongues, leading us to an acousmatic place that defies orientation.
                    Slowly ascending rhythms from electronic and acoustic sources that constantly interlock and free themselves make us hear voices from the distance, eventually they drown again – before setting free a maelstrom of acoustic snapshots that seem to unite past, present and future.

                    Vol. 3“ is a ultimately a meditation on how to bring music forward that has to exist in a time where reference and not innovation is the prevalent status quo.

                    STAFF COMMENTS

                    Barry says: Here it is folks, the latest iteration of spaced-out meanderings and stunningly hypnotic synth drones imbued with the industrial heft and inimitable spirit of Gnod. Constantly pushing the boundaries of their collective experience, running from Machinefabriek-esque industrial drone to bunker noise and post-apocalyptic techno, this is a wonder to behold. Essential purchase.

                    Pet Shop Boys

                    Agenda

                      Discussing the EP, Neil Tennant said: “It contains three satirical songs and one rather sad song. I think it’s because of the times we’re living through.” The four tracks were produced by Tim Powell and Pet Shop Boys and recorded towards the end of last year. They will not be included on Pet Shop Boys’ next album which is being produced by Stuart Price and is due for release in the autumn.

                      MB DISCO IS BACK After a break. we're ready with new releases. After heavy demand, we decided to press this little gem on vinyl. It features the stellar remixes from Psychemagik.

                      Named after an 80s French cartoon, this single is the product of Turkish producer Alico and his shady cohort, Cagri. The tune is a straight-up salad of vintage Eurodisco with lashings of Italo dressing. Evoking the likes of 'Droid' by Mito, Vangelis and anything by Hipnosis, this laconic sprawling synth-fest is saved from total retroville by a crisp modern electro-house bounce.

                      This could be the anthem you are looking for. Here is the official Alan Dixon remix of Frank Bookers Gospel Anthem Rise and Shine that will tie any room together like Lebowskis carpet. The flip side has Alan Dixon s house stomper What Cha Gonna Do feat Meleke and a remix by Chief Lumberjack Marcel Vogel. Positive vibes all around.

                      Emotional Response is delighted to present elsewhere LVI. The 4th of soFa's compilation series, this double LP takes us to the darker side of the elsewhere ouvre, via another 12 artist / 12 track travelogue.

                      With certain future-retro feelings, this is club music for the open minded. An album that roams from dreamy ambient territories to rhythmic patterns - internationalism for the adventurous DJ.

                      Rusty slow-mo bangers and post-industrial synth-wave kidnap the listener to a dystopic and shady wasteland. Elements of ethnic folk, vintage vocoders and Gamelan samples all united on one homogeneous selection.

                      With artists now known to welcoming new brethren, this is an audio trip to leave reality behind. Exotic, hypnotic, tactile, trance-inducing meditations, washed down with a spoonful of magick.

                      Platform 23 returns with the reissue of songs from Canadian project, Vini Vidi Vici. With just one privately pressed mini-album in 1989 that bridged the gap between the later years of New Wave and the early vestiges of House, the music included in this edited EP highlights a thriving Montreal scene in its heyday.

                      Vini Vidi Vici was created out of two different music backgrounds. Paul Klopstock was a classical pianist, while Mario Langlois was a DJ, self-taught musician and radio producer, who came together when both worked at the underground arts / club Le Lezard. Starting in 1986 the space mixed painting, drag shows and bands alongside the latest alternative sounds, from Rap to New Beat, Electro to Acid Jazz.

                      As House and Techno started to filter through, Mario (aka Ave Mario) and the other resident DJs laid the ground of what was to come. From this Paul and Mario collaborated from late 1987 through in to 1988 and created the mini-album, however this EP concentrates on the duo's self penned work.

                      Recorded at Oliver Sudden Production studio, the A side is made up the raw House of 'Club Stuff" and Native American meets avant percussion of 'Vini Vidi Vici'. Showing a confidence and experimentation beyond their years, the two tracks production and all round hypnotic danceability, highlight why original copies are so prized (and expensive).

                      The B side follows with two tracks recorded in Mario's home closet studio. Lo-fi to the max and improvised, the no wave / world beat experience of title cut, 'Ou Sommes Nous?' and the proto-electro-wave of 'AA HHH' are like something again, a mesmerising fusion and quite unique.

                      Self pressed, the project ventured to live performance and (sadly unreleased) remix work, before the partners went their separate ways, however this archival document can be seen as their own special conquest.

                      The 3rd EP (of 4) looking at the music of Exquisite Corpse's output from 1992 to 1994. As with the rest of the series the music included covers the palette of Robbert Heynen's output and is presented here, remastered and redesigned for club play.

                      Working as ever with friend and engineer Tim Freeman, as well as partner Debbie Jones, Heynen's post-Psychick Warriors Ov Gaia productions took his techno, trance and tribal explorations to a new conclusions.

                      With Point Zero all these elements come together with possibly the strongest tracks of the EPs. Opening EC's sophomore album, Inner Light, there is confidence in the interplay between oscillating sequencing and rattling drums, perfectly and infectiously interweaving between headspace and dance floor.

                      B K S from the Dream Night Dance Music album follows and takes things down a notch. Ethnic leanings interplay with light percussion and a deep bass to pull you till dawn.

                      Side two opens with the clattering, syncro-rhythms of Traditional Ties With Dreaming. Taken from their debut EP, Reassembling Reality is itself the perfect elude. Quasi-dreamlands, drumming for 1000 musicians that loops and builds, dismembers and starts over like a gentile, hypnotic orchestra.

                      To complete the EP, Dream Night Dance Music appears again with Elevator showing a love of the original deep house odes emanating from Fingers and Jefferson of late 80s Chi Town. Fluorescent keys overlay somber drum and bass to sink the most melancholy sunsets. An end to the beginning. A beginning to the end. A third ending.

                      Bartosz Kruczynski

                      Selected Media 2016-2018

                      Emotional Response is delighted to present a special project, a collection of music from Bartosz Kruczynski, recorded for "Selected Media" and presented here as a time-piece of his continuing works. Initially known as one half of sample based project Ptaki (The Very Polish Cut Outs / Transatlantyk), Kruczynski first appeared for Emotional Response as The Phantom for the first series of SchleiBen in 2015. Featuring two works of deep 'fourth world' sounds, they highlighted a shift to more mellow, synthetic and hazy compositions. His break out came, however, when he explored this sound further on his eponymous album Baltic Beat, for the acclaimed Growing Bin Records. This has been augmented with the recent club based music as one half of the wonderful Earth Trax (Rhythm Section International / Phonica Records) project.

                      Here though, Kruczynski returns to the ambient and ethereal - plus a touch of dub techno - to showcase his expansive collaborative work with Polish studio, TVP Culture. Given free artistic license, the 15 'short form' recordings included here were for programming, in the main, on modern Polish Art including the likes of Magdalena Abakanowicz, Miroslaw Balka and Tadeusz Kantor, as well as some international aspects for Enrico Prampolini, Ai Weiwei and Monica Bonvicini. Taken from over 70 episodes the material included recollects imagery, video and memory to present a series of short vignettes that together create one whole. Minimal and hazy ambience (V, VII, VIII, XI, XII) envisages classic melodies and chords and is accompanied by further 'fourth world' pieces (I, II, III, VII, X) that present an oeuvre that is recognisably the music of Kruczynski, while remaining fresh and perfectly meditative. A counter can be found in the atmospheric dub works (IV, IX, XIV) that hint at echo chamber environs to get infinitely lost in. As an album then, "Selected Media" can be heard as a snapshot to Kruczynski's music journey, a meeting of art and music that is oft overlooked but very much essential.

                      Emotional Rescue returns to the Caribbean with the music of Glen Ricks and his infectious Jamaica meets Boogie goldmine that is I've Been Waiting For You.

                      A performer since the age of 7, Glen Ricks (born Ricketts), established a reputation for his singing range and ability to seamlessly shift from tenor to soprano, going on to sell over a million records around the world.

                      Having immigrated to Canada as a child, after teaming up with his first band The Fabulous Flames Ricks returned to Jamaica to create his first records. Moving effortlessly from reggae to lovers, and dancehall to soul, R&B, disco and boogie, Ricks established a successful career and he continues to perform to this day.

