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Johannes Volk

Nevergreen

    Johannes Volk‘s career began in 2006 with a real bang. "The Mysteries Of Tharsis Montes" 12 inch debut from the vinyl collector was released by none other than techno virtuoso Jeff Mills on his Purpose of Mission 6277 label. A special accolade indeed, which proves Volk’s aesthetic connection to Detroit Techno, something he also demonstrates regularly on his own label Exploration Records. 

    Die Orangen

    Saft 2

      On the A side you can find an epic Goa leaning version of the now classic Yaranabe track (off their debut LP Zest), by non-other than Full Circle, aka Joakim and Alexis Le Tan. The proto-goa aficionados, owners of the label Crowdspacer and huge inspiration to Malka Tuti’s sound have delivered a banger like nothing else around, and its already getting mega support by the likes of Vladimir Ivkovic, Ivan Smagghe, John Talabot and many more.

      On the B-side you can find a new Die Orangen track, which is more like a Journey than track. A 15 minute journey through sonic spaces, ancient futures and alternative dimensions. 


      Antena

      Camino Del Sol (Joakim & Todd Terje Mixes)

        The artist and the track ... Antena "Camino Del Sol"
        Some words for those who donʻt know Antenaʻs album "Camino Del Sol"; itʻs an electro-samba classic back from 1983, including several tracks produced by John Foxx. The album inspired many of the big names in pop and dance music, such as Jarvis Cocker from Pulp or the Pet Shop Boys. Moreover several tracks of the album were essential material for the true cosmic sound djs back then in italy. Daniele Baldelli, Mozart and Loda didnʻt end a dj set without playing at least one track of the album, and the track "Camino Del Sol" was one of the biggest hits there. Shivery electric this is.

        the remixes ... Joakim and Todd Terje
        French electro master and head of Tigersushi Joakim turns the original into a deep and very tense electro-house track, that should burn down any dancefloor. He uses 100% the chords and harmonies of the original plus bits of the vocals in the beginning and in the break. This is pure chordal magic or quality prime time material we would say, you wonʻt regret playing this tune in your set :)
        Osloʻs wonderboy Todd Terje, whose recent hit „Eurodans“ and re-edits rule the cosmic -/ nu-disco world, comes along with a wonderful extended samba-electro-disco version, that stays closer to the original. Nonetheless this rework builds up top class with its ever twisting bassline. This is sth for all the DJ Harvey diggers out there.



        Midnight Magic

        Beam Me Up - Inc. The Loving Hand, Jacques Renault & Gavin Russom Remixes

          When Midnight Magic popped up on Tim Sweeney’s Beats In Space ‘Best of 2009’ they really should’ve had a record out. They also should’ve had something available for download when they appeared on a recent Best of Myspace U.K. And it probably would’ve been a good idea to have something in the shops when Patrick Adams of Waves at Night told his readers that Midnight Magic was “going to be a very hot prospect for ’10.” But they didn’t. Not the best idea. No: not the best idea at all. The best idea was for them to release their first single, ‘Beam Me Up,’ on Permanent Vacation Records this summer—And that wasn’t even their idea! We have to thank the Germans for finally putting an end to the madness. Midnight Magic appears on stage as Tiffany Roth, Morgan Wiley, Carter Yasutake, W. Andrew Raposo, Max Goldman, Nick Roseboro, Caito Sanchez, Jason Disu and Andrew Frawley. They are servants of a secret fire—a psychedelic-soul army inspired by electro, funk, and disco from all around the world. You may recognize some of them from when they played in ‘Hercules & Love Affair’ or from the myriad of DFA Records releases on which they are featured.

          Based out of an abandoned Jazz factory in Northern Brooklyn, Midnight Magic would do well to remind you of their forthcoming release on Permanent Vacation featuring remixes by Gavin Russom, Jacques Renault, and the enigmatic Tim Goldsworthy (known to the night creatures as The Loving Hand). But Midnight Magic can’t do that because they are currently scoring a Dario Argento film on the moon. Apparently, there is very good boogie up there.


          Fort Romeau

          Heaven & Earth

            Fort Romeau follows his recent release on Ghostly International and his BBC Radio 1 Essential Mix with four new psychedelic house cuts on Munich’s Permanent Vacation.

            Various Artists

            Full Pupp Splits 004

              Homegrown talent from the beautiful inland town of Hamar, surrounded by the beautiful Furuberget and lake Mjøsa. First collab with these former Skwee-stars on Full Pupp Splits
              Prins Thomas, 25.2019


              All too often, rare records suck ass. Yeah they're rare, and only wotzizname from wherever the fuck has a copy, but they tend to be average variations of well known jams, with their scarcity merely a novelty.

              But then there are records like this, popping up out of nowhere only to blow your musically obsessed mind! From a quick scan of the centre label, you'd be forgiven for thinking this is your standard Chicago acid track, desireable only for the posibility of a few motivational spoken word cuts. When you whack the platter on the player however, you experience something very different indeed. A spiritual journey through cosmic keys and subtle percussion, which vibrates at your very core, enriching your soul with every passing moment.

              Frustrated at her students' lack of cultural awareness, Miami-Dade public school teacher Dr Mary Sullivan Bain recorded ‘Do You Know Black History’ in 1985, self releasing it as a single for educational purposes. Original copies didn't make it much much further than Florida’s public school libraries and the record has been shrouded in mystery up until now. Produced with no label constraints, this cross-genre grail sits comfortably in many boxes... 808’s, bass synths, deep chords, live percussion and effects dubbed into the mix. The production leans towards the electronic diy framework that informed the local sound on the Miami south side. The vocal side offers an inspirational account of Black history, full of passion and pain, while the instrumental side strolls through outer space and Ibizan sunset, sounding exactly like the kind of sublime ambient cut you'd find on a battered old Café del Mar. Reissued officially for the first time ever by Backatcha, this is a total one of a kind.

