MAGIC MIX

ALL GENRES

BACK CATALOGUE - M

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.

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! 


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.”

      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".

        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

        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'.

          The Magic Gang

          Death Of The Party

            The Magic Gang made a stellar return with the joyous ‘Think’, which added some fleet-footed Northern Soul grooves to their melodic take on modern indie. It immediately made an impact at Radio 1 as it premiered as Annie Mac’s Hottest Record in the World, while Jack Saunders subsequently named it as Tune of the Week. Further radio play also came from Matt Wilkinson at Beats 1 and John Kennedy at Radio X.

            The Magic Gang now build on that flying momentum with the news that their buoyant new album ‘Death Of The Party’ will be released on May 15th. It follows their self-titled first album, which was hailed as one of the best debuts of 2018 as the band earned award nominations from NME and Q.

            ‘Death Of The Party’ was recorded in Atlanta with the Grammy-winning producer Ben H. Allen (Deerhunter, Animal Collective, Gnarls Barkley), whose work in alternative and pop matches for band’s own blend of genres.

            The quartet approached the album with two objectives in mind. They aimed to broaden the scope of their harmony-rich, melodically focused pop. And inspired by Lou Reed, Alex Turner and especially Jonathan Richman they wanted to take a more observational lyrical approach.

            The stories they tell reflect the experiences of many of their early-twentysomething contemporaries. They explore anxieties about money, relationships and the future, but also the fun moments that they use to escape from such issues. Two songs – Jack Kaye’s ‘Make A Sound’ and Kristian Smith’s title track – best encapsulate their flair for a narrative, with two radically different perspectives on a New Year’s Eve party. Meanwhile, the album closer ‘(The World) Outside My Door’ explores Jack’s guilt at writing music while the Extinction Rebellion protests were hitting the streets.

            The album also finds The Magic Gang evolving their sound without losing what people loved them for in the first place. There are elements of disco in ‘Take Back The Track’ and ‘Make A Sound’, ‘Gonna Bounce Back’ hits somewhere between slacker rock and post-punk, while the piano, strings and vocal harmonies on ‘I Am Sunshine’ recalls their love of Brian Wilson and The Beach Boys.

            FORMAT INFORMATION

            Coloured LP Info: Limited clear vinyl edition.

            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.

            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.


              The Magnetic Fields

              Quickies

                Nonesuch Records releases the Magnetic Fields’ Quickies, a set of five vinyl EPs that features twenty-eight new short songs by Stephin Merritt, ranging in length from thirteen seconds to two minutes and thirty-five seconds. Quickies also will be available on CD.

                Merritt explains his thinking behind the Quickies concept: “I’ve been reading a lot of very short fiction, and I enjoyed writing 101 Two-Letter Words, the poetry book about the shortest words you can use in Scrabble. And I’ve been listening to a lot of French baroque harpsichord music. Harpsichord doesn’t lend itself to languor. So I’ve been thinking about one instrument at a time, playing for about a minute or so and then stopping, and I’ve been thinking of narratives that are only a few lines long. Also, I had been using a lot of small notebooks, so when I reach the bottom of the page, I’ve only gone a short way. Now that I’m working on a different album, I’m enforcing a large notebook rule so that I don’t do Quickies twice in a row.”

                Quickies features Merritt and other Magnetic Fields band members Sam Davol, Claudia Gonson, Shirley Simms, and John Woo. They are joined by longtime friends and collaborators Chris Ewen, Daniel Handler, and Pinky Weitzman.

                To date, Stephin Merritt has written and recorded twelve Magnetic Fields albums, including the beloved 69 Love Songs and the 2017 critically acclaimed Nonesuch box set, 50 Song Memoir, which chronicled the first fifty years of the songwriter’s life with one song per year. New York magazine called the box set ‘a celebration of Merritt’s sky-high range as a writer and a player, through the exploration of the circumstances that helped cultivate it … a delightful flip through the untold back pages of one of rock’s most singular voices, and, all in all, the best damned Magnetic Fields album in the last ten years.’ 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

                CD Info: Softpak with one disc.

                Magnetic Fields

                69 Love Songs

                  Originally released in 1999. 6xLP is black ten-inch vinyl in box with ten-inch book insert and full album download. 3CD is jewel case box set and book insert. 

                  FORMAT INFORMATION

                  3xCD Info: 3CD is jewel case box set and book insert

                  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!

                  Magnetic Fields

                  The Wayward Bus / Distant Plastic Trees

                    The 1st and 2nd albums by The Magnetic Fields; originally released in 1991 & 1992. 2xLP is black vinyl in two jackets with obi wrap and full album download. 

                    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.


                      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.

                      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. "    

                        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.

                        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.

                        Main Source

                        Think / Think Instrumental

                        Joint American/Canadian hip-hop group Main Source were late 80s, early 90s hip hop giants, right from the off. The reason? Their debut single, "Think", was an immediate hit: the hard hitting rhymes and crisp boom bap struck a cord and went on to become a hugely sought after 7". Now it gets a proper reissue with the original piano hooks, busy scratching and big horns all sounding fresh as ever, while the instrumental on the flip provides an alternative take. For a slice of OG hip hop goodness, there are few finer tracks.

                        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!

                        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.

                          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. 


                              Linda “Babe” Majika

                              Don't Treat Me So Bad - Vinyl Reissue

                                Linda “Babe” Majika’s insanely brilliant Don’t Treat Me So Bad is a tight six tracks of blistering electro-flavoured bubblegum and synth-drizzled solar-powered machine-funk. It has become increasingly hard to find, with copies currently moving for over £200. But this is definitely a case of eye-watering price equalling heart-thumping quality.

                                Once of the Hot Soul Singers, Don’t Treat Me So Bad was Linda’s debut LP as a solo artist. It was produced by Ace Mbuyisa of boogie-funk maestros Freeway and was originally released on Umkhonto Records in South Africa in 1988.

                                The enormous “Let’s Make A Deal” is probably the best known track here, and it’s definitely the best one if you ask us. Linda’s vocals drip with attitude over warm, breezy synths and an urgent, edgy electro beat to create a timeless club-ready bomb that sounds as fresh as ever. But the rest of the album is far from filler.

                                Opening track “Kunzima (Tabalaza Mjita)” instantly brings the sunshine vibes, strutting out the gate with that unmistakable South African steppers groove. It’s a deceptively simple song, with multiple instrumental elements arriving and taking leave with admirable restraint.

                                “It’s Our Home” is a powerful showcase for Linda’s vocals, enhanced by some life-affirming call and response backing vocals throughout. In fact they’re a joyous presence on the whole album. The insistent pipes and swirling, bubbling synths of title track “Don’t Treat Me So Bad” follow. A spacious proto-piano house banger that closes out the first side in phenomenal fashion.

                                Arriving as track two on the second side, “Unga B’Omthemba Umuntu” has the unenviable task of following the huge “Let’s Make A Deal”. It does the job with class, bringing the tempo down to a mid-paced tropical bounce with lilting harmonies and welcome traces of hi-life guitar. Wonderful stuff. “Playboy” is is another unbeatable head-nod groover rounds out the set wonderfully. That bassline high in the mix is to die for, and the chorus will make any dancefloor smile.