                      I've Been Waiting For You is indicative of that cross-pollination of style and sound. Released on 7" in 1983 on the short lived Seraff label, the mix of Ricks' soul voice with laid back boogie groove creates a sound full of lazy JA swing.

                      Now highly sought after, this special 12" reissue includes the stand out vocal and is backed with an instrumental that builds on the interplay between bass, drums, piano, guitar, keys and finally, backing vocals. To seal the deal - and in true label style - LA's rising star DJ Duckcomb presents the perfect Discomix, seamlessly cutting between both versions with some respectful dubbing in the mix.

                      Finally the official remastered reissue of one of the rarest and sought after italo-disco record from early 80's. You'll be hard pushed to hear anything like this ever again... this is an epic out there electronic production that's one of a kind. In the same period of other italo-disco classics like REM, STOPP, Klein & MBO, GANG previously reissued by Best Italy, they representing the roots of chicago sound played by the pioneers like Ron Hardy!

                      Here's something to set the pulse racing: a fresh reissue of a dream house-era Italian cover of Carlos Santana's "Aqua Marine". Thrillingly, this edition dispenses with the pointless radio edit, replacing it with the previously unreleased "Original Studio Version". This is something of a stunner, all told, with the track's Santana-like solos and breezy, beachside synthesizer lines being accompanied by the soft focus of bongo rhythms. Of course, the more club-focused versions are ace, too, with the dream house style "Club Version" and "Sweet Dream Version" being joined by the undeniably epic "Paradise Version", which slowly builds to deep house heaven via a sublime ambient intro.

                      "Jealousy And Lies" is one of the finest example of the late 80's deep-house scene. It reminds to the classic US house style of that period, to Larry Heard and the "Def Mix" productions, and even if it sounds similar to the famous "Talking With Myself" by Electribe 101, this one came first. And it still sounds so good after 30 years!

                      Platform 23 presents the 2nd (of 4) EPs of music from Exquisite Corpse. In Between Rhythms II, a deeper, ambient, percussive selection again returns to the project of Robbert Heijnen.

                      As part of the post punk / alternative Tilburg music scene of the mid-80s, Robbert influences of expression and interest in industrial and EBM is apparent. The move from the metallic sounds (as a member) of the early incarnation of Psychick Warriors Of Gaia to embrace the sounds emanating from late 80s Chicago and Detroit saw the band develop from their early cassette '1989' to the fully formed and now revered 1992 debut album, Ov Biospheres And Sacred Grooves (A Document Ov New Edge Folk Classics).

                      The parallels between this deep, trippy and haunting melodies meets tribal percussions, highlights some similarities of PWOG and Exquisite Corpse's outlook during this period. Looking further, upon leaving the former, the bands sound developed a harder edge, with more focus on rhythm and their exploratory properties indicating the nature of Heijnen influence and part in PWOG and how this was further explored when going solo in 1992.

                      The release starts with Shadow Play from his second album, 1993's Inner Light. Darkness descends to echo'd drums as the vestiges of developing European techno worlds can be heard in the distance. What A Life, from the Reassembling Reality EP, brings things down with an ambient beginning moving to Reich loops and sequencing that create shifting melodic horizons. A personal favourite of the artist, the EP saw the realization of the collaborations with Debbie Jones in design and life.

                      With the consistent presence of 'third member' - in mixing, engineering and support - from Tim Freeman, the songs in the series have a unique, but familiar and inclusive nature. This can again be heard in Sacrifice from the highly sought after Dream Night Dance Music album. The interplay of drums, claps and swing are enough alone to warrant acceptance. To close, Tepu returns to the Inner Light album. Darkness, Questioning. Calling. Second(s) ending.

                      Platform 23 is delighted to release a compilation across 4 EPs of the music of Dutch producer Robbert Heijnen (Psychick Warriors Of Gaia / SUMUS) and his Exquisite Corpse project.

                      First appearing as a one off contribution to a Katharos Foundation compilation cassette and using only tape loops in 1986, Exquisite Corpse was resurrected in 1992, shortly before Robbert left PWOG to concentrate on his solo music.

                      Now equipped with a modest midi set-up, most of the Exquisite Corpse material was recorded with the aid of mixing desk master, engineer and friend, Tim Freeman, as well as with later contributions from partner Debbie Jones (The Mistress/DJ Venus). Released on Belgian label KK Records, the tracks included in these 12"s are taken from a furtive two year period that saw six EPs and two LPs released.

                      Starting with Inner Rhythm (Higher World Mix), taken from 1993's EP of the same name, Between Rhythms I starts with intent. Crisp percussion, relentless and interwoven sequences abound over a dark bassline, before the dub meet world sounds of Kupuri show the depth of EC's outlook.

                      This is backed by the rawness of X-Out from 1992's Strange Attractor EP. Recorded to cassette before Tim joined the project, the guttural bass and sharp percussion cross boundaries between house and techno. This deep tribal sound, full of pulsing drums highlights a sharper angle from much of EC's output and as such, is a pure club machine.

                      The first EP closes with Sitting In A Tree (Time Flies). The first track to be taken from their debut album, Dream Night Dance Music, the album is rightly considered their strongest, more rounded record, seeing it now trading at spiralled prices. With all 6 of it's songs to be covered across the 12" series, the ambient influences and yearning keys here make for a perfect, first ending.

                      Emotional Rescue announces the second EP of music from one of the label's favourites as part of a non-defined series where two of their (un)classic songs are remastered, reappraised and reinterpreted with new versions by a contemporary artist for reinterpretation today.

                      Thomas Leer is a respected and revered musician in both experimental and electronic circles. Having moved from Scotland to London in the late 70s, he moved away from playing in punk based bands, to debut his self-financed 'Private Planes' 7" in 1978, before releasing the cult-album 'The Bridge', with Robert Rental, the following year.

                      Signing to Cherry Red, he released the heralded '4 Movements' in 1981 and followed with 'All About You' in 1982, and it is from these 2 EPs that this release is sourced. The release starts with Saving Grace from the latter, a long famous "Cosmic classic"; it's mid-tempo, spacey, lifting repetition is the perfect soundtrack for those Baldelli trips straight to the stars.

                      This is backed with Tight As A Drum, a quintessential Leer production, where Teutonic drums is overlaid with sequencers and synth tones to elevate the song to some kind of disorientating outer-dimensional dub, while his lucid, spoken word vocals instill degradation and reinvention.

                      Asking Bullion to offer his own take on these two songs was the perfect pairing. A revered artist in his own time, the warmth and depth of his versions takes the originals to his own inner world; sampling, rewiring, reprogramming, resigning and replaying. An EP for the floor, the head and the heart.

                      Lady Lamb

                      Even In The Tremor

                        “I’m always teetering on the edge of self-sabotage,” says Aly Spaltro aka Lady Lamb. “The whole idea of this new album is the push and pull between calmness and chaos, joy and anxiety, self-loathing and self-love.” Nowhere is that more clear than the title track, “Even in the Tremor,” an ecstatic panic attack unspooling with all the far-flung places Spaltro has visited throughout the course of her writing process, including Berlin, Montreal, Frank Lloyd Wright’s Fallingwater house in Pennsylvania and Nicaragua’s Masaya volcano, a touchstone visual for Spaltro in her conception of this latest project. “The past will kill the present / if I let it,” the singer repeats like an anxious dance party mantra for romantics and overthinkers alike.

                        Even in the Tremor marks Spaltro’s latest full-length LP following 2015’s After and it’s a remarkable achievement because, among other things, it’s the first time in her career that Spaltro is singing explicitly about herself. “I’ve never let myself be this exposed before,” she says, “but this whole album is about facing who you are and fighting your way toward self-acceptance.” Between confessing a tantrum in a batting cage (“Little Flaws”), telling the story of her parent’s kiddie-pool baptism (“Young Disciple”) and singing openly about untangling her girlfriend’s wet hair (“Deep Love”), Even in the Tremor is deeply rooted in the people and places, extraordinary and mundane, that have shaped Spaltro into the self-determining artist she is today.

                        Known for her keen observations of others, Spaltro now turns her multifaceted ruminations inward; She calls out from dreams, peers into churches, has fits of rage, and struggles to get out of her head long enough to love herself and those around her. “It’s taken me years to get here,” she says, “but I’m sort of done with hiding myself. I want to be as honest as I can because that’s why people turn to art. Anybody can tell the difference between bullshit and real vulnerability.” This commitment to creating only what is necessary and urgently felt is the key to appreciating Spaltro's fearless songwriting, as emotional as it is philosophical. Even in the Tremor signifies the arrival of her most sonically soaring and brutally honest album to date.