              FORMAT INFORMATION

              12" Info: REPRESS DUE!

              One year has passed since The Pilotwings’ first output « Agorespace ». Expectations went further in 2015 as they contributed to the rave-ish J-Zbel project. The pair is now back on BFDM with another ode to rurality and old-fashioned analogue. Including 4 tracks, « Molitor 71 » goes deeper into retrofuturist nostalgia and bucolic mood. A1 31 Septembre (On Va Tout Niker) introduces full-on panflute melodies and uplifting Korg exotica. As the trancy Chicago dream fades out, A2 Les Invasions Babar unveils its weird combo of electro beats and massive Patrick Cowley-esque synths. Unplanned bass moves lead this jam while an undertaking voice calls for no less than « the greatest experience of your life ». Things settle down on the nocturnal B1 Congo Libre. Focus on breakbeats and sophisticated rhythms evokes Trance Beats, while sparkling synths emerge from everywhere. The Ep ends up with a floating ambient piece called Buruganda Ouverture and designed for the listener to rediscover the meaning of his existence. Molitor will give you faith in humanity and flutes again.

              Recorded in Curve Pusher’s former Hackney premises over a series of sessions during 2016-2017, L-R is the name for the sounds that have emerged from the collaboration of friends Simon Lynch (London Modular Alliance), Monoak (Freerotation) and Radioactive Man. Oscillating modular sequences from the units Simon brought to sessions, multi-MPC powered beat programming, and TB 303 patterns being fed to a MiniMoog is the backbone of this record, some of the last sessions at Curvepusher studio, London, before its move to Hastings. Where we get the best out of these three singular producers.

              Asking for Trouble is Keith Tenniswood (Radioactive Man’s) record label - established in 2017 to home his solo and collaborative studio work.

              Helena Hauff - 'THIS IS GREAT'


              Number two globally expanding Viaggio Recordings. It's label head Musta who takes the reins while Disco Halal affiliate Kincaid is drafted in on remix duties.

              Updating the Latin-house blueprint, "Cantana" combines township singing, rolling percussion lines and plucked, Congotronics-esque electronic hybrids (circuit bent traditional instruments) with a weighty house kick drum and a dancefloor orientated arrangement. It draws spiritual energy from South America, where Musta lived for some time.

              Rising star Kincaid takes "Cantana" and twists it into a tripped out roller that transplants Musta’s exotic soundscapes into a distant cosmos. Surging synthesis, tectonic echoes and wobbly, otherworldly tinges pop and crackle throughout. It’s a grittier, glitchier affair with a more electronic, distorted feel, yet it’s roots still remain in that warm, earthy aesthetic with its rich, tactile tones.

              Take to the flip side and Musta swaps the baked earth, for the sandy tropical disco sounds of "Mangiamo" - further bringing that South American flavour to the plate. Strutting guitar riffs blend with fiery bongos, whilst a punchy bass strides over the top, it’s uplifting, alluring and drenched in the kind of zesty sax lines that will bring a smile to the face of any frown it comes up against.


              DJ Rocca returns to Wonder Stories with a stunning EP that only the Italian legend could produce. Steeped in his style, the eclectic producer submits three original tracks dedicated to his favourite types of pastas.

              Known for his collaborations with Dimitri From Paris, and Daniele Baldelli, Rocca’s playful energy and original song writing shines through. On remix duty is the enegmatic DJ Fett Burger who combines "Spaghetti" and "Fusilli" into an inspired if chaotic amalgamation of stabby synths and percussive drums.

              "Spaghetti" is a leftfield house tune with muted bass and eerie synth melodies. 90s house stabs and lo-fi broken beats amp up the track with sultry vocal lines accenting throughout. "Fusilli" immerses the listener in simultaneously tribal yet futuristic landscape of a forgotten and out-of-date biotic engineering. Think a rave in the backroom of the club that was surely hidden away on the Total Recall mothership. Rocca’s studio prowess really shines here, as his analogue. synthesizer and drum machine collection are brought to the forefront.

              "Penne" slows things down into a slow-mo funk disco-esque tune with sharp stabby synths and a growling bassline. Rocca, ever the multi-instrumentalist, let’s his flute playing shine here, culminating in a seriously vibey aesthetic. 


              Crows

              Silver Tongues

                London's Crows are the latest signing to Balley Records (IDLES, Heavy Lungs, Lice) and will deliver their long-awaited debut album "Silver Tongues" on March 22nd. The album's thrilling first single "Chain Of Being", was recently Lamacq's Livener on 6 Music, is a real statement: a widescreen slice of post-punk that combines heaviness and brooding melody in equal measures. Joe Talbot said the following of his decision to sign Crows to his Balley Records label: "I saw them play at the Louisiana in Bristol a few years ago and both the performance and the quality of their songs blew me away. Everything about them excites me; so when I heard they were looking to release an album, I had no choice but to chase them. It's a dream to work with them.”. 

                The Fall

                Mark E Smith’s Personal Holiday Tony Tapes

                  A mixture of Live and Studio out-takes that have never been out on vinyl before. Gatefold Sleeve, 180 gm Orange Vinyl. About five or six years ago Mark E Smith and I were going through some old audio recordings of The Fall both studio live and he invented a character called Holiday Tony who he said should be the person who should come round and listen to the tapes with us. He made a phone call to me telling me Holiday Tony lived in Prestwich and went to Blackpool on his holidays once a year with an old brown suitcase with recordings of The Fall inside. I even got a letter off Mark telling me when it was ok for Holiday Tony to go round and see him. Another idea of Mark’s about three years ago was to do a vinyl as a Non Record Store Day release in the weeks before Record Store Day and that every track should just be called The Holiday Tony Tapes. So here is the album. 