                                As ever, Simon Francis on mastering duties elevates this release, adding heft and elegance in all the right places with his customary deft touch. The memorable cover art, in which Linda appears straight out of the 1950s with her polka dot skirt and butter-wouldn't-melt pose, has been faithfully restored. But don’t let the innocent styling fool you - Don’t Treat Me So Bad is the work of one badass woman who can hold her own, and then some.


                                FORMAT INFORMATION

                                LP Info: 2020 re-issue, 140g vinyl, remastered from the original tapes.

                                Linda Majika / Thoughts Visions & Dreams Feat. Ray Phiri

                                Let's Make A Deal / Step Out Of My Life

                                Double sider 12" including the bubblegum club track ''Let's Make a Deal'' by Linda "Babe” Majika, which was originally released on the rare 'Don’t Treat Me So Bad' lp in South-Africa, 1988. On the flip, you’ll find the deep late-night saxophone driven tune ''Step Out Of My Life'' which includes Don Laka on the keyboard and is produced by Ray Phiri, who also founded the popular South African group 'Stimela'. The song was originally released in 1989 and finally sees a reissue, pressed as a loud DJ-friendly 12-inch.

                                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? 

                                  Major Surgery

                                  The First Cut

                                    Only 500 were originally pressed of this Malcolm Mills produced LP in 1976. The music has aged well, in Weller's mix of stop-start surges and warbling warmth on Jubileevit, the dirgey Dog and Bull Fight, the soul-sax anthem Foul Group Practices and the bouncing Calypso Reg. Guitarist Jimmy Roche occasionally sounds like an interloper from a different gig, and Weller's solo loquacity is a hard act to follow throughout; but this accessible and inventive music has much appeal, with Weller establishing just why he was a great in the making, and Tony Marsh a firestorm at the drums. ---------- In my liner notes of the 2012 CD release of this album I recall that when the vinyl was issued in 1977

                                    “I get five hundred LPs pressed...manage to sell a few hundred...keep the rest...it disappears into legend.” During a recent survey of my archive, I discovered the albums that I had kept. At the time of manufacture, the records were not shrink-wrapped and have consequently acquired a visible maturity. They are however, all un-played. I have chosen to make them available as a numbered, limited edition. Each album comes with this signed certificate of authenticity – Malcolm Mills

                                    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.

                                    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.

                                    Mala

                                    Mirrors

                                      Mirrors is the second album by endlessly influential South London producer Mala. It follows his 2012 Brownswood release where Gilles Peterson invited the producer to soak up Cuba’s music and culture to turn the results into Mala In Cuba. But Mirrors is less Mala In Cuba Mk II and more the realisation of a creative method that works for this most understated and intuitive producer: digging deep into the roots of a culture, recording local musicians and sounds, and using the recordings as source material and storyboard for a record.

                                      The product of repeated visits to dive into Peru’s music, it revolves around tempo and flow, working local Afro-Peruvian percussionists, grassroots tap dancers and an Andean soprano into its fourteen tracks. Mala went there for a month, visiting Lima along with Cusco and the Sacred Valley just outside of the capital. “I was introduced to music from the jungle, music from the mountains, Andean sounds, native sounds, Afro-Peruvian music,” says Mala. “It all goes back to the roots and the rhythms and I related instantly. That primal rhythm is in all of us.”

                                      Dancers bring another sound to Mirrors’ palette. Colectivo Palenke are masters of Peru’s stomping battle-dance, zapateo, and their feet-first percussion graces the track titled ‘Sabateo’. On ‘Sound of the River’, meanwhile, you can hear field recordings of a stream running through the Sacred Valley and soprano-anthropologist Sylvia Falcon. It’s a fragile and human performance that soothes and uplifts in equal measure, and it’s a most subtle production.“

                                      Mirrors is a bridge joining Croydon and Lima. It creates a link between traditional instruments made from donkey jawbone and dried-out pumpkins and the contemporary box of tricks inside Mala’s laptop. Like all bridges it links the past to the present, giving a clear view of where Mala has been – and where he’s going next.


                                      STAFF COMMENTS

                                      Patrick says: The South London genius returns with a sumptuous album inspired by the traditional sounds of Peru. The resulting LP is a stunning fusion of head nodding beats, club sonics and ancestral melodies.

                                      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.


                                          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.

                                            Male

                                            Zensur & Zensur

                                              It was 40 years ago when Germany’s first ever punk band MALE released their 'Zensur & Zensur' album, now to be reissued. Anything was possible in those heady days. The Dusseldorf punk scene was without compare in the years 1977 to 1979 and MALE were there in the thick of it, etching their name into German musical history. MALE arguably reached their zenith as backup for The Clash on the London Calling tour in Germany. In the wake of the name change to Vorsprung, Jorgen Engler soon shifted his focus to die Krupps, but MALE remained close to his heart as new songs and the odd gig here and there demonstrated in the years that followed. 

                                              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.

                                                Stephen Malkmus

                                                Traditional Techniques

                                                  Traditional Techniques, Malkmus’ third solo LP without the Jicks (or Pavement), is new phase folk music for new phase folks, with Malkmus as attuned as ever to the rhythms of the ever-evolving lingual slipstream. It’s packed with handmade arrangements, modern folklore, and 10 songs written and performed in his singular voice. An adventurous new album in an instantly familiar mode, Traditional Techniques creates a serendipitous trilogy with the loose fuzz of the Jicks’ Sparkle Hard (2018) and the solo bedroom experiments of Groove Denied (2019). Taken together, these three very different full-lengths in three years highlight an ever-curious songwriter committed to finding untouched territory.

                                                  Malkmus took on Traditional Techniques as a kind of self-dare. Conceived while recording Sparkle Hard at Portland’s Halfling Studio, Malkmus had observed the variety of acoustic instruments available for use. The idea escalated within a matter of weeks into a full set of songs, and shortly thereafter into a realized and fully committed album. When he returned to Halfling, Malkmus drew from a whole new musical palette--including a variety of Afghani instruments - to support an ache both quizzical and contemporary. The resulting Traditional Techniques is expansive and thrilling. Alongside gorgeous folk music, there are also occasional bursts of flute-laced swagger, straight-up commune rock (“Xian Man”), and mind-bending fuzz.

                                                  Centred around the songwriter’s 12-string acoustic guitar, and informed by a half-century of folk-rock reference points, Traditional Techniques is the product of Malkmus and Halfling engineer/arranger-in-residence Chris Funk (The Decemberists). Additionally, Matt Sweeney (Bonnie “Prince” Billy, Chavez) plays guitar throughout.

                                                  STAFF COMMENTS

                                                  Barry says: Malkmus returns, bringing with him a healthy line-up of shimmering folky ballads and swooning angular acoustic guitar work. Ranging from hypnotic drones and soul-affirming melodicism to jaunty, swaggering grooves and all topped with Malkmus' unmistakeable vocals. Superb.

                                                  FORMAT INFORMATION

                                                  Coloured LP Info: Indies exclusive deluxe LP on red vinyl.