                        FORMAT INFORMATION

                        Coloured LP Info: 100 limited indie only coloured vinyl.

                        Vital Idles

                        EP

                          “superb one chord thrash, somewhere between the oblique minimalist pop of Flying Nun and early Rough Trade signings such as The Raincoats.” CLASH MAGAZINE.

                          “Glasgow’s Vital Idles are a great example of all of those things: the DIY ethos that produces the best kind of post-punk; guitars so thin they sound as though they could topple over at any second; tightly wound, groovy rhythms that take you with them rather than leaving you behind.” LINE OF BEST FIT.

                          Brand new 7” EP from Glasgow’s Vital Idles, following on from the band’s well-received debut LP and a rigorous Marc Riley BBC 6 Music session from last year. Vital Idles are touring Europe in support of the EP, finishing up in the UK playing a series of UTR showcase parties in celebration of the label’s 15 year history.

                          If there isn't yet a tradition of following a magnificent debut album with a, shoelaces-tightened, excellent mission statement of an EP (one would be forgiven to think that the debut long player was the mission statement already, breaking in on the scene/ry with such unmissable and rarely seen sensory delight, but then upon hearing the subsequently released EP one is tempted to think: "Wow! That debut was truly astonishing but now they are REALLY on a mission!"), well, if this tradition doesn't already exist - and thinking about Young Marble Giants' scene-defining "Final Day" 7", Pylon's absolutely essential "!!" 10" and Carla Dal Forno's recent-yet-already-classic "The Garden" 12" one might argue that this tradition is undoubtedly fully existent (more so: alive and well) — then this self-titled extended play from much beloved Glasgow quartet Vital Idles would surely be a striking argument for the genesis of such a tradition.

                          On the other hand, when taking sides with the many seasoned critics arguing that this tradition has indeed long been established, one might confidently list this effort as a bona fide example of such practice, sharing with the aforementioned not only an astute and accomplished artistic ability but also a sense of minimalist psychedelia that transcends restrictions set by redundant referencialism and grateless genre parameters such as "Post Punk" or "Minimal Pop" (on which the same critics, of course, often disagree).

                          That being said, ping-ponging from gritty post punk smashes to minimal pop moments and vice versa, Vital Idles' sphere of stripped-down efficiency and sharp personal observation also brings to mind crucially overseen half-chord-wonders Glorious Din as well as antipodean contemporaries like Constant Mongrel (who also had their latest release mastered by the fantastic M. Young), Primo! (who also had their latest release mastered by the fantastic M. Young) and Terry (who also had their latest release mastered by the fantastic M. Young).

                          The EP reveals itself as a steady, hypotenusal rise of intensity and momentum, starting with the hallucinogenic restrain of opener "Break A", building tension throughout the gothic-noise flourishes of "Seconds" and "Rustle Rustle" and culminating in "Careful Extracts", a 2 minute burst of carefree introspection that might as well be the unintentional answer to early career highlight "My Sentiments": "just me and my/ tired ire/ a a a a a a a a a a"

                          In conclusion: Vital Idles' debut was truly astonishing but - wow! - now they are truly on a mission.


                          Fatboy Slim

                          Right Here Right Now (Friction Remixes)

                            Fellow Brightonian Friction gives the Fatboy Slim original a 2018 update with this powerful remix package.

                            Friction’s ‘One In The Jungle’ mix pulls the best parts of the puzzle and rearranges them into a vibe soaked thumper, harking back to the wonder years of our scene. With a naughty low end and a chopped vocal, this is one’s thundering out the undergrowth and into the light.

                            The second fully loaded refix dropkicks the original into the middle of the modern dancefloor. With Friction road testing this every weekend and Killer Hertz making some serious moves on Elevate Records, this is causing some Jumanji style damage to clubs and stereos worldwide. 


                            Sano

                            Latino Body Music Vol. 3

                              Sano ha vuelto!

                              Latino Body Music continúa en 2019 – LBM Volume Tres, es un disco para damas y caballeros que están enamorados. Sí, eso es correcto!
                              “Oi Papito – Hola Mamacita”

                              Latino Body Music Vol. III - Musica Sensual. Toda La Noche.
                              Public Possession UTI -011 - El Disco es Cultura


                              Prins Thomas

                              Bronchi Beat, Æ (Wata Igarashi, Orbe, Rivet Rmxs)

                                The third and final chapter of remixes tapped from last album "5". Proper "down the wormhole" business from personal favourites Wata Igarashi, Orbe and Rivet.


                                Cherushii & Maria Minerva

                                Cherushii & Maria Minerva

                                  In the fall of 2013 Maria Minerva mapped an 8-show United States trek up the west coast and across to Chicago but, being newly emigrated from Estonia without car or driver’s license, needed a traveling companion who did. Given the grueling itinerary only one road warrior / joie de vivrist came to mind: dear friend, penpal, and SILK sister Chelsea Faith AKA Cherushii. The two covered over 3,000 miles together, performing in bars and towns not known for leftfield electronic patronage (i.e. VFW halls in Missoula, Montana). Though attendance was occasionally minimal they bonded deeply, in ways specific to arduous American DIY touring.

                                  In subsequent years the pair shared bills, traded tracks, and remained close – even playing live together a few times – yet the dream of a proper collaboration always loomed. The tragic Oakland fire of December 2016 cut short such plans but not before they’d written, recorded, and mixed the better part of six songs. With the devoted assistance of David Last, Adam Gunther, and Brian Foote these recordings were posthumously polished and finalized and it’s our heart-aching honor to share them with the world. Drawing on Minerva and Faith’s most vibrant Venn diagram overlap, the tracks evoke mirror-lined music video sets, downtempo night drives, rainbow eyeshadow, glittering skylines, and sweaty discotheques, flowing from lush to lavish, highly finessed and full of feeling. It’s the sound of true union, Faith’s divine dancefloor DNA threaded through Minerva’s chic pop hooks, rhythmic and revelatory, the best of both beautiful worlds. The collection closes with a swooning ambient edit by Glassell Park hardware-whisperer Leech, Maria’s voice dubbed into a gauze of otherworldly emotion: “I’m going astray.”


                                  USA / Mexico

                                  Matamoros

                                    As a young person I frequently heard tales that high-end stereo shops used Pink Floyd’s ‘Dark Side Of The Moon’ as a demonstration disc, in order to fully document the prowess of their impossibly-expensive wares.

                                    I rarely frequented any of these establishments but always took these stories on faith. I’m no audio guru, but it seems to me that someone attempting to do the same thing in 2019 could do a whole lot worse than adopting USA/Mexico’s long-awaited 2nd album, ‘Matamoros’ for similar purposes. The trio’s first album 2017’s ‘Laredo’ might’ve been a worthy candidate for a test-spin in the Bang & Olufsen showroom, but the successor is the sort of record that really makes if you’re the sort of person who can appreciate the BACKES MÜLLER BM 100 loudspeaker (list price $500,000.00 USD)

                                    Once you’re comfortably settled in, you’ll find that the all-star team of guitarist Craig Clouse (Shit & Shine) drummer King Coffey (Butthole Surfers) and Nate Cross (Marriage, When Dinosaurs Ruled The Earth) have done everything possible to help you expand your sonic palette — some might say they’ve even done too much! Either way, these guys are as unselfish as they are loud. Or perhaps they’re as selfish as they’re quiet — i do hope you’ll agree their motives are less important than the results, and in this instance, those results are nothing less than a staggering sensory overload.

                                    George Dishner (Spray Paint) and Kevin Whitley (Cherubs — on a rendition of his band’s “Shoofly”, as previously heard on 1992’s ‘Icing’) make cameos. The entire affair was engineered by budding genius Ian Runndell (he of every other great record recorded in Austin) and is available via the 12XU and Riot Season record labels in North American and UK/Europe respectively.