                  Kinloch Nelson

                  Partly On Time : Recordings 1968-1970

                    Unheard 60's Recordings by the Secret Rochester, NY Guitarist. Kinloch (sounds like "kin-law") Nelson studied classical guitar privately with Stanley Watson in Rochester NY, jazz guitar with Gene Bertoncini at Eastman School of Music, and music theory at the University of Rochester. In 1973, he began teaching both privately and at The Hochstein Music School in Rochester where he was on the faculty for twenty-five years. In 1985, Nelson co-founded the Guitar Society of Rochester, which during its ten-year run presented many of the world's greatest guitarists. Nelson is the author of a book, Alternate Guitar Tunings. He currently teaches privately, conducts guitar workshops and maintains a performance schedule. Nelson came to the attention of Tompkins Square via Duck Baker, who visited Rochester in 2018 supporting his own Tompkins Square archival release, 'Les Blues Du Richmond : Demos & Outtakes, 1973-1979'. 

                    Brian Jonestown Massacre

                    Revelation

                      features Joachim Alhund (Les Big Byrds) , Constatine Karlis (Dimmer), & Ryan Van Kriedt (Asteroid #4) . Plus vocal performance in Swedish by Joachim Alhund (Les Big Byrds) on the opening track. 

                      Brian Jonestown Massacre

                      And This Is Our Music

                        Now repressed with bonus EP of the originally limited edition ‘If Love Is A Drug EP’ 

                        Henge

                        Nothing Head

                          London based HENGE have been frying brains for the last 4 years with their psychedelic doom, coming on like an acid-fried freight train straight to your cerebral core. Think Black Sabbath through an Amphetamine Reptile filter, via Pigs x7. Their first LP, released in January 2016, gained rave reviews and 'Nothing Head' builds on their S/T debut oppressive groove. The album opener, 'Compressor' feels like you are staggering through a Californian desert with the heat beating down on your back, bewildered and lost but knowing full well when you reach your destination that's when things will start to get really weird.

                          'The Sea' continues the desert stagger until a white light beams down opening up a portal to your subconscious and your bad deeds spring forth. 'Beginners' makes feeling of claustrophobia tingle with a forlorn wail following your every move. The light finally begins to raise again with 'Human Beings' although briefly until darkness descends with 'Teddy Bear'. Desperately trapped but once you let yourself go movement flows freely. This is it. At just over 8 minutes long 'Dracila' is the one that stretches time and builds on everything gone before. 'Nike' ebbs and flows with a worldly understanding and rounding the LP off in an enlightened state.

                          The cover says it all. There was an ecstasy tablet going around London a couple of years ago, unbeknownst to the band, bearing their name and logo. Reports say the experience was like witnessing HENGE live - claustrophobic but downright beautiful. Bandcamp listed them in the Top Ten UK Noise Rock Bands alongside Terminal Cheesecake, GNOD, US Nails, Casual Nun etc so they must be doing something right. 


                          Paisiel

                          Paisiel

                            Paisiel is the enigmatic name given to this very special project that features the exceptional talents of Portuguese drummer / percussionist and sonic sculptor João Pais Filipe and the German saxophonist Julius Gabriel. Based on an individual exploration of the sound and on the expressive possibilities of their instruments, the duo’s music seeks to join and systematize their influences, albeit without any obvious correspondences or affinities – resulting in textures and abstract melodies propelled by a mechanical and existential percussion that morphs into a kinetic trance. Heterodox and digressive musicians, they move freely between the repetition of krautrock and techno, jazz, experimental music and other new musical categories, João Pais Filipe and Julius Gabriel create radio-graphic sounds that inhabits somewhere between the reception and the emission of a signal, like a cosmic telephone exchange.

                            This three track album was originally released in 2018 as a ltd edition cassette on the great Portuguese label Lovers & Lollypops. And now Rocket Recordings are extremely proud to be releasing this unique recording on a ltd edition colour vinyl and across all digital channels. In 2018 João Pais Filipe has also found the time to release a stunning and highly acclaimed solo album and a very exciting collaboration with fellow drummer/percussionist, and also very talented Valentina Magaletti (Tomaga/Vanishing Twin/UUUU) called CZN. Paisiel have already wowed audiences across stages in Europe including a jaw dropping set at the eclectic and well respected
                            Milhões de Festa Now the duo have plans to head to the UK to play a series of shows in support of this release. 

                            The Wedding Present

                            Live 2017 (Part 2)

                              In 2017, The Wedding Present played a series of concert dates to commemorate the 30th anniversary of the release of their classic debut album, George Best. With its bittersweet, breathtakingly honest love songs immersed in whirlwind guitars, George Best struck a chord with outsiders across the indie universe. Suddenly, here was David Gedge; a geeky pied piper for our youthful missteps. 30 years on… we have laughed, loved and lived along with The Wedding Present but are we any different to the way we were during those first meanderings into love? Gedge’s words are still golden… and we will always remember our favourite dress. The NME described George Best as “an unmitigated delight” upon its release and included it in its list of “The 500 Greatest Albums of All Time.” Allmusic says “It would be nearly impossible to name the standout tracks, since... every tune is so solid.”

                              The album has achieved legendary status in the hearts and minds of alternative music fans everywhere. The final concert in the 30th anniversary series took place at the O2 Academy in Leeds on 9 December 2017. This was, of course, hugely appropriate because Leeds was the city where The Wedding Present were born and where George Best was written, arranged, rehearsed and partly recorded. Appreciating the significance of the event, David Gedge decided that this Leeds show would be the last time that The Wedding Present would play George Best live... ever! 

