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Macintosh Plus

Floral Shoppe

    **ALERT!!!! - MASSIVE CULT VAPOURWAVE OG SMASHER BACK IN STOCK FOR THE FIRST TIME...like... EVERRRR!!!**

    Yes, it's THIS release motherfuckerrrs, the cassette that goes for £1K, the year-long controversy that was Olde English Spelling Bee's bandcamp kerfuffle and the record that propelled the vapourwave movement into the mainstream.

    Macintosh Plus' "Floral Shoppe" is one of the most truly enigmatic releases to have ever graced my time in the shop (the last 11 years then...) and elevates it beyond the music industry and into the art world - something very few artists have managed to achieve (Bowie? Talking Heads?). For a short time at least, this masterpiece is now available for all...

    Do not delay! Remember the aaaesthetic!


    FORMAT INFORMATION

    Ltd LP Info: White vinyl and poster. *TWO COPIES FOUND! - FIRST COME FIRST SERVED!*

    Fountain Fire is Bill MacKay’s second solo album on Drag City. The Chicago-based guitarist’s continued sonic journeys in conversation with himself follow a travel-worn map written in his own hand. Bill has followed the trail from familiar confines to unknown places, catalyzing a style equally enamored with the traditional and the avant-garde to make his most expansive and forceful music to date.

    You can hear it in the opening track; as the lava and lakes of “Pre-California” simmer to boiling, Bill assembles a bridge of guitars, layering beams of rumbling acoustic, distorted electric, and arcing slide parts. By leaping boldly from fixed points, he makes synergetic discoveries in mid-air. This is the MacKay writing style in its most evolved state thus far, following serpentine paths within the patterns, lunging in and out of tonality with instinctive flair and a stoic sense of inevitability, forging a sonic mosaic that breathes and grows organically as it fills the space of a song.

    Yet there is far more here than straitlaced sonic captures of picker’s prowess and captivating harmonic motivation. Bill’s pieces are informed by meditation and memory, impressionistic as cinematic miniatures, inspired as much by filmic and literary passions as by sure-playing hands, and always rooted with deep soul and steady intention.

    As the pieces move in and out of focus in enticingly hallucinogenic fashion, Bill throws another element into play: a pair of stark and emotionally-charged vocal numbers that cause the hair to raise on the listener’s neck, etched as they are with a haunting and eerie beauty. Alongside the ever-shifting flows of instrumental color running through Fountain Fire, these moments shine blindingly, like mirages in the desert. The fire in the album title is a continuity in Bill’s life — part of his genealogy, his living history, his astrology, the scorching effect of the overdriven slide in the penultimate “Arcadia.” It is also a sigil for the chaos around us.

    Bill says: “While the record definitely reflects the turbulence and urgency of the times we’re living in, it also takes an autobiographical look back at the upheaval that characterized the nomadic rambles of my formative years. I learned to adapt to this constantly shifting landscape. Grasping the unfamiliar became second-nature, and the impressions made by the unknown rapidly entered my art. The bittersweet sense of fleeting time & place became a hallmark. Now is more of a time than ever to dramatize what matters to us through our art.”

    Macker

    Faust / Isolation

    Local upstart George aka Macker follows up a credible debut with another avant-dubstep catalyst. Riding a leyline somewhere between Loefah and Muslimgauze seems pretty outlandishly wayward, but when you hear the results it all seems to make sense in our darkened world.

    "Faust" begins plastered onto an abrasive wall of harsh synths and discord before sinking into a modern, deep bass riddim. "Isolation" utilizes the inert blackness of an analogue mono-synth, combined with terrifying snippets from film and segues into a killer dubstep beat which results in an arresting and forward-focused addition to the bass music cannon. Nice one lad.


    Nick Mackrory & Harry Collier’s musical partnership dates all the way back to the 90's, when they were both deeply invested in the musical boom in the UK that followed acid house, the rave scene, and the Ibiza experience. Nick went from drumsticks to turntables to studio wizardry; while Harry honed in on his golden voice - which led him to a stint as a singer for Faithless. They found their way back to each other in 2014 and have since developed a sound together that is fresh but not too polished. With touches of 60's chanson coupled with sundazed electronics, their songs linger on like the feeling of a long day spent outdoors in summer. This album collects their previously released singles for Music For Dreams along with exclusive new material and a number of remixes, edits and alternate versions that together form a mesmerizing listening experience. The lazy guitar grooves and samba rhythms of "Tu Sonrisa" that so faithfully revisits the original sound of the White Isle in its hippie days, are here present on melancholic chansons like "The Other Side" and sleepy instrumentals such as "Inside You". They also prove a suitable framing on their cover of the Jimmy Webb-penned classic "Wichita Lineman". But in contrast to their folky fuzzy side, we also get some rather funky explorations into balearic beat with a dub version of "Pen-A-Maen" that bubbles along on a heavy bassline and some wonderful synth strings. "Blue Bird" picks up the pace somewhere between the warm proto-house soul of Maze and the deep house meditations of Larry Heard, with Collier letting his scope as a singer come to full fruition in some rather trippy turns. Other highlights include the rather special version of the classic "Aranjuez" and a new string update of "Elle Dit". On remix duties we get Music For Dreams labelmate 55 Cancri e, who sprinkles her dreamy night time dust all over "Elle Dit" and creates an astonishingly unified blend of their two musical universes. Also lending a hand to transform "Elle Dit" is veteran duo Seahawks, who gently layer it in their cosmicaquatic color palette. Andi Hanley steps in to re-structure "Lucky Charm" into a jazz beat treat by numbers.

    STAFF COMMENTS

    Patrick says: After the beguiling wonder of "Elle Dit", Mackrory and Collier return to Music For Dreams with a long-player of hazy folk gems, swooning country and coastal grooves primed for your next Balearic bliss out...

    Music For Dreams release their first vinyl of 2016 with the debut of Nick Mackrory & Harry Collier. Late one night label boss Kenneth Bager was surfing the net and found "Elle Dit" – he immediately fell in love with the track and signed the duo. Their first outing for the Danish imprint showcases their distinctive blend of electronic and organic acoustics with a very Balearic twist. Mackrory began his musical career as a drummer before embracing electronic music during the early UK rave scene and branching out as a DJ, producer and percussionist. More recently he’s been running labels Forgotten Corner and Colona with fellow producer Phil Banks. Vocalist Collier has previously recorded and toured with Faithless as well as successfully writing and performing with his own band Kubb. This new collaboration sees both artists on top form with Mackrory’s productions providing beautiful backdrops to Collier’s uniquely stripped back, honest and emotional vocal performances. "Elle Dit" gives a perfect example of the Balearic duo’s timeless Burt Bacharach songwriting stylings and is a bitter-sweet ode to the breakup of a rather Kafka-esque love affair. It has been heavily featured on Ibiza Sonica and gained support from former Cafe Del Mar Resident Phil Mison. "Tu Sonrisa" continues the continental theme with Spanish lyrics made up by non-Spanish speakers Mackrory and Collier "so please forgive us if it doesn't make much sense! We think it's about drinking margaritas on a beach, chatting to a beautiful señorita, with the sunshine filtering through the leaves of the palm trees!" The instrumental has been getting strong support from Manchester’s Moonboots. Finally ‘Pen-amaen’ is an epic piece of jammed Balearic madness - inspired by the local Cornish coastline that hosts the sunrise where on certain mornings a mermaid can be seen silhouetted against the sky.

    Macula Dog

    Why Do You Look Like Your Dog?

      Macula Dog is a 4 person electronic duo from NYC, making music that is just as much pop as the performers are human; its unclear. Mechanical instrumentation played with an inebriated-mule-like precision. While becoming known for their theatrical live shows across the Northeast US, they've made numerous TV & radio appearances, with live sets on WNYU's New Afternoon Show, Know-Wave radio, & The Special Without Brett Davis, & additionally with themes for Adult Swim's Live Crossword Puzzle show, & NYC public access programming.

      "They create the kind of music you imagine the Devo-loving shift manager at a cryogenics warehouse would play late at night." - NOISEY/VICE.

      A heavenly voice couched in spellbinding Country & Western ballads, with a devastating emotional delivery: Holly Macve is a fantastic addition to the Bella Union family and her album ‘Golden Eagle’ is one of the most remarkably assured debuts of this or any other year, especially given that she’s only 21 years old.

      “Words are my main love,” she declares. “I love songs that tell stories and take you somewhere else. I’ve always been drawn to that old country sound with its simple and memorable melodies. I enjoy music that feels timeless, that you don’t know quite when it was recorded.”

      The bulk of ‘Golden Eagle’ was recorded in Newcastle at the home studio of producer Paul Gregory (of Bella Union labelmates Lanterns On The Lake), with extra recording in Brighton and London. Throughout, ‘Golden Eagle’ remains beautifully spare and delicate, putting Holly’s goosebumpraising voice centre stage, beautifully controlled yet riven with feeling.

      On stage she’s a magnetic presence; it’s not just voice and songs. Audiences who caught her supporting the likes of John Grant, Villagers and Benjamin Clementine - incredible company to keep at this early stage - were doubtless stopped in their tracks. ‘Golden Eagle’ is surely going to have the same effect.

      STAFF COMMENTS

      Laura says: This album would sit comfortably alongside the traditional honky-tonk / country of Patsy Cline as easily as it would more contemporary artists such as Gillian Welch and Laura Marling. The song structures follow a 'classic' country format, but the simplicity and stripped back nature of the recording (often just guitar or piano and vocals) allows for Holly's incredible, vocals to weave their magic and create a really wonderful, timeless album.

      FORMAT INFORMATION

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

      A heavenly voice couched in spellbinding Country & Western ballads, with a devastating emotional delivery: Holly Macve is a fantastic addition to the Bella Union family and her album ‘Golden Eagle’ is one of the most remarkably assured debuts of this or any other year, especially given that she’s only 21 years old.

      “Words are my main love,” she declares. “I love songs that tell stories and take you somewhere else. I’ve always been drawn to that old country sound with its simple and memorable melodies. I enjoy music that feels timeless, that you don’t know quite when it was recorded.”

      The bulk of ‘Golden Eagle’ was recorded in Newcastle at the home studio of producer Paul Gregory (of Bella Union labelmates Lanterns On The Lake), with extra recording in Brighton and London. Throughout, ‘Golden Eagle’ remains beautifully spare and delicate, putting Holly’s goosebumpraising voice centre stage, beautifully controlled yet riven with feeling.

      On stage she’s a magnetic presence; it’s not just voice and songs. Audiences who caught her supporting the likes of John Grant, Villagers and Benjamin Clementine - incredible company to keep at this early stage - were doubtless stopped in their tracks. ‘Golden Eagle’ is surely going to have the same effect.

      STAFF COMMENTS

      Laura says: This album would sit comfortably alongside the traditional honky-tonk / country of Patsy Cline as easily as it would more contemporary artists such as Gillian Welch and Laura Marling. The song structures follow a 'classic' country format, but the simplicity and stripped back nature of the recording (often just guitar or piano and vocals) allows for Holly's incredible, vocals to weave their magic and create a really wonderful, timeless album.

      FORMAT INFORMATION

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

      Mad Caddies

      Songs In The Key Of Eh

      Brilliant live recording taken from the controlled chaos of a performance at the Opera House in Toronto on March 17th 2004 (St.Patrick's Day!). Takes in all of your faves and adds extra heat and atmosphere...

      Mad Parade

      Bombs And The Bible

      Reformed and back to their primitive best Mad Parade were once one of the "heavy hitters" of the early 80's Southern California Punk scene. "Bombs And The Bible" is their most aggressive, angry and blistering punk rock recording for years. Forget about the poor quality of the insert this is genuine old skool punk.

      This is the dub version of the "Techno Party" classic, it's companion release from 2000. Only thing is, it's never been on vinyl before! Previously only existing in the digital domain, Mad Prof's handily pressed it on vinyl for the first time featuring ten cuts off the original CD.

      Lee Perry's vocals decorate the tracks, soaked in echo and reverb, as Mad Professor conjures up some magical hybrids of dub, jungle, downbeat and techno; a heady pot of influences articulated with poise, clarity and pinache. 

      RIYL: The Orb Meets Lee Perry, Sheriff Lindo, Andy Rantzen, Captain Ganja & The Space Patrol etc.   
       

      More from the Mad Professor vaults this week via his esteemed Ariwa Sounds imprint. "Dubtronic" originates from 1998 and is a largely overlooked digital dub affair. Featuring the producer's hi-def multi-track production, the sounds are soaked in an ethereal & majestic quality - highly psychedelized environments for the advanced dub explorers out there!

      Mad Professor's productions are vastly spacious - even by dub's expansive standards - and this open-air freedom finds its perfect expression throughout the album's course; elevating the listener into infinite realms of hypno-dub soundscapes.

      Side B sees the Prof delve into hybrid territory, mixing things up with jungle and electronica yet still keeping things deep, dread and dubwise.

      An imperative release for anyone into experimental & electronic dub sounds!


      STAFF COMMENTS

      Matt says: Mid to late '90s digi-dub, though pretty unfashionable until recently, is my ultimate jam! Possessing an extra-terrestrial etherealness and cavernously deep rooted, Mad Prof is one of the masters of the style, demonstrated perfectly here!

      Madcap

      Stand Your Ground

      Straight from the depths of LA comes Madcap, the new breed of street punks. In the spirit of early Rancid, Anti Flag etc. " Stand Your Ground" possesses the punk rock fury and sing along anthems that makes this an instant classic and another great release from Side One Dummy.