                                    Expert commentary on USA/Mexico’s now sold out debut album ‘Laredo’ (2017)

                                    “One is bludgeoned into the proverbial submission via the Coffey-Cross doomsday rhythm machine; imagine an early Hawkwind album, stripped of its high-end sonics and the low end ones being slowed to 16rpm, plus Clouse’s Cookie Monster vocals with all the cookies’ sweeteners removed and replaced by arsenic prior to baking.” Fred Mills, Blurt

                                    “A colossal masterpiece…oscillates between a deliberately mesmerizing headbang and a noise drenched mind-fuck.” Maximum Rock N Roll

                                    “Gloriously molten sludge-punk; it’s heavy as hell, just the right amount of dumb, and injects its own personality in each tune…have faith in our youth to surpass the sonic brutality of my musical generation, but I’m wondering if anyone alive today can surpass the elder statesmen of USA/Mexico.” Matt Korvette, Yellow Green Red

                                    “A heavy swamp of growling voices, lumbering beats, and ear-rupturing guitars. If you dig deep enough into sonic muck, you can hear echoes of their previous projects, but it’s better to just let yourself drown.” Marc Masters, Pitchfork


                                    FORMAT INFORMATION

                                    Coloured LP Info: Limited edition 400 only white vinyl lp housed in a 350gsm sleeve with download code.

                                    Xxxtentacion

                                    17

                                      The debut album, 17 from the late musician, XXXTENTACION will be available for the first time ever on vinyl.

                                      The album was a departure from the single that gained him noteriety, Look At Me!, and foreshadowing of what was to come. With a talent ahead of his time, and a life cut too short, XXXTENTACION's legacy will forever live on in physical form via these releases.

                                      The album, which is certified GOLD also features the 2x PLATINUM songs, Jocelyn Flores & Fuck Love, and also features deluxe packaging.

                                      Album features Trippie Redd.


                                      FORMAT INFORMATION

                                      Coloured LP Info: LP features spot UV print on back + Side A/Side B – Marbled White & Black vinyl.

                                      Xxxtentacion

                                      Skins

                                        Unless you have been living under a rock, XXXTENTACION is a name that needs no introduction. A true artist who was tragically slain earlier this year – XXXTENTACION left an indelible mark on culture and music in his all too brief 20 years on this planet. His catalog will go on to live forever, and he left one final piece of music for the world with SKINS. The album comes in at a short, but sweet 10 tracks with songs that delve into XXXTENTACION's deep and complex mind, and soul. With the lead single, BAD! Garnering 52M + streams in under a week, and merch drop that sold out in minutes, it is evident that XXXTENTACION's fanbase is ready for SKINS. 

                                        Xeno & Oaklander

                                        Hypnos

                                          As a musical act, Xeno & Oaklander (Sean McBride and Liz Wendelbo) conflate a rich love of analog synths, melody, and mythology with eloquent nuance and a nod to the heritage they draw from. While that construct is the duo’s immediate kiss and crush, there’s a deeper importance to their collaboration which began in 2004. As evidenced in their debut Vigils (2004), McBride and Wendelbo’s artistic dynamic is more than just a mutual love for electronics but a contrast between architectural precision and painterly expression. From the film scores to the traditional albums they’ve recorded in their Brooklyn studio, they’ve both spurred and fostered the global synth wave revival through a commitment to analog-only production and performance as well as a strident respect for the medium.

                                          On their latest album Hypnos and first for the Dais imprint, the duo leveraged the talents of visual artist and live sound engineer Egan Frantz to mix the album. It’s a touch that adds both punch and balance, allowing their inherent conceptual voices to converge into a collage with defined edges and warm, synapses of frequency and beat.

                                          “Musically, Hypnos is a return to polyphony after several years of using strictly monophonic synthesizers,” McBride says about the album’s ethos. “This has brought dense harmonies and a more complex counterpoint to the composition. Staying with the same equipment and processes without the inveterate compulsion to update and refashion allows for a clearly perceivable genealogy with our previous work.”

                                          “I felt the desire to tell mythical stories, I also wanted my voice to sit strongly in the mix,” Wendelbo explains. “I channeled the spirits of 60s French Pop chanteuse Françoise Hardy and 80s New Wave New York icon Tina Weymouth.” Her intentions are best evidenced on the tracks “Angelique,”and “Insomnia,” the former a spry track sung in French, against a springy rhythm. Laden with expanding and contrasting frequency and a penchant for strategic rhythm, Hypnos juxtaposes dance with distance, creating an immersive oeuvre that exudes contrast and control. 


                                          FORMAT INFORMATION

                                          Coloured LP Info: Glacial coloured vinyl.

                                          Coloured LP includes MP3 Download Code.

                                          Various Artists

                                          Weaponise Your Sound

                                            All proceeds go London based charity, Focus E15 which demands social housing, not social cleansing!

                                            Optimo Music is thrilled to present “Weaponise Your Sound”, which has been curated, conceived and designed by Kristina McCormick (Diet Clinic). Diet Clinic is an NTS radio show showcasing female DJs/artists.

                                            It is the first vinyl release on Diet Clinic’s newly-formed sub label of Optimo Music marking International Women’s Day 2019 and featuring brand new tracks from artists C.A.R, Cucina Povera, Fantastic Twins, Human Jones, Maral, Marika Underspreche, Odete, Penelope Trappes, Slime, Sue Zuki and Zoe McPherson.

                                            They may be scattered across the globe but their love, strength and support for their art and counterparts continue to inspire on a daily basis.

                                            All proceeds go London based charity, Focus E15 which demands social housing, not social cleansing!


                                            Cellar Doors

                                            Cellar Doors

                                              Cellar Doors from San Francisco are leading exponents of the Third Wave of Psychedelia, and are blowing up fast on the West Coast. They have been coaxed out of their thriving undergound scene for support slots by invitation by the likes of Black Cycle Motorcycle Club, Roky Erickson, Allah-Las and more. Championed and now managed by Stephen Holt of the Inspiral Carpets, this is their highly anticipated debut album, dripping with pure power psych melody overlaid onto undulating post-punk walls of sound. Powerful, brooding and danceable at the same time, it is at once timeless and cutting edge.

                                              The Beasts

                                              Still Here

                                                After an extremely emotional final performance with the Beasts of Bourbon, Tex Perkins hit upon the idea of getting all of the band's members, past and present into a recording studio with no particular agenda other than to do just that. It was more of a celebratory thing he had in mind than anything. Sadly, bassist Brian Hooper didn't make it along as he passed away a week after the Beasts last show. Assembled in Soundpark Studio a couple of weeks later were Charlie Owen, Boris Sujdovic, Tony Pola, Spencer Jones, Kim Salmon and Tex Perkins. Deeply sad is that Spencer was only around long enough to make it onto one track. Absolutely wonderful is that he did make it onto the recording. And with such a funny and typically Jones style piece of observation as At The Hospital. With respect, this isn't the Beasts of Bourbon. It would need to have Jonesy on every track to be that! But loudly and proudly this is: The Beasts Still Here. 

                                                Le Superhomard

                                                Meadow Lane Park

                                                  "Meadow Lane Park" is the first full-length album from the French quintet Le Superhomard and immediately, from the cover to the song titles, shows us its bucolic vision. Just put on opening song, "In The Park", and we can see that the landscapes they show us are injected with acid, flooded with stardust, with lysergic caresses, sweet and pleasant. Under the play of the synthesizers, under the psychedelic-style muted bases, strings and guitars aimed at lounge, they create an irresistible atmosphere.

                                                  Le SuperHomard's electronic pop naturally resonates with a classic French pop references including those of spiritual fathers of the electro-pop genre, Stereolab and Medhi Zannad.

                                                  The groovy electronics, the oddly meandering vocals, the elaborately gorgeous production, the super mellow acoustic guitars and simple syncopated beats, the psychedelic feeling, it's all here: It's like feeling dappled sunlight on your face as you relax.

                                                  Late night house club vibes by Ilija Rudman, joined forces with dream team producers on remix duties and their vision of this very simple but yet effective heavy driven club vibes track.

                                                  The Five track EP kicks off with a slinky jazz funk, balearic mover entitled "Camera Dans La Nuit" that weaves the influences of Wally Badarou, and early Brit Funk bands such as Freeez and Light Of The World into a melodic affair that could've come straight out of the summer of 1981. In fact the second cut ("Une Vie Elegante") wouldn't have been out of place on Level 42's Early Tapes if Wally Badarou had taken said band to sunny climes to record it.