                                                  Sam went into an almost psychotic state when making music. He wasn’t himself. He was immersed in the creativity to such an extent that it was almost like a psychotic trance. Here’s an example. He found all this giant kelp down at Western Port bay and he would bathe himself in it for weeks. He would replenish the water and put salt in the bath, but leave the kelp in there. I used to ask Julie, his partner and wife, “How’s everything going?” and she’d say, “Just go and have a look at the bath.” - Tony Rogers

                                                  Sam Mallet could have pursued a career as a French literature professor in Paris, but decided his true calling was to remain in Australia, dedicate himself to his music and find the plateau; a word he used to describe the sensory worlds residing in music. Under the influence of Eno, Jon Hassell, Arvo Pärt, John Coltrane and Robert Fripp, Sam explored a wide variety of musical styles and put them to service soundtracking the time based works of his peers. He crafted spatial ambience, somber jazz, and drum computer driven rockers for short films and experimental video works, television shows (including the original Australian Wilfred series), feature films and live theatre. The avant garde Anthill Theatre, known for its departure from conventional staging practices and having a keen eye for talent, enlisted Mallet to provide soundtracks for approximately 40 productions throughout the 1980s and early 1990s.

                                                  Sadly, Sam passed away in 2014. A crucial piece of his legacy is undoubtedly the body of work he produced during his life, and the archive of recorded works is vast and deep. Sam seemingly saved everything, from fragments to finished pieces; and often repurposed previously released tracks by collaging them into new pieces. He self released a small number of cassettes and CDs from the mid 1980s onward, the contents of which were culled from soundtrack work and original pieces, but the majority of his music was experienced only within the ephemeral live performances.

                                                  "Wetlands" is the product of countless hours spent with this archive by Rowan Mason (Sanpo Disco/Recurring Dream) and Tony Remple (Musique Plastique), offering a dynamic survey of Sam’s work, and housed in a jacket evoking the minimal design and colour palette of his earliest cassette releases. Two selections of Sam Mallet’s music were featured on the compilation "Midday Moon" (also produced by Rowan), released last year by Bedroom Suck Records. Along with Left Ear Records’ "Antipodean Anomalies", "Midday Moon" has served to highlight outlier musics and scenes from Australia and New Zealand, and Wetlands plunges deeper into the catalog of this obscure yet groundbreaking artist.

                                                  STAFF COMMENTS

                                                  Patrick says: As you may know, I'm all about this kind of tackle. Archival release (tick), fourth world (tick), new age (tick), Balearic (tick), baths with kelp (err...tick!). Like an Aussie Philip Glass wandering the outback on the best acid trip ever...

                                                  Stephen Mallinder

                                                  Um Dada

                                                    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

                                                    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!

                                                    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! 


                                                    The Mamas & The Papas

                                                    Straight Shooter

                                                      The life, the loves and the music of one of the most successful bands of the sixties. This well put together documentary on the Mamas & The Papas candidly reveals the goings-on around their Summer Of Love heyday. Loads of live footage and interviews with the surviving members of the band and other protagonists / commentators of the time like Mick Fleetwood and Joe Cocker.

                                                      Mammal Hands

                                                      Captured Spirits

                                                        Mammal Hands are pleased to announce the release of their highly anticipated fourth album 'Captured Spirits', released 11thSeptember via Manchester tastemaker record label, Gondwana Records.

                                                        Consisting of saxophonist Jordan Smart, pianist Nick Smart and drummer and tabla player Jesse Barrett, the trio have forged a growing reputation for their hypnotic fusion of jazz and electronica and have recieved glowing recommendations from the likes of The Guardian and Gilles Peterson. Drawing on their love of electronic, contemporary classical, world, folk and jazz music, Mammal Hands take in influences including Pharoah Sanders,Gétachèw Mekurya, Terry Riley, Steve Reich and Sirishkumar Manji.

                                                        Forming in Norwich in 2012, brothers Nick and Jordan along with Jesse, developed their distinctive and polished sound with their meteoric live shows and release of three critically acclaimed albums: 'Animalia' (2014), 'Floa' (2016) and 'Shadow Work (2017). Landmark live performances have included shows at The Roundhouse London, the main stage at Field Day Festival, La Cigale Paris, Montreal Jazz Festival, Hamburg Elb Jazz, Athens Technopolis and Unit Tokyo.

                                                        Teaming up once again with trusted producer George Atkins (Wiley, The Courteeners) at 80 Hertz Studios in Manchester, 'Captured Spirits' explores themes including existence and displacement. "The name has multiple readings but was first inspired by something Jordan was reading about past experiences of ancestors being caught and coded into our DNA and having an effect on who you are today. This ties in with themes that we have touched on before relative to identity and the collective unconscious ('Shadow Work'). It also toys with the idea of feeling contained/trapped and the need to break out of something and also the idea of people being spirits that are "captured" in a body", says Nick.

                                                        Opening with the melodic rhythmic patterns of 'Ithaca', the tempo picks up with the mesmerising 'Chaser', as heavy percussion and Nick's frenetic keys draw the listener deep into Mammal Hand's distinctive soundsphere. North Indian influences dictate the meditative 'Versus Shapes' with Jesse's transcendental tabla playing taking centre stage while the dark and moody 'Spiral Stair' relies on a multitude of colliding and intersecting shapes and sounds.

                                                        All three members of the band contribute equally to the writing process: one that favours the creation of a powerful group dynamic over individual solos. "I think with this record, there was a strong and renewed sense of collective enjoyment and appreciation for the process and each other's contributions. After a long period of touring and a slow build up to the actual recording sessions we were able to mull over ideas for long periods, build on lessons from the past and pull our playing connection to an even deeper place. Realising each other's visions for the whole and clearly understanding how they intersect", says Jesse.

                                                        That vision is also realised by longtime collaborator and artist Daniel Halsall who designed the artwork for 'Captured Spirits'. His strong instinctive feel for the band's visual world is a key component to understanding the music. "Our work with Dan over such a long period of time now has become integral to the bands aesthetic and he always seems to grasp the themes and ideas that we send for each album and distills them into something striking and engaging that really complements the music. This is really important with instrumental music, as we need to be able to convey our ideas without being too literal or definitive and give the listeners space for imagination and to take their own journey when they listen to the music and look at the artwork", says Jordan.

                                                        Elsewhere across 'Captured Spirits', 'Riddle' and 'Rhizome' are rich in texture and heavy on groove and both compositions showcase a complex, emotional range and demonstrate three like-minded musicians with a dazzling understanding of jazz, electronica and cinematic rhythms. "Music has the capacity to fill so many spaces in our lives, as I think fundamentally it is a more direct form of communication than even language. In this way it can be refuge, it can be social, it can be revelatory, it can be memory, it can be what we need at a given point in time", says Jordan.

                                                        The high intensity of the trio's live shows is recreated with the spiritual jazz-influenced 'Into Sparks' as Jordan's sax exhibits an unrestrained energy and freedom but it's left to 'Little One' to bring down the curtain on arguably their most accomplished album to date, a soothing, breezy gift to Jesse's new daughter.

                                                        Gondwana Records is an independent record label founded by Matthew Halsall in 2008. The label has gone on to release music by, Allysha Joy, GoGo Penguin, Hania Rani, Matthew Halsall, Phil France, Portico Quartet and Sunda Arc.

                                                        FORMAT INFORMATION

                                                        Coloured LP Info: Clear vinyl edition.

                                                        Signed LP Info: Limited signed version on clear LP.