      Maddslinky Feat. Skream

      50 Shades Of Peng / Serato Control Tone

      When Maddslinky released his debut album "Make Your Peace" in 2003, it radically influenced the fledgling musical mind of a then teenaged Oliver Jones, aka Skream. Fast forward a few years, and when Skream and Maddslinky crossed paths they knew they had to make a track together. No surprise then that there are big basslines involved and the tune blows up on the dancefloor. "50 Shades Of Peng" is taken from the upcoming "Make A Change" album. The track has already been getting constant spins by the likes of Benji B on BBC 1xtra and Mr Scruff on dubplate and now Tru Thoughts do the honorable thing and release the track on one side of 12" vinyl (cut at 45rpm of course).

      The flipside features one of those handy Serato Control Tone things for you more computerised DJs out there.


      FORMAT INFORMATION

      Ltd 12" Info: Limited yellow vinyl pressing. Music on side A, Serato Control Tone on side B.

      Made In USA

      Never Gonna Let You Go (Theo Parrish Ugly Edit)

      HOLY SHIT! Arguably the finest edit series ever, and among the best work of Detroit legend Theo Parrish's career, the Ugly Edits are frankly legendary. Extended and looped to insanity, EQed and pressed with the rough and raw sound that Theo's known for, this was disco as house music, packed with the speaker freaking energy of a Ron Hardy set. Now, nearly two decades on, Theo teams up with Prime Direct Distribution for a new series which officially licenses the cuts, and places them back to back with the original track, both remastered and cut loud on either side of a 12 inch.

      Kicking things off we have one of Theo’s most treasured cuts, his ‘Ugly Edit’ of Made In USA - Never Gonna Let You Go, bootlegged endlessly in the past and racking up prices of up to £144 on Discogs it’s a high time an official reissue came around.
      As iconic an edit as they get, ‘Never Gonna Let You Go’ encompasses everything great about Theo’s energy behind the decks - extending grooves for longer than anyone else even dare, working the EQ’s like a god and throwing in a bit of that raw magic that only he knows how. Taking the original’s sumptuous breakdown, Theo works it into a spirited, high energy disco workout looped into a near 10-minute stomper, big on the bass and brass fire whilst leaving the vocals at the door.
      On the B side the original ’77 Made In USA version is laid out in all it’s glory. Funk powered, horn-laden disco goodness with breath-taking vocals from the Stateside troupe.

      STAFF COMMENTS

      Patrick says: And we’re off! Prime coming through with the officially licensed, remastered reissues of Theo’s Ugly Edit series. Starting at the beginning, we have the hi-NRG, rough and raucous extension of Made In USA’s “Never Gonna Let You Go”. If you don’t know, get to know!

      “Flat Tummy Tea” b/w “Bandana” feat. Assassin, with instrumentals and bonus beats. “Flat Tummy Tea” is from the forthcoming album "Bandana". Other tracks are exclusive to this 12” release.

      Now, I don't know about you, but we're mightily excited about the new Freddie Gibbs and Madlib album. "Pinata", from 2014, was arguably Freddie Gibbs' best output to date, and a high crown of Madlib's discography too. It's been a 5 year wait but by the sounds of these tracks, it's gonna be worth it!

      'Two of the biggest motherfuckers in the rap game...'.



      STAFF COMMENTS

      Matt says: Freddie's back on potent, visceral form; while Madlib's still got the programming flair and deep sample knowledge to light up these instrumentals.

      For episode 6 of the "Medicine Show", Madlib dons the guise of psych-prog-avant-freak-out-funk-rock kosmisch-ologist. Although pegged primarily as a jazz head ever since Quasimoto’s "Jazz Cats" in 2000, our host has always been a passionate fan of far-out rock styles, from the Tropicalia of Brasil to the Krautrock of Germany to the fuzzy sounds of West Africa, and the Beat Konducta’s rock tastes know no cultural bounds. Inscribing the master disc “Admission - One Brainticket” in tribute to one of his favorite bands of the era, Madlib created ‘Brain Wreck Show’ as a delightfully freaky funked up trip into the rock side of his collecting conscious. Get along for the ride.

      There are few musicians – let alone beat–makers - in the world whose output in its raw form provides his listener with a full on musical experience before anything is added. Madlib is such a talent. Hip hop is his canvas, but he creates the most wondrous things with it. Before a microphone is switched on, before a rhyme even uttered, a Madlib beat stands alone as a complete thing. Since the issue of the collaborative album with rapper Freddie Gibbs - Piñata, already being hailed as contender for rap album of the year - we’ve been asked countless times to issue the beats Madlib created for the project as instrumentals. And we've conceded. Piñata put Gibbs in the spotlight, one that a growing audience is finally acknowledging that he deserves. On Piñata Beats, though, it’s Madlib, quietly spinning on the center stage. Through seventeen cuts of arcane film snippets, dusted funk and soul, psych and prog rock musical diversions, Madlib proves to live up to what Gibbs once said of him: “Madlib quite simply, is music.” 

      Madlib

      Thuggin' EP W/ Freddie Gibbs

      12" release of two lead tracks from the highly acclaimed Madlib & Freddie Gibbs colab LP - "Piñata". Contains vocal & instrumentals plus two bonus beats.

      Back in 2011 at the San Francisco Madlib Medicine Show tour stop, the producer announced a collaborative project with rapper Freddie Gibbs and debuted songs from this EP: "Thuggin'" and "Deep."

      This 6-track record on Madlib's Madlib Invazion imprint was the first taste the public heard of the duo’s soon to be released landmark full-length "Piñata". For Madlib, the release with Freddie Gibbs marked another entry in an exciting series of collaborative albums that he has created with the likes of DOOM (Madvillainy), J Dilla (Jaylib) and Strong Arm Steady (In Search Of Stoney Jackson).

      For Gibbs, the album served as somewhat of a departure, affording the Gary, Indiana-bred, LA-based rapper a chance to stretch out over the Beat Konducta’s lush musical tapestry. Back in effect for the first time in years, the "Thuggin’ EP "set the stage for the pair’s incredibly successful collaborative effort that remains a best-selling release to this day and one of the highlights of both artist's catalogues.


      M.A.D. is a collaboration of the Funkroom DJs and producers Moxx And Digilog. After having contributed single tracks for YOSHI005 and WWM003 they subsequently announced their first EP together as M.A.D.

      Their "Sanset EP" consists of four drum-oriented house / techno hybrids which, through their cutting-edge production, stand the test of time and work very well with contemporary dancefloor-minded club music alike. That no-way does these track justice - sheer perfection when it comes to grinding techno grooves and tapping into the feral primal energy that only the best can do.

      Coming on stronger than a Rolex Punisher - check! 


      Madonna

      Like A Virgin

        Like A Virgin, originally released in 1984, was Madonna’s second studio album and with this, she quashed any theories about the ‘difficult second album’. It was her first number one album on the Billboard 200 and was later certified diamond, as well as setting the record as the first female album in history to sell over five million copies in the US. Like A Virgin remains one of the best-selling albums of all time with over 20 million worldwide sales. Q Magazine stated that Like A Virgin was the album that ‘propelled Madonna into the stratosphere – and rightly so’ and received a grading of A from Entertainment weekly. The album is pressed on Crystal Clear vinyl so is not one to miss, both for Madonna fans and pop music genre fans alike.


        FORMAT INFORMATION

        Coloured LP Info: 180g crystal clear vinyl.

        Madonna’s highly-anticipated 14th studio album. Influenced creatively by living in Lisbon, Portugal over the past several years, Madame X is a collection of 15 new songs that celebrate Madonna’s career-long affair with Latin music and culture as well as other global influences.

        Singing in Portuguese, Spanish and English, highlights on the album include “Medellín,” which was co-produced by Mirwais and captures the spirit of Maluma’s hometown, the anthemic song “I Rise,” the Jamaican dancehall vibes of “Future” featuring Quavo, and co-produced by Diplo, as well as the sonically innovative Mirwais produced “Dark Ballet.” Recorded over 18 months in Portugal, London, New York and Los Angeles, Madonna collaborated on Madame X with longtime producer Mirwais, as well as with producers Mike Dean and Diplo, among others.


        FORMAT INFORMATION

        2xLP Info: Black vinyl edition.

        Madonna

        Madonna

          Originally released in 1983, Madonna is the self-titled album by the Queen of Pop herself. With almost every track on the album composed by Madonna, candidly covering the topics of love and relationships, it sold over 10 million copies worldwide, clearly demonstrating Madonna’s ability as a songwriter and global success. The album includes globally renowned hits such as ‘Holiday’, ‘Lucky Star’ and Borderline. The album received five stars from AllMusic and was described as ‘cleverly incorporating great pop songs with stylish, state-of-the-art beats’ and it was a ‘showcase for a dynamic lead singer’, whilst Entertainment Weekly graded the album with an A. The album is pressed on Crystal Clear vinyl so is not one to miss, both for Madonna fans and pop music genre fans alike.


          FORMAT INFORMATION

          Coloured LP Info: 180g crystal clear vinyl.

          Madonnatron / Meatraffle

          Bella Ciao (the Meatraffle Ft. Madonnatron Track) & Brigante Se Mor (Madonnatron Ft. Meatraffle Track)

            Trashmouth Presents for Record Store Store Day - MADONNATRON vs MEATRAFFLE Italian Rebel Song Special! Side A: Madonnatron feat. Meatraffle performing Brigante Se More. Side B: Meatraffle feat. Madonnatron performing Bella Ciao. Neither Madonnatron or Meatraffle need introduction, but what not everyone knows is that both bands are part Italian! Both (in Zsa Zsa from Meatraffle's case, extreme) left wing & needless to say, partisan!

            Madonnatron

            Musica Alla Puttanesca

              Having moved forwards emotionally from the wilds of dystopian stalking and associated hobbies, Madonnatron have instead been found frolicking through the green pastures of gangsta pimps, Hindu God wars, Cyber Men invasion, loveless nightclub hook-ups, modern Italian Nabokov, and revered screen goddess Elizabeth Taylor. Think of them as post-punk lab rats in the Secrets Of Nimh, feasting dubiously on back-dated episodes of Top Of The Pops. With notorious roaring guitars, chanting vocals and rabid drums they audibly glow in the dark, are strong-armed, and will probably bite you.”

              Madonna

              True Blue

                Originally released in 1986, the eclectic and influential True Blue is the third studio album by Madonna. Incorporating a wider array of musical styles and inspiration whilst directly addressing current social issues, this album shifted the public perspective of Madonna from pop-star to cultural icon. The album received widespread critical acclaim, with Slant Magazine declaring the album as ‘the supreme archetype for late 80’s and early 90’s music, as well as AllMusic describing it as ‘one of the great dance-pop albums’ showcasing Madonna’s ‘true skills as a songwriter, provocateur and entertainer’. The album includes the iconic tracks ‘Papa Don’t Preach’, ‘La Isla Bonita’ and ‘Live To Tell’, amongst others, making it a staple in any pop music fans collection. The album is pressed on Crystal Clear vinyl so is not one to miss, both for Madonna fans and pop music genre fans alike.


                FORMAT INFORMATION

                2xColoured LP Info: 180g crystal clear vinyl.

                Madonna

                Who's That Girl - Original Motion Picture Soundtrack

                  Who’s That Girl is the iconic soundtrack, from Madonna, to the original motion picture of the same name. Originally released in 1987, it was the first soundtrack album by Madonna and accomplished great commercial success selling six million copies worldwide. The title track reached the top of the Billboard Hot 100 in its first week and the album reached the number 7 spot shortly after, remaining there for 28 weeks. Noah Robischon from Entertainment Weekly stated that ‘Madonna had pushed synergy over the borderline’ with this release, while Madonna’s biographer, Taraborelli, stated that the soundtrack was ‘once again the reminder of Madonna’s power and status as one of the most important singers of the 80s’. The album is pressed on Crystal Clear vinyl so is not one to miss, both for Madonna fans and pop music genre fans alike.


                  FORMAT INFORMATION

                  Coloured LP Info: 180g crystal clear vinyl.

                  Sound Metaphors treat us to another dance floor romper here, rescued from rarity and put back into the hands of working DJs everywhere. Conceived in Spain in 1989, Madrid Groove's sole 12" fuses jacking percusion, sampler vox, acid touches, flamenco guitar, huge pianos and driving basslines into a trio of summertime house killers. The titular "Arsa" is the most maximal jam here, somehow finding a way to marry Chicago piano madness and extravagant flamenco guitar solos over a bass driven house track. On "Madrid Groove" the team drop the chopped up sampler vox, synth brass and a body jacking bassline for some serious h-h-h-house music. If you're looking for something slightly more subtle, B-side jam "Suave" twists a new melody out of "Love Honey", lets the bass bubble under the freestyle-tinged beat then tops the whole thing with a sultry spoken female vocal. The B-side's the winner for me here. Boasting pristine restored audio and a nice remaster, this is ready to rule the dance floor once again.

                  STAFF COMMENTS

                  Patrick says: Latin house insanity here featuring flamenco guitar, massive pianos and all the period features you know and love. Flip it for "Suave", a more subtle take on the same style with spoken female vocals for the ultimate club seduction.

                  Madvillain

                  Madvillainy

                    MF DOOM and Madlib's leftfield hip hop opus finally drops, featuring the singles "Money Folder", "Curls" and "All Caps" plus more out-there raps and breaks. Medaphoar, Quasimoto, Wildchild, Viktor Vaughn and Stacy Epps all come along to join Doom on the mic, as Madlib drops some of the most disturbed backing sounds of his career (he even samples Daedelus at one point!), milking his B-movie samples and impenetrable rhythms. With short hits and a quickfire tracklist, "Madvillainy" is an explosive and schizophrenic experience, the most complete Madlib hip hop production since Quasimoto's "The Unseen".