                                                  The B Side eases us in with the phasing pads and circling arpeggios that we've come to expect from Rudy's Midnight Machine. Taking more of a Pat Metheny influence and combining it with a steady early 80s Jazz Funk feel ,which is all underpinned by Robin's thumb bass line.

                                                  It's the bass that get's the main feature in the middle cut on the B Side. "Secret Garden" is a melodic and reflective track with bold bass guitar melodies being held up by the ebb and flow of piano arpeggios. The finale, entitled "Shifting Sands", harks back to the previous two EPs with more electronic synth bass and drum machine textures, with a guitar solo giving us the required organic relief.



                                                  As with the first SchleiBen series, Emotional Response follows the success of the second set of split releases with a stand-alone album by one of the highlights, in Neil Tolliday.

                                                  Recorded over a 17-year period, the ambient, drone and noise pieces collected here offer a glimpse in to the depth of a supremely talented, thoughtful and at times, troubled musical mind.

                                                  As his love for house music and the success of his Nail moniker grew and waned during the ascent 90s boom, there followed his somewhat surprising success as one half of Balearic-pop combo Bent, propelling Tolliday in to a world of indie-charts and endless touring. The eventual unhappiness of this 'music career' and increasing need for personal escapism led him start experiment new musical forms of expression.

                                                  A thinker and oft-over drinker, success was viewed with a deep suspicion and introspection, drug use and later, depression. As his other music projects slowly imploded, this new, personal music was for many years, made purely for Tolliday's own absorption and comedowns.

                                                  Taken from an initial 4 track recording in Nottingham in 2000, more pieces were subsequently recorded around the globe on numerous devices - old portable cassette recorders, hand held digital stereos and even mobile phones. These heavily manipulated samples were slowed down, reversed, smudged and stretched before analog and modular patching, Mellotron, editing, programming and post production were added to the melting pot.

                                                  With hundreds of tracks collated, in the last few years Tolliday began putting them out via Bandcamp using different aliases, on made up record labels, with no press or mention to anyone. This would happen every 6-9 months - a new label was created with logo, band/artist names and a few albums worth of music, leaving it there for a few weeks before then deleting the lot.

                                                  Here then is a snapshot of those recordings, chosen to represent the depth of music, while trying not to think too much about in to the emotions that were used in making them. With special hand painted artwork by Sam Purcell, commissioned from the artist's own photographs taken from a adjournment at Homerton hospital, the hope is to do justice to such wonderful music and present Neil Tolliday, finally an artist, shorn of pseudonyms, in a broader light.

                                                  Emotional Rescue starts a non-defined set of reissues where some of the label's favourite artists have lesser known, but (cult) classic songs unearthed, remastered, reappraised and then reinterpreted by contemporary producers and fans, for today's DJs and collectors alike.

                                                  To start, the idea of the legendary British psychedelic band Hawkwind appearing on the label might come as a surprise, but when the nature of songs and remixer involved is explored it makes perfect sense.

                                                  Following the departure of Lemmy to the Motorhead hinterlands, the band's sound took a wider but more defined style, including their burgeoning interest in electronics. With that, the 1976 album Astounding Sounds, Amazing Music contained a song that has become a secret spin for the more leftfield and adventurous. The Aubergine That Ate Rangoon - itself referencing cult psychedelic band Dr. West's Medicine Show and Junk Band's alien invasion opus The Eggplant That Ate Chicago - with it's use of loops, synthesiser and motorik drumming is a short instrumental that has gained cult status in its own way. Focusing on much of Hawkwind's musicality in one song, mixing psychedelia, fusion and humour with a killer groove, all in one short blast of repetition meets experimentation.

                                                  This is backed with the album's other stand out, in the beautifully laidback stoner vibrations of City Of Lagoons. Lanquidity rules as West Coast meets Floyd touches abound. A hazy Gilmour style guitar and heavy phasing and reverb drums underpin space rock key solos that carry you to the horizon.

                                                  An Esteemed excavator, musician, compiler and oracle, the choice of Cherrystones to rework these instrumentals is a given. With two decades of production chops from beats, breaks and jazz for the likes of Stark Reality, Twisted Nerve and Brutal Music to the abstract, psychedelic acoustics for Whatever We Want Records, he has gone on to become a respected composer of soundtracks for Adidas, Stone Island and YMC.

                                                  His heavy retake of The Aubergine pulls up the drum and bass and overlays freeform synth stabs atop a warped Riley arpeggio loop that takes the smoke hazed original and give it doses of codeine and rum. To close, his City Of Lagoons rework becomes 'Head' outtake overkill. Trippin' beyond the light fantastic.

                                                  Words from Cherrystones:

                                                  "When the prolific and albeit consistent Emotional Rescue label & head honcho Maestro Chuggy proposed this as a potential project to me I was initially excited as much as honoured, but also hesitant. Why you ask? Because that which is to the heart is often the most sacred and foreboding to envisage or should I say take out of context or possibly leave in context via sympathetic realisation.

                                                  My history with Hawkwind is as murky as anyone that truly let the band into their hallowed cerebral bandwidth whilst following their smoke signals and oily pipes serenading the riff fuelled synth washed sunsets where dogs on strings jugglers tents and paratrooper boots were standard issue on stage and backstage. This is more than a mere band, these wrote the book on themselves, used pages to roll with and smoked their own scriptures and blew smoke rings that became parables with no care to any place scene or need to fit within or out.

                                                  This entire project was created using no stems, no multi tracks hence we did not use remix as a theme, these are re-works which I made via intense hacking at open sections in the songs whilst manipulating and treating those hard. The only parts added were the synth I played, added and re -chopped with a view to colour these re-imaginations. It was essentially making a new meal from the existing but adding and subtracting flavours to create a new
                                                  Essence, a new sensation and believe it, it was not easy which kept it exciting and close to me. By no means am I metaphorically adding a moustache to the Mona Lisa, I'm more to the point tickling her or poking my tongue out with a view to get a response or smile. Hurry on sundown so I can see your shadows dancing in the grassy lucid light.

                                                  The wondrous, expansive and meditative music of Spanish musician, Luis Paniagua is explored with this reissue of his classic 1987 album, Neptuno.

                                                  Released on the now cult El Cometa de Madrid label - itself a sub label of Grabaciones Accidentales (Finas Africae/Suso Saiz/Javier Bergia) - the album is another is the canon of exploratory new age, world and ambient recordings that came out of Spain during the formative period as the country returned to democracy.

                                                  Luis Paniagua, a musician, composer and producer, was born in Madrid, in 1957. His first associated release was in 1974 to record the pioneering album "Music of Ancient Greece" as a member of Atrium Musicae. As a member of Babia, alongside Luis Delgado (ERC045), he released the sought after folk and fusion album "Oriente - Occidente" in 1982, before dedicating exclusively to compose his own music with many instruments of the world.

                                                  In late summer 1987, his friend and now creator behind the El Cometa de Madrid label, Delgado proposed to record an album of music in Paniagua's attic in Madrid. Bringing his eight-track they recorded the music found here in a mere few days.

                                                  Predominantly written by Paniagua - the rhythmic Gacelle being co-written with Don Cherry and Cancion De Senegal - and produced with Delgado, the album is, in his own words, a journey to the balm of love, truth, beauty and purity.

                                                  Exploring new age music, world music and spiritual music without being of a specific religion, Neptuno, flows as one. Centred on the beautiful multi-instrumental mastery by Paniagua, including percussion, chimes, guimbri, sitar and vocals, he is joined by friends and family on keys, flute and drums.

                                                  Performing today, with 16 albums released and counting, Luis Paniagua's dedicates himself through music. To discover that has always been within.

                                                  Dwight Trible

                                                  Mothership

                                                    The godfather of the LA sound, and possibly the World’s greatest living Jazz Vocalist, returns with his masterpiece.

                                                    Timeless, yet made for our times - this is a double album of spiritual jazz, soul, gospel, and psychedelic rock.

                                                    Recorded at LA’s Sunset Sound, and backed by a band of legendary musicians (including Kamasi Washington), this is a work of true beauty.

                                                    A tour de force that reveals Dwight’s kinship with Spiritualism

                                                    Dane//Close

                                                    DB7 004

                                                    dane//close. Mismos jefes linch mob. Desapareciendo peso pesado. I Don't Want. Punk ganguelo. Love Destroyer. Enamorado encarnado. Tiempo de Descansargracias hermano i!

