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

EXCLUSIVE WHITE VINYL RSD FORMAT HAND NUMBERED!

Limited to 250 copies.

Khruangbin’s fourth studio album, A La Sala (“To the Room” in Spanish), is an exercise in returning in order to go further, and doing so on your own terms. It continues the mystery and sanctity that is the key to how bassist Laura Lee Ochoa, drummer Donald “DJ” Johnson, Jr. and guitarist Mark “Marko” Speer approach music. If 2020’s Mordechai, the last studio LP Khruangbin made without collaborators, was a party record that enhanced the band’s musical reputation far and wide, then A La Sala is the measured morning after. It’s a gorgeously airy record completed only in the company of the group’s longtime engineer Steve Christensen, with minimal overdubs. It’s a window onto the bounties powering Khruangbin’s vision, a reimagining and refueling for the long haul ahead. A La Sala scales Khruangbin down to scale up, a creative strategy with the future in mind.

The trio’s collective musical DNA, the years spent constructing it in Houston’s local-meets-global cultural stew, ensures the band continues to sound like no one but itself. A cascade of crisp melodies emanates from Marko’s reverb-heavy electric, dancing gently around Laura Lee’s minimalist almost-dub bass triangles, while DJ’s drums serve as the tightened-up pocket and unwavering dance-floor on which all this movement takes place. Yet there’s a freshness to A La Sala’s instrumental interactivity, less concerned with getting further out than going deeper in, a profound desire to celebrate the world’s external wonders. Where prior albums strived towards music’s polyglot edges, such inquiries now sound like beloved intimacies. Here, Khruangbin’s sonic touch-points — whether spaghetti-western film scores (on “Fifteen Fifty-Three”), West African discos (on “Pon Pón”), G-funk fantasias (“Todavía Viva”), living room dancing moments (the first single, “A Love International”), or even ambient found-sounds (on “Farolim de Felgueiras and throughout the album”) — are ingrained characteristics. This is who they are! Unique and huge (and growing), ambitious and driven.

Khruangbin’s aspirations and commitment to playful creativity even extends to A La Sala’s vinyl packages, of which there will be seven distinctive covers and color-sets. Designed by the band using Marko’s multitude of travelog photos, the images are windows from the band’s living room onto a set of daydreams, scenes of impossible skies, external glances that illuminate what is going on inside. Each cover image comes with a matching color vinyl. These too are all about looking out and looking back, in order to better look ahead.

STAFF COMMENTS

Barry says: The inimitable Khruangbin bring us another slice of beautifully rendered, loungey ambient jazz. Swimming with atmosphere and as perfectly performed as you'd expect from the Texan trio. Beautifully evocative and warmly hazy instrumental business.

TRACK LISTING

1.Fifteen Fifty-Three
2.May Ninth
3.Ada Jean
4.Farolim De Felgueiras
5.Pon Pón
6.Todavía Viva
7.Juegos Y Nubes
8.Hold Me Up (Thank You)
9.Caja De La Sala
10.Three From Two
11.A Love International
12.Les Petits Gris

‘Barn Breaks vol III’, presented by Owlvaro & Hugu, is the latest installment of oddball samples and loops from your favorite globe-trotting Texan trio, and is perfect for any portablist scratch jam or 7” DJ set... The latest in the series, this skipless 7” contains scratch samples from “Mordechai” - band hits, isolated basslines & vocals, guitar notes, keyboard stabs and drum loops - as well as custom “ahhhh” & “fressshh” sounds.

It’s funny cos we was just talking about scratch records and DJ tools the other day in the shop and how maybe they’ve kinda been superceded by Serato and digital DJing as it’s now much easier to line up a load of samples onto your USBs or Serato playlist and scratch till your hearts content… HOWEVER!!!! – you can’t beat that tangible feeling of black wax moving to and fro underneath your skillfully poised fingers and its nice to see hip, cool, tastemaking band Khruangbin reignite the fires of this particular format & style! 

At the close of a marathon year supporting their breakthrough album, "Con Todo El Mundo", Khruangbin return with an exciting addition - an update on Vince Guaraldi’s timeless “Christmas Time Is Here.”

'Growing up the three of us all had very different Christmases,' says bassist Laura Lee. 'But we recently discovered we all had the exact same favourite Christmas song. When we realized it, we sat down to play it and it came together instantly. In 15 minutes, we had this recorded. It was like the best Christmas present ever.'

With ambling sweetness and a fresh, beat-driven groove, Khruangbin have taken this oft-covered classic and made it wholly their own. It's not in-your-face festivity and cheer, more languid, by-the-fire snugness from our favourite Texan laid-back funk rockers.

TRACK LISTING

A1. Christmas Time Is Here
B1. Christmas Time Is Here (Version Mary)

Comprising of Laura Lee on bass, Mark Speer on guitar, and Donald “DJ” Johnson on drums, Khruangbin’s sounds are rooted in the deepest waters of world music infused with classic soul, dub and psychedelia. Their 2015 debut album "The Universe Smiles Upon You" was heavily influenced by 60’s and 70’s Thai cassettes the band listened to on their long car journeys to rehearsal in the Texan countryside. "Con Todo El Mundo" takes inspiration not just from South East Asia but similarly underdiscovered funk and soul of the Mediterranean and the Middle East, particularly Iran. The sultry and humid grooves of their debut are alive and well, enhanced by a little extra funk, the lightly spiced flavours of Middle Eastern pop and maybe a little strung out Americana a la Cowboy Junkies. The hefty breaks on cuts like "Lady & Man" and "Maria Tambien" have that "Jungle Fever" toughness, while the woozy "August 10" and "Como Te Quiero" are classic examples of Khruangbin's languid style. "Shades Of Man" colours the trio's palette with a little country soul, while "A Hymn" preaches a gospel out of Death Valley. The perfect sophomore offering, "Con Todo El Mundo" retains all the tasty ingredients of the original and blends them with a new batch of exotic flavours.

STAFF COMMENTS

Patrick says: Shop faves Khruangbin continue their stroll through mellifluous melody with sophomore offering "Con Todo El Mundo", swapping the Thai tonalities of their debut for some distinctly Middle Eastern flavours. Every bit as languid and lovely as their debut, this new LP is different enough to show progression whilst remaining reassuringly familiar.

TRACK LISTING

1. Cómo Me Quieres
2. Lady And Man
3. Maria También
4. August 10
5. Cómo Te Quiero
6. Shades Of Man
7. Evan Finds The Third Room
8. A Hymn
9. Rules
10. Friday Morning

"Hasta El Cielo" is Khruangbin's glorious dub version of their second album "Con Todo El Mundo". The full album has been processed anew along with two bonus dubs by renowned Jamaican producer Scientist. The band’s exotic, spacious, psychedelic funk aligns with the dub treatment particularly well. Indeed, keen fans won’t find this a surprising release. Dubs of tracks from their first album "The Universe Smiles Upon You" appeared on limited vinyl releases of "People Everywhere" for Record Store Day 2016 and "Zionsville" on the BoogieFuturo remix 12”. The especially eagle-eared will have caught a dub of "Two Fish And An Elephant" playing over the credits of the track’s celebrated video.

'For us, Dub has always felt like a prayer. Spacious, meditative, able to transport the listener to another realm. The first dub albums we listened to were records mixed by Scientist featuring the music of the Roots Radics. Laura Lee learned to play bass by listening to "Scientist Wins the World Cup". His unique mixing style, with the emphasis on space and texture, creates the feeling of frozen time; it was hugely influential to us as a band. To be able to work alongside Scientist, a legend in the history of dub, is an honor. This is our dub version of "Con Todo El Mundo.”' - Khruangbin

Formed of Laura Lee on bass, Mark Speer on guitar, and Donald “DJ” Johnson on drums; Khruangbin’s sounds are rooted in the deepest waters of music from around the world, infused with classic soul, dub and psychedelia. Their 2015 debut album ‘The Universe Smiles Upon You’ was heavily influenced by 60’s and 70’s Thai cassettes the band listened to on their long car journeys to rehearsal in the Texan countryside. 2018’s follow up ‘Con Todo El Mundo’, which received hugely positive critical reactions and radio play around the world, took inspiration not just from South East Asia but similarly underdiscovered funk and soul of the Mediterranean and the Middle East, particularly Iran. 

STAFF COMMENTS

Emily says: Khruangbin’s deep, meditative grooves enjoy a generous helping of delay and spring reverb, with two bonus tracks mixed by none other than dub legend Scientist. This time the meandering guitar lines shimmer in the background while the bass and drums take centre stage. Sure to expand the corners of your mind and warm the chambers of your heart.

TRACK LISTING

LP
A1. With All The World
A2. Sisters & Brothers
A3. Mary Always
A4. Four Of Five
A5. How I Love
A6. Sunny’s Vision
B1. A La Sala
B2. The Red Book
B3. Order Of Operations
B4. Hasta El Cielo

7"
A1. Rules - Scientist Dub
B1. Cómo Te Quiero - Scientist Du

Khruangbin’s series of live LPs traces just one small slice of the band’s flight plan through the years: it’s a taste of some of their most beloved cities, stages and nights. Each release comes with a limited-edition unique album cover exclusive for the recording’s home turf, just a little something extra for the fans that bring a little something extra. Across five releases, this series ignites both sides of Khruangbin’s magic: the warm, prismatic feeling of their albums and the bewitching energy of their performances. Closing out this collection, Live at Sydney Opera House is a double LP of front-toback Khruangbin. Here, career-spanning songs like “A Calf Born in Winter”, “Maria También”, “So We Won’t Forget”, “Shida” and “Friday Morning” arrive in their full interplanetary glory, recorded at one of the most celebrated venues on earth, the Sydney Opera House.

STAFF COMMENTS

Barry says: Continuing on from the striking visual aesthetic of the rest of the Khrangbin Live series, 'The Pink One' sees K-Bin performing a set of songs, perfectly at the legendary Sydney Opera House and here you too can feel like you were there. Lovely stuff.

Remixes not from, but of the entire outstanding Khruangbin album, "Mordechai"! Personal as ever, the list of remixers has been hand picked by the band, not simply a whose who of hype and click bait.  All have some connection to the band, sometimes personal friendships, musical connections, or simply mutual musical appreciation. Harvey Sutherland and Ginger Roots have both toured with the band, Kadhja Bonet and Ron Trent had their own mutual fan club going on, Knxwledge sampled "White Gloves" on a recent mixtape, Natasha Diggs and Soul Clap’s Eli’s are recent buddy-ups, Quantic is a mutual friend of Bonobo (crucial in the KB origin story), while Laura is also godmother to one of Felix Dickinson’s kids. 

It would be tiresome to detail each and every mix, but rest assured this is an exceptionally executed project. Bolstered by the sincere and detailed sleeve notes, which journey each artists' relationship with their band, a bit about their musical legacy, and why they were chosen. 

'A good remix is when the remixer's sonic fingerprint is present, without sounding forced. It should feel like its own story, with at least some of the same characters as the original' - Khruangbin state on these highly impressive sleeve notes - and each and every track on the album represents such forethought. Very few remix albums are put together with such love, dexterity and sympathy as this one - so much so it's bound to stand as a masterpiece in its own right, just as many of the classic 'dub' LPs did from Jamaica (an influence the band themself have highly creditted in informed their sound). 

TRACK LISTING

SIDE A: 
1. Father Bird, Mother Bird (Sunbirds)
2. Connaissais De Face (Tiger?)
3. Dearest Alfred (MyJoy)
4. First Class (Soul In The Horn Remix)
SIDE B:
5. If There Is No Question (Soul Clap’s Wild, But Not Crazy Mix)
6. Pelota (Cut A Rug Mix)
SIDE C:
7. Time (You And I)(Put A Smile On DJ’s Face Mix)
8. Shida (Bella’s Suite)
 SIDE D:
9. So We Won’t Forget (Mang Dynasty Version)
10. One To Remember (Forget Me Nots Dub)

Taking influences from 1960's Thai funk - their name literally translates to "Engine Fly" in Thai - Khruangbin’s debut album ‘The Universe Smiles Upon You’ is steeped in the bass heavy, psychedelic sound of their inspiration, Tarantino soundtracks and surf-rock cool. The Texan trio is formed of Laura Lee on bass, Mark Speer on guitar, and Donald “DJ” Johnson on drums.

The album was recorded at their spiritual home, a remote barn deep in the Texas countryside where their first rehearsals took place. The band listened to a lot of different types of music on the long drives out to the country but their favourites were 60s and 70s Thai cassettes gleaned from the cult Monrakplengthai blog and compilations of southeast Asian pop, rock and funk. This had a heavy impact on the direction of the band, the scales they used and the inflection of the melodies; which coupled with the spaciousness of the Texan countryside culminated in Khruangbin forming their exotic, individual sound. Although the band was conceived as an instrumental outfit, ‘The Universe Smiles Upon You’ features the first Khruangbin recordings with vocals. Tracks ‘People Everywhere (Still Alive)’, ‘Balls and Pins’ and recent single ‘White Gloves’ show a new dimension to the band.

“We feel like there is an ease that comes from being immersed in a space, away from the distractions of the city and everyday life. We make our music in a barn, in the Texas hill country, because it makes sense to us. Being there allows us to make music that comes naturally, and that’s what we wanted this album to be. We wanted to make a record that just let the music happen, and we hope that’s what you can hear.”

TRACK LISTING

1. Mr White
2. Two Fish And An Elephant
3. Dern Kala
4. Little Joe & Mary
5. White Gloves
6. People Everywhere (Still Alive)
7. The Man Who Took My Sunglasses
8. August Twelve
9. Balls And Pins
10. Zionsville

It all started over a year ago with the caption “Mindblowing psychedelia from Thailand” - the Youtube video that accompanied this headline on the Dangerous Minds website was exactly that. Here was a group of Thai musicians being filmed parading through a remote village hundreds of miles away from Bangkok playing some of the heaviest psych known to mankind out of a crazy homemade soundsystem.

Six months after that first encounter with Khun Narin’s Electric Phin Band, a Los Angeles music producer named Josh Marcy used Facebook and interpreters at his local Thai restaurant to get in contact with the band and inquire whether they’d be interested in having him travel to their town to record their music for a global audience. At first the band was naturally suspicious, but through subsequent interactions the group’s leader and namesake Khun Narin (also known simply as “Rin”) warmed to the idea of having Marcy come visit.