                    Lillie Mae

                    Other Girls

                      From the new track’s opening “I Ain’t Your Baby,” the Nashville singer, songwriter, downtown scene slayer, and most-wanted fiddler signals a reclaimed confidence and bold evolution, telling women’s stories - including her own - that build on the strength of her “nervy” (NPR Music), 2017 Jack White-produced debut. Lillie Mae led a sequestered childhood touring in a motorhome with her musician parents, constricted by religious boundaries. In her adolescence she busked from RV parks to the Rio Grande, swept through Nashville clubs, and achieved Top 40 country status in her sibling group Jypsi, but on Other Girls, a new side of herself emerges with more to say than ever before. She embraces personal triumphs on “I Came For The Band (For Show),” breathes new perspective into “Terlingual Girl,” a song she wrote as a 19-year-old in the South-Texan desert, and professes brave truths as heard in “You’ve Got Other Girls for That.” After a vagabond past, crossing paths with hundreds of musicians, she limits the cast of Other Girls to just her brother, sister, and a few trusted collaborators. Lillie Mae will debut songs from Other Girls live this summer, as she supports the Raconteurs across the west coast. She will also join Robert Plant on tour, both opening for him and playing in his band. 

                      STAFF COMMENTS

                      Barry says: Other girls is a brilliantly written mix of classic country chord structures and the slightly gloomy reverb and poignant minor key changes of modern folk, all brought together with deft production and a stunning vocal performance from Lillie Mae. Stunning stuff.

                      Restored and remastered from three shows recorded in 1979 and 1980. Tracks 1 and 2 were recorded at Hurrah, New York on 02/08/79, while tracks 3 through to 9 were recorded live at the Whiskey A Go Go, Los Angeles on 01/09/79 and tracks 10 to 17 were recorded at the Family Hotel, Sydney on 20/09/80.

                      Tracklisting
                      1. My Tulpa
                      2. Parade
                      3. Cut Out Shapes
                      4. Burst
                      5. Motorcade
                      6. Rhythm Of Cruelty
                      7. Permafrost
                      8. The Light Pours Out Of Me
                      9. Shot By Both Sides
                      10. Feed The Enemy
                      11. Model Worker
                      12. Stuck
                      13. Sweetheart Contract
                      14. Thank You (Falettinme Be Mice Elf Again)
                      15. Twenty Years Ago
                      16. Definitive Gaze
                      17. I Love You, You Big Dummy

                      Magazine

                      Secondhand Daylight - 180g Vinyl Edition

                      After leaving the Buzzcocks in 1977, vocalist Howard Devoto formed Magazine with guitarist John McGeoch, bassist Barry Adamson, keyboardist Bob Dickinson, and drummer Martin Jackson. Acknowledged by Radiohead as an important influence, Magazine wilfully ignored the prevailing musical orthodoxy of the punk era - which is what makes these albums timeless. "Secondhand Daylight" was released in March 1979. Magazine's ambitious second album was produced by Colin Thurston, the engineer on two era-defining albums: David Bowie's "Heroes" and Iggy Pop's "The Idiot". Reviewing "Secondhand Daylight", Nick Kent said that 'there is now an austere sense of authority to the music. Magazine are a force to be reckoned with'. The chilly majesty of "Back To Nature" and "Permafrost" attest to that.

                      STAFF COMMENTS

                      Philippa says: Again, not something I bought at the time, but an album that got played a huge amount on the shop record player when I started working here. A dark and menacing record that side-stepped punk's three chord orthodoxy in favour of pre-punk inspirations.

                      FORMAT INFORMATION

                      LP Info: 180g vinyl pressing in gatefold sleeve with insert.

                      Magazine

                      The Correct Use Of Soap

                        After leaving the Buzzcocks in 1977, vocalist Howard Devoto formed Magazine with guitarist John McGeoch, bassist Barry Adamson, keyboardist Bob Dickinson, and drummer Martin Jackson. Acknowledged by Radiohead as an important influence, Magazine wilfully ignored the prevailing musical orthodoxy of the punk era – which is what makes these albums timeless. "The Correct Use Of Soap" was released in May 1980. Magazine's third album found Devoto reunited with Martin Hannett, the producer of Buzzcocks' "Spiral Scratch" EP – Devoto's only contemporary release with the band. Hannett's production of Joy Division had recently sealed his reputation as a prime sonic auteur. Recognised as Magazine's masterpiece, it was also praised by its producer as my 'best technical production'. "The Correct Use Of Soap" is essential.

                        FORMAT INFORMATION

                        LP Info: First time on 180 gram vinyl.

                        LP includes MP3 Download Code.

                        Maggie8 / Ceiling Demons

                        Split 7"

                          Described by Clash as 'fast becoming an imprint to watch’ Leeds label Come Play With Me’s latest single featuring tracks by Maggie8 and Ceiling Demons looks set to continue the precedent it has set of highlighting the awesome diversity of great music coming out of the area following the likes of Cinerama (The Wedding Present), Harkin (Sleater Kinney, Sky Larkin), Fizzy Blood, OFFICERS, ZoZo & Esper Scout.

                          Ceiling Demons are an alternative hip hop group from Yorkshire, they explain their goal simply as ‘Seeking to capture the rawness of human emotion in rhythms and rhymes.’ Currently one album and an EP deep into their career, the band have earned praise from legendary Hip Hop group ‘Arrested Development’, BBC 6Music’s Tom Robinson, Scroobius Pip and BBC Introducing as well as shows supporting the likes of Astronautalis, Sleaford Mods & De La Soul. Comprised of identical twin brothers Psy Ceiling and Dan Demon, the always masked Ceiling Demons are dark, experimental and raw, this is perfectly summed up in their contribution to CPWM, ‘Lost The Way’

                          Discussing the song, the band explain: “There are a few themes in Lost the Way, nature is one. We live in the Yorkshire Dales so naturally the landscape influences our music. Feelings of loneliness and directionless sometimes come from it, other times it's a kind of respect for the vastness and beauty of those rolling hills. As ever, though, it's a song to be interpreted however you like. It's one of our more positive songs; a little bit of light against the darkness that usually permeates our music, but it's nice to have a track that calls for a bit of solidarity and progression.”

                          Joining Ceiling Demons on the 7” split is Leeds’ Maggie8, comprised of Nivedita Pisharoty, Mark Wright, Peter Mottram & Matt Flint, Maggie8 play a unique brand of Indie-pop mixed with Hindi Raags and elements of Bollywood music and samples. ‘Connected’ rose from the ashes of a previous Maggie8 Lineup as explained by the band:

                          “The song featured on this 7 inch was written after the break up of another Maggie8 lineup. It can be a sad time but also it's a natural part of being in a band. You make connections that last forever but not always in the same vicinity. It's the burning of the heather to promote fresh shoots.

                          The slim-line line up was looping a riff when Niv suddenly appeared at the bottom of the stairs singing the very vocal line you hear today on this record. The song is a break up piece but it's not without hope and love when "deconstruction of the existing" creates a fresh chapter.”

                          The Maggots

                          This Condition Is Incurable

                          Explosive garage punk from Sweden. Mixing up 60s freak beat and snotty punk anno 1977, The Maggots manage to create a fresh sound of their own full of fuck you attitude and fuzz galore.

                          They say moving house can be one of life's most stressful tasks. If one person knows about that its Manchester-based musical craftsman Marc Rigelsford, or as he’s become better known, Magic Arm. More used to wiring up microphones and keyboards than picking out wallpaper patterns, no one, least of all him, would have expected some innocent house-hunting to give life to a brand new album.

                          “I didn't think about recording at home until the new house began to empty as people moved out,” he reveals. “But I was slowly introduced to the perfect studio... houses have windows, studios don't. There’s something inspiring about being able to see a car or a bird.”

                          Following 2009’s debut album Make Lists Do Something, Images Rolling is a further exploration of the musical playground that is Magic Arm’s world. Somewhere between ‘This Way Up’ cardboard boxes and the stairwell in which the new record’s violin and trumpet sounds were recorded, a studio gradually took shape. Boasting an array of cables, switches, and instruments donated by friends and family such as a piano, guitar, bass, synths, keyboards, glockenspiel, various types of organ, and drums, Rigelsford’s new sound workshop offered the perfect balance between vocational artistic freedom and a chaotic living space; “Tripping over your instruments on your way to the kitchen is a constant reminder that there is something else that you should be doing,” he confesses.

                          Always one to find new avenues of exploring what’s readily presented in front of him simply by ‘giving it a whirl’ rather than exercising any form of technical training, Rigelsford is a true DIY pop maverick. From the colourful television theme music of Ski Sunday to that of the detective shows he grew up with, plus a penchant for big soundtracks like those of The Godfather, A fistful of Dollars, and Michael Galasso’s In the Mood for Love, his naturally inquisitive sense of sonic adventure has always been provoked by all that surrounds him.

                          Musing on a bout of melancholic nostalgia ('Images Rolling' refers to reflecting the past and the way that you can scroll through memories “like a television on the blink”, he says), this record is the sound of one man exploring not only where he’s been but also commenting upon the present; editing, re-editing, then editing again, an album itself. “. “It's an album inspired by the process of writing an album”

                          Moving away from the more electronic sound of his debut LP, Images Rolling has taken on the natural reverbs of the vast part-derelict three-storey house, coming over as an altogether warmer and more comforting entity. Take infectious opener Put Your Collar Up; classical sounds are thrown off centre by detuned pianos and woozy synths that move with hip hop bounce. Elsewhere Warning Sign recalls the ambience of Mercury Rev’s weirdly magical off-kilter daydreams whilst Lanes’ sweeping strings and the merry-go-round waltz of Great Life give light to Rigelsford’s new method of exploration in writing songs on a piano rather than a guitar for the very first time.

                          “After finishing the first album I bought a piano with the intention of learning it and it being a key part of the new album. I spent a few months learning Beethoven's Moonlight Sonata as an entry point.”

                          From entry point to its end Images Rolling is a restless, fearlessly ambitious, yet understated and articulate piece of work. No-one could ever accuse Rigelsford of making music that fits into any pigeon-shaped holes, but with this record he’s certainly found a musical home.

                          FORMAT INFORMATION

                          LP Info: Was £15.99.

                          They say moving house can be one of life's most stressful tasks. If one person knows about that its Manchester-based musical craftsman Marc Rigelsford, or as he’s become better known, Magic Arm. More used to wiring up microphones and keyboards than picking out wallpaper patterns, no one, least of all him, would have expected some innocent house-hunting to give life to a brand new album.

                          “I didn't think about recording at home until the new house began to empty as people moved out,” he reveals. “But I was slowly introduced to the perfect studio... houses have windows, studios don't. There’s something inspiring about being able to see a car or a bird.”

                          Following 2009’s debut album Make Lists Do Something, Images Rolling is a further exploration of the musical playground that is Magic Arm’s world. Somewhere between ‘This Way Up’ cardboard boxes and the stairwell in which the new record’s violin and trumpet sounds were recorded, a studio gradually took shape. Boasting an array of cables, switches, and instruments donated by friends and family such as a piano, guitar, bass, synths, keyboards, glockenspiel, various types of organ, and drums, Rigelsford’s new sound workshop offered the perfect balance between vocational artistic freedom and a chaotic living space; “Tripping over your instruments on your way to the kitchen is a constant reminder that there is something else that you should be doing,” he confesses.

                          Always one to find new avenues of exploring what’s readily presented in front of him simply by ‘giving it a whirl’ rather than exercising any form of technical training, Rigelsford is a true DIY pop maverick. From the colourful television theme music of Ski Sunday to that of the detective shows he grew up with, plus a penchant for big soundtracks like those of The Godfather, A fistful of Dollars, and Michael Galasso’s In the Mood for Love, his naturally inquisitive sense of sonic adventure has always been provoked by all that surrounds him.

                          Musing on a bout of melancholic nostalgia ('Images Rolling' refers to reflecting the past and the way that you can scroll through memories “like a television on the blink”, he says), this record is the sound of one man exploring not only where he’s been but also commenting upon the present; editing, re-editing, then editing again, an album itself. “. “It's an album inspired by the process of writing an album”

                          Moving away from the more electronic sound of his debut LP, Images Rolling has taken on the natural reverbs of the vast part-derelict three-storey house, coming over as an altogether warmer and more comforting entity. Take infectious opener Put Your Collar Up; classical sounds are thrown off centre by detuned pianos and woozy synths that move with hip hop bounce. Elsewhere Warning Sign recalls the ambience of Mercury Rev’s weirdly magical off-kilter daydreams whilst Lanes’ sweeping strings and the merry-go-round waltz of Great Life give light to Rigelsford’s new method of exploration in writing songs on a piano rather than a guitar for the very first time.

                          “After finishing the first album I bought a piano with the intention of learning it and it being a key part of the new album. I spent a few months learning Beethoven's Moonlight Sonata as an entry point.”

                          From entry point to its end Images Rolling is a restless, fearlessly ambitious, yet understated and articulate piece of work. No-one could ever accuse Rigelsford of making music that fits into any pigeon-shaped holes, but with this record he’s certainly found a musical home.

                          FORMAT INFORMATION

                          LP Info: Was £15.99.

                          Magic Carpet

                          Once More

                          Magic Carpet, an exquisite blend of sitar (Clem Alford) female vocals (Alisha Sufit) guitars (Jim Moyes and Alisha Sufit) and tablas (Keshav Sathe) - one of the very few early examples of Eastern progressive psychedelic folk. This is a compilation of new material including a 20 minute raga CD bonus track. The Ptolemaic Terrascope magazine hailed them saying, 'Gorgeous melody, bittersweet lyrics, an unmistakable unique blend of voice and instrumentation - undoubtedly as collectable as their debut'.