                                                    Kito Jempere

                                                    DB7 003

                                                    Kito Jempere. Don Pietroburgo. Capo del branco. FKA Lany. La Russia dall'inno d'amore. Drakon. Nuova meraviglia dell'onda. Vogliamo l'amore tutto intorno !!

                                                    The art of editing is seriously taked here in Calypso and for this we introduce you our new series "Correcciones Calypso". We are glad to release some of the most epic ones we and some of the coolest djs around have been spinning here and there for the last year. First we have a track that was born a hit since the very begining, Tyu from Mexico is welcome on the label with his "Meneo" already guilty of setting fire to many dancefloors around the globe. INigo Vontier jumps on the journey with "Justus", space disco at its finest. For the B side Vilnius ascending stars Plot Pilot formers members of Siaubas deliver "Knock Around" a peak hour track full of guitars and live bassline that goes on and on. Again from Vilnius the Serial Experiments boys close the EP with "Industry Works" a slow and sexy lithuanian sax chug.

                                                    Wand

                                                    Laughing Matter

                                                      A little less than two years on from 2016’s Plum, Californian scrap polymorphs Wand are prepared to announce their newest, and fifth long playing record, Laughing Matter. By now, Wand is the shifting but unmistakable collaboration between Sofia Arreguin (keys, vocals), Cory Hanson (guitar, vocals), Robert Cody (guitar), Lee Landey (bass) and Evan Burrows (drums). Laughing Matter is marked by the confidence and exuberance of a band that has lived, feuded, thrived and grown together through years of dedicated jamming, touring and recording, across western and eastern states, continents and mind-sets. In this world that insists we must increasingly rely upon ourselves, Wand listen to each other, and this is the sound.

                                                      Largely recorded on the infamous southern border of broken, decadent America, Laughing Matter belongs to the after-life. After the dull flood. As rock n roll lurched sideways and fell away, drunkenly lost in a funhouse mirror of…recycled Funhouses. With no major label funding, no management or lawyers, no corporate distribution, near zero social media presence and no commercial dealings whatsoever (with only poor, pitiful Drag City to help them carry the flag!), Wand have toured the world a bajillion times in five years and made four varied and compelling records while accumulating a devoted following. There may be a future in rock music beyond slapping rote regurgitations onto a lifeless syntactic grid. Wand are proof you don’t have to be an industry toy to sell records – that, with devotion and time, the seeds you plant with intention and care will grow back into the world.

                                                      Swerving between out-of-focus parable, travel diary, pep talk, polemic, love song, and lullabye, Laughing Matter is a tough and tender album, its eyes on a lot of prizes. Where Plum held the tension of its five band members getting on their feet, the songs on Laughing Matter are concentrated and relaxed, even as they search for the right accusations to hurl at cynics and megalomaniacs. The music is distilled and sculpted from an ash heap of collected improvisations, riven with audio-verite; the methods and instrumentation are traditional handmade rock ‘n’ roll. Yet the unorthodox arrangements of “Scarecrow”, the joyous embrace of pastiche and disruption on “Walkie Talkie”, the radical eclecticism of shapes and approaches on “Thin Air”, the ascendant choruses of “Wonder” are all decidedly contemporary. This music is not revivalism or throwback; Wand are a precision instrument, a band that probes and teases style, genre, trope and anachronism into material, according to a law of motion that is aimed directly toward an uncertain future.

                                                      Laughing Matter is a record about love in a time of terror, about making the best use of the surveillance technology available today. It calls you down from panic room labyrinths, to work the deep tissue of unravelling trauma we all carry so dear. The 15 songs on this record face their energy outward, to take with you through a common world that can’t suffer its human abusers much longer. Laughing Matter encourages you to shake hands with your old demons, to lay your pathologies to rest, to hold your spirit close, and let your body do what’s next.

                                                      Fontaines D.C.

                                                      Fontaines D.C.



                                                        FORMAT INFORMATION

                                                        Coloured LP Info: Transparent yellow vinyl.

                                                        Although Itta (Vocals, Harmonium) and Marqido (Analog Synthesizers) have been regular fixtures in Seoul’s experimental music community for years, the vinyl release of ​Spiritual ​reflects the growing international recognition of their singular sound, described by ​The Wire ​as “meditative synthesized vistas.” ​Spiritual c​ertainly embodies the meditative element of their music, layering hypnotic modular synth with Indian harmonium drone and Itta’s transcendental vocals. This is more than functional music for the metaphysically curious, however. Perhaps more than any of their previous releases, Spiritual ​offers an open accessibility, owing at least partly to the channeling of krautrock-influenced rhythms. Tracks like “Luft” and “Morgen Tempel” wouldn’t sound out of place in any DJ set with kraut or psychedelic leanings, while “Barabonda” and “Dodeuri” dig deep into a more meditative place, serving as perfect expressions of the album’s title and intent. Fans of Neu!, Kraftwerk, Laraaji or Klaus Schulze might find themselves in a comfortable yet unexplored place.

                                                        Spiritual ​was originally released in 2017 as a limited-edition cassette of 250 copies, produced in collaboration with Seendosi, an arts enterprise in Seoul Euljiro district, the city’s heart of printing, packaging and electronics manufacturing. The cassette sold out within a year of its production, prompting Extra Noir, who had previously released Tengger’s “Breathe In, Breathe Out” on their Extra Noir Vol. 1 compilation, to propose reissuing ​Spiritual ​on vinyl. Working with Seendosi once again, the result is a beautifully produced piece of work. Closely attentive to the band’s vision, the gatefold sleeve features rich landscape motifs that evoke Tengger’s commitment to earthly travel and the less accessible places beyond. Pressed onto clear vinyl, the design of ​Spiritual ​has been carefully constructed to reflect the entirely unique music within: heavy ephemerality, dense transcendence and grounded wanderlust. 

                                                        FORMAT INFORMATION

                                                        Ltd LP Info: Limited to 300 copies.

                                                        DJ DR-660

                                                        Sex Music

                                                          'The latest release on Textasy’s Berlin-based imprint further mines the interface between electro and jungle. DJ DR-660’s EP is, as the name suggests, dedicated to carnal pleasures, whether it’s cleverly flipping a familiar spoken word sample into speedy bass-heavy beats and slow jam smoothness on ‘Talk 2 Me (Consent)’ or combining Miami bass style lewdness and rolling breaks on ‘Fuk Me From The Back (Da Bomb Edit)’ The latter is especially good, fluidly alternating between rhythms and hip hop samples in a way that will excite dancefloors. Elsewhere, 'Rhodes Rec’ has the kind of smokey keys you could expect in an ambient d&b number, but riding speedy juke/ghettotech drums and another rude vocal. The whole EP is fire. 9/10' - DJ MAG (words by Ben Murphy)

                                                          Emotional Rescue is delighted to present the first of two EPs from British '80s band Furniture, starting with their much sought-after, six-song "mini-album" - as they were known then - which has recently been rediscovered by a new generation of DJs and collectors.

                                                          "Transatlantic Cable" compares the cliches of a certain type of American romance - Bogart, Sinatra, Dean - to the reality of life in West London. "They're On Me" is probably one of very few pop songs to feature double bass and the word "newsagent", while "Robert Nightman's Story" is powered by a riff on marimba and abrasive rhythm guitar.

                                                          "I Miss You", a torch song so good you'd think Julie London might have cut it. A highlight for many is "Why Are We In Love". This track is a key reason for the revival of interest in the band, with pattering rhythm part and the sweet clarinet melody, creating an atmosphere that has attracted a following among discerning DJs. "A Letter To Myself" introduced the band's new, expanded line-up adding Sally Still (bass, vocals) and Maya Gilder (keyboards), which would endure until the band stopped in 1990.

                                                          The Fuck The Bass Up EP draws on a lot of different influences while sounding fresh and unique at the same time. Gospel, Hip Hop, Jazz and House all filter through this five tracker taking you on a journey through Vogel's record collection.

                                                          The Emotions / Big Daddy Kane

                                                          Remixes 7"

                                                            The first release from Heat Rock, and it’s all about The Emotion’s classic Soul track “Blind Alley.” Featuring remixes based on the original master stems. Altered Tapes(Chicago)

                                                            adds a boombap flair, brings the horns to the front, with enough bump for the
                                                            dancefloor. Phoreyz+Brisk (LasVegas) focus on one of the most influential Hip-Hop tracks to sample “BlindAlley” with their remix of BDK’s “Ain’tNoHalfSteppin.”