                                                        Mammal Hands

                                                        Chaser / Prism

                                                          Gondwana Records are delighted to announce '7" Series', our first ever 7" vinyl collection series. Featuring bespoke artwork from Gondwana Records designer Daniel Halsall, cut at Calyx in Berlin, and manufactured at Optimal, each 7" is limited to strictly 300 copies and housed in a reverse board printed sleeve with classic 'dinked' centre holes.

                                                          To launch this collectable series, we are excited to share new and previously unreleased music from Mammal Hands and two catalogue favourites from Matthew Halsall. Over the next coming months, we will share series part 3 and 4 and beyond.

                                                          Captivating, ethereal and majestic, Mammal Hands are driven by their unique line-up of drums, piano and saxophone. Their hypnotic music draws on a rich well of influences from Sufi trance and West African music to folk music, contemporary classical, spiritual jazz and electronica to produce something uniquely their own. Their 7" features two brand new, previously unreleased tunes.

                                                          Side A Chaser is a punchy, hypnotic tune with an enchanted melody that'll take you on a magical journey. All in less than 4 minutes

                                                          Side B Prism is a mysterious ear-worm, ethereal but catchy, it sounds like nothing else the band have ever recorded.

                                                          Captivating, ethereal and majestic, Mammal Hands (saxophonist Jordan Smart, pianist Nick Smart and drummer and percussionist Jesse Barrett) has carved out a refreshingly original sound from a disparate array of influences: drawing on spiritual jazz, north Indian, folk and classical music to create something inimitably their own. Hailing from Norwich, one of Britain's most isolated and most easterly cities, they have forged their own path away from the musical mainstream and their unique sound grew out of long improvised rehearsals. All three members contibute equally to the writing process: one that favours the creation of a powerful group dynamic over individual solos. Their records are entrancing and beautiful affairs, while their hypnotic live shows have seen them hailed as one of the most exciting bands in Europe as they push their unique line-up to the outer limits of its possibilities.

                                                          Shadow Work is their third album and the first they have self-produced. Recorded at 80 Hertz Studios, Gondwana Records home from home in Manchester, it is the result of 18 months of intensive touring and mammoth writing sessions. The energy from their exhilarating live performances has fed into the writing process and yet there is a quiet reflective side to this album, giving it an expanded emotional range that draws the listener deep into Mammal Hand's sound world. One that builds on the sound of their previous recordings, Animalia and the beautiful Floa, but is wider than ever, with the use of prepared piano strings, more prominent effects and field recordings all adding to the band's most ambitious and accomplished album to date. The striking artwork is by Daniel Halsall and reflects the organic, natural influences underpinning the band's music alongside a darker, modern minimalism.

                                                          STAFF COMMENTS

                                                          Millie says: Shadow Work providing all the ambient jazz vibes you could possibly need, fans of Gogo Penguin (off the same label) will really like this.

                                                          Intriguing and mystery-fueled electronic discovery here from Mammo who unpacks three sonic quests for the intrepid and adventurous.

                                                          "Ecosystem" is its tentative new steps across a digital soundscape. Tuff hydraulics churning up the terrafirma as synths hover in midair. "Summit" engages thrusters for a high speed drag race across the craters while "*.¥.*" extends the race out to the rainbow road for a hybrid touring car race through the outer cosmos! "Absorb" quickly engages the thrusters into power-down and cooling mode; a beatless excursion populated by icy synths and glassy pads as sonic-thermal-conduction ensures components don't overheat at the maximum velocity range. Impressive stuff; technical prowess and engineering ingenuity all combining to create a polished and advanced version of the future.




                                                          STAFF COMMENTS

                                                          Matt says: Brave new sound worlds for techno and electro adventures. RIYL: John Shima, Huerco S, D. Ball, Afrodeutsch etc.

                                                          ‘Yn Ol I Annwyn’, Welsh for Return To The Underworld’, it is the third part of the trilogy of albums that began with ‘Noeth Ac Anoeth’ in 2015 and 2017’s ‘Y Proffwyd Dwyll’ (which got them nominated for the Welsh Music Prize in 2017). Whilst MWWB as a band, have never been overly visible, they don’t tend to be idle. 2018 saw them release a split 12” with kindred spirits, Slomatics, and being personally asked by Robert Smith of The Cure to play his Meltdown in London. Not to mention playing an international array of dates and other festivals, prior recording this epic third album. So last Summer, along with new bassist Stuart Sinclair, MWWB returned to Skyhammer Studios and Chris Fielding, to create ‘Yn Ol I Annwyn’. The 8 songs that comprise thes album, sees the band delve deeper into their collective influences, embracing full on space rock, atmospheric film soundtracks, melancholic acoustic interludes, psychedelia, cosmic moogs and percussion, moments of introspection and light … and of course, large helpings of doom.


                                                          The fat riffs, big hooks and endless space grooves are all present. Jessica Ball’s voice glides over it all, both sweet and melancholy, yet this time more assured. A myriad of stacked harmonies and layered vocals weave in and out of the tracks, adding an ‘other-worldly’ melodicism to the songs. Here’s what guitarist Paul Michael Davies had to say …“For the 3rd album I wanted to take the band's sound even further but still stay true to what made us start the band in the first place. Personally, I think the doom scene is (thankfully) thriving, but some of the ‘genre’ tropes can be a bit limiting, and we are all about pushing that. So some elements of this album will be something different for the usual doom fan. It’s kind of a nice mix of our usual heavy riffs but with some fresh elements.


                                                          Vocalist Jessica Ball adds … “Album number 3 definitely fits in with the theme of our music evolving, as we’ve been hinting at with the design on our album covers. I feel that we’ve really pushed the boat out on this one, I can’t wait for it to be released!” In fact the album as a whole, is very much a sonic journey into some cosmos on the edge of forever. The short moog piece ‘Tralfamadore’ is your starting point for a voyage that takes in the cosmic space doom of ‘The Spaceships Of Ezekiel’ which manages to mix prog time shifts, heavy riffing, moog licks and catchiness within its 8 odd minutes. Fata Morgana has its rolling almost folk-ish guitar melody on which Jess Ball’s vocals float and shimmer, until it crashes into full on sludge and shoegaze for the second part of the song. ‘Du Bist Jetzt Nicht In Der Zukunft’ is an atmospheric cello and synth soundscape with Ball’s vocal textures weaving and dancing throughout.

                                                          Title track ‘Yn Ol I Annwyn’ is down tuned, fuzz drenched, ethereal. It could almost be pop, if it wasn’t for the strangeness and heaviness that lurks within. Katyusha is a 13 minute plus instrumental. With its many parts and riffs interlocking and changing, it’s a journey in itself. ‘The Majestic Clockwork’ is a chugging leviathan punctuated with cello stabs, staccato vocals, fuzz drones and floating choirs, before riffing out on a moog trip. The album closes with ‘Five Days In The Abyss’ a mix of atmospherics and fat crushing riffs, an ideal way to end our journey … destination … somewhere new. Previous comparisons to Windhand, Yob, Sleep. or whatever, are rendered completely redundant with ‘Yn Ol I Annwyn’. Mammoth Weed Wizard Bastard sound like Mammoth Weed Wizard Bastard, full stop.