                              Housewives

                              Twilight Splendour

                                London five-piece Housewives return for more anarchic genre-blending adventures on their second LP, Twilight Splendour; A synthesized collage written in Wetherspoons, cafes and anywhere away from their houseboats where they could find a permanent electrical supply. Exploring the possibilities of electronic sound, this new LP marks a turning point for the band - who sold their guitars to buy midi equipment and swapped London rents for water habitation. Bringing to mind the digital meditations of legendary producer Oneohtrix Point Never, Twilight Splendour presents a love letter from an early AI to its owner, its concept-led songs strewn with “ecstatic messages of frustration and a desire to connect”.

                                Since forming five years ago, Housewives have drawn from such diverse scenes as post-punk, jazz, drone, electronic and avant-garde. 2013 saw the release of an eponymous debut EP via Brighton label Faux Discx, while their first-full length record, ‘Work’—recorded at a barn in a desolate corner in the south of France—arrived two years later. 2017 live album FF06116 marked the band’s first collaboration with experimental saxophonist Ben Vince. Following on from these early statements, Housewives are now set to unleash their game-changing new album—turning away from performance-based writing, the human, and facing the cold light of computers head on. 

                                Terry Allen & The Panhandle Mystery Band

                                Pedal Steal + Four Corners

                                  Deluxe LP+3CD+book set features 145g virgin vinyl LP; heavy-duty board gatefold jacket; printed inner LP sleeve; custom 3CD portfolio; high-res Bandcamp download code; and an exhaustive 28pp. color booklet boasting the first in-depth essay to explore this singular body of work, dozens of images of Allen’s related visual art, and full scripts and credits for all five pieces (a total of 33k words). 

                                  Legendary Texan artist Terry Allen occupies a unique position straddling the frontiers of country music and conceptual art; he has worked with everyone from Guy Clark to David Byrne to Lucinda Williams, and his artwork resides in museums worldwide. Pedal Steal + Four Corners collects, for the first time, Allen’s radio plays and long-form narrative audio works—two and a half hours of cinematic country-concrète songs, stories, and sound collage—in a deluxe gatefold edition, including one LP, three CDs, a DL code, and an exhaustive 28pp. color booklet boasting the first in-depth essay to explore this singular body of work; dozens of images of Allen’s related visual art; and full scripts for all five pieces (a total of 33k words.) Pedal Steal (1985), originally composed as a soundtrack to a dance performance, appears on vinyl for the first time, as well as on CD. Torso Hell (1986), Bleeder (1990), Reunion (return to Juarez) (1992), and Dugout (1993) comprise the Four Corners suite, radio plays broadcast on NPR and never before released, now spanning two CDs. All audio has been meticulously remastered from the original tapes. Fans of Allen’s violent masterpiece Juarez will find much to love in these haunting desert dramas of the chthonic Southwest, which feature Jo Harvey Allen, Lloyd Maines, Butch Hancock, Rolling Stones saxophonist Bobby Keyes, and many others. Roger Corman failed to option the film rights; Jesse Helms failed to ban them; now you can own them! Navajo chants blend into fuzzed-up steel guitar; dirty-realist narratives succumb to skeletal ballads; B-movie dialogue blossoms over a plaintive violin. Pedal Steal represents roots rock’s rarely encountered experimental fringe.





                                  Terry Allen

                                  Lubbock (On Everything)

                                    Legendary Texan artist Terry Allen occupies a unique position straddling the frontiers of country music and visual art; he has worked with everyone from Guy Clark to David Byrne to Lucinda Williams, and his artwork resides in museums worldwide. Widely acclaimed as a masterpiece, his deeply moving (and hilarious) satirical second album, a complex memory palace to his West Texas hometown Lubbock, is often cited as the urtext of alt-country. Produced in collaboration with the artist and meticulously remastered from the original analog tapes, this is the definitive edition: the first to correct the tape speed inconsistencies evident on all prior versions; the first U.S. vinyl reissue; the first CD to restore the full track listing; and the first to contextualize the record within Allen’s 50-year career. Deluxe 2LP package includes tip-on gatefold jacket with lyrics, printed inner sleeves, download code, and 28 pp. book with related artwork and photos, an oral history by Allen, and essays by David Byrne, Lloyd Maines, and PoB. 2×CD edition features replica jacket, sleeves, and tipped-in 52 pp. book. Just four years separate Terry Allen’s first and second albums and consecutive masterpieces, Juarez (1975) and Lubbock (on everything) (1979), but the two records inhabit completely different systems of worldbuilding, wildly divergent in terms of sonics, scope, and circumstance. Arguably Allen’s most widely beloved and most easily approachable album—it contains his 2 best-known and most covered songs, “Amarillo Highway (for Dave Hickey)” and “New Delhi Freight Train” (famously first recorded by Little Feat)—Lubbock (on everything) is his complex memory palace to his West Texas hometown. Compared to its sparsely produced predecessor, it represents a much more collaborative, even collective, effort with a local Lubbock studio band, complete with rhythm section, pedal steel, fiddle, and horns, and helmed by master guitarist Lloyd Maines, who became Terry’s frequent musical partner, producer, and the de facto bandleader of the Panhandle Mystery Band. Even if Allen’s music is more accurately described as art-country, Lubbock (on everything) sowed the seeds of alt-country’s emergence a decade later. 

                                    It's a Detroit via Sheffield connection on the latest Whiskey Disco as Motor City's Pointchartrain joins forces with the Steel City's ThatManMonkz for quad-pronged attack of new disco-house and bumpety slo-mo grooves.

                                    It's inimitably Whiskey Disco through and through, contrasting rich musicality with sound system dynamics and mastering. The label have been soundtracking the tastier side of bar music across MCR and beyond for well over a decade and this latest offering doesn't let up on high quality, easily-digestible grooves for both the floors, coffee tables, BBQs and terraces, with both producers adapting to the format in inventive ways.