                                                            Stephen Michael Schwartz

                                                            Get It Up For Love

                                                              “Get It Up For Love” is a classic dance song written by Ned Doheny. This version from 1974 is the first, later recorded by Tata Vega, the Average White Band (featuring Ben E. King) and Ned himself. Original 7” copies on RCA Records (featuring the single version only) of this exchange hands for between £50 and £100. It is coupled with the full-length album version, generally unknown from this little known artist. The new Diplomats Of Soul label through Expansion aims to deliver lesser know gems of the highest quality and desirability alongside the group’s own releases moving forward.

                                                              DJ Benny Ben & Markonerism Ft Jabba

                                                              'Tis Yorn / Daddy's Enemy

                                                                From Jim Sharp’s ever burgeoning stable we have these two funky fresh edits come to you straight from the very south of Europe and are sure to rock the dance floors and airwaves around the globe.

                                                                A limited exclusive press on the Funky Fresh imprint will make this a collectors item for sure.

                                                                Both sides add a dope drum break to recent classics that will have your booty move.

                                                                J.A.K.A.M

                                                                Counterpoint RMX EP.3

                                                                  After long time silence, Ene Records is back! Ene will release Tokyo based producer/DJ J.A.K.A.M.’s limited 12”EP include CHIDA’s unreleased Remixes. This EP is 3rd cut from remix album “J.A.K.A.M. - COUNTERPOINT RMX(CD/Digital)” released in 2017. These all remixes from Japanese producers Mamazu(Hole And Holland)& Hobobrazil, CMT, Ground, Saidrum, YO.AN, Chida and more. RMX EP.1 released on J.A.K.A.M.’s own label cross point in 2017 and RMX EP.2 released on HOLE AND HOLLAND in Mar.2018.

                                                                  Original version’s sound recorded by J.A.K.A.M. with various musician and instrument from Morocco, Kurdistan, Indonesia and Latin/African Percussion in many places in the world. and Ene boss Chida made 122BPM deep tribal house version and 112BPM deep slo-mo version.

                                                                  Komodo

                                                                  Make It Scream / Night Time

                                                                    Jakarta/Indonesia based DJ/Producer/Akamady Records boss Gerhan Ferdinal & friend's project "KOMODO" made 2x floor killer tunes.

                                                                    Many djs has been waiting for this 12" since Ene boss CHIDA played "Night Time" at his Boiler Room show in 2014. and "Make It Scream" is massive & heavy killer tune. Limited 300 Press

                                                                    Underground music/party scene in East South Asia has grown up so fast these years. and still there are many great artists world unknown. Ene planning to release more Asian artist, new stuff from friends in the world in 2019.

                                                                    Bus

                                                                    Never Decide

                                                                      From the opening notes of Never Decide, the RidingEasy Records debut album by Athens, Greece quartet Bus The Unknown Secretary (aka B.U.S.), you’ll know it's going to be a wild funhouse ride. It doesn't sound like just four people, it sounds like a mob of wild-eyed lunatics on the expressway to your skull. And, you're not gonna know what the band's name means, don't worry about it.  Never Decide is a multifaceted album in the vein of classic hitters like The Hellacopters, Alice Cooper Band, Judas Priest, Iron Maiden and Orange Goblin.

                                                                      "The story of the album expresses the psyche of a person in a dead end and his life is introduced into obsessive rhythms, more personal and random," explains vocalist/guitarist Bill Politis. "There is no happy end here, but the questions remain: Door A or Door B? Time to change or time to die, Never Decide!"

                                                                      The album opens as if we're in the studio with the band listening to playback for the first time. There's a chirping test tone and someone starts counting in, "one, two, three..." before it suddenly grinds to a halt. Then suddenly the swirling guitar riff of the pummeling anthem "You Better Come In, You Better Calm Down" launches everything into the stratosphere. The guitars march in lockstep as swinging drums keep it all rolling at furious pace as the vocal chant of the song's title grows into a massive group chant in harmony. Think Uriah Heep's "Easy Livin'" meets Kiss' "Rock and Roll All Night" -- here's another big, blazing anthem for the ages. "I Buried Paul" is the sort of fun, theatrical album track no one makes anymore, not since the days of the Alice Cooper Band. "Lucifer" takes things several shades darker, turning in a dramatic ballad launched by haunting piano chords and led by sinister, sneering vocals sounding something like Ozzy meets Johnny Rotten slowly building to its epic conclusion in double time with ringing harmony guitar leads. "Evil Eyes" and "Moonchild" return the proceedings to the anthemic, pop-laced vibe, replete with major-minor chord shifts and vocal/guitar harmonies galore.

                                                                      Never Decide was recorded in just 5 days in February 2018 with multitalented engineer and band's beloved friend John Vulgaris at Electric Highway Studios in Athens, Greece. The entire band -- drummer Aris Fasoulis, bassist Spiros Papadatos, and guitarists Fotis Kolokithas and Politis --recorded the instrumental tracks live in 3 days, reserving the last 2 for vocals. Over the 2 months that followed Vulgaris and the band fine-tuned the mix into the subtle and clever masterwork you have before you. BUS formed in Athens in 2011, releasing two EPs and a full length The Impious Tapes, followed by The Cross EP (2014), and The Unknown Secretary LP in 2016. During that time the band has toured extensively throughout Greece and in neighboring nations. The release of Never Decide will see them expanding that touring radius considerably.

                                                                      Arre! Arre!

                                                                      Tell Me All About Them

                                                                        The Malmö, Sweden based quartet Arre! Arre! is back with their first piece of new music since the acclaimed debut LP A.T.T.A.C.K was released in 2015, become one of the year’s most praised rock records in Scandinavia, being nominated for rock album of the year at the Swedish Grammys, and only made available outside of Scandinavia in November last year, to coincide with the band’s debut UK shows.

                                                                        Tell Me All About Them is due for release on March 15 via PNKSLM Recordings (ShitKid, Les Big Byrd, Miss World etc) in connection to the band making their US debut during SXSW. Showcasing the band’s unique brand of feminist rock ’n’ roll, with influences from surf, garage rock and punk, it’s a definite statement of intent from the Swedish band. The album was recorded during the fall of 2018 in their hometown of Malmö with producer Joakim Lindberg (YAST, Hater, Echo Ladies etc).

                                                                        Peter Broderick & Friends

                                                                        Play Arthur Russell

                                                                          It all began in summer 2017 when Peter Broderick's former Efterklang bandmate Rasmus Stolberg invited him to perform at his new festival in Denmark, with the specific idea that Peter would play an entire set of Arthur Russell songs. As a long-time lover of Arthur’s work, Peter immediately accepted the invitation and began to learn a collection of Russell songs. Stolberg put together a band of Danish musicians to join Broderick on stage, and the festival performance went off without a hitch.

                                                                          Immediately after, Peter starting receiving invitations from other festivals, asking for the same thing — a full set of Arthur Russell songs. Even Arthur’s long-time partner Tom Lee took notice of these performances of Arthur’s work, and reached out to Peter personally. It wasn’t long before Broderick was invited to examine some of Russell’s archival work, and asked to do audio restoration work on the old tapes.

                                                                          Peter’s strong love for Arthur’s work grew exponentially as he dove into the psyche of his hero, listening to hours and hours of unreleased material. He discovered that some of his favorite Russell songs have yet to be heard by the masses, and felt inspired to learn some of these tunes himself.

                                                                          It was inevitable that Peter would record an album of his own renditions of Arthur’s songs. And there was no better place to do it than the state of Maine, where most of Arthur’s surviving family are based, and where Broderick himself was born back in 1987. With a large cast of friends and family, including Arthur’s niece Rachel Henry and nephew Beau Lisy, Peter set out to capture his love for Arthur’s music with a diverse collection of 10 songs, two of which have yet to be released in their original versions.

                                                                          Its cover adorned with an original painting by Tom Lee, ‘Peter Broderick & Friends Play Arthur Russell’ is a vibrant and joyful tribute to one of Broderick’s greatest heroes. Peter extends his deepest gratitude to all of Arthur’s family, friends and fans who have so warmly welcomed his own versions of these tunes. It is hoped that these recordings will serve to honor the truly staggering legacy of Arthur Russell. 