Khun Narin’s Electric Phin Band’s membership is always in rotation and spans several generations, from high school kids to men well into their 60s. A standard engagement has the band setting up at the hosting household during the morning rituals, playing several low-key sets from the comfort of plastic lawn chairs occasionally working in a cover version of a foreign classic while the beer and whiskey flow freely.

Now Innovative Leisure bring us the debut release from Khun Narin's Electric Phin Band, whose music is described by Dangerous Minds as "indescribably beautiful psychedelia". This recording features the band playing a traditional three-stringed lute and using effects pedals, distortion and digital delay, with Fender pickups installed into the lutes' hardwood bodies. It combines heavy psychedelia with rock and electrically modified traditional instruments.

Recommended for fans of William Onyeabor, Ravi Shankar, Os Mutantes, Jimi Hendrix, Mulatu Astatke, Buena Vista Social Club, Ry Cooder, Tinariwen etc. 

Videos of Khun Narin's Electric Phin Band have been featured in The Wire, the blog of globally renowned experimental radio station WFMU, and the popular technology and culture website Boing Boing.

Ólafur Arnalds and Janus Rasmussen finally release their unique Nordic electronic sounds in album size

After dropping several tracks and performing at select festivals throughout the years, Ólafur Arnalds and Janus Rasmussen dedicated the year 2014 to explore the area in-between Ólafur’s more acoustic, piano-based solo work and Janus’s synth-heavy electro pop, with their collaborative electronic project Kiasmos.

By focusing solely on their self-titled debut album, Ólafur and Janus have been able to combine and further develop their unique sound aesthetics to complete an album driven by their mutual love for electronic music. Made in Ólafur’s newly build studio in Reykjavík, Iceland, a majority of the album was recorded using acoustic instruments next to a variety of synthesisers, drum machines and tape delays. It features a live drummer, string quartet and Ólafur performing on the grand piano, producing an ambient, textured sound, which makes it a perfect home listen and equally danceable record. If you listen closely, you can spot them record the thumb piano, finger snapping and even the sound of the metal grinder of a lighter slowly to replace the usual electronic hi-hat sounds, giving the album a far more intimate and unique atmosphere.

“We decided to start almost completely over with this record, so most of the material is written this year with the idea of making a record that can stand as one piece rather than a collection of songs. I am very excited to get a proper record out exploring a different territory than I am used to. I touch a lot on electronic genres in my own music but never have the opportunity to go full out electronic like we do here.” – Ólafur Arnalds

“The Kiasmos project has been around since 2007, but because of all our other projects we never really got the time to sit down and write all the tracks we always wanted to. So when we early this year finally found the time to sit down and make a full length album there was so much we wanted to try out. The result surprised us a bit, it's deeper and more emotional than we imagined it to be, but that's the beauty of being able to make an album.” – Janus Rasmussen

Long-term Erased Tapes graphics collaborator Torsten Posselt at Feld Studios in Berlin created the cover artwork. Feld Studios was a natural choice for Kiasmos, seeing he also designed the cover for their Thrown EP, released previously.

Kiasmos is made up of Icelandic BAFTA-winning composer Ólafur Arnalds, known for his unique blend of minimal piano and string compositions with electronic sounds, and Janus Rasmussen from the Faroe Islands, known as the mastermind of the electro-pop outfit Bloodgroup. Based in Reykjavík, Arnalds used to work as a sound engineer, often for Rasmussen's other projects, where the two musicians discovered their common love for minimal, experimental music. They eventually became best friends, often hanging out in their studio, exploring electronic sounds.

TRACK LISTING

1. Lit
2. Held
3. Looped
4. Swayed
5. Thrown
6. Dragged
7. Bent
8. Burnt

Kiasmos mark their return in 2017 with a new 12” EP titled Blurred — available worldwide on October 6th via Erased Tapes.

Since their 2015 Swept EP, the duo have been performing shows extensively across the world. After writing and recording together in their native Iceland this year, the pair will be bringing a glimpse of light to a particularly gloomy time of year as their light sounds are brighter than ever.

Words from Ólafur and Janus, August 2017:
“To write new material felt like a new beginning for us after two years of touring. The plan was to write something a tad darker than our previous stuff. Spring in Reykjavík had other plans though, as this turned out to be our brightest release to date.” - Janus Rasmussen.

“Stimming was one of the reasons we started making four-on-the-floor music and we have been listening to Bonobo since we were young, so it was a great honour that they wanted to contribute remixes for the EP.” - Ólafur Arnalds.

The EP closes with remixes from British producer Bonobo and German electronic musician Stimming, taking tracks Blurred and Paused into different coloured realms.

The cover art featuring the iconic Kiasmos symbol is by long-time Erased Tapes collaborator Torsten Posselt at FELD.

TRACK LISTING

A1. Shed
A2. Blurred
A3. Blurred (Bonobo Remix)
B1. Jarred
B2. Paused
B3. Paused (Stimming Remix)

Kiasmos – Icelandic composer Ólafur Arnalds and Faroese musician Janus Rasmussen – are returning, renewed and restored, with II. The triumphant follow-up to their universally acclaimed self-titled debut in 2014, which re-envisioned minimal techno with orchestral flourishes and weightless production. They’d made most of that album in just two weeks; this time it’s been 10 years. The making of II was a test of their friendship, but also testament to how great musical chemistry can always go the distance and be just the same as it ever was.

They worked on a lot of II during the lost year of 2020-2021, including a trip to Ólafur’s studio in Bali. “We spent a month there and wrote a few songs that ended up on the record,” says Janus. The pair sampled traditional Balinese percussion like the gamelan and incorporated Janus’s field recordings of their natural surroundings – the sound of birds, crickets and, on standout track ‘Dazed’, echoing the sunrise over the lush landscape.

Kiasmos have an enviable knack for conveying complex emotions and evocative visuals with instrumental music. But this time they’ve got more experience as producers to draw on. The album’s expansiveness can be linked to Ólafur’s intervening years as a Grammy-nominated composer and prominent soundtracker in film and TV. And they’ve subtly shifted from four-to-the-floor to the frenetic broken beats of UK dance music, experimenting more with BPMs, echoing Janus’s time spent DJing in major venues worldwide. There are still those aching melodies that fans know and love but they’re catchier too: tracks like ‘Laced’ and ‘Bound’ have an irresistible, elastic bounce beneath the ethereal palette.

“We just want to make electronic music that there isn’t so much of right now,” says Janus, “to take you on a great journey that is a little bit unconventional.” “You have to develop into a new space,” Ólafur adds. But they had to impose limits, too, to keep them both on track and make something memorable. Often Ólafur would refuse to move on to the next idea until they’d perfected a chord progression or beat, to help them stay focused and forge, he says, a “deep understanding of what the song is.”

“II is livelier,” says Janus, “but it still retains the signature Kiasmos style of transitioning from a whisper-quiet ambience to an explosive dance beat that can blow your socks off.”

TRACK LISTING

1. Grown
2. Burst
3. Sailed
4. Laced
5. Bound
6. Sworn
7. Spun
8. Flown
9. Told
10. Dazed
11. Squared

Hailing from Northwich in the North West of England, ‘Kicked In the Teeth’ are a four piece punk rock band. Formed in 2019 the band are made up of Jay (vocals), Joe (Guitar), Mike (Bass), Chris (Drums). Having known each other for over 20 years the guys have all been involved in other bands prior to this. Chris was the drummer for The Business for the final ten years of the band, Jay was in Incisions on drums, Joe was the lead singer and guitarist for Helsinki Seven and Mike played in pretty much every metal band in Cheshire, along with playing bass for infamous Chester hardcore band Face Of Christ.
The album was recorded at Foxhound Studios in Byley by Mike Bennett. To try and keep things as live sounding as possible, the band recorded the music live and used room mics to try and capture an honest depiction of the band, only some guitars and vocals were overdubbed separately. Total
recording time clocked in at under 24 hours and the 10 track album clocks in at just over 22 minutes. 

Compilation of singles recorded from summer of 1999 to autumn 2001.

More from the iconic Dirty Blends crew - taking the original Trax / acid ethos a la Adonis, Steve Poindextor, Lil Louis etc - and adding their own character and twists to the tale. Fierce, uncompromising, raw shit for the warehouse freaks and machine goblins. No quantize was used in the making of these tracks!

Number nine in the series and its a double header featuring main crew members Cliff Solomon, The Jak and The Kid & Cliff. "Don't Be Alamed" is like a stripped back and instrumental version of "Donnie" or "Love Can't Turn Around" - but with the emphasis firmly placed on the floor toms and wavy pads. "Heavy Thump" contains possibly the nicest kick drum recorded onto wax for some time, assaulted with machine gun snares, wrecking ball toms and this occasional vox ordering us to 'bang that shit'. It's a primitive and aggressive jack track that should encourage slam dance body moves and a general feelings of wild, feral behavior that might have you average young person looking at us older lot with a look of frightened bewilderment. Yes - it was better in our day!!! 

TRACK LISTING

Dont B Alarmed
Heavy Thump Bangdatshyt

Rochdale singer-songwriter Kid Called Sorrow's recently released debut E.P, 'A World Away,' gives a wry take on the ups and downs of life in a northern town.

“It's a new lineup,” landlord of the avant-garage Kid Congo Powers exclaims of the Pink Monkey Birds edition responsible for the fifth studio full-length of their 19 year recording career, That Delicious Vice.

“We've gone from a four piece to a three piece,” continues Kid, whose unique guitar style has been at the center of some of the most forward-thinking bands in punk and garage: The Gun Club, The Cramps, Nick Cave and the Bad Seeds, and Knoxville Girls, to name a handful.

“I'm not sure if living in the desert is making me want more space in music or not,” laughs Kid, a Tucson resident for a few years now. “Maybe I’m turning into a desert stoner rocker. But I'm not a stoner, so that's not happening.”

No, the former Brian Tristan is most decidedly not unleashing a Kyuss tribute album. But you hear the desert all over That Delicious Vice, beginning with opening instrumental “East Of East,” its Duane Eddy/Rowland S. Howard guitar twanging through some malicious reverb. You feel it in the slide guitar-drenched theme from an imaginary western, “Silver For My Sister,” which echoes the pioneering Los Angeles blues punk band Kid formed with Jeffrey Lee Pierce, The Gun Club. There’s also such unique pieces as the acid/garage cumbia title track, translated into Spanish at least for its name, “Ese Vicio Delicioso.” As he tells the tale of his musical journey over the Pink Monkey Birds’ cowbell-thumping Latinate rhythms, Kid’s thickly distorted guitar groans and screams with feedback, likely a conscious sonic homage to Jimi Hendrix, name checked in the lyrics.

But the album’s major hallmark has to be its extended collaboration with Alice Bag, the face of and voice of early LA punk titans The Bags. How and why these two took this long to unite creatively is a dense mystery, considering both graduated with honors from early Hollywood punk palace The Masque, and their photos had to have stared at one another from opposite pages of a few issues of Slash or fLiPSiDe.

This led to “Wicked World,” a full-on Kid Congo/Alice Bag duet that’s That Delicious Vice’s second track and major fulcrum. Over rat-a-tat “Big Bad John” drums, a blast of fuzz bass, and Kid’s siren-like slide guitar, the co-composers recount in tandem the tale of a child “born into trouble from a devil seed/Every fork in the road led her here.” It’s a short drive from there through a poor childhood and bad decisions to turning tricks and seeking kicks, amid an atmosphere heady with the scent of sex. The action stops, and Alice chants, “One two three four five six seven — you’re going to Hell, and I’M GOING TO HEAVEN!!” It’s a pulp paperback reincarnated as primal rock ‘n’ roll.

That Delicious Vice is produced by Kid Congo & The Pink Monkey Birds, recorded and mixed by Jim Waters [Jon Spencer Blues Explosion, Sonic Youth] at his Waterworks Studios facility in Tucson. It features nine new original tracks that are the band’s strongest to date. The band will be touring Australia in April with more touring to follow.

STAFF COMMENTS

Barry says: Fuzzed-out breakdowns and soaring psychedelic freakouts are the bedrock of Kind Congo's sound, but on 'that Delicious Vice' the band are on peak form, effortlessly moving between walls of sound freakout drone and tender slide-guitar balladry. There 's groove and rhythm too, never eschewing the feel for needless heft, it's a beatifully balanced maelstrom.

Live In St. Kilda is a twelve song live album from a one-time-only show in which Kid Congo Powers was backed by The Near Death Experience. Kid Congo says, “How did I hook up with The Near Death Experience you may ask? One fine day Kim Salmon, my long time Scientists Surrealist Beast of a friend, wrote from Australia to ask me to play at his book launch for his biography Nine Parts Water, One Part Sand: Kim Salmon And The Formula For Grunge on November 9th, 2019. The launch was to take place at the Memo Music Hall in St. Kilda, a seaside suburb of Melbourne. A royal command performance for the king of Kim? How could I say no to such an honor? What to do about a band? It did not take more than a minute for each of us to suggest Harry Howard and The Near Death Experience as the logical choice. I was a massive fan of the band already and we shared crossed paths as expats claiming out our musical in 1980s London. Harry with Crime And The City Solution and These Immortal Souls, Dave and Clare with The Moodists, Kim with the Scientists and me with Gun Club and Fur Bible. Needless to say it was fantastical to get together and make a playlist for Kim featuring covers by Suicide and Shangri La, with mine and NDE’s songs as well. The night was magic—I still am floating on a surrealistic pillow remembering the night. Enjoy the racket, enjoy the love, enjoy this record of friendship and celebration.”

STAFF COMMENTS

Barry says: Snapping garage percussion and screaming guitars lay the foundation for Kid Kongo Powers' unmistakeable vocals and scathing live show. Featuring the Near Death Experience members instead of the usual Pink Monkey Birds has lent his sound an even more raw edge, accentuated by the live setting. Hefty.

TRACK LISTING

1. LSDC
2. I Found A Peanut
3. Black Santa
4. La Llorona
5. The Only One
6. Sophisticated Boom Boom
7. New Kind Of Kick
8. Diamonds, Fur Coat, Champagne
9. She Doesn't Like It
10. Sex Beat
11. When He Finds Out
12. Garbage Man

Kanye West and Kid Cudi have unveiled their new collaborative album, "Kids Sees Ghosts". The seven-track release has the same minimalist ethos of "Ye" but sounds completely different, featuring more polished, haunting production and some surprising musical samples, as well as features from Pusha T, Ty Dolla $ign, and Yasiin Bey (fka Mos Def).