                                                          STAFF COMMENTS

                                                          Barry says: From the thrashing, world-crushing drive of tunes like 'Fata Morgana' to the more meditative synth-led cosmic doom (think Wolves In The Throne Room - Celestite vs Mastodon), MWWB have been a whirlwind of riffage and conceptual brilliance since their 2016 introduction, 'Y Proffwyd Dwyll'. things have only gotten heavier and more intricate and this is without a doubt their most earth-shattering outing yet. Essential.

                                                          FORMAT INFORMATION

                                                          2xColoured LP Info: Amber / Red vinyl.

                                                          2xColoured LP includes MP3 Download Code.

                                                          Mammút

                                                          Kinder Versions

                                                            Icelandic bands often resemble a force of nature and Mammút are no exception. What’s more, the quintet’s spectacular new album ‘Kinder Versions’ is exactly the kind of volcanic presence that is sorely lacking in 21st Century rock, likewise their unpredictable and uncategorizable shape-shifting sound, like a very modern twist on psychedelia.

                                                            Mammút is Icelandic for ‘mammoth’ - the name that singer Kata Mogensen “plucked out of the air,” when she joined guitarists Alexandra Baldursdóttir and Arnar Pétursson, bassist Ása Dýradóttir and drummer Andri Bjartur Jakobsson for their stage debut, aged just 14. Kata is the daughter of bassist Birgir Mogensen, a former bandmate of Björk back when they were young post-punk adventurers, a questing spirit that Mammút have also unconsciously adopted, though without ever discussing what kind of music they’d play. “We’re so close as a band, we have no limits for each other, no boundaries, we just follow our gut instincts,” says Kata.

                                                            It’s worked from the off: they quickly won the Músiktilraunir Battle Of The Bands and thereafter nominations and awards at different Icelandic Music Awards: their third album ‘Komdu Til Mín Svarta Systir’ won three of its eight nominations in 2014, including Album (Pop & Rock) and Song (Pop & Rock) for their epically slowburning single ‘Salt’. And with vocalist Kata Mogensen now singing in English, there’s a chance much more of the planet will discover what their homeland has known for a while.

                                                            Having worked with various Icelandic labels, Mammút’s signing to Bella Union is part of their plan to expand horizons. “It was never a decision to sing in Icelandic, it came out naturally when I wrote,” Kata explains. “But there are so few venues in Iceland, and we crave to move further. Singing in an international language opens the door - it means that people can understand not just the feeling in the vocals, but the words too, when I’m singing my heart out.”

                                                            Mamuthones

                                                            Fear On The Corner

                                                              Mamuthones may have originally taken their name from the death-masks used in rituals in their native Sardinia, and initially emerged from the Italian occult psychedelic movement alongside the likes of Father Murphy, Mai Mai Mai and their labelmates Lay Llamas. Yet now, in the wake of their Rocket Recordings debut album ‘Fear On The Corner’, the band find themselves undergoing a metamorphosis from mystical and ceremonial realms into a direct connection with the everyday, the personal and the political.

                                                              This vibrant reinvention also sees Mamuthones transcending their roots in Italian prog and soundtrack work and shifting their modus operandi firmly in the direction of a distinctly New York-based headspace - a realm of mirrorballs and black-clad basements both As the band’s Alessio Gastaldello tells it, this is a groove-based. eclectic style that finds its metier in the realm of two albums which are paid direct homage in the record’s very title - the bleak and kinetic ‘Fear Of Music’ by Talking Heads and the iconoclastic, heat-haze repetition of Miles Davis’ ‘On The Corner’. “The songs deal with fear.” he clarifies. “Fear of the present, of human situations, fear of the new political situation, but also fear of relationship breakdown, fear of not finding “a place in the world”, fear of fear itself”

                                                              Yet this is principally an aural landscape whereby the eclectic mischief of ZE Records, the sonic brinksmanship of ‘Tago Mago’ era Can and the post-punk songwriting flair of LCD Soundystem can happily form communion in a post-2AM reverie. “it is a big dance party for very sad events” clarifies Alessio, on the disparity between the serious nature of this record’s subject matter and its distinctly hedonistic atmosphere. “We are a kind of Titanic orchestra playing and dancing while the ship goes down. The party must go on

                                                              STAFF COMMENTS

                                                              Barry says: Sitting comfortably between the art-rock angularity of Devo and the spoken word aesthetic and visceral drive of Sleaford Mods (as well as the already mentioned Talking Heads and Miles Davis influences). Mamuthones manage to take us through a tour of a wide variety of impeccably absorbed influences without sounding like any of them. Fascinating and ultimately brilliant weirdo rock.

                                                              Man & The Echo release their eponymous debut album, produced by Neil Comber (MIA, Django Django), via 1965 Records.

                                                              The release follows a string of acclaimed single releases from the Warrington fourpiece within the past twelve months, with plays across Radio 2, Radio 4, 6Music, Radio X and Absolute Radio, as well as an invite to play Billy Bragg’s Leftfield stage during this year’s Glastonbury Festival.

                                                              ‘Man & The Echo’ is a soulful, poetic, eleven track statement from a band clearing their own space amidst a cluttered musical landscape.

                                                              The album skirts numerous musical signposts, spanning the likes of The Smiths, Dexys, Pulp, 50/60s crooning, blue eyed soul and much more, arriving at a sound that isn’t retro as much as ricocheting through pop’s many decades and landing squarely in the post- Brexit, conflicted, chaotic UK of the here and now.

                                                              “Man & The Echo seem to take each step with remarkable precision. The past 18 months have brought a steady series of singles, each stamped with a biting sense of intelligence.” - Clash

                                                              FORMAT INFORMATION

                                                              LP Info: Heavyweight black vinyl LP includes digital download
                                                              code.

                                                              Man & The Echo

                                                              Men Of The Moment

                                                                Since forming in Warrington in 2015, Man & the Echo - comprised of Gaz on vocals & guitar, Fush on bass, Chris on keys and Joey on drums – have relentlessly pushed forward and quickly evolved their particularly British take on indie art-pop. ‘Men of the Moment’ is Man & the Echo’s second album and takes the spirit of the band’s 2017 debut and refines it into a condensed brew of uplifting rhythms, tongue-in-cheek lyricism and gleefully melodic instrumentation that form the band’s unique sonic presentation, captured expertly by producer Raf Rundell (The 2 Bears).

                                                                With ‘Men of the Moment’ Gaz had the idea of writing an album as a sort of musical without a story, with the songs sung by different characters, or sometimes by several characters – most of whom are fairly unpleasant. “It resulted in this quite unsettling atmosphere provided by what feels like a conflicted and contradictory narrative. I think it’s a good way of challenging views that are not your own: inhabiting them in order to ridicule them,” muses Gaz.

                                                                The album was previewed by the BBC Radio 6music playlisted track ‘A Capable Man, a track that neatly summarises the album’s inner outlook. “I was thinking of that kind of really shit man, the sort of know-all who brags about his credit score. It was worrying that I was able to place myself in his shoes so easily and even more so that a few people have taken it at face value.” Second single and album opener, ‘Life on an Island’, marries a synth and percussion led summertime vibe with the inhabitation of a character who has worked his whole life, feeling trapped by the need for that next payday, frittering a life away. “It’s about the circumstances that make someone snap, the circumstances that lead to an event like Brexit, or Trump getting elected.”