                          Something of a rock'n'roll supergroup, Magic Christian comprises Cyril Jordan (formerly of The Flamin' Groovies) on guitar, Clem Burke (Blondie) on drums, Eddie Muñoz (The Plimsouls) on bass, and Paul Kopf on vocals – four musicians who share an enthusiastic and energetic new approach to classic sounds of the past, bringing them very much up to date. Magic Christian was formed by guitarist/songwriter Cyril Jordan, who built a devoted cult following recording 15 albums with The Flamin' Groovies and nearly hit the big time with "Shake Some Action" after they teamed up with Dave Edmunds). Clem Burke's Blondie, of course, need no introduction, with Burke being a member of the Rock'n'Roll Hall of Fame for his band's string of hits. Eddie Muñoz's group, The Plimsouls, achieved their greatest notoriety in 1983 when they appeared in the film Valley Girl with their single release "A Million Miles Away", which became a hit. Meanwhile, Paul Kopf has featured in a number of Bay Area bands and is also the promoter of the Bay Pop Festival. Also featured on the album is Alec Palao, best known these days for his writing but who started out in London group The Stingrays and more recently was known in the USA as a member of The Sneetches. Magic Christian combine the best parts of sixties garage, rockin' blues, Beatle beats, power pop, and psyched-out grooves, setting out an iconoclastic yet defining standard of rock'n'roll for the 21st century, with incredible songs that rock and yet at the same time have enough of a pop sensibility to match the best of their previous, famous, bands.

                          Magic Johnson

                          Perro Suelto

                          Wildly epic newest extended-player from Portland super duo, brimming over with radical feelings and fire. Every song is your new favourite song. Yes, one of those. Issued in a strictly limited edition of 500 copies, all on black vinyl. Four tracks.

                          Magic Magic

                          Sleepy Lion

                          Magic Magic are a five man covenant from Salem Massachusetts. With spellbinding songs and two drummers they have bewitched the good people of Salem with their ritualistic voodoo rhythms. Led by John Francis Murphy, virtuoso singer, songwriter and guitarist, Magic Magic are also Brendan Hughes on guitar, Dimitri Miro Swan on bass and the infamous Dylan Gough and Mike Hlady (The Doctor) two fervent drummers on twin kits in perfect offbeat sync. "Sleepy Lion" merges the grandiose splendour of Arcade Fire with a hurtling, lo-fi pop song to create one of the most euphoric singles you'll hear all year, While wonky instrumental track "Deep Red" over on the flip winds things down nicely.

                          The Magic Musicians

                          The Magic Musicians

                          This Seattle band features John Atkins (764-Hero) and Joe Plummer (Black Heart Procession) and are recommended if you like Quasi, the Replacements, 764-Hero and the Blues Explosion. They reach to stretch the elastic of modern indie-pop music while adding an appreciative nod to the SST-era of punk rock when Husker Du and the Minutemen were kings. Aggressive where it needs to be, loose when it should be, the Magicians second self-titled album matures and furthers what was started on 2001's "Girls" and shows that the band's got plenty more to offer.

                          The Magic Numbers

                          The Pulse

                          The 1st single to be taken from the Magic Numbers forthcoming 3rd album produced by Valgeir Sigurdsson (Bjork, Bonnie Prince Billy) & string arrangements by the late Robert Kirby (Nick Drake, Paul Weller).

                          STAFF COMMENTS

                          Laura says: "The Pulse" is a big swoonsome pop number full of their trademark vocal harmonies and West Coast vibes, augmented by waves of lush strings.

                          Magic Potion

                          Endless Graffiti

                            The Swedish quartet Magic Potion are back with their long-awaited second album Endless Graffiti, the fol-low-up to their acclaimed debut LP Pink Gum from 2016 and the debut EP Melt from 2015. After first appearing with the “Deep Web” single in early 2015 the band quickly garnered attention from music publications around the world such as Noisey, The FADER, NYLON, The Line of Best Fit and SPIN with their laid-back indie rock sound. Following the release of Pink Gum the band toured around Scandinavia and Europe, mixing headline tours with support slots for the likes of Chastity Belt, before retreating to their Stockholm studio to work on their second record. Endless Graffiti retains the band’s trademark sound while finding the quartet both expand-ing their sonic palette and upping their songwriting game, arriving at what will undoubtedly be one of 2018’s strongest indie rock releases.

                            Magic Sam

                            .........With A Feeling

                            On the brink of finding the success that his talents merited, Magic Sam died aged 32 in 1969 just weeks after his classic track "All Your Love" had been included on the Blue Horizon hit compilation "How Blue Can You Get?" an album that brought Muddy Waters and others to the notice of the rock buying public for the first time. This is a great selection of his best work.

                            Magic Sam

                            Love Me With A Feeling / All Your Love

                            Belting blues rocker with great vocals and sublime frantic guitar work (part 2). "Love Me With A Feeling" is the kind of rhythm & blues cut that makes your feet so itchy you can't help but head to the dancefloor. Flispide blues slowy features whammy bar twangy guitar to die for.


                            FORMAT INFORMATION

                            7" Info: Limited dinked reissue with replica US label artwork. 500 copies only.

                            Magma

                            LP Bag 40 II

                              A well made, fairly lightweight but durable record bag with carry handles and shoulder strap. Holds approx 40 12" singles / LPs, plus has room for additional accessories in other pockets. Perfect for shorter DJ gigs or that weekly record shopping trip. A really good feature are the side flaps that cover the records, giving them extra protection from the rain.


                              Nonesuch Records releases the Magnetic Fields’ 50 Song Memoir, a five-CD/five-LP set that chronicles the 50 years of songwriter Stephin Merritt’s life with one song per year. It was produced by Stephin Merritt with additional production by Thomas Bartlett and Charles Newman. The Magnetic Fields performed the 50 Song Memoir over two nights per city, beginning November 18 & 19 at Mass MoCA in North Adams, MA, and continuing at the Brooklyn Academy of Music (BAM) on December 2 & 3. Further dates begin in spring 2017. 50 Song Memoir is available in five-LP and five-CD editions including an extensive interview by Daniel Handler and facsimile handwritten lyrics by Merritt, and as a standalone bound book with a full-album download card.

                              Merritt began recording on his 50th birthday: February 9, 2015. Unlike his previous work, the lyrics on 50 Song Memoir are nonfiction – in Merritt’s words, “a mix of autobiography (bedbugs, Buddhism, buggery) and documentary (hippies, Hollywood, hyperacusis).” As he says in the album’s liner note interview with Handler, “I am the least autobiographical person you are likely to meet. I will probably not write any more true songs after this than I did before, but it’s been interesting working on it.”

                              In addition to his vocals on all 50 songs, Merritt plays more than one hundred instruments on 50 Song Memoir, ranging from ukulele to piano to drum machine to abacus. In concert, the music will be played and sung by a newly expanded Magnetic Fields septet in a stage set featuring 50 years of artefacts both musical (vintage computers, reel-to-reel tape decks, newly invented instruments), and decorative (tiki bar, shag carpet, vintage magazines for the perusal of idle musicians). The seven performers each play seven different instruments, either traditional (cello, charango, clavichord) or invented in the last 50 years (Slinky guitar, Swarmatron, synthesizer). The stage extravaganza will be directed by the award-winning Jose Zayas (Love in the Time of Cholera, Aunt Julia and the Scriptwriter).

                              To date, Stephin Merritt has written and recorded eleven Magnetic Fields albums, including the popular and critically acclaimed 69 Love Songs. A song from that record, ‘The Book of Love’, has been covered by Peter Gabriel and has appeared in numerous TV shows and films; notably, the Nairobi Chamber Orchestra performed the song at an official state dinner in Kenya, before Presidents Barack Obama and Uhuru Kenyatta delivered their toasts. Merritt has also composed original music and lyrics for several music theatre pieces, including an off-Broadway stage musical of Neil Gaiman's novel Coraline, for which he received an Obie Award. In 2014, Merritt composed songs and background music for the first musical episode of public radio’s This American Life. Stephin Merritt also releases albums under the band names the 6ths, the Gothic Archies, and Future Bible Heroes. 


                              FORMAT INFORMATION

                              FREE SHIPPING This item has FREE UK shipping!

                              Dab Hands first vinyl release brings together a range of housed up summer grooves to fit most sections of a discerning disco selection from the irresistable Magnetic Soul. First up is the deep disco delight of "What You Gonna Do" (Stephanie Mills "Whatcha Gonna Do With My Lovin'"), a slo mo builder with 'nuff soul power. Magnetic Soul works the loops to the fullest and adds a kicking drum track before letting loose with the sultry Stephanie Mills vocal in the latter section of the record. Top Stuff. On the flip we shift focus to the percussive rare grooves of "Mood 2 Groove" (the OG is on the tip of my tongue, someone show me up!), a mid tempo workout washed in DX7 minor 7ths with the funkiest of rolling basslines you're likely to hear this hear. Dope. Finally "Concrete Boogie" is a tuned percussion freak out with all manner of moog noodling and a relentless bouncing bassline.

                              Magnetix

                              Live In San Francisco

                                “The couple that slays together, stays together: Looch Vibrato and Aggy Sonora, like the moniker of an infamous killing duo, the fucking butchest band from Bordeaux. Looch, with hands like bunches of bananas and songs like flaming arrows. The lovely and tough-as-hell Aggy, crushing the kit. Heavy weird attackers from our sister country. Sludge drips—murder the guitar, usurp the amp, fry the mic, howl like beasts, melt the crowd: Magnetix. We were lucky enough to grab them on one of their rare U.S. shows, recorded in a basement in San Francisco. Here it is in all its gory glory. Let’s go tripping…” —John Dwyer

                                Magnetize

                                Ear Blink

                                Based in Ireland, Magnetize has been making noise since the early 90s using tape loops, old synths and guitar stomp boxes that was initially heavily influenced by the likes of Suicide, AMM and Coil. Since that time his releases and gigs have ranged in style from blissful textures and primeval drones to dark electro/techno. "Ear Blink" is a live recording from August 2006. Over 35 minutes it builds from a bed of textural drones, through dark melodic rhythms to full-on noise assault of freaked out guitar noise and hanging sonics. An awesome racket.

                                God this is absolutely...lovely. Acoustic guitars, a sweet soft, dreamy voice, but, sorry to be muso, it's the production that gets you. There's swirls, echoes, space and light atmospherics, Moogs and Mellotrons, disturbance and dubbiness. It all washes around the glowing gorgeous songs of Even Johansen. The sleeve is lush and enhances the magical effect. The High Llamas' Sean O'Hagan does the strings. I know little else about this supremely talented Scandinavian. If you like Jeff Buckley, Air, Radiohead or Elbow you're in for a treat. It could be your surprise album of the year!

                                How to follow one of the greatest albums of recent years? More of the same, please! That's what Norway's Even Johansen serves up here, and no way should we complain. His music is gentle, folk-based and extremely melodic, but luxuriously produced with pedal-steel, banjo, trumpets and all sorts of electronic squiggles and pops. Even has the sweetest, dreamiest voice that's a mixture of weariness and wonderment, but it's his songwriting skills that impress. Overall not quite as strong as 2003's "On Your Side", you're still not likely to hear a better collection of tunes all year. Recommended!

                                The Magnificents

                                Ring Ring Oo Oo

                                The Magnificents are finally ready to unleash "Year of Explorers", their long-awaited second album - to precede that, the fellers are 'dropping' a cheeky little sneak preview, the "Ring Ring Oo Oo EP". The EP showcases the sound The Magnificents have meticulously crafted with esteemed producers Damian Taylor (Bjork, Unkle) and John Cummings (Mogwai). Whereas the first LP was fuelled by raw punk power and electrifying synth-laden excess, the sophomore release promises a more measured approach to songwriting, a result of touring with the likes of Trans Am, the Beta Band and Mogwai. The Magnificents' redoubtable knack for dreaming up dancefloor-friendly melodies remains very much a priority. As an extra treat, the EP features a cheeky Mogwai remix of live favourite "Blueprint", now re-titled "Greenprint".

                                About halfway through Magnolia Electric Co.'s latest long player, "Josephine", there is a noticeable shift in weight. It's a release of some sort - the kind that comes when you give up holding back the tears. It's a heavy kind of freedom coming to the forefront, an empowering sadness. And when chief Electrician Jason Molina delivers the line 'an hour glass... filled with tears and twilight from a friend's dying day', the mood becomes clear. The band is back on its heels, yes, but they are going to fight back in the only way they know how. Molina's concept album is an honest-to-God effort on the part of Magnolia Electric Co. to pay tribute to the life and spirit of fallen bassist Evan Farrell (R.I.P. December 2007), as the ideas for "Josephine" were being pieced together. Molina said each tune is a good faith attempt to make real Evan's hopes for the record. And in doing so, Evan's spirit becomes part of the concept. The loss of "Josephine" becomes the loss of Evan. Molina's familiar lyrical allegories are still in tact. But here, in what is no doubt the strongest set of songs Molina has written since the inception of Magnolia Electric Co., those classic themes take on new meanings. Molina has approached the universal loneliness before, but never in such a focused, directed manner as found on "Josephine". Molina, Magnolia Electric Co. and legendary recording engineer Steve Albini have put it all to heart. Evan Farrell, Jason Molina and the band are on different journeys now - but maybe somehow, somewhere parallel. This is heartbreak at ten paces, to be sure.

                                Magnolia Electric Co

                                What Comes After The Blues

                                  THE PICCADILLY RECORDS ALBUM OF THE YEAR 2005

                                  On the heels of Magnolia Electric Co's recent live album on Secretly Canadian, the raw and incendiary "Trials and Errors", comes what is perhaps Jason Molina's most fully realised studio project yet. Recorded live-in-the-studio by Steve Albini, it captures the simpatico chemistry of Molina's touring band, crackling with connective electricity that can only be generated by the mutual experience of the road. On the writing end of the equation, the song cycle is a conscious step forward for Molina in songwriting approach and intent. Most of the songs were written and arranged on the band's recent relentless touring of Europe and North America. The eight songs that make up "What Comes After the Blues" are all of a piece that should be heard in one sitting, in sequence. As with other Molina projects, a spectral lyrical theme lurks in the shadows of the songs. All the songs are loosely based on the Hank Williams song "I Saw the Light".