Kid Cudi unveiled the album artwork designed by Japanese artist Takashi Murakami. Known for coining the postmodern art movement 'Superflat' influenced by the cartoon-like style of manga and anime. Murakami takes inspiration from a traditional Japanese landscape watercolour and converts it into a psychedelic scene for the album's artwork.

"Kids See Ghosts" is the third of five new album projects from Kanye West. It follows on from Pusha T's Kanye-produced album "DAYTONA" and Kanye's eighth solo album "Ye". Next up: the release of Yeezy-produced albums from hip hop icon Nas and G.O.O.D. Music signee Teyana Taylor (aka the star of Kanye's "Fade" video).

TRACK LISTING

Feel The Love
Fire
4th Dimension
Freee (Ghost TOwn Pt.2)

Reborn
Kids See Ghosts 
Cudi Montage

Darren Jackson, better known on the independent music scene as Kid Dakota. Recorded mostly live, "The West Is The Future" captures the intensity and dynamic range of Jackson's Minneapolis band as a four-piece, with long-time drummer Christopher Mcguire (John Vanderslice), guitarist Erik Appelwick (Vicious Vicious, Olympic Hopefuls) and bassist Zak Sally (Low) offering up offering a moody fusion of rock, folk, and country that has garnered comparisons to Neutral Milk Hotel, Elliott Smith, Sparklehorse, the Black Heart Procession, and Pink Floyd.

This posthumous release features 29 songs taken from every compilation and split release, plus cover songs (check out brilliant covers of Black Flag's "Rise Above" and the Clash's "Hateful"), their original six-song demo, a live radio appearance, and assorted demo versions of other Kid Dynamite classics. Essential!

Fifth solo studio album from world-renowned scratch DJ, producer, composer and graphic novelist Kid Koala.

Kid Koala’s first vocal collaboration / first time as lyricist / first instrumental composition and his first release on Arts & Crafts, following four albums on seminal electronic label Ninja Tune.

Icelandic singer-songwriter Emilíana Torrini features on this first instalment of the ‘Music To Draw To’ collaborative series.

Kid Koala’s lyrics tell a story of discovery and loss, based on the Mars 1 Mission.

Inspired by Kid Koala’s interactive ‘Music To Draw To’ and ‘Satellite’ multimedia events.
Contributed to film scores ‘Shaun Of The Dead’ and ‘Scott Pilgrim vs. The World’, among others.

He has composed music for Cartoon Network, Sesame Street, Adult Swim and the National Film Board Of Canada.

TRACK LISTING

The Observable Universe
Adrift
Transmission 1
Fallaway
Perihelion
Photons
Beneath The Heat
Novachord
Transmission 2
Collapser
Transmission 3
The Hubble Constant
Satellite
Apoapsis
Nightfall
The Darkest Day
Epilogue
Nightfall Pale Blue

Cult classic Some of my Best Friends are DJs is given a new lease of life on the 20th anniversary of release.

It's the Kid Koala you know and love, a turntablised soundtrack of more antics of the cranky and mysterious characters from Kid Koala's comic book land of Nufonia.”

Some of My Best Friends are DJs comes complete with the original 50-page comic book and mini chess game from the first pressing.

On original release, the album was supported by a cabaret-style tour known as “The Short Attention Span Theatre”, which featured 3 DJs on 8 turntables, a slide show and a bingo game among other quirky surprises.

TRACK LISTING

A1. Strat Hear
A2. Basin Street Blues
A3. Radio Nufonia
A4. Stompin At Le Savoi
A5. Space Cadet 2
A6. Grandmaphone Speaks
A7. Skanky Panky
A8. Flu Season
B1. Robochacha
B2. Elevator Hopper
B3. Annie's Parlor
B4. Bonus Materials: On The Set Of Fender Bender
B5. More Dance Music
B6. Vacation Island
B7. Negatron Speaks

Although there is the romance, silent movie comedy and a certain amount of swing on "Your Mom's Favourite DJ", the enthralling deftness and complexity you'd expect from Kid Koala is also here - woven together with classic hip hop beats, breaks and generous swathes of heavy guitars. Looking back to the seminal "Scratchcratchratchatch" cassette of a decade ago, the album also hints at the many projects Mr San has to come. There are references throughout to a book about a clarinet-playing mosquito that Eric is currently working on, also to the musical puppet show he has in development (honest).

Jan St. Werner is one-half of legendary electronic duo Mouse On Mars. Werner records music as well under the name Lithops and has released records with Oval’s Markus Popp as Microstoria. Jan has collaborated with a wide range of artists from Mark E Smith and Stereolab to The National.

Kid Millions, aka John Colpitts, is a prolific drummer, known for his work in Oneida and frequently performs with Laurie Anderson and Marnie Stern. Colpitt’s past collaborations include Philip Glass, Royal Trux, Boredoms, White Hills and Spiritualized. Under the moniker Man Forever, Colpitts collaborated with acclaimed groups So Percussion, Greg Fox, Tigue, Yo La Tengo and more.

Together, the works on ‘Imperium Droop’ are a joyful listen and an exhilarating foray into the unknown; Kid Millions’ (John Colpitts) tireless rhythms and subtle gestures mirror Jan St. Werner’s boundless textural palette and together drive each piece towards transcendence. Exploring a liminal space between improvisation and composition, the duo expand their musical dialogue beyond the physical limitations of space and time.

LP is available on opaque purple with white coloured vinyl with art by Frieda Luczak, whose designs have been featured on many classic Mouse on Mars albums.

“Kid Millions has become a ubiquitous force in a constantly changing scene.” - New York Times

“Mouse on Mars have never let their concepts eclipse the music; part of the pleasure of the duo’s output is its very inscrutability... the sounds beckon in their mystery.” - Pitchfork

“Mutant, microtonal... [Jan St. Werner] explores one area of sound with great intensity and nuance” - Uncut

“Experimental percussion genius” - Village Voice on Kid Millions

TRACK LISTING

Color Bagpipes
Apotropaic
Laffen’ Death
Hexaco Inversion
Dark Tetrad
Astral Stare
Nuclei Melodies
Sorrows And
Compensations

Kid Millions is a musician, composer and writer best known as the drummer and founder of Brooklyn's experimental rock behemoth Oneida. For the last twenty years, Millions has been at the forefront of the NYC experimental music community collaborating with artists as varied as Laurie Anderson, Yo La Tengo, Boredoms, So Percussion and William Basinski. Enter his album-length conversation with the recordings of the unjustly obscure guitarist Harry Taussig, whose 1965 private-press album Fate Is Only Once was reissued by Tompkins Square in 2006. This strange gem was followed by two new Taussig recordings - Fate Is Only Twice(2012) and The Diamond of Lost Alphabets (2014). Tompkins Square proposed that Millions take this raw material and fashion something completely new. Millions took the material up to Kingston NY and through working with his engineer Matthew Cullen emerged with an album of rare beauty in keeping with the spirit of Taussig's work while suggesting directions previously unexplored in his oeuvre. To create this new work, Millions and Cullen overdubbed guitars, drums and organs onto the original tracks and sent the material into other damaged psychedelic dimensions only hinted at in the original works. Millions writes in the liner notes, "[Taussig is] not slavishly attended to technique but we also don't feel any boundaries to his expression. One of his classic tunes is subtitled "Fantasia in A" and in a way this term is a perfect label for his entire oeuvre. A fantasia is an improvisation that touches on many themes and styles. Some of his songs are very tight and tidy and I was drawn to some of them. But I also wanted to stretch these moments of loose revelation and turn a spotlight on Taussig's generous search." We're left with a kind of revelation - a so-called "remix" album which can actually stand on its own and illuminate both artists' work.

Lovely sun-kissed melancholic pop from this Northern Irish band.

South Street are back with another essential reissue, This time with two heavyweights of the Chicago house scene.
In 2015, Soulful house royalty Stacy Kidd joined forces with Peven Everett to release a limited run of this dance floor anthem “Body Jerkin”, and now that these now hard to find records are fetching over £100 it’s time that a remastered, reissue were made available in stores again, and South Street keep growing their label with more essential hits like this.

This reissue features 3 essential versions of the hit "Body Jerkin'". The original mix sits on the A side, with a bass and drum groove being joined with strings, a nod to a classic disco hit and Peven’s vocals completing this soulful house groove, the classic spin that has been heard worldwide on dancefloors since it's original issue. The B side features one first time on vinyl mix, the Chicago Mix and then a never before released Disco Mix. The Chicago mix, a smooth and bubbly deep and funky groove and the Disco mix a raw and energetic rework to round off this trio of wicked house cuts. Cut Loud and Proud with a South Street company sleeve. Don't Miss!

TRACK LISTING

A1. Original Mix
B1. Chicago Mix
B2. Disco Mix

Andrew Kidman’s Glass Love (2006) serves as an evolution from his first avant-garde surf film, Litmus (1996). Kidman followed the same filmmaking technique from ten years prior: write and record the songs, then set the mise-en-scène to match the rustic, moody, balletic rock. Thanks to Litmus, experimentation in board design had progressed as surfers became more contemplative, questioning, ‘is surfing art or sport?’ Glass Love and its soundtrack highlights this mindset and time period, creating an extra dimension to surfing that is still prevalent today. 

TRACK LISTING

1: If They Only Knew - Andrew Kidman
2: Mama, You Been On My Mind - Andrew Kidman
3: Light Inside Of You - Andrew Kidman
4: Moonshiner - Andrew Kidman
5: Flowers In The Wind - Andrew Kidman
6: Narrabeen - Andrew Kidman
7: The Dice Already Thrown - Andrew Kidman
8: Opus - Andrew Kidman
9: Blood On Your Shadow - Andrew Kidman

Litmus, Andrew Kidman’s first avant-garde surf film, served as a soulful reaction to the pop-punk progression that dominated the “alternative” mainstream. With the film's visceral and cerebral moodiness, folksy soundtrack, and meditative spirit, critics swooned over surf misfits like Wayne Lynch, Derek Hynd, Tom Curren, and Joel Fitzgerald. Despite the acclaim, the film was not much of a commercial success at the time. The aura of Litmus’ soundtrack, however, has found its cultish corner in the surf world.

Prior to filming Litmus, Kidman’s band, The Val Dusty Experiment, recorded a total of thirty-five songs in one day. Additional contributions from Galaxie 500, Yothu Yindi and The Screaming Orphans diversify the score. Litmus was a defining moment in surf filmmaking -- it sparked an open-minded retro-progressive movement as surfers formed a higher consciousness about the types of boards they were riding and why.

Kidman released his second film, Glass Love, ten years later. As with Litmus, the music came first; Kidman felt his songwriting was ready to take on a new life. Thanks in part to Litmus, experimentation in board design progressed as surfers became more contemplative, questioning, ‘is surfing art or sport?’ Glass Love and its soundtrack highlights this mindset and time period, creating an extra dimension to surfing that is still prevalent today.

TRACK LISTING

DISC: 1
1: Rain - The Val Dusty Experiment
2: Wayne Lynch Quote - Wayne Lynch
3: Gapu - Yothu Yindi
4: Listen The Snow Is Falling - Galaxie 500
5: Derek Hynd Quote - Andrew Kidman
6: Mo Walker - The Val Dusty Experiment
7: Cow - The Val Dusty Experiment
8: Time - The Val Dusty Experiment
9: Black Is The Colour - The Screaming Orphans
10: Joel Fitzgerald Quote - Joel Fitzgerald
11: Green Hornet - The Val Dusty Experiment
12: Fire Jam - Tom Curren
13: Elizabeth - Rosie Sutherland
14: Dump Swimming - Jon Frank
15: Hawaiian Surf Forecast - The Val Dusty Experiment
16: Riding The Wind - Kevin Baker And The Val Dusty Experiment

DISC: 2
1: If They Only Knew - Andrew Kidman
2: Mama, You Been On My Mind - Andrew Kidman
3: Light Inside Of You - Andrew Kidman
4: Moonshiner - Andrew Kidman
5: Flowers In The Wind - Andrew Kidman
6: Narrabeen - Andrew Kidman
7: The Dice Already Thrown - Andrew Kidman
8: Opus - Andrew Kidman
9: Blood On Your Shadow - Andrew Kidman 

A defo contender for emo / post-hardcore album of the year this is a stunning full length follow up to their two cracking mini albums. A hectic last twelve months saw the band garner glowing reviews, tour Britain with the likes of The Movielife and Sum 41 and play a storming set on the Concrete Jungle stage at Reading. "!Hey Zeus!" tops all that with its exciting mix of hard edged spiky guitar and caustic vocals.

Kids Near Water are kicking up a serious storm for such a new band. Formed in April 2000 from the remnants of two Exeter bands, Clinch and Cameron, they seem destined to surpass both of those bands easily with their intense, tough brand of emo-core. This 5 track mini album is an ideal taster to get into a band that's real quality.

The last ten months have seen the band go from only having done a handful of shows to being the subject of Kerrang, NME, Rocksound and Big Cheese articles, interviews and Radio One plays and a track on the Fierce Panda "Go" EP, (featured here in a re-recorded form), a sell-out tour with Elliott and well received slots at the Reading and Leeds Festivals. The new EP showcases their developing sound, brilliantly captured by Snuff / Therapy / PJ Harvey producer Head and featuring live favourites "Anniversary" and "Distance Over Time". It is further proof, if any was needed, that this Exeter post hardcore crew are amongst the leading lights of the nu-rock renaissance in this country there is no excuse - get it!!!!!!

Kiefer’s new album sees the LA based artist return to his roots, playing keys and making beats.

‘It’s Ok, B U’ combines the hallmarks of Kiefer’s sound - masterful piano playing, mesmeric beats and vibrant melodies - with serious emotional heft.

In addition to being a celebrated solo artist, Kiefer is a Grammy-winning producer who has worked with the likes of Drake and Anderson .Paak.