                                                                Getting viral artist Cold War Steve for the artwork was a real coup. Say the band: “we had the idea whilst we were in the studio that he would be great but didn’t imagine it would be possible. Then Raf somehow got his number and he was pretty happy to do it so we were delighted. He’s adept and framing and ridiculing exactly who we were talking about so its a perfect fit”.


                                                                "Ultraviolet Overdrive" is the follow-up to Man In Formaldehyde's "Copper Sulphate Crystals". A lot has changed since that 2003 release: The melodic core is still there but the production trickery has been dropped in favor of stripped down, pure composition. Meditational and intimate, "Time-Lapse Flower 1" starts with solo church organ untraditionally stripped of it's grand cathedral-filling reverberations, leaving it warmer and more fragile. Its world weary drone counterbalanced by a beautiful oboe melody and shimmering vibes. Violins and pianos weep. Harps and vibes cast magic spells and time slows down to a crawl.

                                                                FORMAT INFORMATION

                                                                CD Info: Limited edition individually numbered CD. 300 copies only.

                                                                Emotional Rescue shares a little shine with the music ensemble Man Jumping, via this reissue of their experimental, post-minimalist meets pop debut album "Jumpcut", which will be followed by 2 special remix EPs featuring Khidja, Bullion, Reckonrong and more.

                                                                Formed in 1983 out of the disbanded The Lost Jockey (Les Disques Du Crepuscule), Man Jumping's aim was to move on from the unwieldy nature of that collective to combine the 'systems music' of Steve Reich, Terry Riley, LaMonte Young etc with rock, funk, dance and world music and create a new cross over.

                                                                Consisting of studied musicians and created from theory as well as technique, the liberation from formal restrictions took shape over four years that spawned 2 albums and one 12". 
                                                                Released on Bill Nelson's 'Cocteau' label in 1985, Jumpcut's was critically praised but destined for more discerning ears. The 7 songs - including here a 12" mix of Aerotropics - developed from 16 stave manuscript into live recordings straight to tape, with no sequencing to keep their live feel intact.
                                                                Carefully planned but made in the moment, members Charlie Seaward, Glyn Perrin, John Lunn, Orlando Gough and Shaung Tozer's legacy is demonstrably durable, a testament to their originality of thought to an idea of what might be rather than an imitation of what has been.

                                                                STAFF COMMENTS

                                                                Patrick says: I'm all over this one! Operational in the mid 80s, Man Jumping took the serialist and minimalist sound of Reich et al and pushed it into the pop sphere with danceable grooves, dubby studio fx and fretless bass licks, giving us a glimpse of Talking Heads if Arthur Russell had become a full time member...

                                                                To accompany the reissue of Man Jumping's Jumpcut album, Emotional Rescue offers 2 remix EPs that showcase the band's music with versions by contemporary producers.

                                                                Starting with stalwarts and friends in duo Khidja, it's not often you can put together a reissue that modern day wunderproducers have requested, however, that is precisely what occurred. Badgering over several years about their love of Man Jumping and how they should be revered, when the call came that the reissue was happening, Khidja were the first names down.

                                                                After breaking through on sister label [Emotional] Especial way back in 2013, the pair have gone on to much acclaim with releases for Malka Tuti, Hivern Discs and DFA to name (drop) a few.

                                                                Handed the tapes, their love of Man Jumping's virtuoso playing is evident in these amazing remixes. "Walk On, Bye" takes its Reich meets Pop aspirations and drifting across 9 minutes of laidback but bass heavy rhythms, intricacies of clarinet, sax and trumpet are stretched and fused to repetition perfection.

                                                                Following, "Down The Locale"'s jazz roots is developed, recast and updated, extenuating the bass, while piano and vocals interplay over scattered, skipping drums to become a latter day 'contemporary dance' odyssey.

                                                                The second EP of remixes from Man Jumping's reissue on Emotional Rescue features luminaries Bullion, Reckonwrong, Gengahr and William Doyle with their reversions of songs from the Jumpcut album.

                                                                Nathan Jenkins aka Bullion follows his recent rerub of Thomas Leer (ERC072) to provide two remixes. His remake of In The Jungle keeps the originals (leftfield) dance floor roots, but sprinkles the ubiquitous warm glow and off kilter fun(k) that he evokes; while his retake of Walk On, Bye drifts back, highlighting intricate percussion; congas, bass and vocal atmospherics along some breezy swing.

                                                                Reckonwrong is next; turning the bossa vibes of Sqeezi into his own new wave meets italo reversion; topped with his unique 'under the cupboard stairs' vocals. Funky, driving, this overlooked star adds to his cannon for Whities, Pinkman and DEEK.

                                                                After a string of impressive releases for Trangressive / Beggars, Gengahr make a surprise addition, lifting Down The Locale from deceptive beginnings to anthemic heights, adding echo-laden guitar and vocals to the original's underbelly, before a bass break and return lifts to the heavens.

                                                                Finally, William Doyle provides perfect closure. Moving away from his East India Youth moniker (XL Recordings), his output has drifted towards ambient introspection, however, here points to addtional layers; rebuilding Belle Dux On The Beach with added bass, guitar, drums and finally vocals that culminate in a prefect 'to the skies' outrospection.

                                                                Man Like Me

                                                                Wine And Dine - Williams Remix

                                                                Having wowed us all with the ace "Oh My Gosh", Man Like Me returns with live favorite "Wine And Dine". On the flip the grind-tastic grime groove of the original is whisked up into a fierce and frolicsome slice of electrohouse by Tsuba boy Williams.

                                                                FORMAT INFORMATION

                                                                7" Info: Limited red vinyl 7" pressing.

                                                                Man Made

                                                                TV Broke My Brain

                                                                  Produced by Ray Man and mixed by Nick Launay (Kate Bush, Lou Reed, Arcade Fire), it was recorded at the trio's shared house over a year and a half. Every time they gigged and the songs changed, they'd re-record them. The record to them, after all, is meant to be "the menu of the live experience." "[The songs change every night] and that depends on the audience, the room and the atmosphere," Nile explains. "It shouldn't be 'we have an album, let us play it for you'. It's 'we are a band and we have recorded us playing for you'."

                                                                  TV Broke My Brain certainly captures the energy and passion that goes into the band, and presents it with its American alt-rock influences (you can hear everything from Sonic Youth to The Shins in its 11 tracks) firmly on its sleeve. Unplug yourself from the matrix of gadgets in your life and connect with Man Made instead.

                                                                  STAFF COMMENTS

                                                                  Andy says: Excellent, energetic, melodic guitar pop from these up and coming Mancunians. Recommended.

                                                                  Man Man

                                                                  Dream Hunting In The Valley Of In-Between

                                                                    Honus Honus (aka Ryan Kattner) has devoted his career to exploring the uncertainty between life’s extremes, beauty and ugliness, order and chaos. The songs on ‘Dream Hunting In The Valley Of The In-Between’, Man Man’s first album in over six years and their Sub Pop debut, are as intimate, soulful and timeless as they are audaciously inventive and daring, resulting in his best Man Man album to date.