                                    Can't help feeling that both producers are looking towards the warmer seasons on this release as all four tracks exude a natural radiance, led by bright brass and funky, palm-muted guitar parts; it's the very epitome of dancing around a leafy lawn in the southern suburbs with an Aperol spritz in your hand and Wet Play's Swayward on the 1s n 2s. Grab yer favourite shorts n shades combo and come join the fun!


                                    Ex Hex

                                    It’s Real

                                      On It’s Real, the group’s second album, Ex Hex’s commitment to larger-than-life riffs and unforgettable hooks remains intact, but the garage-y, post-punk approach that defined their debut album Rips has grown in scale and ambition. What started as a reaction to the blown-out aesthetic of Rips would test the sonic limits of the power trio and lead the band on a quest for a more immersive and three-dimensional sound. Vocal harmonies are layered ten tracks deep, solos shimmer and modulate atop heaving power chords, and the codas linger and stretch toward new frontiers of sound. On first listen, you might think you’ve unearthed a long-lost LP carved from the space where crunch-minded art rock and glitter-covered hard rock converge, an event horizon at the intersection of towering choruses and swaggering guitars.

                                      Ex Hex were already one of America’s best guitar bands—but on It’s Real, their musical savvy has thrillingly combined with anything-goes curiosity, studio experimentation, and a dedication to refinement, resulting in an album that’s ready to be played at maximum volume.

                                      FORMAT INFORMATION

                                      Coloured LP Info: Limited LP in matte jacket + pink & blue swirl vinyl (2700 only worldwide), this is for Indie stores only.

                                      Coloured LP includes MP3 Download Code.

                                      LP includes MP3 Download Code.

                                      Ibibio Sound Machine

                                      Doko Mien

                                        Eno Williams, frontwoman of Ibibio Sound Machine, uses both English and the Nigerian language from which her band’s name is derived for the dazzling new album Doko Mien. Long lauded for jubilant, explosive live shows, Ibibio Sound Machine fully capture that energy on Doko Mien, the followup to their Merge debut Uyai. In a glowing piece in the New York Times, those songs were praised for following “in the tradition of much African music, [making] themselves the conscience of a community.”

                                        By pulsing the mystic shapes of Williams’ lines through further inventive, glittering collages of genre, Ibibio Sound Machine crack apart the horizon separating cultures, between nature and technology, between joy and pain, between tradition and future. That propensity for duality and paradox seems common in people whose lives span continents. Williams was born in the UK, but grew up in Nigeria, always steeped in her family heritage. She obsessed over West African electronic music, highlife, and the like, but was equally empowered by Western genres such as post-punk, disco, and funk.

                                        The London octet have enveloped themselves in that maximalist quilt proudly since their 2013 formation. Though it can often bring with it news of stress and uncertainty, the modern world further brings all these disparate traditions into connection. “Everyone has everything now,” says multi-instrumentalist Max Grunhard. “Everyone has immediate access to every genre, picking things up from everywhere—like magpies.” And while they haven’t suddenly left their African roots behind, Doko Mien does find increased representation of English lyrics in the ratio. By sharing more directly with more universal lyrics, the record feels more anthemic, reaching for grander heights. “We wanted to give people a reason to sing along, to find their soundtrack every day,” Williams says. “We wanted everyone to feel as if they’re part of the music as well.” Late album highlight “Guess We Found a Way” addresses the change with a coy smile. “Guess we found a way to speak to you/ Guess we found a way to say what’s true/ To say what’s real,” Williams coos over glistening chains of reverberant synth and diamond dust percussion, before returning to Ibibio in the chorus. Perhaps the best example of the group’s ability to convey meaning across language and tradition, to blend past and future into a singular present comes on “She Work Very Hard”.

                                        The traditional Ibibio folk tale bobs over the waves of tuned percussion, chunky synth, and pinprick highlife-esque guitar, while Jose Joyette’s drums and Derrick McIntyre’s bass funk groove bring everyone to the dance floor. “These stories won’t be forgotten. Feel the music: it speaks to everybody,” Williams says. “We can travel back in time together, while convening on a futuristic, present tense. We hope that we can give people that reason to wake up, that one song to sing and dance and be happy.” Doko Mien: Tell me everything. On their new album, Ibibio Sound Machine provide the perfect companion, ready to digest as much as possible and then further unfurl beauty and hope. They remember and honor the past and charge forward toward the future, all while intensely expanding the present.

                                        FORMAT INFORMATION

                                        Coloured LP Info: Limited LP is matte & gloss gatefold + white vinyl (1500 only worldwide), this is for Indie stores only.

                                        LP includes MP3 Download Code.

                                        Roy Garrett & Man Parrish

                                        Hot Rod To Hell LP

                                        Roy Garrett born Roy Sambar in Colonia, New Jersey arrived in New York City hungry to explore the sex and porn scenes he’d seen advertised in the Village Voice’s classified section. He danced in Times Square theaters The Gaiety, Ramrod, and Big Top before moving into adult film. From 1979 through 1983 Garret starred in ten films, five of them for Joe Gage, including his lead role in 'Heatstroke'. Throughout this period of self-discovery, he wrote the suite of poems that became "Hot Rod to Hell". In 1982 he recorded 48 of the poems with a haunting, atmospheric score by Man Parrish, who also did several soundtracks for Gage. The project was produced for the stage and for cassette by Manhattan illustrator Robert W. Richards. Richards calls "Hot Rod...", 'a searing voyage through the labyrinths of modern male sexuality; it’s geography ranging from porn theaters to back room bars to the intimacy of shared beds. Only a man born at exactly the moment in gay history that Garrett was could have lived through and conceived this work.' Roy Garrett tells his stories of sex, violence, truth, and illusion; a visceral and personal a record as any of that moment in gay history pre-AIDS. Joe Gage, describes "Hot Rod..." as, '…sweet danger. This is a perceptive look at the underside of love. It is funny, scary, surprisingly moving and best of all, extremely acute in observing the specifics of the human condition.' All poems have been carefully remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The records come housed in a jacket designed by Gwenael Rattke and includes an 44-page full color magazine with all 48 "Hot Rod..." poems plus 44 previously unpublished poems from Garrett’s archive. All proceeds from "Hot Rod..." will be donated to Housing Works, a New York City based non-profit fighting the twin crises of AIDS and homelessness.