TRACK LISTING

I Could Cry
Panic
My Disorder
Dreamer
High
Falling
I Wish I Wasn’t Me
Head Trip Feat. Luke Titus
Hips
Doomed
August Again
I Was Foolish, I Guess
Glowing Feat. Pera Krstajic
Forgetting U
It’s Ok, B U
I Mean That

One of the top dogs in LA's new school of jazz musicians, pianist and producer Kiefer comes through with his first LP for Leaving Records. "Kickinit Alone" sees the producer marry swung sampler beats, dusty Rhodes licks, gentle fretwork and low slung basslines into a downbeat delight. Situated perfectly between blunted hip hop beats and modern jazz, this pretty much typifies the 'lo-fi hip hop to chill to" playlists.

For fans of Kamaal Williams, Kamasi Washington, Blue Lab Beats, Sam Wilkes, Moses Boyd, Yussef Dayes

TRACK LISTING

Tubesocks
Evil Eye (feat. Hether)
5000 Dollar Check
Butterfly Inside My House
Ghosted
IDK
U R What U Repeatedly Do
Happysad Sunday
Most Beautiful Grl
In Pursuit Of U
Reinvent Yo Self
Kickinit Alone

When There’s Love Around is GRAMMY Award-winning artist Kiefer’s second album for Stones Throw - For the first time, Kiefer is joined by a full band, including Sam Wilkes, Carlos Niño, DJ Harrison (Butcher Brown), and many more 

For fans of Kamaal Williams, Kamasi Washington, Blue Lab Beats, Sam Wilkes, Moses Boyd, Yussef Dayes

TRACK LISTING

Side A
01. Introduction
02. I Remember This Picture
03. Lift Somebody Up
04. Earthly Things
Side B
01. Crybaby
02. Curly
03. A Wish For You
04. Loving Hands
Side C
01. Areti's Love
02. With You Where You Are
03. When There's Love Around
Side D
01. I Love My Friends
02. Thinking Of You (vinyl Bonus) 

Kiiōtō is the love-child of Lou Rhodes, Mercury-nominated singer/songwriter and founder member of Lamb, and multi-platinum songwriter and keyboardist Rohan Heath. Together, they have recorded an album that is both richly instinctive and inquisitive: drawing on the roads the pair have taken to reach this point, As Dust We Rise arrives infused with a transporting spirit of ongoing exploration and discovery.

Written and partially recorded in Lou and Rohan’s home studios in London and Wiltshire, the songs were then taken to producer Simon Byrt’s studio. Contributors included Valerie Etienne of acid-jazz outfit Galliano. Byrt’s advocacy of analogue recording and vintage equipment proved instrumental to the record’s warm air and organic sound, nurtured lovingly into being with the help of guest musicians on live drums, strings, bass, guitar and horns: collaborative processes, say Lou and Rohan, that they intend to develop on their next album.

“It’s a record that doesn’t shy away from the big themes of life,” Lou says, “we kinda rolled up our sleeves on this one.”

TRACK LISTING

1. Hem
2. Josephine Street
3. Here Comes The Flood
4. The Sea
5. Ammonite
6. Song For Bill
7. Pain Killer
8. Jeanerette
9. Spanish Moss
10. Wild Geese
11. Quilt

The name means GEOMETRIC PATTERNS in Japanese. This Tokyo band started channeling the spirits of the Japanese psychedelic underground in the summer of 2012, quickly developing the sound of ‘60s psychedelia to a breathtaking degree. Their debut album exerts an elemental power. Enlivening their sound with sitars, percussive drums, theremins, wind instruments and ethereal vocals, the band manages to sound powerfully spacious and lazily serene all at once. Their songs can be light as air, or heavy as earth. Many evolve out of intense experiences of engagement with the natural world. The album’s first track, “Can You Imagine Nothing?” was written over a night spent jamming on a suspended footbridge in remote mountains.

As the song progressed the bridge began to sway, making band members feel as though they were floating weightless in midair. Kikagaku Moyo started in the summer of 2012 busking on the streets of Tokyo. Though the band started as a free musiccollective, it quickly evolved into a tight group of multiinstrumentalists. Kikagaku Moyo call their sound psychedelicic because it encompasses a broad spectrum of influence. Their music incorporates elements of classical Indian music, Krautrock, Traditional Folk, and 70s Rock. Most importantly their music is about freedom of the mind and body and building a bridge between the supernatural and the present. Improvisation is a key element to their sound.

TRACK LISTING

A1 Can You Imagine Nothing? 
A2 Zo No Senaka 
A3 Tree Smoke 
B1 Lazy Stoned Monk
B2 Dawn

Soulful sounds from the South of Italy, coming courtesy of Soul Departure Recordings label head Kikko Esse.

TRACK LISTING

A1. Deep Mind
A2. 4 PM
B1. Take It Easy
B2. Make It

New album by the successful duo Steve Kilbey (The Church) and Martin Kennedy Interest and profile of Steve Kilbey has been raised considerably over the past year due to the church re-forming touring and issuing 2 new albums Steve’s solo albums are all getting a complete make over and the fan clubs are ablaze with rumours and gossips regarding forthcoming releases.

Reviews & Advertising in vive le rock record collector classic rock R2 The Big Takeover. Embark on a mesmerising journey with the third and culminating chapter of the highly acclaimed trilogy by Steve Kilbey and Martin Kennedy. Building on the success of Jupiter 13 (2021) and The Strange Life of Persephone Nimbus (2022), their latest epic, 'Premonition K,' unveils a sumptuous and organic

sonic landscape, delving into the dark and enigmatic realms that exist between the boundaries of life and death. This album, a testament to their musical synergy, encapsulates a darkly beautiful soundscape, drawing inspiration from diverse sources, ranging from the haunting tones of Roger Waters' Final Cut to the shadowy depths explored by early 1970s Black Sabbath. Steve Kilbey, best known as frontman of legendary Aussie post-prog rockers The Church, infuses each track with an emotional resonance and sense of mystery. Martin Kennedy co-pilots this sonic odyssey with Steve Kilbey, weaving an intricate musical bed for Kilbey's lyrical dreamings. Drawing from his twenty years of soundscaping with All India Radio, Kennedy adds layers of sonic complexity, at once warmly familiar and mysteriously strange, creating an immersive experience for the listener. Together, Kilbey and Kennedy invite you to break out the ouija board, turn off the lights, and immerse yourself in the mysteries of 'Premonition K'.

TRACK LISTING

Side A
Breaking The Fourth Wall
NDE
The Doctor
Nowhere
My Better Half
That's Gotta Hurt
Side B
Whispered Voices On Tape
The King
The Contender
The Ouija Board
Menace In The Past
The Song That Wrote Itself

Thirty years in the making, Kraig Kilby’s "Satori" is an exercise in perspective. The classically-trained trombonist and pianist put down his professional roots in the soul, jazz and funk scenes of 1970s California, contributing to records by Bennie Maupin and Dynasty as well as touring and recording consistently with The Whispers and Etta James. While off the road in the SF Bay Area, he found himself adjacent to some of the most forward-thinking and far-out jazz musicians of the time.

He asked two of them, bassist Paul Jackson and drummer Michael Clark, to help him realize a set of his own compositions. The duo, already legendary for their roles in Herbie Hancock’s Headhunters band, went into the studio with Kilby to record the foundational tracks in the spring of 1977. Throughout the next four years, he would return on his own to apply layer after layer of additional instrumentation, up to the absolute limits of what was possible with the available equipment. This exacting process gave the sessions an unusual and compelling signature that bears something in common with the contemporaneous work of the Mizell Brothers, Norman Connors’ Aquarian Dream, and Detroit’s Tribe Records, but with a depth and lyricism unique to Kilby’s sense of harmony that lies amorphously between the worlds of 70’s jazz, funk, and experimental rock. Kraig's busy touring schedule throughout the following decades would leave the album fermenting until 2007, when it was paired with two more recent improvisational recordings and self-released on CD.

"Satori"'s mercurial twists and turns lead us through a dense sequence of melodic and rhythmic figures as calculated as they are tripped, always at the edge but navigated with a precise sense of balance. Rife with hooks that will startle even the most seasoned breakbeat sleuth and sheets of emotive texture that sound right at home with today’s wave of cosmic jazz torchbearers, it spins like a collector's fever dream, surely one of the most prescient jazz albums to have fallen through the cracks. Upstart Detroit label Just Us is pleased to offer this crucial missing link on vinyl for the first time.

TRACK LISTING

Incantation
Lately
Sometime Soon
Musing
Lonebone
Satori
Ketchee
Strawberry Point

As performed at Mondocon V, this is a live, beats heavy version of the popular 2019 album. Elevated by the drums and glitching percussion it takes the songs to a whole new level, perfectly complimenting the original album version

TRACK LISTING

1. Portacarrero 04:06
2. Chestnut Hills 03:52
3. Patterns 02:54
4. Jerichos Opening 03:58
5. Not Like The Others 02:54
6. Vacancy 03:33
7. Higher Education 02:51
8. 16 Seconds 04:41

Burning Witches Records are proud to announce the new electronic, glitching, mind melting double album from Cory Kilduff!

"On his 2019 BWR debut, ‘When It All Gets To Be Too Much’, Cory Kilduff made a sprawling and emotionally connected album filled with lush synth textures and heart-heavy melodies, reminding us what it was like to be young with heart-on-sleeve. On follow-up, You Will Be Safe, Kilduff makes up for a mostly beat-less debut by creating a rhythmically rich record. Kinetic rhythms intertwine with Kilduff's knack for melody, giving songs like "Was That Not An Exit", "Night Night", and "The Brighter Side Of Giving Up" dance floor integrity while never losing sight of the beating heart moving us to dance." - John Hubner.

TRACK LISTING

1. It's A Feature
2. Internal Feedback
3. The Worst Miscalculations
4. Was That Not An Exit
5. We All Break Eventually
6. The Medicine
7. Night Night
8. Probably Stable
9. Restraint In Four Parts
10. That Voice You Hear Sometimes
11. The Brighter Side Of Giving Up

"It's moody - as in low, subdued," says David Kilgour of his new album, Bobbie's a girl. David Kilgour’s 11th solo album, Bobbie’s a girl is a quieter affair than fans may associate with the pioneer of New Zealand indie rock. “I tended to shy away from too much guitar playing for a point of difference and to mix things up for myself a little,” Kilgour continues. The style set in at the beginning of sessions, as he and the Heavy Eights (i.e., longtime collaborators Thomas Bell, Tony de Raad, and Taane Tokona) headed to Port Chalmers Recording Services with producer Tex Houston. “We have worked on these songs for a number of years now, so that’s different because I usually can’t wait to get them out,” Kilgour says. Why the delay? Like with the themes of the album, Kilgour doesn’t want to elaborate too much.

“Everything’s related to the music and mood,” he says, “but I’d rather not say how. I like a little mystery.” Largely missing the jangly distortion of Kilgour’s other work, the album’s ten songs exude a hazy warmth, with a light psychedelia that recalls the ’60s outfits like The Byrds and The Velvet Underground. Opener “Entrance” floats wordlessly on acoustic guitar, whose ringing chords slightly mask the deft fingerpicking beneath it. “Smoke you right out of here” picks up the pace, but “Crawler” rolls in like a storm, its organ and fingerpicked guitars creating an ominous sound until a chorus of “aaaahs” lightens the mood. Only four songs have lyrics. “I kind of wanted a rest from verbalizing everything, like listening to yourself going, ‘Blah blah blah blah…,” Kilgour says. The guitar quietly shimmering between channels, the music seems to speak more than the words. “Ngapara,” the closing track of Bobbie’s a girl, is his favorite song on the album. It’s a loping instrumental carried by thickly distorted guitars and heavy reverb. Like the rest of Bobbie’s a girl, it feels both a part of Kilgour’s previous work, and just outside of it

TRACK LISTING

1. Entrance
2. Smoke You Right Out Of Here
3. Crawler
4. Threads
5. Coming In From Nowhere Now
6. Spotlight
7. Swan Loop 
8. If You Were Here And I Was There
9. Looks Like I’m Running Out
10. Ngapara.

Square Peg Round Hole debut release comes from Hull five piece Kill Surf City. With very dark riffs, the theatrical look of The Dresden Dolls and fronted by a unique sounding frontman who has the intensity and whining vocal range to send shivers down your spine.

Treviso, Italy-based two piece Kill Your Boyfriend are releasing their fourth album 'Voodoo' via Sister 9 Recordings (Europe), Little Cloud Records (North America) and Shyrec (Itay). A frantic and hypnothising bacchanalia of Psych & Industrial tinged soundwaves, the new album is a collection of reverb laden necromantic charms, summoning the souls and bones of the greats in the Rock & Roll pantheon of the 1950s. The duo delivers such glittery dark enchantment via 7 hoodoo hymns, travelling with a crumbling, ghostly and magically whizzing Rocket 88, in the company of Marie Laveau and madame Lalaurie. It's a relentless whirl of Voodoo-Psych, Industrial-Billy, Electro-GrisGris, which you can dance to.

The new LP follows 'Killadelica', where Kill Your Boyfriend had refined their debut signature sound, bridging the gap between the semi-obscure but hauntingly fascinating tradition of Veneto's PostPunk (Death In Venice, Evabraun, Pyramids, etc.) and contemporary Psych-Nouveau. With 'Voodoo', Matteo Scarpa and Antonio Angeli, explore new genres and expand the sonic borders, without losing their original intent. They replace the synth bass with a bass-guitar, adding more fluidity and weight to a renewed and punchier rhythmic section. Electronic and acoustic percussion are fuller and heavier, and the band's new stomp-machine is a hyper-convulsive version of the saturated Rock & Roll and R&B drumming, from the cheap garage studios of 1950s indie labels.

Sida A is the most Rock & Roll of the two, and it is inspired by Michael Ventura's essay "Hear that Long Snake Moan", which brought forward the idea that "the Voodoo rite of possession by the god became the standard of American performance in Rock’n’Roll" where the performers "let themselves be possessed not by any god they could name but by the spirit they felt in the music”. Each song invokes one or a set of the lost souls of the Rock & Roll era, with 'The Day The Music Died' referring to the infamous 3rd of February 1959. Side B descends deeper into the magic swamps of Creole magic, with music taking on a much more liturgical function, conjuring shamanic possessions via extra layers of tribal percussion. The band says of side B: "we see it as a one long ritualistic descent into a psychedelic underworld made of echoing voices, claustrophobic spaces populated by lost souls, enchanters and witchdoctors."