                                                                    The 17-track effort, featuring ‘Cloud Nein’, ‘Future Peg’, ‘On the Mend’, ‘Sheela’ and ‘Animal Attraction’, was produced by Cyrus Ghahremani, mixed by S. Husky Höskulds (Norah Jones, Tom Waits, Mike Patton, Solomon Burke, Bettye LaVette, Allen Toussaint) and mastered by Dave Cooley (Blood Orange, M83, DIIV, Paramore, Snail Mail, clipping).

                                                                    ‘Dream Hunting In The Valley Of The In-Between’ also includes guest vocals from Steady Holiday’s Dre Babinski on ‘Future Peg’ and ‘If Only’ and Rebecca Black (singer of the viral pop hit ‘Friday’) on ‘On the Mend’ and ‘Lonely Beuys’.

                                                                    The album follows the release of ‘Beached’ and ‘Witch’, Man Man’s contributions to Vol. 4 of the Sub Pop Singles Club in 2019.

                                                                    Man Electric is a duo formed by DJ Giamma Soren and bass player Federico Freni. This is their debut release and lands somewhere between Canyons, Eddie C, Hi-Fi Sean and Hot Chip, mixing radio friendly, pop inflections with high definition electronic production and sophisticated grooves.

                                                                    "Morning Sun" is perhaps the one the DJs will opt for, an instrumental cut rich in bubbling electronics that's sure to see it find favour across the Adriatic set whilst it's natural B-lines (played by Freni) ensure the hips and feet have plenty of get involved in. "Go To Sleep Little Baby Dark Side" should certainly appeal to fans of Hi-Fi Sean as it drops a radio friendly slice of pop brilliance onto the record. "Ouverture" raises the trouser tents of the Balearic mod with it's reverb soaked Strat lines, rounded bass and slouchy drums; this is the golden, lost Claremont56 jam Paul Mudd never got his hands on! Finally, "Why Not?" closes off with some deep beach abandon, as we sit eagerly awaiting the next day's sunrise with little for company other than each other and a dwindling bottle of liquor. 


                                                                    Mari Mana

                                                                    Floating / Find Me

                                                                    Combine a single-malt voice, an acoustic guitar, songs from the heart and a touch of magic, and you have the music of Mari Mana.
                                                                    Her music possesses that nostalgic familiarity and that fresh wonder at the same time.
                                                                    Her performance is a unique and enchanting expression of wise melancholy and a poetic love for life.

                                                                    Mari Mana was born and raised in Berlin. She wrote her first songs in the year 2000, and since 2008 has taken her performances to various concerts and festivals worldwide.
                                                                    With arrangements consisting of strings, bass, drums and electronic elements, arranged and produced together with Mo Stern, we present Mari Mana’s music for the first time on vinyl.

                                                                    The songs 'Floating' and 'Find Me' are influenced by Soul, Folk and Electronic Music, and feature various international musicians, including Alex Trebo (ITA), Timo Lassy (FIN), Marlene Schuen (ITA), Lee Caspi (ISR) and Natasha Jaffe (USA). 

                                                                    Hotly-tipped Glasgow duo Manakinz are next up on Jasper James’ budding imprint Mitchell Street Records with a vigorous three-track dispatch.

                                                                    Behind the duo is Jasper’s father and house music legend, James ‘Harri’ Harrigan, and venerable selector Affi Koman. Both are steeped in Glasgow’s rich musical history, with Harri being one of the legendary faces behind Scottish institution Sub Club with its world-renowned flagship residency Subculture, and Affi Koman is known for his lauded Sunday Circus residency.

                                                                    Established in late 2018, the duo’s productions have bagged support from a long list of respected artists, including Andrew Weatherall, The Black Madonna, Levon Vincent, Ashley Beadle and Bill Brewster.

                                                                    'A week after I got these tracks, I dropped the A-side "Snakehips" at a Boiler Room gig and the reaction was amazing. Approval doesn’t get much better than spinning it through a road test and I’m looking forward to kicking 2020 off with this killer EP. ' – Jasper James

                                                                    The EP leads with "Snakehips" a frisky peak-time brew loaded with propellant, tribalised drums and a soulful vocal cut set to stir. On the B side, "Yamaha Rumba" runs with the headiness, amplifying the atmosphere with a maelstrom of synths and skittering keys, and it hits the spot with the release of a lustful, lascivious female vocal. "Partizan" completes the package, giving listeners a robust, heavyweight club track and ensuring Manakinz grab the attention of the dance music global village. Check!


                                                                    STAFF COMMENTS

                                                                    Matt says: Young upstarts of the Glasgow scene Manakinz deliver three tribal tracks perfect for clubs with low ceilings. Feathers and facepaint not included.

                                                                    Slumberland Records is very happy to present the first release by the San Francisco / Oakland band Manatee. Featuring Black Tambourine / Whorl alumnus Mike Schulman, Manatee was a relatively short-lived project that, on the evidence of this fine single, flamed out far too quickly. Inspired by bands as diverse as Velvet Underground, The Ramones, The
                                                                    Feelies and The Replacements, Manatee created a straight-ahead brand of power-pop that's as impassioned as it is timeless. "Indecision" is an uptempo tune driven by a naggingly catchy guitar riff and Keith Neal's ace vocals. Hearkening back to the 80s heyday of Game Theory, The Replacements and The Smithereens, the track is an effortlessly rocking pop gem that demonstrates the enduring strength of the basic guitar / bass / drums format when combined with great songwriting and a passionate delivery.

                                                                    "Fifteen Minute Drive" is a moodier affair, a minimal strum ’n’ drum that snaps along nicely until it reaches a squalling stun-guitar coda, what was once a subliminal bed of noise becoming a torrent of squeal and feedback. That combination of melody and untamed noise is a fine summation of the Manatee aesthetic, and of course makes the four-piece a natural for the Slumberland roster.

                                                                    Becca Mancari

                                                                    The Greatest Part

                                                                      Born on Staten Island to an Italian/Puerto Rican family with strict religious beliefs, Becca Mancari spent much of her childhood wrestling with issues of identity and belonging. When she set out on her own, Mancari followed the wind from Appalachia to Arizona, from south Florida to India, drifting in search of purpose and community. She eventually found both in East Nashville, where she garnered widespread acclaim for her strikingly honest songwriting and moving performances. Her debut Good Woman was a critical smash, praised by NPR and hailed as one of 2017’s best by Rolling Stone. Her songs racked up millions of streams, which helped land Mancari dates with the likes of Margo Price, Natalie Prass, and Julien Baker, among others. On top of her solo work, Mancari also teamed up with Alabama Shakes frontwoman Brittany Howard and songwriter Jesse Lafser to form Bermuda Triangle, which earned similarly glowing reviews as they performed sold-out headline shows across the country.

                                                                      Despite all her success, the relentless pace of life on the road left Mancari little time to grapple with the trauma of her past, nor absorb any new challenges arising in her present. So, in 2019, Mancari decamped to friend and producer Zac Farro’s home studio to set about constructing her sophomore album, a record that would balance unflinching self-examination with intoxicating grooves and infectious instrumental hooks. The two worked to capture the vast majority of the album themselves in Nashville before relocating to Los Angeles for finishing touches with GRAMMYwinning engineer/producer/mixer Carlos de la Garza (Paramore, Tegan and Sara).