                                  STAFF COMMENTS

                                  Darryl says: A previous Piccadilly Records album of the year back in 2005. Recorded live in the studio by Steve Albini giving a raw edge to Jason Molina's hearbreaking country-rock sound that drips in winter melancholy.

                                  Latin tinged California funk band Magnum has seen its reputation blossom since the original release of their LP "Fully Loaded" An exuberant band of individually talented musicians working in an expansive and comfortable environment, they give a loose funky overlay to a grounded R&B and Jazz sound that included a variety of instruments including whistles, that lift the music to an exciting, hypnotic groove.

                                  Based in San Pedro Bay, California, Magnum originally consisted of brothers Michael Greene (multi-instrumentalist and youngest in the group) playing piano, organ, percussion and vocals and Harold Greene on bass, with Kevin "Cornbread" Thornton on lead and rhythm guitars and doing the arrangements, Vance Wormley on trombone, organ, piano and percussion and with George Chaney on congos & bongos; Thurron Mallory, playing tenor, alto sax and electrified percussion, joined six months later and brought with him the rest of the Magnum Horn ensemble with Lamont Payne on trumpet as well as percussion.

                                  As the house band for radio station KGFM-AM's Soul Search as well as Soul Caravan, as series of weekly performances on a flatbed truck playing in around urban California. They also drew large crowds practicing in the Greene's garage. Once they practiced at Thurrons's childhood home in Compton, LA that drew such big crowds that the police had to shut the block down to disperse the crowd. The band stuck together performing in Southern California for a couple of years after the release of "Fully Loaded" once the opportunity came to perform with other artists Magnum disbanded and members went on to other projects.


                                  The Magpie Salute

                                  The Magpie Salute

                                    ! From The Black Crowes to The Magpie Salute: The Art of Transcendence THE MAGPIE SALUTE is an exciting new band that features musicians who have played together for decades throughout various projects and share a musical bond. The band brings Rich Robinson, the guitarist and co-founding member of The Black Crowes, together with two key members of Crowes fame - guitarist Marc Ford and bassist Sven Pipien - alongside drummer Joe Magistro and guitarist Nico Bereciartua. The Magpie Salute also boasts a fine cast of vocalists, including lead singer John Hogg (Hookah Brown, Moke), former Crowes singer Charity White and background singers, Adrien Reju and Katrine Ottosen. 

                                    FORMAT INFORMATION

                                    2xLP Info: White Vinyl

                                    Donal Maguire

                                    Gilded Chains And Sordid Affluence

                                    A well crafted collection of Irish songs and traditional instruments from Donal Maguire and his chums. Many moments of inspiration and a fine choice of songs make this a release well worth a listen.

                                    Mahalia

                                    Love And Compromise

                                      BRIT Award nominee Mahalia is delighted to announce details of her highly anticipated debut album ‘Love & Compromise’. The record is set for global release on 6th September and includes two of her previous hit singles ‘I Wish I Missed My Ex’ and ‘Do Not Disturb’.

                                      As an artist signed at just 13, ‘Love & Compromise’ is the rich fruit of Mahalia’s developmental journey thus far. On her debut LP Mahalia’s playfully infectious spirit intertwines with her youthful charisma, idiosyncratic storytelling and consciousness – attributes that have set her apart from her peers and seen her become one of the UK’s most-loved rising stars. Production and writing turns come from the likes of Sounwave (Kendrick, St. Vincent, Schoolboy Q), DJ Dahi (Drake, Pusha T), Sam Dew (Zayn, Taylor Swift) and Pop Wansel (Ariana Grande, Alessia Cara) as well as long-time collaborator Maths Time Joy. The record is executively produced by Felix Joseph who helps create the perfect sonic backdrop for Mahalia to shine and the result is a future-classic.


                                      The Maharajas

                                      A Third Opinion

                                        First time on vinyl.

                                        "In 2004 The Maharajas returned with one of the best garage albums of the past few years and as some sort of a special x-mas present they now come up with a brandnew one, called 'A third opinion'. Well, many of you 'representatives of the good taste' might ask if those swedes can keep up the high standard of 'Unrelated statements' and we can just tell you that there's no need to worry at all, they surely can. This album is a true classic, a monster of a record, honestly. Once again they deliver a superb mixture of wylde sixties influenced fuzz stompers and moody folk ballads that will guide you through the exciting world of garage-music of the last four decades. Their songwriting is absolutely outstanding, which especially their slower tunes show impressively. If you love the Strollers, Backdoor Men, Chesterfield KIngs, you don't need a 'third opinion' to buy this record. Just believe us and get blown away by the magic sounds of The Maharajas. "    

                                        For fans of Dilla, Madlib, DJ Mitsu, Onra, Stones Throw, Jazzy Sport. Very occasionally you stumble across a digital album on one of the many internet music sharing platforms that just stops you in your tracks. Mahatma X ‘A Mobtown Suite Vol 1’ is a case in point. If ever there was an album crying out for a vinyl release it’s this one. Step forward Home Assembly to put matters right. Mahatma X was formed in 2013, initially as an instrumental beat-tape project by producer MALK in St. Andrews, Scotland. He would later be joined in Philadelphia by Jhana Gumption as live drummer and Jahred as MC. The group mixes live instrumentation with samples to create Hip-Hop reminiscent of its golden age. Spanning 17 instrumental tracks over two sides of wax ‘A Mobtown Suite Vol 1’ has the flow of a beat-tape, with tracks bleeding into one another, going off at right angles, or colliding bumper to bumper. Deep and soulful. Phat, jazzy and funky as! - and all delivered with a bucket full of punk attitude. From the Adderley sampling opener ‘come thru’ to the flutes and breaks of ‘Mahatma and the White Devil’, flutes (again) and warm, gospel organ of ‘thishustlegame’ and the spacey synths and deep, dubby bass-line of ‘worddagawd’ you know you’re in for an exhilirating ride. But then you begin to notice other elements that seem to elevate this record above what is now a fairly crowded genre. Notably, there’s the languorous, stoned guitar refrain on ‘We Live in Bawlmer, Baby’. And it’s there again amongst the snares and samples of ‘Bright Moments’ and the sun-kissed ‘Mad Poetik’. All evidence that as well as being skilled in dealing dope beats, there’s also a sensitive musician at the heart of this record, most addictively realised in the sweetly melancholic smoke and woodblocks of ‘Gloriaaa’. It would be almost too easy to summon up the ghost of Dilla or the oddball sampling techniques of Madlib as comparisons but they’re undeniable - albeit passed through a hazy filter. 

                                        Mahavishnu Orchestra

                                        Birds Of Fire

                                        McLaughlin is one of the greatest guitarists ever! Total mastery of his instrument, tremendous compositional abilities combined with a deep spirituality imbue an intensity and a commitment to his music that is extremely rare. The early Mahavishnu Orchestra albums show him at the peak of his electric guitar work, having forged his unique style in bands with jazz greats such as Miles Davis and John Surman. He formed the Mahavishnu Orchestra when influenced by Eastern philosophies and it was a band permeated with a passionate skill on all levels. "Birds Of Fire" their second album featured Jan Hammer on keyboards, Billy Cobham on drums, Rick Laird on bass and Jerry Goodman on violin, helping McLaughlin to record one of the definitive jazz-rock fusion albums of all time. Anyone who saw this line-up in concert was privileged indeed (I know I felt so in 1973 seeing them on their first British date at the Free Trade Hall in Manchester - a legendary performance). The Mahavishnu Orchestra was such an intense experience that it was only a matter of time before the band imploded which happened amidst much acrimony whilst recording their third album . "Birds Of Fire" has a passion and an energy to match their wonderful debut ("The Inner Mounting Flame") but is more varied, more melodic and better recorded. The frenetic speed of some of the solos by McLaughlin, Goodman and Hammer is awesome and Cobham's drumming is the definition of 'power'. An essential classic.

                                        Mahbunzi Nahgo Pihndi

                                        D Ebando

                                        Following a run of sought-after releases on cassette from artists including Anthony Naples, Xvarr and E Ruscha V, Good Morning Tapes switch to vinyl for their latest offering by Mahbunzi Nahgo Pihndi ("All the Healing Green Leaves of the Forest”) aka Brian Close, one half of New York avant-garde duo Georgia:

                                        “This record is an extension of a foray into trance ritual music. It is structured as a companion for film, meditation, vision seeking & sound rest. It is by nature a nature worship record, combining acoustic percussive improvisation, sensory foley, vocalized staccatos, and a specific brew of physical / metaphysical sound relations... mind hush / thought flush / spirit rush / sun rise. Inspired by an initiation ceremony of the Bwiti / Fang people of Gabon. This collection relays a fragmented branch of timings of this ceremony and proposes other paths for the sacred (Mougongo) instrument.
                                        Recoded + Restructured + Reflected as a time capsule, with fullest respect / blessings to breeze the Bwiti understandings through the current climate." 


                                        STAFF COMMENTS

                                        Matt says: Perilously dark neo-shamanism here that kicks off a new spellbook of sonics. Quite terrifying in parts - I advise caution when consulting with The Other whilst on entheogens.

                                        Superbly named reissue specialists Souffle Continu treat us to a wonderful re-release of Mahjun's seminal second self titled LP on Saravah, originally released in 1974. Recorded with a little help from legendary Brazillian percussionist Nana Vasconcelos, this LP is a lysergic mastepiece as other worldy as its trippy sleeve. Across short interludes, dreamlike compositions and extended trips into the furthest reaches of human consciousness, the ensemble transform their leftist prog folk into wild outernational pyschedelic fusion. If you're looking for some sounds to take you on a mind altering journey, try the fourteen minute "La Ville Pue" on for size.

                                        West End records open the vaults once more to today's top editors and remixers. This incredible 12" sees Full Intention don Michael Gray take the reigns with two monster jams included on one massive 12".
                                        Mahogany's 'Ride On The Rhythm' starts proceedings, an amazingly well crafted Boogie bullet with a fresh perspective aimed fully at the disco dancefloor, you need this! Raw Silk's huge 'Just In Time' takes up side B, another deftly crafted contemporary version courtesy of Mr. Gray, whose respectful remakes will undoubtedly find their way into your DJ bag, and stay there!

                                        In the vein of the Dictators, Personal And The Pizzas and the finest of Detroit's Coney Island hot dog slingers, the Mahonies manage to cram 10 songs on a 7" at 45rpm! Whether it's about ZZ Top (sample lyric: "ZZ Top has really big beards") petty thievery ("I Always Get What I Want When I Steal") or the universally understood ("Where the fuck are my keys?") these dumb punk outbursts all manage to stay below the 100-second threshold. Featuring Craig Brown of Terrible Twos and Liquor Store and Ian from being awesome.

                                        Tim Maia

                                        Nobody Can Live Forever - The Existential Soul Of Tim Maia (World Psychedelic Classics 4)

                                        In the early 1970s, Brazilian popular music was approaching a high water mark of creativity and popularity. Artists like Elis Regina, Chico Buarque and Milton Nascimento were delivering top-shelf Brazilian pop, while tropicalists Caetano Veloso, Gilberto Gil and Os Mutantes were entertaining the college set with avant-garde fuzz-pop poetry.

                                        Enter Tim Maia with a massive cannonball into the pool. It was the only dive Tim knew. Standing just 5'7 (6' with the afro) Tim Maia was large, in charge and completely out of control. He was the personification of rock star excess, having lived through five marriages and at least six children, multiple prison sentences, voluminous drug habits and a stint in an UFO obsessed religious cult. Tim is also remembered as a fat, arrogant, overindulgent, barely tolerated, yet beloved man-child who died too young at the age of 55.

                                        Sebastiño Rodrigues Maia was born in Tijuca, Rio de Janeiro, on September 28, 1942. In 1957, at the age of 17, the singer went to America. He left home with $12 in his pocket and no knowledge of English. He adopted the name 'Jimmy' and lied to the immigration authorities, saying that he was a student.

                                        Living with distant cousins in Tarrytown, New York, he worked odd jobs and committed petty crimes. Having a prodigious ear he quickly learned to speak, sing and write songs in English. He formed a small vocal group called The Ideals who even recorded one of Tim's songs, "New Love." Intent on starting a career in America, Tim never planned on going back to Brazil, but like a badass Forrest Gump, he also had a knack for being in the wrong place at the wrong time. In a 1964 early pre-cursor to Spring Break's modern debauchery, Tim was busted in Daytona, Florida for smoking pot in a stolen car and served six months in prison. U.S. Immigration caught up with him and he was deported.

                                        Tim's first commercial records showed that a black Brazilian singer could assert his identity with confidence and power. His music helped to build the Black Rio movement, a new Afro-Brazilian music culture influenced by the US civil rights struggle. As a result, Tim Maia's soul music described a modern Black Brazilian identity that blew the doors off mass culture's tightly circumscribed role for Afro-Brazilians. A funny thing happened when Tim Maia launched his career in Brazil: he kept on writing and recording songs in English. Every album (all self-titled, with only the copyright years to differentiate) included at least one, if not a few songs in English. Obviously, Tim "Jimmy" Maia's teenage dreams of international soul success didn't die when he was deported from the US.