For fans of: Throbbing Gristle, The Soft Moon, Suicide, Cult Of Dom Keller, Sonic Youth, The Cramps, Sisters Of Mercy, Wall Of Voodoo

TRACK LISTING

1. The King
2. The Man In Black
3. Mr Mojo
4. Buster
5. The Day The Music Died
6. Papa Legba
7. Vodoo

Unadulterated and unpretentious heads down hardcore from some of the masters of their art - a whirlwind of loud, crashing guitar hooks, mid pace to full tilt rhythms and raging, cynical vocals. There's maybe a touch of Discharge's direct, hammer attack aggression about this.

Kill Your Idols exploded onto the hardcore scene back in 1995 and instantly gained a reputation for their amazing live performances and relentless work ethic. This album could well be the band's definitive recording. Relentless from beginning to end, it goes for the throat and won't let go. 16 punk rock tracks from the pitbulls of punk.

It's strange that a band so aggressive and nasty can have such a naive old skool charm. Here is an full length release from this classic German hardcore outfit, Kill Your Idols, featuring 13 re-recorded songs which have only been available outside of Europe till now. Most tracks were released on limited edition 7"s, now they're collected together, including one exclusive new tune, on one CD.

After half a dozen years of heavy touring and cranking out some of the best hardcore records of their time on labels such as Jade Tree, Side One Dummy, Blackout and others, Kill Your Idols issue fifteen tracks of demos from 95 / 97. Powerful and raw and as honest and basic as it gets.

Killer Mike gets recognized for many things - being an Outkast protege, a member of rap powerhouse Run The Jewels, one of Atlanta’s biggest advocates, a Bernie Sanders whisperer, and, perhaps most importantly, a voice of reason in an increasingly insane world.

Some might know one or two of those sides of Mike, but he is finally ready to introduce the world to the totality of Michael Render, a lifelong rap fiend whose consciousness is seeped in the sounds of community that raised him - multiple eras of southern rap flows, Sunday church service, and barbershop discourse.

All these threads converge on his forthcoming first batch of solo material since his breakout solo album R.A.P. Music in 2012 and the most comprehensively autobiographical work he’s presented to date musically and personally. 

STAFF COMMENTS

Barry says: Killer Mike (most recently of Run The Jewels fame) shows why he is such a respected rapper and songwriter in his own right, with a similar focus on political issues and clever songwriting as the aforementioned collaboration, but with a much more classical hip-hop flow and funky percussive backdrop. A hugely talented individual, showing us that 'Michael' is the perfect vehicle for his skills.

TRACK LISTING

1. Down By Law (ft. CeeLo Green)
2. Shed Tears (ft. Mozzy & Lena Byrd Miles)
3. RUN (ft. Young Thug)
4. N Rich (ft. 6LACK & Eryn Allen Kane)
5. Talk’n That Shit!
6. Slummer (ft. Jagged Edge)
7. Scientists & Engineers (ft. Andre 3000, Future, & Eryn Allen Kane)
8. Two Days (ft. Ty Dolla $ign)
9. Spaceship Views (Curren$y, 2 Chainz, Kaash Paige)
10. Exit 9 (ft. Blxst)
11. Something For Junkies (ft. Fabo)
12. Motherless (ft. Eryn Allen Kane)
13. Don’t Let The Devil (ft. EL-P & Thankugoodsir)
14. High And Holy (ft. Ty Dolla $ign)
15. Yes
16. Maynard Vignette (ft. T.I., JID, & Jacquees)
17. Get Some Money

R.A.P. Music, the fifth studio album by rapper Killer Mike was originally released in 2012 and is finally back in print. Production was handled by rapper and producer Jamie "El-P" Meline; the album was the first collaboration between Killer Mike and El-P, who would later form the critically acclaimed duo Run the Jewels.

R.A.P. Music received widespread acclaim from music critics. It landed on the Year End Best Album lists of Entertainment Weekly, Consequence of Sound, Complex, Chicago Tribune, Paste, NPR, Pitchfork, Rolling Stone, Stereogum, Spin, Vulture, Village Voice, and many more. 

One of the biggest bands on the planet are back! With 5 million albums sold in the UK to date, The Killers return with ‘Battle Born’ – their first studio album since 2008’s million selling ‘Day & Age’. The highly anticipated new album has all the sonic characteristics expected from world class rock band and promises the same excitement and energy invoked by ‘Hot Fuss’ back in 2004.

"Day & Age" is the third studio album from The Killers and is due for release on November 24th on Vertigo. Produced by Stuart Price (Madonna, Missy Elliott and who'd previously remixed "Mr Brightside") the album sees the band experimenting with new sounds and a new style moving into the realm of dance and 'perfect pop' as well as keeping their original anthemic rock sound.

Hot Fuss is the debut studio album originally released in June 20014. It has sold over 7 million copies worldwide with 2 million coming from the UK, where it has been certified seven-times platinum.

It was the 26th best-selling album of the decade in the United Kingdom. It is among the top 25 longest charting albums in the history of the UK Albums Chart, with 247 weeks, more than four -and-a-half years.

TRACK LISTING

Side 1
1. Jenny Was A Friend Of Mine
2. Mr. Brightside 
3. Smile Like You Mean It 
4. Somebody Told Me 
5. All These Things That I've Done 

Side 2
1. Andy, You're A Star 
2. On Top 
3. Glamorous Indie Rock And Roll
4. Believe Me Natalie 
5. Midnight Show 
6. Everything Will Be Alright 

Sixth studio album by the American rock band. 'Imploding the Mirage' was recorded in various locations, including Los Angeles, Las Vegas and Park City, Utah, and produced by Canadian producer Shawn Everett, and Jonathan Rado of the band Foxygen. It features contributions from Lindsey Buckingham ('Caution'), k.d. lang ('Lightning Fields'), Weyes Blood ('My God'), Adam Granduciel from The War on Drugs, Blake Mills and Lucius.

When the Covid-19 pandemic shut down the promotional run and worldwide tour for The Killers’ majestic, critically-acclaimed 2020 album Imploding the Mirage, “everything came to this grinding halt,” says frontman Brandon Flowers. “And it was the first time in a long time for me that I was faced with silence. And out of that silence this record began to bloom, full of songs that would have otherwise been too quiet and drowned out by the noise of typical Killers records.” Indeed, for the first time since 2004, the relentless momentum and pressures of being in a globally-renowned, stadium-shaking band stopped. Enter Pressure Machine: a view into the everyday realities of a small American town with a stark, tough beauty, and The Killers’ most restrained and resonant album yet.

A quieter, character-study-driven album, Pressure Machine lives squarely in Flowers’ hometown of Nephi, Utah, a close-knit community of 5300 people with no traffic lights, a rubber plant, wheat fields, and the West Hills. Nephi is the place Flowers spent his formative years (10-16), saying “had it not been for advancements in the automotive industry, Nephi in the 90s could have been the 1950s.” The album’s songs are based on the memories and stories of people that impacted him growing up, interspersed with commentary from current Nephi locals about their town. “We were discussing [Brandon] moving to Nephi as a kid and being stuck in the middle of nowhere,” says the band’s drummer Ronnie Vannucci Jr. “And during Covid-19, it started to feel like we were all in the middle of nowhere.” Concurs Flowers, “I discovered this grief that I hadn’t dealt with,” he says, “many memories of my time in Nephi are tender. But the ones tied to fear or great sadness were emotionally charged. I’ve got more understanding now than when we started the band, and hopefully I was able to do justice to these stories and these lives in this little town that I grew up in.”

The resulting record is an aural document of growing up - and living - in the American Southwest, told from a myriad of perspectives. For the first time in his life, Flowers had complete lyrics before a note of music was put to tape. No stranger to inhabiting different characters in songs, on Pressure Machine he steps into the shoes of some of the people whose lives he watched unfold as a teen. The album weaves the threads of Flowers’ signature lyricism throughout his career into a perfect whole culminating in the most elegant album The Killers have ever made.

Through its characters and also its title, the album squares up to the unbending pressure of the American dream compounded by religious disenchantment. A born optimist, moments of beauty inevitably shine out of the grief of Flowers's songs: the healing arrival of summer, the first crop of hay, sweeter skies. Pressure Machine’s stories detail the real life personal battles, overwhelming regrets, local tragedies, and the opioid epidemic that hit Flowers’ hometown, as well as every hometown in America. Flowers sings about the choices people make, for better and for worse, and the consequences of those choices; the ones who were left behind, and the ones that can’t be forgotten.

Pressure Machine’s album cover image was shot on the highway just outside Nephi, taken as photographer Wes Johnson passed a roadside inspirational display set up by a local Baptist church. Johnson took dozens of incredible images of Flowers’ hometown throughout the early part of 2021, many of which are featured in the album’s packaging for the physical edition. 

TRACK LISTING

1. West Hills
2. Quiet Town
3. Cody
4. Terrible Thing
5. Sleepwalker
6. Runaway Horses Featuring Phoebe Bridgers **
7. In The Car Outside
8. In Another Life
9. Desperate Things
10. Pressure Machine
11. The Getting By

Entitled Rebel Diamonds, the album of highlights features 20 tracks, including the modern day classics “Mr. Brightside,” “When You Were Young,” “All These Things That I’ve Done,” “Human,” “Read My Mind” and at least one song from each of the band’s seven studio albums. The album also carries through to the band’s most recently released, critically-lauded single, “Your Side of Town” and includes a brand new anthem ready to be sung at festivals across the world called “Spirit.”

The album is a curated dive into an impressive catalog of songwriting and musicianship - one that has solidified the band as one of the most important voices in rock ‘n’ roll over the last two decades.

TRACK LISTING

Jenny Was A Friend Of Mine
Mr. Brightside
All These Things That I’ve Done
Somebody Told Me
When You Were Young
Ready My Mind
Human
Spaceman
A Dustland Fairytale
Be Still
Runaways
The Man
Caution
My Own Soul’s Warning
Dying Breed
Pressure Machine
Quiet Town
Boy
Your Side Of Town
Spirit

The second album from The Killers, which sees them shift to a slightly rockier style, has been produced by the band with the legendary production team of Flood and Alan Moulder.

The members of TKF are some of hardcore's founding fathers. Featuring Joe D.Foster (Ignite/Uniform Choice), Joe Nelson (Triggerman), Gavin Oglesby (No For An Answer) and Ed McKirdy (Hands Tied), TKF are bringing back the hardcore spirit of the '80s - determinedly old skool.

Killing Joke, the iconic post-punk band known for their dark and influential sound, re-issue a vinyl & CD format of their live album “XXV Gathering!” Originally released in 2005, the album captures the raw energy and intensity of Killing Joke’s live performances. The re-issue features photos by Tony Woolliscroft and liner notes by Jaz Coleman, and is pressed on yellow and orange coloured vinyl.

Including classics ’Wardance’,’Requiem’ and ‘Love Like Blood' this limited edition release is a must-have for fans of Killing Joke and collectors of classic post-punk and alternative rock. “XXV Gathering!” was recorded during Killing Joke’s 25th anniversary celebration, which saw the band perform a series of sold-out shows across Europe. Formed in London in 1979, Killing Joke is considered one of the most influential post-punk bands of all time. With their dark, brooding sound and powerful lyrics, the band has inspired countless musicians and continues to be a major influence in the alternative music scene.

TRACK LISTING

SIDE 1
1. Communion
2. Wardance
3. Song And Dance
4. Primitive
SIDE 2
1. Total Invasion
2. Blood Sport
3. Requiem
4. Asteroid
SIDE 3
1. The Wait
2. Pssyche
3. The Pandys Are Coming
4. Sun Goes Down
SIDE 4
1. Are You Receiving?
2. Love Like Blood
3. Pandemonium

The Killjoys were one of the finest punk bands thrown up in the UK 1977 explosion. Energetic, frenetic and just a single piece of plastic to show for it. But what a record! Johnny Won't Get To Heaven is up there with the best in its class. Before Kevin Rowland discovered the joys of making menswear and years before he launched Dexys Midnight Runners he was the lead singer in this legendary punk band from the Midlands. Originally called Lucy & The Lovers and more jazz orientated, Kevin caught the first of a series of wind of changes and hitched a ride on punk with his girlfriend Heather on backing vocals and the gorgeous Gem on bass whom he exploited to the full even encouraging her wearing of sexually alluring clothing!!!!

The Kills’ eponymous debut mini album ‘Black Rooster’, originally released in 2002, has been reissued for the first time.

The mini album was recorded on an 8-track at Toe Rag Studios by Liam Watson, except ‘Dropout Boogie’ which was recorded during a live performance at Paint It Black.

TRACK LISTING

Cat Claw
Black Rooster
Wait
Dropout Boogie
Gum

Whether we look for him or not, we all find God somewhere. It could be in nature. It could be in church. It could be in the metaverse. It differs for each and every one of us. In terms of where God might be, The Kills aren’t necessarily saying, but the duo - Alison Mosshart and Jamie Hince - certainly sound like they’ve seen him. How else could you explain the primal call-and-response between Alison’s full body blues-soul vocal catharsis and Jamie’s swaggering, guillotine-smooth guitar transmissions on the duo’s sixth full-length offering, God Games?

The Kills have emerged as international rock stars, setting the pace for the genre, shaping this era’s sound, and redefining what rock music can be in the 21st century. They’re the rare force of nature who can tour with Queens of the Stone Age or Guns N’ Roses and light up Coachella. Returning home from the road in 2019, Alison and Jamie commenced writing for what would become God Games. However, the old adage, “Make plans, God laughs,” couldn’t have been more apropos.

Stretching boundaries, Jamie encouraged Alison to “buy this 100-dollar keyboard and try to write.” She added another creative tool to her arsenal, while he tinkered with textures, sounds and “wrote on guitar less than ever,” opting to primarily compose on piano for the first time. This powerful combination of forces gave the album its own sonic identity, a new path forged in the pair’s creative bond.

The Kills decamped to an old church (a bit ironic now isn’t it?) where they recorded with old friend and Academy and GRAMMY Award-winning producer Paul Epworth [Adele]. “Paul was our very first soundman in 2002,” recalls Jamie. “Since he was with us when we had two amps, a lightbulb, and a couple of mics in a van, it seemed perfect. He knew how far it had come and could trace the thread back.”