                                        STAFF COMMENTS

                                        Matt says: Phooooaar MATRON!! This was due in last week, for a trouser-bulging addition to any homo-erotic night in with your lover. Unfortunately it's a bit late, but that shouldn't subdue your inner libido once this slice of x-rated electro-funk hits the needle. Always pack a change of gruds!

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

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

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

                                        Lily & Madeleine

                                        Canterbury Girls

                                          Lily and Madeleine Jurkiewicz create candid music with deep emotional and personal resonance. The sisters, who record under the moniker Lily & Madeleine, boldly explore what it means to be women in the 21st Century and aren’t afraid to use their music to call out injustice or double standards. This fearless approach has permeated their three albums, which are full of insightful lyrics and thoughtful indie-pop.

                                          With their fourth studio album, ‘Canterbury Girls’, named after Canterbury Park, located in their hometown of Indianapolis, the sisters are coming into their own as women and musicians. Using an eclectic playlist of songs as sonic inspirations - soul tunes and waltzes, as well as cuts from Midlake, ABBA and Nancy Wilson - Lily & Madeleine worked quickly, recording ‘Canterbury Girls’ in just 10 days.

                                          Although the record contains plenty of Lily & Madeleine’s usual ornate music - including the languid ‘Analog Love’, on which twangy guitars curl around like a kite twisting in the wind - the album also finds the siblings exploring new sonic vistas. ‘Supernatural Sadness’ is an irresistible slice of bubbly, easy-going disco-pop; the urgent ‘Pachinko Song’ hews toward interstellar synth-pop with driving rhythms and ‘Can’t Help The Way I Feel’ is an effervescent, Motowninflected number.

                                          Vocally, the sisters also take giant leaps forward. The dreamy waltz ‘Self Care’ is a rich, piano-heavy track on which their voices intertwine for soulful harmonies, while the meticulous ‘Just Do It’ has a throwback 70s R&B vibe. “This is the first record Lily and I have ever done where we have full control over all of the songwriting,” says Madeleine. “We did co-write with some people that we really love. But everything on this record is completely ours. I feel like I have full ownership over it, and that makes me feel very strong and independent.” With this growing self-confidence and musical poise, it’s clear that Lily & Madeleine are positioned for even greater things going forward.

                                          FORMAT INFORMATION

                                          Coloured LP Info: Indies exclusive marble vinyl.

                                          Neil Young

                                          Dead Man: A Film By Jim Jarmusch (Music From Motion Picture)

                                            Re-release of the classic Neil Young album, Dead Man – A Film by Jim Jarmusch Music from and inspired by the Motion Picture.

                                            Sleaford Mods

                                            Eton Alive

                                              SLEAFORD MODS WILL BE INSTORE SIGNING COPIES OF THEIR NEW ALBUM 'ETON ALIVE' ON MARCH 15TH FROM 4.30pm - 5.30pm.
                                              PRE-ORDER NOW TO GUARANTEE A COPY FOR THE SIGNING SESSION.


                                              Sleaford Mods are one of the most important, politically charged and thought-provoking duos currently making their mark on the UK music scene and beyond. They are now poised to release their fifth studio album entitled ‘Eton Alive’ in February 2019. The album, which features 12 new tracks from the prolific artists, was recorded in Nottingham. The record will be the first release on Jason and Andrew’s newly formed label ‘Extreme Eating’ and their first album since parting ways with Rough Trade Records.

                                              “Eton Alive speaks for itself really. Here we are once again in the middle of another elitist plan being digested slowly as we wait to be turned into faeces once more. Some already are, some are dead and the rest of us erode in the belly of prehistoric ideology which depending on our abilities and willingness, assigns to each of us varying levels of comfort that range from horrible to reasonably acceptable, based on contribution. So after the digestive system of the Nobles rejects our inedible bones we exit the Arse of Rule, we fall into the toilet again and at the mercy of whatever policies are holding order in the shit pipe of this tatty civilisation. It is here our flesh regenerates as we rattle into another form, ready, and ripe for order”. – Jason Williamson.

                                              FORMAT INFORMATION

                                              Coloured LP Info: Indies Only Blue Vinyl.

                                              Coloured LP 2 Info: Limited to just 500 copies this an exclusive German edition on pink vinyl.

                                              Various Artists

                                              Big Gold Dreams - A Story Of Scottish Independent Music 1977-1989

                                                Big Gold Dreams documents the vibrant independent music scene to emerge in Scotland across the late 70s and 80s. Initially ignited by punk, labels sprang up in Glasgow, Edinburgh and elsewhere to give a voice to the explosion of new acts across the country. Named after Fire Engines’ memorable single and Grant McPhee’s recent TV and DVD documentary,

                                                Big Gold Dreams includes many of the Scottish music scene’s most important names as well as countless obscurities. Includes landmark tracks by The Rezillos, Simple Minds, Altered Images, Skids, The Jesus And Mary Chain, Primal Scream, The Bluebells, The Waterboys, Cocteau Twins, Aztec Camera, The Soup Dragons, The Associates, Scars, Strawberry Switchblade, Josef K, BMX Bandits, Edwyn Collins, Del Amitri, The Vaselines, The Shamen, Goodbye Mr. Mackenzie and many others.