                                        In 1971, fresh from the big hit of his first album, Tim went to London and spoiled himself. He smoked, inhaled, drank, traveled on acid, listened to music, argued with his wife and returned to Brazil with 200 doses of LSD to distribute amongst his friends. As soon as he arrived, he went to (recording company) Philips' offices, which he called "Flips," where he visited various departments, beginning with those he considered most "square," like the accounting and legal departments, where he acknowledged the boss and repeated the same introduction, in a calm and friendly voice: "This here is LSD, which will open your mind, improve your life, and make you a better and happier person. It's very simple: there are no side effects. It is not addictive and only does good. You take it like this . . . " He would place the acid in his mouth, swallow it and leave another at the front desk. Since he was one of the best-selling artists for the company, everyone thought it humorous. In the production and journalism departments, the gifts were a success. Even Andre Midani, the president of the company, received his.

                                        In 1974, he converted to a religious sect, the cult of Racional Engergy. The sect was based in the faith that we are perfect beings from a distant planet, exiled on Earth to suffer but able to purify through the reading of a single book and to finally be rescued by flying saucers of our original home. It was a perfect fit for someone like Tim.

                                        STAFF COMMENTS

                                        David says: Original Tim Maia records are thin on the ground in Manchester so sometimes a good comp is the only thing that can fill the gap. This is an afro, latin, psyche pop masterpiece made by a man who believed that we're all aliens exiled on Earth to suffer. If that's true this is as good as way as any to spend your time until the space ship returns to pick you up and take you back home.

                                        Tim Maia

                                        What You Want To Bet ? / These Are The Songs

                                        Debut single from the mighty Tim Maia, released upon his return from the USA in the late 60’s. Maia sings in English here - influenced by his time spend travelling and working in the USA. Both songs are very soulful, reminiscent of the great soul singers of 1960’s USA, who were clearly a powerful inspiration to him.

                                        Mainpoint

                                        Alaska Wartet / Frisbee

                                        When the Growing Bin first bloomed from blog and record store to label it was originally intended to be a reissue imprint. If you’ve kept your ear to the ground and head in the Bin, you’ll know that isn’t exactly how it went down. But for this release we are going back to the scheme a young Basso dreamed up in his adolescent years: bring back the rare, unknown and unfindable.

                                        So here is Mainpoint‘s ‘Alaska Wartet’ - a stunning private pressed 7” entirely unknown to the wider world. Its original 1980 press was less than extensive, and the few copies which did appear were sold exclusively at concerts and local record shops – kudos to all twenty five people who got a copy! Mainpoint started out as a Jazz-Rock outfit in 1978 but as the years rolled on, these guys fell for the funk. Finding a 4/4 in a world of syncopation, Mainpoint fell foul of their elbow-patched pals, being labelled Tanz-Jazz since their audiences actually danced (in contrast to the serious silence of their contemporaries’ concerts).
                                        ‘Alaska Wartet’ made it from Side 2 on the 1980 press to Side 1.This incredibly tight Boogie jam bounds out the speakers with a synth line from heaven and fusion moves galore – it’s sure to put a smile on dancer‘s faces worldwide. ‘Frisbee’ flies of the flipside, inviting dancers to forget about gravity and go for broke.Soaring skywards from this off , this uplifting masterpiece is perfectly topped by that screwdriver hook sung by Ika Hussmann!

                                        Time for some Tanz-Jazz, folks!

                                        STAFF COMMENTS

                                        Patrick says: After the sweet Balearic sound of the Brenda Und Basso 7" last month (B-B-Booglaoo), the Growing Bin groundsman serves up another small format winner with this fine reissue of a German jazz-funk rarity. Oozing grooves and full of fat synths, this is a proper dance floor destroyer with not an elbow patch in sight. Ace!

                                        Fuck with the bull and you'll get the Horn esé, and in this case the bull's a supercharged mechanical mother and the Horn comes on wax. The tenth instalment of the ever reliable chug-loving imprint finds Giallo disco founder Antoni Maiovvi and Dallas producer TX Connect doing the honours for a split 12" of club levelling synth business. Bristol born but Berlin based Maiovvi takes the controls on the A-side, punching directly into the midnight mainframe for the slo motion horror techno of "Point Of Return". Maiovvi employs sustained strings, swirling pads and ghostly melodies to set a classic Giallo scene before dropping a plutonium kick on our asses and taking the whole thing subterranean. Moody, broody and straight up evil, this crypt kicker is not for the faint of heart. If you were hoping for a little light at the end of the tunnel (or on the flip), you're out of luck. TX Connect gets on the vibe immediately, stirring up a hornet's nest of buzzing synths before dropping into a stiff Muzik Box drum pattern. Corrosive sequences and blaring new beat keys carry us right through the looking glass while the seriously creepy vocals add a nasty "Where Is Your Child" vibe to this wall shaking acid house assault.


                                        FORMAT INFORMATION

                                        12" Info: 400, 12" 180g, hand stamped, individually numbered records, single press only.

                                        Modern Giallo disco master Antoni Maiovvi makes his Tusk Wax debut with this four tracker of neon tinged sci-fi soundscapes made for high speed chases, robot showdowns and replicant love scenes. "Moor Teeth" opens the EP with its clipped mechanical rhythm and unsettling synth melodies, ushering us through the metallic towers of Metropolis into the dimly lit underground of decaying hardware. "Ministry Of Death" emerges from the shadow with a percussive intensity, driven forward by rattling drum tracks to deliver its plaintive melody and tug at the heartstrings. Rather than the damage and danger the title suggests, this track actually offers an acceptance at the fate that awaits us all. On the flip, Man Power offers his interpretation of the track, slowing the tempo and weighing in with a plethora of live drums and soft synth lines, soundtracking that moment when our robot protagonists finally find love. Maiovvi brings his EP to a dark conclusion with the precision engineered chug of "Mother Tongue", a brooding bit of ALFOS house which is one with the machine. Tusk Wax show no signs of slowing down as the label approaches another milestone. 

                                        FORMAT INFORMATION

                                        12" Info: 500 12" 180g, hand stamped, individually numbered records, single press only.

                                        Anton Maiovvi & The Karakura Orchestra

                                        Abdullah - Original Score

                                          THIS IS A RECORD STORE DAY 2017 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                          One off pressing for Record Store Day 2017 featuring 180g coloured vinyl and a DVD featuring the short film Abdullah housed inside a 425gsm sleeve complete with a download card.

                                          Maiovvi’s score is a powerhouse tour de force featuring his signature raw electro sound blended with traditional Turkish sound structures and instruments. He has managed to create something totally unique, dark disco that is familiar yet totally alien. The perfect follow up from his last short Yellow. We are very proud to highlight the short film Abdullah included here as a bonus Blu Ray, shot on 35mm the film looks magnificent and the dark tale is perfectly suited to Maiovvi’s delirious take on Turkish standards.

                                          UK = 500 Red Vinyl

                                          FORMAT INFORMATION

                                          Coloured LP Info: Includes DVD.

                                          Antoni Maiovvi

                                          Housewife OST

                                            Burning Witches Records are proud to release Antoni Maiovvi’s killer score for Can Evrenol’s 2017 horror film Housewife.

                                            Housewife centers on a woman who, as a kid, saw her mother kill her father and sister. As she grows up, she’s haunted by dreams of the event. Then she meets a celebrity psychic and all hell breaks loose in her psyche.

                                            Among the things for which Maiovvi is known, is his synth-infused scores — whether for actual films, such as Abdullah or Yellow, or ones not yet made. But for Housewife, Evrenol’s English-language debut after the phantasmagoric Baskin, Maiovvi overall went a more organic, orchestrated route, aside from the final disco cut track.

                                            FORMAT INFORMATION

                                            2xColoured LP Info: Double album on blue and purple discs.

                                            2xColoured LP includes MP3 Download Code.

                                            Majetic

                                            Club Dread

                                              Club Dread is not club music. The production on Majetic’s new album alludes to various dance genres but never quite embodies them. Similarly, the characters populating its ten twilit tracks orbit the nightlife without taking to the dance floor. Amorphous and peripheral, it's music for the sidewalks adjacent the club—a score for the bittersweet comedowns. Club Dread marks a transition for Majetic. Formerly configured as a band, the project has exchanged the name Care for something more emblematic of its singular producer, Justin Majetich. The palette’s changed too. Majetic has built Club Dread, his third LP, almost entirely out of electronics.

                                              The result is agile and restrained—a sleeker vessel for the songwriter’s vivid lyricism and emotive pitch. Club Dread was conceived in Oakland, California, and though Majetic wrote and recorded much of the album upon returning to his home in Queens, New York, the Bay Area provides a setting for its fractured narratives. There's a glimmer of the Bay’s natural beauty evoked in its open, gilded moments. There's also an awareness of the racial and economic disparity run rampant against this idyllic backdrop. Dystopian tension is present throughout Club Dread, and Majetic’s vision of the club is less defined by paradise than it is by vulnerability. But even as the album combs the margins of tragedy, it feels devoted to healing. In the closing track, Majetic captures this quiet conviction, singing “Club Dread like nothing bleeds / like baby gets what baby needs / like violence couldn’t find us underground.” 

                                              FORMAT INFORMATION

                                              Coloured LP Info: Indies only clear vinyl.

                                              Coloured LP includes MP3 Download Code.

                                              Majeure

                                              Mass Flashback

                                                Reviving the essence of Krautrock and classic horror soundtracks, veteran composer and multi-instrumentalist AE Paterra is back with his latest cinematic full-length as Majeure entitled Mass Flashback out September 27, 2019. Known best as one half of highly influential prog duo Zombi, the Pittsburgh area native has been performing and recording experimental music in a multitude of projects for over two decades. Majeure’s arrangements of analog synthesizers, live drums and delicate sound design sculpt a fantastic array of gripping instrumental music that sparks the imagination. From epic to abstract, Majeure’s waves of triumph and despair are orchestrated to guide Mass Flashback through a compelling journey into the cosmic recesses of the sound library and beyond.

                                                Born and raised in rural Pennsylvania, Paterra learned piano as a child and started playing drums in high school. Naturally gravitating towards the creativity and virtuoso style of 70’s and 80’s prog, metal and classic rock, Paterra excelled at percussion and developed a high level of musicianship by the time he moved to Pittsburgh to attend college. After stints drumming with various collaborative projects and touring bands, Paterra met bass and synth player Steve Moore in 1999 and bonded over their mutual love for Italian horror scores and bands like Goblin. The duo released their first album as Zombi in 2001 and have since become widely regarded as one of the best prog bands of the modern era, organically honing a distinct sound and dedicated fanbase over the course of their lengthy discography. After several successful albums and years of touring with Moore, Paterra established his solo identity as Majeure in 2009 to explore nuanced interests outside of the scope of the band. Since then, Paterra has continued his prolific career with both Zombi and as a solo artist in addition to numerous side projects including film scores, gallery residencies, founding his own tape label, and in 2017 he became the synth player in experimental rock band Grails. Throughout his extensive portfolio of work, Paterra continues to return to his self-reflective base as Majeure, adding new innovative chapters to his remarkable and ever-growing legacy.

                                                Mass Flashback marks the return of Majeure in top form, embracing the role of world builder and storyteller through the use of tone and rhythm. Paterra’s signature mood is conveyed through a special union of traditional composition with the seemingly limitless expansion possible with the use of electronic instruments. The slow rising intro of “Face Dancer” and title track “Mass Flashback” are built on layers of warm synthesizers that morph, intensify and eventually burst into methodically pulsing drums and bass. Every peak is carefully balanced with moments of cavernous darkness that seamlessly oscillate between each determined extreme. The euphoric lead melodies of opening track “Longing, Love and Loss” are countered by the ominous drones on closing track “Universal Out,” showcasing the polar sonic spectrum of Paterra’s unique range. On Mass Flashback, propulsive arpeggiations and sequences provide the foundation for chord progressions to gather and ascend into movements of pure harmonic climax. By meticulously shaping every rich and expressive song element, Majeure keeps the audience suspended on each consecutive beat as Mass Flashback progresses through a rewarding odyssey of high drama in electronics. 


                                                Featuring Justin Bieber, MØ, Travis Scott, Ariana Grande, Quavo, Nicki Minaj, Sean Paul and many more, "Essentials" highlights Major Lazer’s reach across the globe, and the vast range of their influences and influence to date. Essentials features a brand new release, “Blow That Smoke” featuring Tove Love, plus their biggest hits to date, “Lean On” (the first independent track to hit #1 on U.S. Top 40 radio) and “Cold Water,” two of the most streamed songs of all time on Spotify.




                                                STAFF COMMENTS

                                                Matt says: A concise retrospective of Major Lazer's vast back catalogue. The trail-blazing, nu-dancehall star's got plenty to bounce, jig and strut to; so get yer ears round this bad boy and cop some of the hottest collaborations of the last decade!

                                                FORMAT INFORMATION

                                                3xColoured LP Info: Triple 12” vinyl limited numbered edition. 3 colored vinyls in gatefold sleeve with printed inner-sleeves and etched design on F side. Includes a 30x60cm poster and the 2CD album in clear plastic sleeves with flap.

                                                It's hard to think of another artist who has their feet firmly planted across as many styles as the Mad Decent founder, head honcho and brand ambassador, Diplo. Equally immersed in Top 40 and hip-hop world as he is in underground club, indie rock and world music, the Grammy-nominated producer is embarking on his most ambitious year yet with not just the launch of the new Major Lazer cartoon on FXX, but also the release of a new Major Lazer album, 'Peace Is The Mission'. This will be the third studio album from Major Lazer, the dancehall collective spearheaded by Diplo with trusted co-conspirators Walshy Fire and Jillionaire.