STAFF COMMENTS

Barry says: The Kills have been known for pummelling a riff or two, and though there's no shortage of that on 'God Games', it's by far their most contemplative and mature outing yet. Incendiary passages are tempered with blues, post-punk and even bits of folk seep into the mix, and it's all the better for it.

The Kills have compiled an extraordinary career spanning b-sides and rarities album titled, appropriately, Little Bastards. The songs date back from the band’s first 7-inch singles in 2002 through to 2009. All of the material has been newly remastered for release on 2 x LP, CD & Digital and marks the first ever vinyl pressing for some of these tracks.

The compilation includes the unreleased and never-before-heard demo “Raise Me” from the 2008-2009 Midnight Boom era. Other highlights include “I Call It Art” from the Monsieur Gainsbourg Revisited covers compilation, the brilliant Midnight Boom digital bonus track “Night Train,” a blistering performance of “Love Is A Deserter” from an XFM radio session and a handful of classic American roots songs performed with the kind of bruising delivery they’re famous for: Howlin’ Wolfs’ “Forty Four,” Screamin’ Jay Hawkins’ “I Put A Spell on You” and Dock Boggs’ “Sugar Baby.”

STAFF COMMENTS

Barry says: It always amazes me when a band releases a b-sides album that could easily have held an album’s worth of material. In the case of the new Kills retrospective, ‘Little Bastards’ (named after a presumably disobedient Roland 880 sampler) it could easily have been two albums worth.

TRACK LISTING

1. SUPERPOWERLESS / Last Day Of Magic 7” - 2008
2. PASSION IS ACCURATE / Love Is A Deserter CD Single - 2005
3. KISS THE WRONG SIDE / Cheap And Cheerful 7” - 2008
4. RAISE ME / Unreleased Demo 2009
5. NIGHT TRAIN / Midnight Boom Digital Bonus Track 2008
6. HALF OF US / No Wow 7” - 2005
7. LONDON HATES YOU / Tape Song 7” - 2008
8. I CALL IT ART / Monsieur Gainsbourg Revisited Compilation - 2006
9. FORTY FOUR / Black Balloon 7” - 2009
10. LOVE IS A DESERTER / Recorded For XFM - 2005
11. THE SEARCH FOR CHERRY RED / Pull A U 7” Single - 2003
12. MAGAZINE / Love Is A Deserter 7” - 2005
13. BLUE MOON / Future Starts Slow 7” Single - 2011
14. JEWEL THIEF / Fried My Little Brains 7” Single - 2003
15. BABY’S EYES / The Good Ones 7” Single - 2003
16. I PUT A SPELL ON YOU / Screamin’ Jay Hawkins Cover - 2009
17. RUN HOME SLOW / The Good Ones CD Single - 2005
18. WEED KILLER / Black Balloon 10” - 2009
19. THE VOID / No Wow Expanded Edition CD - 2005 

Over their almost decade-and-a-half career, The Kills have released four records. Each one a restless, reckless enigmatic art statement that bristled with tension, anxiety, sex, unstudied cool and winking ennui, yet not one of them sounded like the previous one. Ash & Ice is the follow up to 2011’s critically lauded Blood Pressures and was five years in the making in part due to Jamie Hince’s five hand surgeries, which resulted in him having to re-learn how to play guitar with a permanently damaged finger.

Unlike earlier albums, which have largely been written and recorded at Key Club Studio in Benton Harbor, Michigan, the bulk of the recording for Ash & Ice took place in a rented house in LA and at the world famous Electric Lady Studios in NYC. The album was produced by Jamie Hince and co-produced by John O’Mahony (Metric, The Cribs), and mixed by Tom Elmhirst (Adele, Arcade Fire, Amy Winehouse) and Tchad Blake (Black Keys, Arctic Monkeys).

It was during Hince’s recuperation from surgery that he first started sketching out what would become the songs for the album. To shake up the writing process, Hince booked a solo trip on the infamous Trans-Siberian Express for inspiration while Alison Mosshart, now residing in Nashville, TN, wrote some of the most affecting, poetically candid lyrics that she ever has, painting word pictures that mine the dangerous terrain between romantic obsession, prophecy and tough love. Where previous albums had an air of detachment and emotional austerity, underpinned by an uneasy self-awareness and unexpressed anger, the 13 songs on Ash & Ice are more understated, less tempestuous and more affecting because of that, exposing the kind of push-pull you feel when you find yourself in a complicated but all-consuming relationship. Ash & Ice is The Kills at their emotionally charged, arresting best. Prepare to be slayed.

STAFF COMMENTS

Barry says: The Kills return with their newest album since 2011's 'Blood Pressures' and this might just be their most intricate and emotive offering yet. Further emphasising their innate ability to pluck at the heartstrings whilst soothing the soul. Mossheart's vocals are as sultry and emotive as ever, and the instrumentation is just as you'd expect : raw, honest and beautiful.

TRACK LISTING

1. Doing It To Death
2. Heart Of A Dog
3. Hard Habit To Break
4. Bitter Fruit
5. Days Of Why And How
6. Let It Drop
7. Hum For Your Buzz
8. Siberian Nights
9. That Love
10. Impossible Tracks
11. Black Tar
12. Echo Home
13. Whirling Eye

The Kills - Jamie Hince and Alison Mosshart - are back with a new studio album, "Blood Pressures", the highly anticipated follow-up to their critically acclaimed third album, "Midnight Boom".

The 11 tracks find The Kills embracing a fuller sound and becoming more adventurous in the studio, while the lyrics are honest, heartfelt and sometimes just plain heartbreaking.

As one of the most vital, striking bands recording today, The Kills' vividly unique "rock" is at once effortless, edgy and timeless.

STAFF COMMENTS

Andy says: Superb return to form: song after top song. Mega sound too. Everything you love about The Kills on one album.

David says: How contrary are The Kills? That they've managed to find the time to make an album at all is an achievement, what with Alison Mosshart touring and recording as Dead Weather and Jamie Hince preparing for life in the tabloids as Mr Kate Moss. But that “Blood Pressures”, their fourth and best album to date, should swagger so effortlessly, well...
The band's trademark Delta sleaze, boogie-box blues could never be described as original and, yes, they're certainly walking a road that many have walked before them but, if you're of the opinion that there's never been need for any more than three chords, a pair of skinny jeans and a decent pair of sunglasses, then look no further: this is the album for you.

TRACK LISTING

1. Future Starts Slow
2. Satellite
3. Heart Is A Beating Drum
4. Nail In My Coffin
5. Wild Charms
6. DNA
7. Baby Says
8. The Last Goodbye
9. Damned If She Do
10. You Don't Own The Road
11. Pots And Pans

The eagerly anticipated "Midnight Boom" sees The Kills offering their most stunning album yet. The production on this album, featuring beats and studio smarts from Spank Rock's producer Alex Epton aka Armani XXXchange, combined with Alison's confidently teasing vocals, creates a truly forward thinking, fresh new sound for the band. Taking inspiration from Pizza Pizza Daddio, a Sixties documentary about kids in inner-city schools in the USA, The Kills' Jamie Hince and Alison Mosshart started building rhythms influenced by the children's dark playground songs, on an old school hand-punched MPC-60 hip hop drum sequencer. The results are shown in some of the hypnotic original tracks on the album, like "Cheap And Cheerful".

On "No Wow" The Kills' vision, showcased on their highly acclaimed debut, remains undimmed. The band, whose objective has been to marry all areas of art and life, have pushed the parameters with "No Wow", a record that sees them reduce rock'n'roll to its barest components, making the space in between the notes just as important as music itself.

On their seminal second album, No Wow, The Kills established the ethos that would set the tone for their expansive career - capture the rawest emotions and sounds, and then push them to the furthest possible edge.

The band is celebrating No Wow’s 15-year anniversary with a deluxe reissue featuring a fresh new mix by the multiple grammy award-winning Tchad Blake (The Black Keys, Fiona Apple, Arctic Monkeys) that brings new life to the 11 vivid tracks.

STAFF COMMENTS

Barry says: A superb new mix of this seminal Kills LP from 2015 sees legendary deskman Tchad Blake give the raucous percussion and grinding overdrive room to breathe below Mosshart's legendary vocal fire. A wonderful album, and an essential purchase for those of you unaware of the power it holds. Superb.

TRACK LISTING

1. No Wow/Telephone Radio Germany
2. Love Is A Deserter
3. Dead Road 7
4. The Good Ones
5. I Hate The Way You Love
6. I Hate The Way You Love, Pt. 2
7. At The Back Of The Shell
8. Sweet Cloud
9. Rodeo Town
10. Murdermile
11. Ticket Man

MC065 presents a highly anticipated reissue of Kilowatt's 'The Last EP' – a coveted 4-track compilation featuring a blend of technoid electro-funk and Detroit-inspired house grooves. Originally unleashed on Rob Gretton's legendary Manchester label 'Rob's Records', this EP seamlessly meshes with contemporary sounds and promises an immersive experience on a powerful sound system. Catering to aficionados of the more intricate and funk-infused facets of electronic music, Kilowatt unleashed this underground gem in 1995, earning it a well-deserved cult status among dedicated music explorers and DJs alike. Secure your copy of this exceptionally rare piece of UK musical brilliance now, courtesy of your friends at MC.

All tracks have been lovingly remastered by London's Curve Pusher from the original sources especially for Mint Condition. 100% legit, licensed and released. Dug, remastered, repackaged and brought to you by the caring folks at your favourite reissue label - Mint Condition.

TRACK LISTING

A1. Automatik
A2. Loose End
B1. Rok Automatik
B2. The End 

VERY LIMITED SIGNED EDITION.

This Woman's Work: Essays on Music is edited by Kim Gordon and Sinead Gleeson and features contributors Anne Enright, Fatima Bhutto, Jenn Pelly, Rachel Kushner, Juliana Huxtable, Leslie Jamison, Liz Pelly, Maggie Nelson, Margo Jefferson, Megan Jasper, Ottessa Moshfegh, Simone White, Yiyun Li and Zakia Sewell.

Published to challenge the historic narrative of music and music writing being written by men, for men, This Woman's Work seeks to confront the male dominance and sexism that have been hard-coded in the canons of music, literature, and film and has forced women to fight pigeon-holing or being side-lined by carving out their own space. Women have to speak up, to shout louder to tell their story - like the auteurs and ground-breakers featured in this collection, including: Anne Enright on Laurie Anderson; Megan Jasper on her ground-breaking work with Sub Pop; Margo Jefferson on Bud Powell and Ella Fitzgerald; and Fatima Bhutto on music and dictatorship.

This Woman's Work also features writing on the experimentalists, women who blended music and activism, the genre-breakers, the vocal auteurs; stories of lost homelands and friends; of propaganda and dictatorships, the women of folk and country, the racialised tropes of jazz, the music of Trap and Carriacou; of mixtapes and violin lessons.

Two-time Grammy Award-winning artist Kimbra’s fourth studio album, ‘A Reckoning’, is a reflective record capturing the macro reckonings of our world around the environment, health, race, spirituality and feminism. But at the heart of the record is her war with the micro reckonings that she faces internally.

It’s the most sonically autonomous and confessionally raw she has ever been, finding influence in everything from modern movie soundtracks to electro-industrial pop. The album was first imagined in 2018, during Kimbra’s tour with co-producer Ryan Lott of the band Son Lux, who recently scored A24’s ‘Everything Everywhere All At Once’.

Kimbra hopes listeners will find catharsis and connection on ‘A Reckoning’, whether they are contending with change in their own lives or processing shifts in the world around them.

Kimbra’s debut album, ‘Vows’, went Platinum in Australia and New Zealand. Won Best Female Artist two years in a row at the ARIA Music Awards, as well as five New Zealand Tui Awards, including Album Of The Year, plus two Grammy Awards (Record Of The Year and Best Pop Duo/Group Performance) for ‘Somebody That I Used To Know’, her seminal duet with Gotye, that has sold 13 million copies and reached No. 1 on global charts (across 18 countries).

TRACK LISTING

1. Save Me
2. Replay!
3. Gun
4. The Way We Were
5. New Habit
6. GLT
7. La Type
8. Foolish Thinking
9. Personal Space
10. I Don’t Want To

New limited edition release from the excellent Emma's House Recordings, this time it's their 2nd release by Justin Armstrong aka Kimonophonic. "German Roadway" is an older track chosen for release on a second 7" early on in the year which never materalised, the other five are fresh out of Justin's front room. Six tracks of fabulous electronica synth, the first three tracks more fast paced almost hardcore in places with heavy beats explored in new dimensions, yet still totally engaging.

Transmission two from Hypno Disco Records. In this edition Sam Kin takes us downtown with four cuts of retroactive house music. Deep bleep acid house, dystopian machine groove, street-lit dance tracks and live techno jams! Highly recommended if you've ever buzzed off records on Warp, B12, Tribal, Peacefrog, Trax, Champion etc.

STAFF COMMENTS

Matt says: Totally feelin' this tribal and proggy leaning 12" from Sam Kin. Moody, electronic dance tracks for the laser lovers.

TRACK LISTING

A1. Balearia (Behold!)
A2. Something Lurks
B1. Downtown
B2. Give Me More (Blue Analogue Live Mix)

It’s been thirty years since we originally released this retrospective from the Okinawan icon Shoukichi Kina. There’s a lot we could say about the legendary Kina and his influence on popular Japanese music but we’ll let Ry Cooder, who’s featured on most of the songs here, take it away:

“I first met Shoukichi Kina in 1979. David Lindley and I were on tour in Japan, and were getting well worn out. Kina and a translator met up with us in Osaka and we all sat down in the lobby of this giant tourist hotel, which Kina hated. He just sat there, staring straight ahead, saying nothing for an hour.

One year later, a round-trip plane ticket to Hawaii came in the mail, with a note that read: “ALA MOANA HOTEL, COMMERCIAL RECORDING STUDIO, PLEASE. KINA.”

Kina had a habit of throwing himself down onto the floor and kicking his feet when he liked a playback. I remember thinking, this beats “one more for us, guys!” When Kina’s wife, Tomoko, put down the vocal on “Flowers For You Heart,” he lay down and stayed down, making the engineer play it back over and over until he had wrung himself out—a real playback party, Okinawan style. Right about then you know you’re ready to start recording for real, but it never works out that way. You squeeze off one or two, say adios, and go to the house. Then later, maybe four people discover your little contribution, and then someone wants to reissue the album and there you go.” - Ry Cooder, 1993

TRACK LISTING

SIDE A
1 Jing Jing
2 Hana No Kajimaya
3 Celebration
4 Mimichiri Bozu/Danju Kariyushi
5 Don-Don Bushi
6 Zorba De Buddha
SIDE B
1 Basha-Gua Suncha
2 Crazy Kacharsee
3 Subete No Hito No Kokoro Ni
4 Haisai Ojisan
5 Eternally Ecstasy
6 Iyunu-Pri
7 I-Yah-Hoy!