                                                Boasts lengthy essays and band histories by Grant McPhee, Neil Cooper and Tim Barr, within a lavishly illustrated 70-page booklet.

                                                Created by the same Cherry Red team behind such previous box sets as Scared To Get Happy, Still In A Dream, Action Time Vision, To The Outside Of Everything, Manchester North Of England, Revolutionary Spirit, etc. Big Gold Dreams also includes recordings from key labels such as Zoom, Postcard, 53rd & 3rd, Rational, Fast Product/Pop:Aural, Supreme International Editions, Creation, Egg, Sarah, etc. Pre-fame 45s by Johnny & The Self Abusers (later Simple Minds), Another Pretty Face (pre-The Waterboys), Fun 4 (pre-Orange Juice), as well as P.V.C.2 (post-Slik, featuring Midge Ure). Numerous tracks debut on CD, alongside a string of impressive debut 45s (e.g. Fini Tribe, Momus, The Wake, Win), plus classic indie tracks from The Pastels, Shop Assistants, The Vaselines and The Fizzbombs and many others.

                                                Various Artists

                                                3 X 4

                                                  3 x 4 is a celebration of L.A.’s Paisley Underground scene of the mid-80s featuring four of the scene’s most notorious bands each covering the songs of the others - four bands covering three songs each - “3 x 4” get it?

                                                  Trio Mocoto

                                                  Trio Mocoto

                                                    Classic Brazilian album from 1977, featuring the incredible ‘Nao Adianta’ and a brilliant cover of Jorge Ben’s ‘Que Nega E Essa’.

                                                    Luiz Carlos Fritz (Fritz Escovao), Joao Parahyba and Nereu Gargalo aka Trio Mocoto are most well-known as Jorge Ben Jr.’s backing band. They played on several seminal Jorge Ben LP’s - his self-titled from 1969, Forca Bruta in 1970 and Negro E Lindo in 1971.

                                                    Trio Mocot were also key players in the development of the ‘samba rock’ sound - a fusion of samba, soul and rock influenced by music from the USA. Official Mr Bongo reissue. Licensed from Arlequim.

                                                    The Young Gods

                                                    Data Mirage Tangram

                                                      "Sleep my angel, my child, see how the city spreads.” Under Franz Treichler’s wings, huge, breathtaking panoramas unfurl like beautiful dreamscapes on the edge of sleep. A weightless dream that is both comforting and blackened with darkness. A return to known land, whose topography has been modified by time and age. Three human beings in the matrix of Data Mirage Tangram, the new Young Gods album.

                                                      Eight years without a studio album. The gods may have eternity on their side, it was about time they followed up on Everybody Knows and addressed the period of artistic confusion – in Treichler’s own words – that followed Al Comet’s departure and his replacement with the original god, Cesare Pizzi. The subsequent tour which focused on the Swiss band’s first two albums, could have ended in a deadlock. Instead, it brought a breath of fresh air to the trio, revitalised by this return to their roots. Rock and electro avant-gardists are not known for their backward-looking attitude. Still, thirty years of uninterrupted activity, celebrated with the publication of an 800page book in 2017, could only strengthen the gods’ will to write a new chapter to their already impressive history.

                                                      Data Mirage Tangram was born in a basement amidst people. Franz Treichler (lyrics, guitar, electronics), Cesare Pizzi (sampling, electronics) and Bernard Trontin (drums, percussion) accepted Cully Jazz’s invitation to set up on the stage of the THBBC wine cellar for an open laboratory for the duration of the festival. “That’s when the songs appeared”, says Treichler. “We didn’t know where we were going. Bernard brought an old sampler on top of his drums, Cesare, a laptop, me, a guitar, a bass, a laptop… anything I had on hand. The audience came and went. We didn’t feel obliged to present a finished product. It was really stimulating.”

                                                      At the end of the residence, the seven tracks of the album existed in body and mind. The curves still needed to be shaped, the textures refined, and the lengths cut up. The band incorporated the songs into their live repertoire, fine-tuning them for three years into their final structure, captured in Franz Treichler’s studios and mixed on the console of English record producer Alan Moulder (Nine Inch Nails, Editors, Foals). “For the first time ever, this record is the result of entirely collective work”, says the delighted Geneva pioneer.

                                                      The result is to be savoured as a major album by The Young Gods and an addition to their multiple experiences as well as their shared DNA. Each track exists for itself while creating a coherent ensemble, a united journey in seven unique steps. “The tangram in the title refers to Japanese puzzles consisting of seven pieces that can form a square or various silhouettes of animals and characters”, says the singer. In this digital world, which the gods explore like visionaries, the music breathes and breaks free, undulating on the string of a guitar that once again takes centre stage.

                                                      Entre en matière whispers a haunting mantra and Tear Up The Red Sky orchestrates a cosmic bombardment of divine fury. Figure sans nom returns to the band’s acid groove and Doors influence, while Moon Above ploughs a fallow field, bruising it with unidentified sound objects. The 11 spellbinding minutes of All My Skin Standing let you come back to your senses before a final explosion of white noise and saturated guitars. You Gave Me A Name offers a breath of fresh air, like a welcoming bubble. Finally, Everythem closes everyone’s eyelids, softly and silently.

                                                      How would you sum up the Young Gods’ history? “A long road”, says Franz Treichler. A road that unfurls and stretches out to the horizon and its mirages.


                                                      FORMAT INFORMATION

                                                      Vinyl comes with CD version of the album enclosed.

                                                      Sun Ra

                                                      Monorails And Satellites - Works For Solo Piano Vols. 1,2,3

                                                        "I have always thought orchestra. I play that way, even when playing the piano." - Sun Ra

                                                        Considering the monumental depth of Sun Ra's recorded oeuvre, there are surprisingly few solo piano albums.