                                                                      The result is The Greatest Part. Propelled by an airtight drum groove and lacerating guitar line, hypnotic opener “Hunter” finds Mancari singing to a ghost from her past, promising, “You’re never gonna track me down / You’re never gonna find me out,” her crystalline voice floating effortlessly above the distorted maelstrom brewing below it. Like much of the album, it’s a song of defiance and self-assurance that’s streaked with loneliness and regret. To that end, earworm “Lonely Boy” reflects on the ways that fear can hold us back from human connection, while the bittersweet “First Time” reaches out to a younger self, asking “Hey, did you find your way out?”

                                                                      Yet, as much as The Greatest Part is a vehicle for examining Mancari’s past, it’s also a lens through which she makes sense of her future. Perhaps it’s bare-bones album closer “Forgiveness” that best ties together all of the record’s loose threads. Searching for mercy in the midst of lingering anger and grief, the hushed, intimate track locates the beauty in letting go, in accepting ourselves for all our flaws and baggage, in walking forward boldly into the unknown.

                                                                      FORMAT INFORMATION

                                                                      Coloured LP Info: Coke bottle clear vinyl.

                                                                      Henry Mancini

                                                                      The Pink Panther (Music From The Film Score) - Pink Vinyl Edition

                                                                        THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                                                        50th anniversary ltd edition, on individually numbered Pink vinyl. The Pink Panther is another fine, early-'60s soundtrack from Henry Mancini. The title track became one of his most recognizable themes and kicks off a pleasant program of dreamy lounge cuts and Latin-tinged numbers.

                                                                        Invisible City Editions return wance-agin, Tommy Mandel providing the good stuff on the latest outing of everyone's favourite reissue series with a compilation of personal, synth-laden pop songs created between 1980-87 in NYC. 

                                                                        His professional work as a keyboardist and vocalist found him on stage and in the studio with many of the 80s greats from the Clash, Todd Rundgren, B-52s, Violent Femmes, The Ramones, Tina Turner, Mark Ronson, Dire Straits and Bryan Adams. While offstage and out of the major studio sessions, Tommy wrote in little books, made animation films and hooked up a massive amount of synthesizers, sequencers,microphones and recorded songs like diary entries. He self released almost 20 CDs, cassettes and one self titled 12” EP. Each song selected here is stunningly simple, lush, desperate, playful, and harmonic, touching on disparate trangents like Brian Wilson, Egyptian Lover, Michael Shrieve,Holger Czukay, Ariel Pink, YMO, AOR FM West Coast Rock, Arthur Russell, Martin Denny, Peter Gordon, Drexciya, Prince and private issued new age boogie. Tommy recently jokingly coined his music 'corporate ambient' and it shouldn’t entirely work; but somehow he manages to effortlessly make each song a Tommy Mandel song - DIY, homespun, personal, stunning, and not too serious. This is perfect pop - very charming, sincere, infectious and the work of a humble, good hearted, romantic savant. 

                                                                        Harvey Mandel is among the most innovative guitarists to emerge from the Chicago blues scene of the late 1960s. His career began at Twist City and other local hotspots, sharing stages with Muddy Waters, Howlin' Wolf and Buddy Guy. He came up in that scene alongside Charlie Musselwhite, Mike Bloomfield, Barry Goldberg and Steve Miller, leading to an invitation from Bill Graham to open for Cream at San Francisco's Fillmore Auditorium in August 1967.

                                                                        Mandel was a member of Canned Heat, appearing with them at Woodstock. He played on numerous John Mayall albums, and on the Rolling Stones' 1975 LP Black and Blue ("Hot Stuff", "Memory Motel"), having auditioned for Mick Taylor's job, which ultimately went to Ron Wood. Known for his "tapping" technique and sinewy, sustain-driven phrasing (thus his nickname, "The Snake"), Mandel's solo albums such as Cristo Redentor, Baby Batter and Righteous have been sampled and drooled over by guitar geeks, DJ's, and fans of funky, soulful, otherworldly composition.

                                                                        Harvey's fifteenth studio LP and his first widely distributed album in 20 years, Snake Pit was recorded in two days at Fantasy Studios in Berkeley, CA. Harvey teamed with fellow Chicago-based musicians Ben Boye (keys), Ryan Jewell (drums), Brian Sulpizio (guitar), and Anton Hatwich (bass), who have all played with singer/songwriter Ryley Walker. Harvey and the band had not met previously, nor had they rehearsed. He played snippets of song ideas for the band on his iPhone, and then they would lay down a track in one or two takes. Hard to believe when you hear the album, but that's exactly how it went down.

                                                                        Minimal overdubs with strings and percussion were added, but mostly what you hear is what happened spontaneously in the studio. The album contains six new original compositions by Mandel and two revisited songs : "Baby Batter" from his 1971 Janus LP of the same name, and "Before Six" by Larry Frazier, which appears on his first album,Cristo Redentor. Snake Pit marks a spirited return in a career that now spans six decades -- all the more intense and poignant given Harvey's recent battle with cancer.

                                                                        Tarquin Manek

                                                                        Tarquin Magnet

                                                                          A unique synthesis of time-dilating folk-jazz romanticism, brittle chamber dub and plasmic post-techno electronics, "Tarquin Magnet" is Australian artist Tarquin Manek’s first full solo release on Blackest Ever Black, but by no means his first contribution to the label: he is one half of Tarcar (with Carla dal Forno) and a member of F ingers (with dal Forno and Sam Karmel), while his track "Not Missing You" features on the BEB compilation "I Can’t Give You The Life You Want". Manek has been busy elsewhere, too: he released "Th Duo", an LP made under his LST alias, on Another Dark Age earlier this year. The disturbed and enchanted environments of "Tarquin Magnet" are the result of improvisation, domestic field recording and fastidious editing; for all its rough textures and strange juxtapositions, this is masterfully mixed and arranged music, its deep spatial dynamics and higher dub logic powerfully apparent. 

                                                                          Mang Mang Mangs

                                                                          Rescue Team EP

                                                                          Three track EP from Manchester based duo The Mang Mang Mangs. Gentle melodic songs topped with stunning emotive vocals.

                                                                          New York vocalist Kosmo Kint joined the Toy Tonics crew. Born in Trinidad and raised in New York City, Kosmo has been part of the recent Brooklyn scene, singing in several projects in NYC before moving to Berlin two years ago. To find like minded people to create new lyrics driven dancemusic.

                                                                          In Berlin he teamed up with the Toy Tonics boys and now TT boss Kapote and the crew are working with him in Berlin Kreuzberg to find a new R&B & Disco influenced style of electronic dance music.
                                                                          The first release is a collabo between french talent Mangabey and Kosmo Kint - produced by Kapote.
                                                                          The 2 songs have a chilled L.A. G Funk Vibe that makes you think about certain Dr. Dre productions from the 90ies combined with some broken beats and 4 to the floor house vibes.
                                                                          The song might remember some french touch tracks too and some might think about that West London early 2000 "Dego" Vibe maybe. Anyway, its new and there is not a name yet for that style. Let's see where the TT crew will bring Kosmo Kint sonically over the next years.

                                                                          STAFF COMMENTS

                                                                          Millie says: New to the Toy Tonics label Kosmo Kint, alongside Mangabey have dipped into all the genres going - Disco, House, R&B, Broken Beat, Funk, Electronic and created two tracks of pure dance music hits. TT bringing the vibes to Piccadilly!


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