After spending most of 2020 putting music out on respected labels like Far Out Recordings, Sonar Kollektiv and Oye Black Label, Croatian producer Jan Kincl is kick starting 2021 with a 4-track EP featuring a remix from Atlanta-based house don Kai Alcé. The EP is titled "It's Been A While" and consists of three original pieces; "Love's So Far Away" is a direct peak time club track drawing a lot of its influences from the raw and dirty side of Detroit house music. "Day By Day" sits somewhere on the cross section between deep house, broken beat and jazz, with Regis Kattie's beautiful Rhodes melody woven throughout the track. "Just Stay (Kai Alcé Remix)" is a masterful reinterpretation of "Just Stay", which transforms the otherwise more laidback original into a driving 3am house tune. "Just Stay (Dub)" is best described as a connecting point between A1 and A2. Jan's raw house groove juxtaposed with a deep and subtle jazz feel coming from the hands of Regis Kattie.

TRACK LISTING

A1. Love's So Far Away
A2. Day By Day
B1. Just Stay (Kai Alcé Remix)
B2. Just Stay (Dub)

This band has been putting out great releases for the past several years. The blend of emotions and distinct vocal style with heartfelt, if laconic, lyrics gives them a quirky emo flavour, a little like Weezer coupled with Tortoise. "100 Dollar Room" is their most accomplished record yet adding Low and even americana influences into the mix.

Kindness' debut LP "World, You Need A Change Of Mind" showed Adam Bainbridge to be a young man with a long list of impeccable influences, from soft rock to R&B, from New York to Ibiza. The work of an offbeat bedroom auteur and the producer Phillipe Zdar, that LP charmed us a Piccadilly with its understated beauty and undeniable funk. Sophomore LP "Otherness" sees Bainbridge pursuing his musical vision in collaborative form, expanding his circle to a global ensemble of like-minded musicians all working under his direction. It's telling then that on the album’s opening track, "World Restart", Bainbridge’s vocals remain in the backing chorus, while Kelela and Ade sing the lead parts. The song rides the sort of lithe and loose horns you might hear on a Fela Kuti record, but they're tethered to a fat boogie bassline and Bainbridge's own rich percussive clatter, itself a mainstay through the record. Musically, Bainbridge takes his evident love of 80s soul one step further on this release, moving effortlessly from the frictionless R&B of Alexander O’Neal to the intimate balladeering of Prince, all the while keeping our heads nodding and feet shuffling to the rhythmic pulse of club soul and boogie. The album’s first single, "This Is Not About Us", allows a circular, sticky piano figure played by Bainbridge to slowly melt into this gorgeous choral haze, while "Why Don't You Love Me" finds Bainbridge, Devonté Hynes & Tawiah echoing one of MJ's most mournful torch songs. Elsewhere, hints of loose disco, proto house and shimmering pop are reinvented in true Kindness style as candlelit intimacy is balanced with dancefloor thrust. This time round Bainbridge takes full control of production duties (with the exception of the Hynes collaboration "Why Don't You Love Me?"), resulting in a cohesive sound punctuated by some wonderfully unorthodox touches. "Otherness" is Kindness doing a second album properly, consolidating the successes of the debut while moving forward and most importantly, remembering the tunes.

"Kindness returns with their third full length album titled “Something Like A War”. The album is a culmination of years spent collaborating with the likes of Robyn, Jazmine Sullivan, Seinabo Sey and Cosima among many others. Produced entirely by Bainbridge, the record is a collection of works representing a period of reflection and transformation over the course of 4 years following their second record “Otherness.” Now based in London, the album was recorded in several locations, while Kindness was primarily based in New York during the writing and recording of the album. "

Kindness, who uses they/them pronouns, has remained busy since Otherness, working across several projects: they co-produced five tracks on Solange’s album A Seat at the Table, and contributed production, writing, and vocals to Blood Orange’s Freetown Sound and Negro Swan albums in addition to production on Robyn's latest album Honey. A sought-after DJ, radio host, writer, collaborator, and lecturer on everything from musical craft and heritage to queerness and history, they’ve spent the last several years performing as a DJ at venues across the world, from Palais de Tokyo to the Guggenheim Museum, hosted their own radio show on Red Bull Radio in 2016 and 2017, lectured at the Boiler Room in New Delhi and moderated Robyn’s Red Bull Music Academy lecture at MOMA in New York. They were recently featured in Solange’s Calvin Klein advertisement, shot by Willy Vanderperre, alongside friends Dev Hynes, Kelela and Caroline Polachek.

STAFF COMMENTS

Patrick says: Adam Bainbridge continues to hone their sensitive, sensual and subtle blend of synth, soul, house and disco-not-disco on this ace third LP, which features collaborations with the likes of Sampha and Robyn. Post modern pop with plenty of heart.

TRACK LISTING

1. Sibambaneni
2. Raise Up
3. Lost Without (ft. Seinabo Sey)
4. Softness As A Weapon
5. Hard To Believe (Feat Jazmine Sullivan & Sampha)
6. Who You Give Your Heart To (feat Alexandria)
7. Samthing’s Interlude
8. Dreams Fall
9. The Warning (feat Robyn)
10. Cry Everything
11. No New Lies (feat Cosmia)
12. Something Like A War (feat. Bahamadia)
13. Call It Down (feat, Cosima & Nadia Nair)

The wonderful thing about the music Adam Bainbridge makes as Kindness is how little it tells you about its origins. It bears the fingerprints of no specific scene, no particular country, no certain era. Taking in the leftfield New York disco-dub testaments of Walter Gibbons and Larry Levan, the cosmopolitan art-house funk rhythms of Grace Jones and the Tom Tom Club and the frictionless R&B of Alexander O’Neal are all swirled around with the blurry Polaroid pop of Ariel Pink and Phoenix.

The album opens with massive single track "SEOD", which feeds an 80s pop vibe through deeper-than-deep electronic house - emotive, melancholic, cosmic, anthemic. "Swingin' Party" keeps the groove going, letting Bainbridge's vocals soar over a simple 4/4 groove. Next we head off at a tangent for a cover of the Eastenders theme "Anyone Can Fall In Love" in slo-mo synthwave boogie style. "Gee Wiz" mixes jazz-funk guitar licks with submerged ambience, while soon-to-come single "Gee Up" nails the funky electro-pop sound of Phoenix right on the head. "House" delivers beatdown house rhythms and the kind of chorus Scritti Politti would've been proud of back in the day. Go-go and Jam & Lewis style electro-boogie infuse the sampladelic "That's Alright", which will take you back to 1985. "Cyan" still sounds more Arthur Russell than Arthur Russell, in a beautiful Balearic-disco style. But hey, why not take a side-turn into finger-snapping jazz, while listing some musical heroes... "Bombastic" does just that. To close "Doigsong" slaps the bass and leads us to the dancefloor with killer boogie-pop sounds.

"A must for fans of Phoenix and DFA Records" - Sian Rowe in Q.

STAFF COMMENTS

Philippa says: Kindness throws his net in a wide arc when it comes to inspirations for his debut album: Phoenix style soft-pop, 80s electro-boogie, Arthur Russell-tinted Balearic, beatdown house, synth-pop... It's all here on this stunning long player.

Another superb single from Kinesis, their last one before the long awaited debut album. As ever it's a sharp blast of taut, energetic rock with jagged guitars, abrasive vocals and incisive lyrics.

Ghana's ancient empire and the 21st century global express. The rhythms that created the past alongside the beats forging the present. In King Ayisoba, they all converge. Everything morphing into one. And on his new album, "1000 Can Die", they stand together, history and today, side by side. The tradition hewn from the future.  "King Ayisoba and his band know that traditional instruments are stronger than anything modern," says album producer Zea (the Ex's Arnold de Boer). "Playing them is a gift from God. They'll take what they can use from electronica, from hiplife (the hugely popular Ghanaian style that fuses the local highlife music with hip-hop) but they won't let it beat them, because they know what they have is more powerful. Their music is pulled from the ground." The juxtaposition of the two on "1000 Can Die" shows the irresistible drive of both sides. The thick, squelching bass and beats that push under the older rhythms of "Anka Yen Tu Kwai" are overtaken by the guluku and dundun drums that bring in "Yalma Dage Wanga," its rapid-fire melody dictated by Ayisoba's voice and two-string kologo lute. Ayisoba toured Europe together with Zea, opening up solo, providing guitar, vocals and live electronics on stage, and Francis Ayagama joined King Ayisoba's band on djembe and bemne drums. Piece by piece, the experiments grew into the juggernaut of "1000 Can Die". Guests brought new facets to some of the tracks. The trailblazing Nigerian saxophonist Orlando Julius adds a raw, reedy quality to "Dapagara," while on "Wine Lange," the only song not to feature kologo, Sakuto Yongo's one-string gonju fiddle takes the music into a different, ancient dimension. The title cut features Ghanaian rapper/producer M3nsa alongside the shape shifting vision of legendary reggae producer Lee 'Scratch' Perry.

Alone or with beats, ultimately the power that propels 1000 Can Die comes from the band itself, from the sense of history that forms every piece of music. It's there in every musician. They all go home and farm. They're connected to the land, and the songs are part of the harvest they bring from the fields and from their own families.

It's a force that Ayisoba has inherited. He's absolutely compelling, charismatic. Not only in his imposing appearance, but in his kologo style – part rhythm, part melody - and singing. Whether the words are in Frafra, Twi, or his own style of pidgin English, the sense is always there: this is a man who has something important to impart. Every moment is intense and urgent. It leaps over the sounds of the album's opener, "Africa Needs Africa," and remains, gentle and soothing, on the acoustic last track, "Ndeema."

Recorded in London in 2016, the record is an infectious mix of ska punk and social commentary. “The initial idea was just to sit down and do something incredibly honest”, reveals Itch. “I wanted to write about the journey that I’ve been on over the past 12 months. This record is about cleaning up and seeing what I can do to improve myself and make myself happier.” The King Blues have always been a band that writes from the heart, but with The Gospel Truth Itch left no intimate detail uncovered. It was a process he found incredibly cathartic. “We had a lot of fun making this record”, declares Itch. “Even though we were dealing with some emotional topics and doing a lot of soul searching and going deep, it was a really enjoyable, therapeutic and creative experience.”

The Gospel Truth is also unique in that fans were invited to be a part of the process: people from all over the country shared their individual stories with Itch via audio diaries, which pop up at various stages throughout the album, underscoring his own personal struggles with depression. As the singer explains: “The more personal and honest they got with me, it seemed like we were all going through the same struggles and our stories were starting to relate to each other. And it was a strange thing because it was a shared experience of isolation. So many people felt this same sense of anxiety and disconnection.” The songs on The Gospel Truth switch from sardonic (America Don’t Want Me / Not Another Love Song) and satirical (The Bullingdon Boys / New Gods) to downright dark (The Truth Comes Out), but the theme remains constant throughout: truth.

The much-anticipated final album from The King Blues.

Follow up to the UK Top 40 album ‘Punk & Poetry’ from 2011.

Produced & recorded in LA by Jon ‘Feldy’ Feldmann (Panic! At The Disco, Good Charlotte, The Used, Plain White T’s, Goldfinger).

For fans of Enter Shikari, Frank Turner, The Skints, Sonic Boom 6.

Special guest appearances on the album from Tim Armstrong (Rancid) and Jason Butler (Let Live).

King Buzzo, a.k.a. Buzz Osborne, is the singer, guitar player and founder of the enormously influential band, the Melvins. His innovative approach to songwriting, and guitar playing, has influenced countless musicians, and turned leagues of music lovers into ardent fans. Renowned for his pioneering use of down-tuned strings, Buzzo masterfully blended his punk and metal influences, and in turn, he created a groundbreaking new sound in heavy music. Over Osborne’s extensive career, which originated in the small hamlet of Montesano, Wash. in 1983, he has released over 30 albums under the Melvins’ moniker, two solo albums 'Gift of Sacrifice' (2020) and 'This Machine Kills Artists' (2014), as well as a number of collaborative projects including Fantomas and Crystal Fairy.

'Gift of Sacrifice' had Buzz team up with Trevor Dunn, who might be most widely known for his work with Mr. Bungle, the eclectic and unpredictable Northern California band he co-founded in 1985, but his career outside of Mr. Bungle has been just as notable. Also a member of Fantomas, Trevor Dunn’s Trio-Convulsant, Tomahawk and Melvins Lite.

TRACK LISTING

This Machine Kills Artists Tracklist:
1. Dark Brown Teeth
2. Rough Democracy
3. Laid Back Walking
4. Drunken Baby
5. Vaulting Over A Microphone
6. New River
7. The Vulgar Joke
8. Everything's Easy For You
9. The Ripping Driving
10. How I Became Offensive
11. Instrument Of God
12. The Spoiled Brat
13. Illegal Mona
14. Good And Hostile
15. The Blithering Idiot
16. Useless King Of The Punks
17. The Hesitation Twist

Gift Of Sacrifice Tracklist:
1. Mental Vomit
2. Housing, Luxury, Energy
3. I'm Glad I Could Help Out
4. Delayed Clarity
5. Junkie Jesus
6. Science In Modern America
7. Bird Animal
8. Mock She
9. Acoustic Junkie

"Diamond Mine" is a unique and heartrending collaboration between Scottish Fence Collective boss and singer King Creosote and electronic talent and sound sculptor Jon Hopkins.

Described by King Creosote as a 'soundtrack to a romanticised version of a life lived in a Scottish coastal village', the record weaves in field recordings of Fife life, bike wheels, spring tides, tea cups and café chatter to produce a beautiful, unique and timeless album.

The album is already being talked about as King Creosote’s masterpiece, a modern equivalent of Talk Talk’s "Spirit of Eden".