                                                Fans who’ve learned to associate Major Lazer with some of the biggest names in dancehall alongside up-and-comers and mainstream mainstays can expect even more exciting names on this go. 'PITM' features guest contributions from Ellie Goulding, Elliphant, Wild Belle, MØ, Pusha T, 2 Chainz, Travi$ Scott, Jovi Rockwell, DJ Snake, Tarrus Riley, Mad Cobra, Nyla, Chronixx and a re-work of the Hunger Games: Mocking Jay Pt 1. motion picture soundtrack song "All My Love" featuring Ariana Grande from Trinidadian star Michel Montano.

                                                When Major Lazer first launched in 2008, tastemakers embraced the indie side project and niche underground media outlets championed the sound. Seven years later, Major Lazer have developed their sound to become integrated with pop music and beyond and continued their ascent, recognised by their peers, fans and media around the world as leaders in a genre they helped to build.

                                                FORMAT INFORMATION

                                                2xLtd CD Info: Indie exclusive with bonus disc.

                                                Major Matt Mason USA

                                                Me Me Me

                                                Sublime acoustic pop from Kansas-born, NY based 'anti-folkster'...A voice that makes Michael Stipe sound like Joe Bloggs singing karaoke...Brilliant Michael Shelley-esque lyrics about winding up on the wrong side of love....

                                                Major Murphy

                                                No. 1

                                                  Major Murphy is set to release their debut full-length No. 1. Those who caught feelings for “Mary,” the plaintive single released in November of 2017, may be pleased to find that the single is no outlier in this album. Brimming with jangly guitar, bright riffs, synth-sheened grooves, and commanding backing vocals, No. 1 reimagines 1970s radio rock with bristling sensitivity for our present era. Not quite pastiche, the lyrics of songwriter Jacob Bullard come from millennials’ unique cache of societal anxiety and ego-crises. On one hand, the technicolor and mechanized world of No. 1 is unmistakably ours: we are over-stimulated and pressured, confused and frustrated. On the other, Bullard heaves up worries seeded in adult selfhood and relationships, working for answers beyond life’s many brief and manic vanities.

                                                  The album’s musical sensibilities catch all this with A-side’s sudden velocity and mechanical repetitions, and B side’s encouraging grooves and contemplative soft-rock. The sound is rich and evocative, owing in large measure to bassist Jacki Warren’s faculty for harmonic structure. Drummer Brian Voortman’s keen responsiveness to melodic progressions and emotional shifts make for concert-like, energetic recordings--in fact, most of No. 1 was recorded live, capturing how naturally Major Murphy makes music together. When Major Murphy tours, they travel in a light-blue Dodge van and make a memorably caring and playful threesome. On stage, they’re a tight and assertive performance.

                                                  “This album is kind of an experiment,” says Bullard, “We wanted to see what would happen if we recorded in a studio instead of at home. We wanted to extend the idea of capturing our live dynamic a little further.” The result is an album that holds the kinetic charge of these three musicians. With precise control and live versatility, they never quite let the tension out. Even their dreamy soft-rock tracks have moments that feel utterly urgent, as if something dear were at stake. And isn’t there? 

                                                  After a quiet year for Invisible City Editions in 2018, the Canadian diggers storm into 2k19 with a sublime reissue of a private press spiritual jazz LP from D.C's Jeff Majors. Composed on harp, drum machines and synths, "For Us All (Yoka Boka)" follows a similarly transcendent path to Alice Coltrance's later compositions; no surprise since Majors was a student at her Ashram, as well as playing in Brother Ah's band. But where Coltrane opted for the chanted mantra, Majors enlists vocalist to experiment with standard songs, here The Beatles' "Let It Be" and the Gershwins' "Summertime". Set to a propulsive rhythm section of Linn drums and Moog bass, the sweet vocals and atmospheric harps create a unique and otherworldly feeling. Remastered and repressed for the 21st century, this ace Invisible Cities reissue comes with an information booklet and new artwork.

                                                  Look what we've just found! Only one copy of each though so first come first served!

                                                  Originally released on their own label in 2007, "LSB" sounds like the schizoid little brother of Big Audio Dynamite raised on a diet of limited edition LCD Soundsystem, Stereolab and Kompakt records but somehow ending up as the most ludicrously catchy art school indie to come out of Glasgow since Franz Ferdinand. Fantastic!

                                                  FORMAT INFORMATION

                                                  Ltd 7" 2 Info: 7" part 2 is Found's 'Broken Ground Remix' of "The LSB" and includes "Saturday Night Obsession" on the B-side. Comes with a limited edition print.

                                                  Ltd 7" Info: 7" part 1 is limited edition yellow vinyl and features the 'radio edit' of "The LSB", with "Over & Out" on the B-side.

                                                  Miriam Makeba

                                                  Pata Pata

                                                  Strut presents an all-time classic of South African music, the definitive remastered edition of Miriam Makeba’s ‘PataPata’, her first album recorded for Reprise in 1966. The album marked a significant international breakthrough for Makeba.

                                                  Moving to the US after the anti-apartheid film ‘Come Back, Africa’ gained international attention and staying there in exile, she quickly built her career in New York during the ‘60s, mentored by Harry Belafonte. Signing with Reprise after a period with RCA, she returned to one of her older songs: “I wrote ‘PataPata’ back in 1956, back in South Africa,” remembered Makeba in her autobiography. “It was a fun little song and I was thinking of a dance that we do at home (“pata” means ‘touch” in Zulu and Xhosa).”

                                                  Originally a hit in South Africa with her early vocal harmony group the Skylarks, the new recording, produced by Jerry Ragovoy, brought a lighter uptempoR’nB arrangement, adding some English lyrics. “It was my first truly big seller. All of a sudden, people who never knew I had been in America since 1959 were asking me to be on their television shows and play at their concert halls during 1967. In the discotheques, they invented a new dance called the ‘PataPata’ where couples dance apart and then reach out and touch each other. I went to Argentina for a concert and, across South America, they are singing my song.”


                                                  Makeness drops his debut album, "Loud Patterns" on the Secretely Canadian labe. Crafting tracks which make a virtue of disparate influences, Kyle Molleson manages to pull off something difficult: songs which have been tirelessly worked on, although sound loose-limbed and to-the-point.

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

                                                  Cosmic Slop, an underground institution in Leeds, was another touchstone. As Kyle recalls,'That place was definitely an awakening in terms of dance music.' It boasts a hand-built, peerless soundsystem, a near-pitch black dancefloor and a music policy that ranges from Dilla instrumentals to Detroit house. It takes dance music away from regimented structure, fashion and trends and into a freeform world of creative, one which Kyle thoroughly embraces.

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

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


                                                  Midnight Drive extend their winning streak with this most beautiful and unique of records - Makers 'Don't Challenge Me' - A truly idiosyncratic early 70's electronic oddity that has long been a coveted and highly prized piece of music by obscure music lovers for many years.

                                                  Makers was the moniker for another studio project by legendary euro-disco pioneer Boris Midney. Midney, a Russian ex-pat, explored his own sonic world and in the process crafted some of the biggest records during the most fertile times in the disco period, he created numerous projects including Beautiful Bend, USA-European Connection, Caress and many more.

                                                  A classically trained musician and jazz artist, his trail-blazing studio work meant he was one of the first producers to embrace the capabilities of multi-track mixing in a most creative way. Listening to this 45, a limited release on his own 'Midney' micro label, you can certainly hear genius at work, it's mind boggling that this record was crafted when it was (1972) as it sounds totally ahead of it's time and sounds exciting and original to this day.
                                                  This is the very first time this record has ever been reissued (it was included on the most incredible 'Personal Space' compilation from a few years ago) and people will be very surprised to hear the b-side for the very first time - 'You're Shy' - A sweet soul number that almost recalls The Staple Singers and could easily have been released on Stax or any familiar labels of that ilk that somehow manages to retain the strange and overall DIY aesthetic of the 'Makers' sound.

                                                  STAFF COMMENTS

                                                  Patrick says: If, like me, you became obsessed with the kaleidoscopic world of those Trapdoor mixes a few years back, you'll lose your shit for this 7" reissue. The work of Boris Midney, "Don't Challenge Me" is a superbly spacey psych-funk groover, packed with seductive soul and the nebulous haze of the milky way.

                                                  Andrew Makin

                                                  So Long After Birth

                                                  Born in Northern Ireland and growing up in South Wales before settling in Manchester, Andrew Makin has been writing and playing music for almost a decade. His influences range from Rolling Stones, Led Zepplin and Early Aerosmith to Nine Inch Nails, A Perfect Circle and Velvet Revolver. "So Long After Birth" is a dynamic rock track with a solid bass line and heavy guitar riff.

                                                  This sophomore effort by Montreal's Malajube is the best francophone indie-rock release in recent memory. Catchy, heavy, light, playful and exhilarating - it rocks non-stop, and in a multitude of ways. The underlying theme of sickness runs through the disc like death did on the Arcade Fire's "Funeral". But it's filtered through textured, sweeping and frequently beautiful songwriting. Guests include rappers Loco Locass, singer Pierre Lapointe and Dears members Martin Pelland and Valerie Jodoin-Keaton. This is a big record, a great record, by what could very well be your new favourite Montreal band.

                                                  FORMAT INFORMATION

                                                  LP Info: Was £11.99. In a gatefold sleeve and limited to just 300 copies.

                                                  Malaria!

                                                  Compiled 2.0

                                                    Founded in Berlin in January of 1981, Malaria! has a legacy that goes way beyond being Germany's very first all-female post-punk outfit. Motorik beats and dark synth flourishes underscore nearly gothic vocals on songs that range from New Order-esque pop to the grimmest of bad-trip-inducing experimentalism.

                                                    With 20 tracks from the group's influential early years, Compiled 2.0 gathers together all of the debut album, 1982's Emotion, as well as the first single and various other EP and compilation cuts. This is the definitive collection of a pioneering group that has been woefully underrepresented on vinyl for decades.

                                                    January 1981 found Gudrun Gut and Bettina Koster in Christopher Franke's Berlin-Spandau Studio recording their first Malaria! EP (Zensor Records). Christine Hahn of The Static with Glenn Branca and Barbara Ess, joined in from New York, and Manon P. Duursma fresh from Nina Hagen's O.U.T. project and Susanne Kuhnke completed the Line-Up. Malaria! started touring intensively soon after the release of their 12", commencing with a concert with New Order at Brussel's Ancienne Belgique, and going on from there to concerts with Siouxsie and the Banshees, Birthday Party, The Slits, The AuPairs, Raincoats, Nina Hagen, John Cale, Einsturzende Neubauten. They played venues as diverse as the Mudd Club, Peppermint Lounge and Studio 54 in New York, the Documenta in Kassel, the Bat Cave in London, Les Bains Douche in Paris, Milky Way and Paradiso in Amsterdam, ICA in London, the Piazza Santa Maria Novella in Florence and Markthalle in Hamburg and naturally, again and again, at the SO36 in Berlin.While touring, Malaria! used their time off to record in Studios in New York, London, Brussels, New Orleans, and in Berlin (How Do You Like My New Dog? 7", Weisses Wasser 12", New York Passage 12", Revisited MC, Emotion Album). At the BBC studios in London Maida Vale Malaria recorded an Kit Jensen and a John Peel Session. Malaria! took a break in 1984 - Bettina and Christine re-located to New York, and Gudrun and Manon stayed in Berlin to form, with Beate Bartel, Matador, but not before they recorded their Mini-Album, Beat the Distance. 1992 Gudrun, Bettina, Christine, and Manon met up in New Orleans with Jim Thirlwell (Foetus) to record Elation 12". Elation was followed by Cheerio, Album, which again was recorded in Berlin.Chicks on Speed did their own version of Malaria's song, Kaltes Klares Wasser in 2001, and the Remix went into the German Top 10. Malaria has been an instrumental part of Berlin Music History

                                                    Michael Malarkey

                                                    Mongrels

                                                      What comes first? The actor or the songwriter? For Michael Malarkey, the writer came first, then the self-taught musician, rapidly followed by the self-made actor Malarkey was born in Beirut, Lebanon to an Irish-American father and a British mother of Arab/Italian origin and is most famous in the acting circles for his role as the notorious Enzo in the hit CW series The Vampire Diaries. Growing up in Yellow Springs, Ohio, Malarkey travelled to London to study at the London Academy of Music and Dramatic Art and alongside his acting career he immersed himself in music. ‘I consider it a form of poetic journalism. It’s an endless journey of self-discovery.’

                                                      Described recently as folk-tronica’ (Metro), Malarkey’s musical imprint is inspired by a host of different artists and his debut record Mongrels is a demonstration of an eclectic musical taste. Admitting to enjoying the exploration of the darker side of his nature in an effort to find peace with it, Malarkey utilises his discoveries to inspire his songwriting. ‘A lot of what this record is about is that whole struggle of wrestling with those opposing forces within us; the duality of animal and human’ The outcome is songs that are both lyrically deep and melodically potent, ‘the key is to keep the balance’.

                                                      Mongrels doesn’t beat around the bush. The songs don’t jump and down, they don’t wear fancy clothes but lyrically the record plunges you into the depths of a passionate poet with an ear for melody. Malarkey’s writes a mixture of introspective country/folk music or driven, ravenous blues songs with lyrics filled with a haunting beauty, yet displaying a warm soul. Each song is a new journey into another corridor of his mind, charged with the depth of a man who sees the world in imagery and emotion.


                                                      Michael Malarkey

                                                      Mongrels

                                                        What comes first? The actor or the songwriter? For Michael Malarkey, the writer came first, then the self-taught musician, rapidly followed by the self-made actor Malarkey was born in Beirut, Lebanon to an Irish-American father and a British mother of Arab/Italian origin and is most famous in the acting circles for his role as the notorious Enzo in the hit CW series The Vampire Diaries. Growing up in Yellow Springs, Ohio, Malarkey travelled to London to study at the London Academy of Music and Dramatic Art and alongside his acting career he immersed himself in music. ‘I consider it a form of poetic journalism. It’s an endless journey of self-discovery.’