                                                                          Chuck Johnson

                                                                          Blood Moon Boulder

                                                                            “Chuck Johnson’s impact on the contemporary guitar world continues to be felt. His first two solo records signaled the arrival of a unique player, steeped in various forms of playing and influence, yet distinctly modern. Johnson eschews a weathered traditionalism for the wide-scope expanse of 21st Century Americana. “On his third album, Blood Moon Boulder, Johnson reaches a compositional peak in a nod to the picturesque naturalism of the American landscape. The dynamics of his range can be felt on this singular record, a soundtracklike listen that rewards the ear with rich detail. “His precision and tone recall the heights of Ry Cooder’s Paris, Texas on the extended opening track “Corvid Tactics.” Notably, the guitarist duels with a phantom Chinese radio signal that slips through the silences during the recording session.

                                                                            “One can hear the ghostly sounds peek through at moments as Johnson bends his strings. “Medicine Map” delivers a melodic melancholy, with an every-note-perfectly-placed aesthetic.

                                                                            Rather than ramble or evoke some kind of outdated nostalgia, Johnson lets his cinematic instincts take lead. “Perhaps most evocative of this approach is “Private Violence,” a meditative composition with gorgeous pedal steel played on top of electric six-string, ending in a sustained tonal minimalism that could easily stretch into a whole LP of its own. Blood Moon Boulder contains a lyricism, an exactitude and emotional arc all its own. And that’s worth playing again and again.” —Steve Lowenthal, author of Dance of Death: The Life of John Fahey, American Guitarist

                                                                            Various Artists

                                                                            Moodsetters : From The Amphonic & Soundstage Libraries

                                                                              From the archives of Syd Dale’s Amphonic & Sound Stage libraries, Moodsetters presents a stellar line-up of big-hitters from the world of British production music including members of the BBC Radiophonic Workshop & The Art Of Noise. Late 1970's & early 1980's electronics, funk, fusion, atmospheric sound beds & morYou like library music & lush, orchestral funk? With some pastoral radiophonics on the side? A dash of late 70s jazz fusion & early 80s electronica? Tribal percussion, easy / sleazy vibes with plenty of twang, slap bass & a dollop of sauce? And you recognise most, if not all, of these names?

                                                                              KEITH MANSFIELD / ALAN PARKER / PADDY KINGSLAND / ANNE DUDLEY / SYD DALE / FRANK RICOTTI / JIM LAWLESS / MONICA BEALE / ALEC GOULD / VIC FLICK

                                                                              Then you’re in for a treat. Culled from the archives of Syd Dale’s brilliant Amphonic & Soundstage library, Moodsetters presents a stellar line-up of players from the world of British production music including members of the BBC Radiophonic Workshop & The Art Of Noise.

                                                                              Blu & Oh No

                                                                              A Long Red Hot Los Angeles Summer Night

                                                                                The work of acclaimed L.A. rapper Blu is a hip-hop time capsule perfectly embodying the vibrant culture of the City of Angels. With no signs of slowing down, the talented artist continues to supply listeners with vivid lyrical imagery over exceptional production. The latest addition to his catalog is A Long Red Hot Los Angeles Summer Night, a new album entirely produced by Oh No. The son of singer Otis Jackson and younger brother of beat god Madlib, Oh No has been among the most consistently relevant artists on the independent hip-hop scene since the release of his influential debut album 15 years ago. Equally skilled as an emcee and producer, Oh No’s storied career has included forming the duo Gangrene with Alchemist, composing the original score for the popular video game Grand Theft Auto, and producing for De La Soul, Mos Def, Action Bronson, Talib Kweli, Danny Brown, Prodigy, and many more.

                                                                                Now, these two unique and innovative artists are joining forces for an impressive full-length album. With Oh No’s dynamic, soulful production setting the stage, Blu’s effortless flows and streetwise storytelling are on full display. "It's a true honor to put it down with the legendary Jackson Brothers,” says Blu. “Oh No never fails and this project has been provided with straight heat for the streets." Featuring guest appearances from Abstract Rude, MED, Self Jupiter, Ca$hus King, and more, "A Long Red Hot Los Angeles Summer Night" is now available worldwide on CD and vinyl. 

                                                                                KMRU

                                                                                Erased EP

                                                                                  KMRU is one of the rising stars of the East African music scene, selected as one Resident Advisor's 15 East African artists you need to hear last year, playing at the infamous Nyege Nyege Festival in 2018, and being picked up by Deadmau5's label Mau5trap for a track on their 'We Are Friends' compilation, with Chris Waldt. KMRU makes intelligent atmospheric and emotionally evocative electronic music. His sounds combine everything from gritty, indigenous field recordings to piano to 303. As his Erased EP demonstrates, soulful electronica sounds beautiful, even natural. Just a 300 pressing, so pick up this gem from Nairobi before they go - 3 sublime tracks! Mastered by Neil Perch, artwork by G.S-L Studio. 

                                                                                  Art Of The Memory Palace

                                                                                  Dusk At Trellick Tower

                                                                                    Four years after their critically acclaimed debut on Static Caravan Records, Manchester / Dundee based duo Art Of The Memory Palace announce their highly anticipated new EP, ‘Dusk at Trellick Tower’. With this new work, the duo accelerate their trajectory since 2015’s incendiary debut, ’This Life Is But A Passing Dream.’ Upon its release the latter was called “Fresh and euphoric…an incredible debut” by The Quietus and “Fantastically addictive” by The Sunday Herald, while Shindig! Magazine proclaimed, “A spine-chillingly satisfying journey into kraut-influenced electronica”. In the years since, AOTMP have released a split 7” with esteemed Welsh psych label Fruits de Mer Records, a long sold-out spoken-word collaboration with acclaimed Scottish author James Robertson, and a limited-edition cassette-only French Noir soundtrack album on Horror Pop Records.

                                                                                    Radio support has come from Gideon Coe and Tom Ravenscroft on 6Music, Vic Galloway on BBC Scotland and Andy Weatherall on NTS. Raz Ullah (synths / tape loops) has become an intrinsic part of Jane Weaver’s touring band, while Andrew Mitchell (vocals / synths / guitar / bass / drums) has released two albums under his ‘Andrew Wasylyk’ moniker. ‘Dusk at Trellick Tower’ is inspired by Hungarian Brutalist architect Erno Goldfinger; a towering presence in Modernism who courted controversy throughout his life. Known for being a humourless man prone to vicious rages, as well as the inspiration for Ian Fleming’s most notorious Bond villain, Goldfinger. Across the six tracks, Ullah and Mitchell channel the darkness and dystopia which grew from much of Erno’s work, building synth-heavy sonic edifices evoking lonely night time walks along empty echoing corridors, urban decay and towering, impassive concrete monoliths. Using analogue synthesizers, drums, bass and tape loops processed through long chains of effects pedals, Art Of The Memory Palace strive for greater depths with this release, weaving menacing hooks and icy vocals together with droning chords and ambient soundscapes and creating their own shade of dark, beautiful melodies in the process. 

                                                                                    FORMAT INFORMATION

                                                                                    LP Info: 300 edition 12” record on classic black vinyl with sleeve artwork by Andy Votel.

                                                                                    Rian Treanor

                                                                                    Ataxia

                                                                                      Rian Treanor will release his anticipated debut album ‘ATAXIA’ on Planet Mu this March. The striking full-length follows singles for The Death Of Rave and Warp’s Arcola imprint as well as live sets at Boilerroom x Genelec, Nyege Nyege festival, tours in India and various high profile EU shows. The title ‘ATAXIA’ means 'the loss of full control of bodily movements' and relates to Rian's music which is “intended to make people’s bodies move in unpredictable ways.”

                                                                                      He adds “the angles in the letters, the phonetics seem to mirror the geometry and idiosyncratic patterns in the music.” Rian explains that components of the tracks were made by generating a series of irregular events and re-structuring them, or by destabilising a pattern that is constant. The roots of Rian's playful sound are directly linked to his love of the music he grew up with. Coming from Sheffield, you can hear elements of industrial, synth-pop, bleep, extreme computer music and speed garage at play. From Cabaret Voltaire to Warp and beyond; the sound of his city has been, and is, an integral part of his musical development and is still a direct influence. 


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