TRACK LISTING

1. First Watch
2. John Taylor’s Month Away
3. Bats In The Attic
4. Running On Fumes
5. Bubble
6. Your Own Spell
7. Your Young Voice

Composed of eleven stunning and emotive tracks, ‘From Scotland With Love’ was written by King Creosote and produced by music supervisor and guitarist David McAulay, with additional production by Paul Savage, in Chem19 Studios in Glasgow.

The record features King Creosote accompanied by his band - Derek O’Neill (keyboards), Andy Robinson (drums), Pete Mcleod (bass) and Kevin Brolly (clarinet) - as well as an additional string section (arranged by cellist Pete Harvey) and a choir of backing vocalists.

‘From Scotland With Love’ was created in collaboration with director Virginia Heath and producer Grant Keir as an audio-accompaniment to a poetic documentary film of the same name, to be released for the Commonwealth Games this summer. Featuring archive footage but no narration or interview, the film works around themes of love and loss, war, resistance, emigration, work and play and is driven as much by the music as it is the images. For the first time King Creosote found himself being able to write from other people’s perspectives, such as the female characters found in the archive (the ‘fisher lassies’ inspired the moving track ‘Cargill’, for example). The result is ‘From Scotland With Love’, one of King Creosote’s most widescreen cinematic and finest pieces of work to date.

TRACK LISTING

Something To Believe In
Cargill
Largs (Short)
Miserable Strangers
Leaf Piece (Short)
For One Night Only
Bluebell, Cockleshell, 123
One Floor Down
Crystal 8s
Pauper’s Dough
A Prairie Tale

They say long live the king and all, but nothing’s ever set in stone. A quarter of a century since his self-inflicted coronation, and self-released debut solo album, Kenny Anderson - DIY pop voyager, ancestral seaside home restorer, squeezebox lothario, Fife for lifer, diamond miner, hijacker of hearts, and the man also known as King Creosote - has released over 100 records (at a relatively conservative guess), collaborated with the likes of Jon Hopkins,KT Tunstall, Beta Band’s Lone Pigeon, and had his songs covered and performed by artists including Patti Smith and Simple Minds. Yet he’s still standing, fallible, doubtful, patched together, bloody-minded and unbowed. He’s got a new LP, despite or perhaps because of it all. It’s called I DES.

While the record’s kaleidoscopic musical terrain plots vibraphones, accordions, e-bows, samplers, ungulates, scratched records and wine glass-drones across its landscape, there’s common ground in the wonder of the synthesiser – not to mention Anderson’s singular voice, and his roguish, roving, ever-evolving, gorgeous songs in the key of Fife.

STAFF COMMENTS

Andy says: A totally gorgeous and varied album blending tasty electronics with a whole host of acoustic instruments. There's a lot of heartache and sorrow this time out, but the over all feeling is one of a deep sense of beauty. Kenny is such a great songwriter. It's been worth the wait!

TRACK LISTING

1. It’s Sin That’s Got Its Hold Upon Us
2. Blue Marbled Elm Trees
3. Burial Bleak
4. Dust
5. Walter De La Nightmare
6. Susie Mullen
7. Love Is A Curse
8. Ides
9. Please Come Back I Will Listen, I Will Behave, I Will Toe The Line
10. Drone In B#

Kenny Anderson, aka King Creosote's debut album (if you don't include all his Fence Collective CDRs), which was originally release in 2003, finally gets a vinyl release.

TRACK LISTING

Lonepigeon’s Wineglass Finale
Homeboy
Pulling Up Creels
Turps
Spokes
Missionary
Harper’s Dough
Space
Meantime
Counselling
A Friday’s Night In New York
Kenny & Beth’s Musakal Boat Rides

‘Rocket D.I.Y.’ is the home-recorded follow up to 2003’s ‘Kenny and Beth’s Musakal Boat Rides’. Instead of a collection of songs spanning several years, ‘Rocket D.I.Y.’ contains 12 songs, all written and recorded over a period of weeks. Acoustic guitar and piano based songs have been embellished with accordion, banjo, electronics and a smattering of samples. Collective drummers OnTheFly and Captain Geeko deliver an altogether new punch, with Pip Dylan’s pedal steel adding that final twang. ‘Rocket D.I.Y.’ can best be described as a recollection of a hectic year. From the cosmic highs to the lunar lows come world weary themes of age consciousness and humdrum household chores sitting alongside wideeyed travel adventures and far-fetched yarns. With its scratchy sentiments, anthemic yearnings and downright nonsense, ‘Rocket D.I.Y.’, like ‘Kenny and Beth’s Musakal Boat Rides’ before it, takes you on a Neukian journey possibly not as far as the stars but one you’ll want to take again.

TRACK LISTING

Twin Tub Twin
Saffy Nool
Klutz
Cor’ws Feet
Spooned Out On Tick
PH 6.5
Circle My Demise
King Bubbles In Sand
The Things, Things, Things
A Month Of Firsts
Thrills & Spills
The Someone Else

Amidst frenetic modular synths and drums, “Susie Mullen” takes King Creosote (aka Fife’s Kenny Anderson)’s sound in a new direction whilst “Walter de la Nightmare” brings his beautiful vocals back centre-stage. Available on this AA 7" single, King Creosote's first new music since 2016.

King Garbage, with their contemporary take on American Soul, return with a new album, ‘Heavy Metal Greasy Love’, released via Ipecac Recordings.

Long-time friends and GRAMMY Award-nominated producers Zach Cooper and Vic Dimotsis have quietly impacted pop, R&B and hiphop with production credits for everyone from The Weeknd and SZA to Ellie Goulding, Gallant and Billy Porter.

In 2021, Vic and Zach co-wrote ‘Sing’ for Jon Batiste’s ‘We Are’. It gathered eight GRAMMY Award nominations, including Album Of The Year. They also penned ‘Sweeter’ (featuring Terrace Martin) on Leon Bridges’ ‘Gold-Diggers Sound’, which notched a GRAMMY nod in the category of Best R&B Album.

It’s a taste of retro without being a reproduction. The music is crispy, searing, spacious, sandy and welded with perfect dimes at the seams.

Breaking from the ‘rough and ruddy’ vibe of their first record, ‘Make It Sweat’, King Garbage incorporated a rock ‘n’ roll spirit within this soul sphere. They teased the album with ‘Piper’ and ‘Peanut Butter Kisses’ before revealing the single ‘Busy On A Saturday Night’. On the track, vocals hum barely above a whisper as clean guitar wraps around horns before the high register hook takes hold. It ends on a crescendo straight out of a Sixties cop show.

Bass-y piano revs up ‘Monster Truck’, which Zach calls “somewhere between musical theater and classic rock.”

Meanwhile, ‘Checkmate’ moves ice cold vocals and boisterous horns across the board. Saxophone, flute, and clarinet soundtrack a ‘Fargolike tale’ on ‘Snow’, unfolding “like what a big band should play in a strip club.” In the end, ‘Heavy Metal Greasy Love’ is as smooth as King Garbage are.

For fans of The Black Pumas, Alabama Shakes, Daptone Records.

TRACK LISTING

Checkmate
Let Em Talk
I Miss Mistakes
Snow
Busy On A Saturday Night
Monster Truck
Never Die
Piper
Peanut Butter Kisses

King Geedorah aka MF DOOM is perhaps the most legendary and revered living figure in underground hip hop today. On the conceptual classic ‘Take Me To Your Leader’ he takes the form of a giant three-headed lizard from outer space to give you “Geedorah’s alien perspective on humans.” 13 tracks all produced, written, recorded, arranged, mixed and mastered by the Metal Fingered Villain himself, MF DOOM. A generation of musicians have grown up in awe of DOOM - he’s influenced and worked with Flying Lotus, Earl Sweatshirt, Madlib, Clams Casino, Danger Mouse, RZA, Ghostface Killah, De La Soul and more. Originally released in 2003 - a year before Madvillain ‘Madvillainy’, the collaborative opus with Madlib (Stones Throw / Jaylib / Quasimoto) - ‘Take Me To Your Leader’ was a critical success. Alongside the classic ‘Operation: Doomsday (Fondle ‘Em)’, ‘Take Me To Your Leader’ is a criminally rare full length studio production project from MF DOOM - off-centre beats that owe much to his love of jazz, fantastically skilled, charismatic MCing and ideas galore. Features a variety of vocal guests (some under alias) including MF DOOM, Kurious, MF GRIMM (as Jet Jaguar) and other members of NYC’s Monsta Island Czars. For fans of MF DOOM, Madvillain, Earl Sweatshirt, Run The Jewels, J Dilla, Ghostface Killah.

TRACK LISTING

Fazers
Fastlane Ft Biolante
Krazy World Ft Gigan
The Final Hour Ft MF DOOM
Monster Zero
Next Levels Ft Lil’ Sci, ID 4 Winds & Stahhr
No Snakes Alive Ft JetJaguar & Rodan
Anti-Matter Ft MF DOOM & Mr Fantastik
Take Me To Your Leader
Lockjaw Ft Trunks
I Wonder Ft Hassan Chop
One Smart Nigger
The Fine Print

King Geedorah is an alias of ex KMD man MF DOOM, who's mined a rich seam of cold war era B-movie synth sounds, heart wrenching soul strings and funk breaks for this excellent LP. He's also brought in a long list of leftfield MCs to guest here; Biolante, Gigan, Jet-Jaguar, Trunks, Rodan, Nassan Chop etc.

TRACK LISTING

1. Fazers
2. Fastlane (feat. Biolante)
3. Krazy World (feat. Gian)
4. The Final Hour (feat. MF DOOM)
5. Monster Zero
6. Next Levels (feat. Lil’ Sci, ID 4 Winds & Stahhr)
7. No Snakes Alive (feat. Jet-Jaguar & Rodan)
8. Anti-Matter (feat. MF DOOM & Mr Fantastik)
9. Take Me To Your Leader
10. Lockjaw (feat. Trunks)
11. I Wonder (feat. Hassan Chop)
12. One Smart Nigger
13. The Fine Print

"We’ve put off doing a remix album for a long time. Maybe it was conscious, maybe it wasn’t. But it’s happening now. That’s not to say that Butterfly 3000 makes the most sense to remix. It might seem like the obvious one, but it’s not. Yes it’s electronic. But so is a fridge. Have you tried to dance to Butterfly? It’s hard. It ties your shoelaces together. It’s duplicitous in it’s simplicity. But Butterfly 3001 expands on this. It also deviates and obliterates. We’re honoured to have such esteemed people go to work on these songs. We hope you love this album as much as we do. See you in DA CLUB!!!" - Joey Walker

TRACK LISTING

A.
1. Black Hot Soup (DJ Shadow Remix)
2. Shanghai (The Scientist Remix)
3. Shanghai (Deaton Chris Anthony Remix)
4. Dreams (Yu Su Remix)
5. Blue Morpho (Donato Dozzy Remix)
B.
1. Blue Morpho (Vril Remix)
2. Blue Morpho (Ciel Remix)
3. Blue Morpho (ZANDOLI II Remix)
4. Catching Smoke (DāM-FunK Remix)
C.
1. Ya Love (The Flaming Lips Remix)
2. Ya Love (Geneva Jacuzzi Remix)
3. Ya Love (Héctor Oaks Remix)
4. 2.02 Killer Year (Bullant Remix)
D.
1. Yours (Fred P Remix)
2. Butterfly 3000 (Terry Tracksuit Remix)
3. Neu Butterfly 3000 (Peaches Remix)

King Gizzard & The Lizard Wizard announce Chunky Shrapnel, a feature-length motion picture that follows King Gizzard’s adrenaline-inducing onstage performances from the perspective of the band. The film is accompanied by a double LP featuring the music from the film, which was recorded throughout the band's 2019 European tour.

“John Stewart (director of Chunky Shrapnel) followed us around for a few weeks through Europe," says the band's Stu Mackenzie. "It was fun and funny and wild and weird. Sometimes an inconspicuous fly on the wall, sometimes an intrusive camera man one inch from my face. Always exciting though. Chunky Shrapnel was made for the cinema but as both concerts and films are currently outlawed, it feels poetic to release a concert-film digitally right now."

TRACK LISTING

1. Evil Star
2. The River (Live In Luxembourg ’19)
3. Wah Wah (Live In Madrid ’19)
4. Road Train (Live In Manchester ’19)
5. Murder Of The Universe (Live In Utrecht ’19)
6. Quarantine
7. Planet B (Live In London ’19)
8. Parking (Live In Brussels ’19)
9. Venusian 2 (Live In Milan ’19)
10. Hell (Live In Milan ’19)
11. Let Me Mend The Past (Live In Madrid ’19)
12. Anamnesis
13. Inner Cell (Live In Utrecht ’19)
14. Loyalty (Live In Utrecht ’19)
15. Horology (Live In Utrecht '19)
16. A Brief History Of Planet Earth (Live In London, Berlin, Utrecht And Barcelona ’19)

Career spanning demos recorded between 2010 - 2022 by King Gizzard and the Lizard Wizard.

TRACK LISTING

SIDE A
1. Music To Think Existentially To
2. Lunch Meat (Demo)
3. Brassicas
4. Venusian 2 (Demo)
5. Pleura (Demo 1)
6. MTV
7. Honey (Demo 2)
8. Moses
SIDE B
1. Ugly Guitars
2. Vomit Coffin (Demo)
3. The Hungry Wolf Of Fate (Demo 2)
4. O.N.E. (Demo)
5. The Dripping Tap (Demo 3)

DISC 2
SIDE C
1. Music To Burn Money To
2. You Can Be Your Silhouette (Demo)
3. Not Enough Time...Land
4. Invisible Face (Demo)
5. Blue Horse
SIDE D
1. Digital Black (Demo)
2. Lukey's Brain
3. Self-Immolate (Demo)
4. Marble 5. Pleura (Demo 2)
6. Sweet Talking
7. All Is Known (Demo 2)
8. The Dripping Tap (Demo 4)

500 double lps ON BLUE / GREEN VINYL
VOLUME 1 IS sea blue
VOLUME 2 IS army green

Recorded between 2011 - 2020 by King Gizz

Mastered by Joseph Carra
Cover design by Jason Galea

STAFF COMMENTS

Barry says: There's no stopping the 'Giz train is there? It's no wonder with that many superb albums under their belt, there's a wealth of unheard demo material out there, and this goes to show that even their unheard material is still worth hearing. A great collection and a great looking double LP.