                                                        Described recently as folk-tronica’ (Metro), Malarkey’s musical imprint is inspired by a host of different artists and his debut record Mongrels is a demonstration of an eclectic musical taste. Admitting to enjoying the exploration of the darker side of his nature in an effort to find peace with it, Malarkey utilises his discoveries to inspire his songwriting. ‘A lot of what this record is about is that whole struggle of wrestling with those opposing forces within us; the duality of animal and human’ The outcome is songs that are both lyrically deep and melodically potent, ‘the key is to keep the balance’.

                                                        Mongrels doesn’t beat around the bush. The songs don’t jump and down, they don’t wear fancy clothes but lyrically the record plunges you into the depths of a passionate poet with an ear for melody. Malarkey’s writes a mixture of introspective country/folk music or driven, ravenous blues songs with lyrics filled with a haunting beauty, yet displaying a warm soul. Each song is a new journey into another corridor of his mind, charged with the depth of a man who sees the world in imagery and emotion.


                                                        Weirdo-punk supergroup Male Gaze is back with nine new chunks of octave-pedal abuse and sultry croons with King Leer, their first proper long-player. This time around, the trio of Matt Jones (ex-Blasted Canyons), Mark Kaiser (ex-Mayyors), and Adam Cimino (ex-The Mall) have added former Blasted Canyons and Tiaras member Adam Finken on second guitar and resident Castle Face engineer Chris Woodhouse behind the boards to ramp up the skuzzpop of last year’s Gale Maze into brutal wall-of-sound territory.

                                                        “On King Leer, the boys toy with their poppier side, dosing the songs with syrupy melodies and some newfound heartfelt introspection, but they’re by no means going soft on us—these tracks, buried beneath mountains of fuzz and pounded out with Adderall-fueled fury, pack enough sonic punch to rattle your brain loose.” - Luca Cimarusti, Chicago Reader. 

                                                        Fans of early 90s Am Rep crunch will dig deep here!!

                                                        Male Gaze

                                                        Miss Taken

                                                          “Matt, Mark and Adam, aka Male Gaze, return quickly from the brainy roar of their previous album King Leer with their six heels hanging even further over the edge of the abyss. Good bands often pull punches but the great ones don’t and these charismatically scarred veterans of romance, gear singed from all too real firefights in the dark world of adulthood, lodge ten new slugs into your vest. Your life was spared but you’ll feel every second of the thirtyfive-plus minutes, grateful that all you got was a bruising. Imagine what it did to them! Have you ever flung yourself out there to such a degree that you risked total humiliation if it all went south, to where the next step would be self deportation to some distant island of annihilation in your mind? How did that work out for you? Don’t worry, Male Gaze knows and they wrote some songs about it. Look out your window, down at the glittering metropolis below and listen to this album.” - Henry Rollins.

                                                          Malihini

                                                          Hopefully, Again

                                                            Malihini may mean ‘newcomers’ in Hawaiian, but Rome-based duo Giampaolo Speziale and Federica Caiozzo deal exclusively in the music of lived experience and time-honed emotional intelligence, their disarming musical universe never less than distinctive, yet resonating with a confessional, modern European pop sophistication of a kind elsewhere purveyed by the likes of Charlotte Gainsbourg, Jose Gonzalez and Our Broken Garden. Listening to the ten co-written songs that grace Malihini’s exquisite debut album, Hopefully, Again, can sometimes feel like eavesdropping on a couple’s intimate emotional dialogues, such is the ingenuous honesty of the duo’s writing. Yet combined with their minimal, yet opulently textured arrangements (“classic song writing matched with pared-down electronics”, according to Clash), crammed with subtle melodic hooks and an embarrassment of earworm choruses, they transform the personal into the universal with a delightfully unforced eloquence. The bulk of the writing for Hopefully, Again took place during an extended retreat on the Aeolian island of Vulcano, off the coast of Sicily. Images and atmospheres of the sea and ‘blueness’ duly permeate the album’s leanly arranged songs. Swapping these idyllic environs for Mid Wales, specifically the remote Giant Wafer studio in Powys (“it was just us and a few sheep and chickens”, recalls Speziale), the album was recorded quickly, with the duo playing most of the instruments live, abetted once again by producer Richard Formby and long-term drumming amico Alberto Paone.

                                                            FORMAT INFORMATION

                                                            Coloured LP Info: Limited edition indies exclusive orange vinyl.

                                                            Coloured LP includes MP3 Download Code.

                                                            The rumours are true: the secret electronic album that Stephen Malkmus has been telling everyone about sees the light of day through Domino. But Groove Denied is not a full-blown plunge into EDM or hiptronica. In fact, there aren’t any purely instrumental tracks on the album. Every song is precisely that: a song, featuring Malkmus staples like an artfully askew melody and an oblique lyric. Groove Denied is Stephen playing hooky from his customary way of going about things, jolting himself out of a routine. As Malkmus commented, “It’s fun to mess with things that you’re not supposed to.”

                                                            The first taste of Stephen’s new groove can be sampled today, with the release of single ‘Viktor Borgia’, and its accompanying video starring Stephen alone in a dance club. The title playfully merges the name of the comedian-pianist and the ruthless dynasty of Italo-Spanish nobles. With its stately melody and the almost-English-accented vocal, the coordinates here are early Human League or even Men Without Hats. “I was thinking things like Pete Shelley’s ‘Homosapien’, the Human League, and DIY synth music circa 1982,” says Stephen, adding “and also about how in the New Wave Eighties, these suburban 18-and-over dance clubs were where all the freaks would meet – a sanctuary.”

                                                            STAFF COMMENTS

                                                            Barry says: It's bloody brilliant this, with hints of post-punk garage and most of all 80's synth, Malkmus clearly shows his wealth of influence on 'Groove Denied', swinging from snappy grunge to 70's psychedelia without batting an eyelid. Though the diversity in sound shines through, it's not without the Malkmus charm, with his vocal prowess shining through the stylistic patchwork.

                                                            FORMAT INFORMATION

                                                            LP Info: Black vinyl.

                                                            LP includes MP3 Download Code.

                                                            Stephen Mallinder

                                                            Um Dada - Signed Edition

                                                              Stephen Mallinder, co founder and frontman of the iconic Cabaret Voltaire, has returned with his first solo album in over 35 years: Um Dada. Laced with leftfield house and cut up sound collages, Um Dada is a melding of energies that are an exercise in simplicity and motion. Sincere, playful realism that beckons your body to move, always reminding you to never take yourself too seriously without forfeiting your agency.

                                                              While steering Cabaret Voltaire through the 1980’s, Mallinder was already busy piecing together his first solo album entitled “Pow Wow”, which would help define Mallinder’s interest in the more leftfield electro sounds shaping England at the time. It was this diverse and abstract hybrid that helped inspire generations of artists and musicians through steeping raw machine funk within the whimsical and absurdist ideology.

                                                              Since the release of “Pow Wow” in 1982, Mallinder continued his pioneering work with Cabaret Voltaire, as well as recording and touring with his electro projects Wrangler, Creep Show, Hey Rube, Kula, and Cobby & Mallinder. In addition to his non stop schedule in electronic music, his professional life as a journalist, broadcaster, producer and now a professor of Digital Music & Sound Art at the University of Brighton, has lead Mallinder to a unique point in his career. Most in his position would be caught up in rosy retrospection, but Mallinder himself says, “There’s too much digital finger licking right now; every thought and desire at the turn of a dial... well a click of the mouse. And there’s a giddy, false nostalgia about the analogue past. Sorry to burst your bubble but the truth of history is more mundane: practical, pragmatic...Um Dada is about ‘play’ cut and paste, lost words, twisted presets, voice collage, simple sounds things that have been lost to technology’s current determinism. Let the machines talk to each other, let them dance .. they lead, we follow.”

                                                              Um Dada opens up with the exact machine led surrealism that Mallinder recommends in “Working (You Are)”. A thick, stripped back dance floor groove provides the ideal foundation for Mallinder’s eccentric vocal cuts. The frisky chops present an almost twisted irony, subtly bringing to mind the role we’re all forced to play as just another cog in the ever grinding capitalist machine of life. Yet, somehow, the listener is left feeling optimistic. A prime example of simplicity at work. Tracks such as “Satellite” give a skillful illustration of Mallinder’s adeptness with his musical expertise while preserving his core historical context as only simple reference. The underlying bassline and percussion, coupled with the floating melodies and airy vocal refrain disclose the vulnerabilities of love and loss without a hint of irony or nostalgia.

                                                              Um Dada is mischievously idealist, however never loses touch with reality. Offering structure while simultaneously dismantling any and all preconceptions. The spirit of sincerity that sustained Cabaret Voltaire’s lengthy career is abundantly present within founder Stephen Mallinder’s journey through his own whimsical utopian consciousness and staking claim to an identity that is solely his own.

                                                              STAFF COMMENTS

                                                              Barry says: One of the most singular voices in English electronica returns for his first solo album in over 30 years. 'Um Dada' encompasses everything we love about Mallinder and while his most recent collabs (Creep Show with shop favourite John Grant was a particular highlight) clearly showed his influence, it's great to hear his own sound, undiluted and unadorned, and switching effortlessly between a huge range of influences and sounds.

                                                              FORMAT INFORMATION

                                                              Coloured LP Info: Clear vinyl. Signed copies while stocks last!

                                                              CD Info: Signed copies while stocks last!

                                                              "Secret Love" is the first single taken from "Pearl Diver", the fourth album from the German shoegazers Malory. 10 years after their debut album "Not Here Not Now" was released they are back once again.

                                                              Eric Maltz kicks off his Flower Myth label earlier in the year with "Pathway". Warmly received by me and WHP / Love International star DJ, Krysko, it showed a unique flair and sonic prowess from this producer who owes much of his break to New Jersey's Levon Vincent who mentored him during his early years.

                                                              “Estuaries” sees the producer drop his second personalized twelve-inch, and features four electronically produced tracks that, though skirting freely through house music's loose framework, instantly purvey a character and individuality that belies his relatively short time spent making tunes.

                                                              Definitely inspired by techno's cutting edge production, the easiest comparisons I can make are with DJ Qu and friend / luminary, Levon Vincent. These are tracks for late into the session, blackened with thick textures and unrelenting rhythms yet dynamic and undulating like all good house music structures. 


                                                              STAFF COMMENTS

                                                              Matt says: I've got a feeling me and the aforementioned Krysko will be bagging this pronto and moving it swiftly to the front of our bag yet again. We suggest you do the same!

                                                              Long term friend and cohort of Leven Vincent, Eric Maltz is the latest artist to grace the hallowed Novel Sound. Hailing from New York City, and now residing in Berlin, his life alongside the label honcho has included a long stint in Halcyon Records' (Brooklyn) and a dynamic series of parties that the pair threw in and around the area. A debut album that takes on the industrialized, technoid aesthetic of Novel Sound and injects it with a kind of cybernetic emotion that makes it glisten like a neutron star. From the opener, "Drone Y Besa" which hints at its cyborg-pop sensibilities to the inter-planetary bounce of "Time". "All The Things" sends shatter-like ripples through the space time, as another yearning vocal part gets shrouded in dark matter and red shift. "Symphony At Dawn" sees the second disc introduced with style and aplomb, a cosmic arpeggio pushed ever-outward into the outer cosmos and met with emotion-riddled strings and sweeping mainframe bursts. One hell of a ride this one folks, a more than competent addition to the flawless NS catalogue. 

                                                              Eric Maltz Presents Cristina Valentina

                                                              Naked Broken

                                                              New York producer and pianist Eric Maltz lives in Berlin. He produces and mixes his music in a simple, subtle and elegant way and puts his music out on his own label - Flower Myth.

                                                              In 2017, Eric Maltz released his first record on Levon Vincent’s Novel Sound, including the splendid “We Have Power”, an ode to freedom and celebration of life, featuring the warm vocals of Peruvian Cristina Valentina.

                                                              On the brooding rhythmic dancefloor, Cristina’s voice opens up and hints at the power of a meaningful lyric, how a loving message can touch the heart ever so strongly.

                                                              Over the past year, “We Have Power” has become a permanent fixture in the Possible Futures record bag. The two had to learn more about Eric and Cristina. “Naked Broken” is the first engraving of this newly formed and inspiring musical friendship. A deep and emotive track rooted in a rich NY house tradition and featuring a variety different versions and reductions for the adventurous DJ. Sterling stuff. 


                                                              Eric Maltz had a busy 2018 with the release of the first two records on his label Flower Myth. The frenetic "Pathway EP" and the dub-techno informed "Estuaries EP". The smashing vocal single "Naked Broken" followed on Possible Futures as well as a remix for Marlon Hoffstadt, a debut performance at Berlin’s Atonal Festival and to close the year, a live set at Tresor with close friend Levon Vincent whose Novel Sound label released Eric's 2017 double EP NS-17.

                                                              2019 is now well underway and Maltz returns with another fresh look from his delectable audio wardrobe.

                                                              A side “Dream Journal” is one for the REM cycles. A development of Maltz’ signature psychedelic deep house sound, dub sound effects jump in and out of focus, swirling arpeggios pan across the stereo field and a playful piano solo take turns at the center of the stage as a deep bass line and funk-ready drum machine hold the fort.

                                                              On the flip, “Subliminal Virgo” is exactly that, hitting with a loose breakbeat and echoes of "Dream Journal" before settling into an unstoppably subby 4x4 throb. A synth solo hides deep under the layers as Maltz adventures into the dark chasms of thought gaps. Proving himself to be quite the unique and individual producer is our Eric, with little regard to whatever Fact and RA might be buzzing off this month, he's quietly developing his own infectious sound. Check! 



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