                                                        Monorails and Satellites Volumes 1 and 2 were the first commercial LPs of the artist's solo keyboard excursions. Recorded in 1966 and released on his Saturn imprint in 1968, Volume 1 featured seven idiosyncratic originals and one standard ("Easy Street") delivered in Sunny's singular manner. Volume 2 was released the following year, and contains five compositions, all originals. A third volume was prepped but shelved, and this deluxe edition marks it's premiere release.

                                                        As with all Cosmic Myth releases these volumes are superbly mastered, and are available as a deluxe 2xCD or 3xLP tri-gatefold cover with copious liners notes by renown American jazz pianist Vijay Iyer, and additional overviews by jazz historian Ben Young and producer Irwin Chusid.

                                                        FORMAT INFORMATION

                                                        3xDeluxe LP Info: 3xLP Tri-gatefold cover.

                                                        Spaceark

                                                        Spaceark Is

                                                          ‘SpaceArk Is’ came out on Color World records in 1976, on a limited run of about 5,000 copies. It followed their self-titled debut on the same original label, the year before. For a handful of years in the Seventies, SpaceArk was one of the most promising and electrifying bands in Southern California. Although their music was far greater than the sum of its parts, those parts made for a very original style. R&B, soul, rock, pop, jazz, classical ... it all came together in blissful stream of intricate compositions that swept up crowds from US military bases to Northern Soul clubs around the UK. SpaceArk wrote and performed more than 100 songs during their time together. Most of them were not recorded and are now either lost or forgotten.

                                                          Rob

                                                          Rob

                                                            The Accra-born pianist and frontman only released a few albums in small quantities, yet two of them are among the most sought-after records from 70’s Africa. This was the first.

                                                            So what do we know? After learning his craft in Benin and playing with the likes of Orchestre Poly-Rythmo de Cotonou, ROB returned to Accra to write his own material and find a sound.

                                                            Hooked on the driving funk and raw soul of stars such as James Brown and Otis Redding, he would often imitate his heroes on his father’s piano during school holidays.

                                                            The title track sets the pace with a JBs-like rhythm, ROB almost shamanic with his sparse yet commanding vocal. The organ and wah-wah guitar spin us out before those imperious horns bring us back in.

                                                            And what better way to close this set than with ‘More’, swept up in a call and response between Rob and his backing singers as a ‘Blow Your Head’ synth flares and the brass blasts. Good times guaranteed.

                                                            As the man himself says, “Funky music is in my blood. What you hear is the coming out of my mind.” No one sounds like Rob, because there is no one like Rob.

                                                            R. Stevie Moore

                                                            Afterlife

                                                              This guy again. The Godfather of DIY home recording. Hundreds of self-released albums over the past 50 years. Dozens issued on countless indie labels since 1976. Pop craftsman, crafty grandpop, notorious curmudgeon. Blah blah blah blah blah. Most recently teamed with Jason Falkner on the album Make It Be.

                                                              Since R. Stevie can't make a decent living on his music, he's trying to accomplish the task in the Afterlife. This album is an upgrade from the lo-fi, damaged-equipment home recording process for which RSM has become legendary. With a career-long sweep, R. Stevie took some of his best home-recorded lo-fi songs and re-recorded them with full-studio sparkle. All recordings were made in the past 15 years, with tracks captured in five U.S. states. Some compositions date from the 1970s to the 1990s, and there's a few newer tunes. The album lacks one thing: filler. Lou Reed famously said about his final Velvet Underground album: "I gave them an album loaded with hits," then he walked away. Afterlife is R. Stevie's Loaded—an album full of hits. He's walking away with a cane, a bum knee, and cataracts.

                                                              Afterlife was compiled and produced by Irwin Chusid (who oversees the musical estates of Sun Ra, Raymond Scott, and others). Chusid, a WFMU DJ since 1975, has been a compatriot of RSM since they met in 1978 after R. Stevie relocated to New Jersey from his native Nashville (to which he returned in 2010). It's often been pointed out that RSM's daddy Bob played bass with Elvis. But we won't dwell on that here.


                                                              Le Superhomard

                                                              Meadow Lane Park

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

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

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

                                                                Desperate Journalist

                                                                In Search Of The Miraculous

                                                                  In Search of the Miraculous is the third album from much-loved indiegoth dreamboats Desperate Journalist and follows the bands critically acclaimed album Grow Up. If the title conveys a sense of wide- eyed ambition then the music on In Search Of The Miraculous fits the plot perfectly, featuring ten tracks fizzing with creative passion, giant choruses, heroic solos and poetic intensity. Warning: this album contains love songs, anti-love songs and other songs wandering about, lost in an in-between-daze. It’s a bit complicated. Boasting one of the most inspired band names of recent times, the quartet take their moniker from a 1979 John Peel Session track by The Cure. If you ever wondered what Harriet Wheeler from the Sundays would sound like fronting a rawer version of the Smiths or the Cocteau Twins with energy and a shimmering indie edge, then Desperate Journalist is a must hear.

                                                                  Cellar Doors

                                                                  Cellar Doors

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

                                                                    Drenge

                                                                    Strange Creatures

                                                                      The follow up to their critically acclaimed albums Drenge (2013) and Undertow (2015), as well as this year’s Autonomy EP, Strange Creatures includes singles ‘This Dance’ and ‘Autonomy’, and according to the band is “the most considered record we have ever made”. 

                                                                      Speaking about Strange Creatures, Drenge said “It’s a nocturnal record. A psychological horror movie on wax. Warped hallucinations from mundane observations as you move through it. Is that a school or a skyscraper on fire in the distance? Or maybe it’s just the ski village? You drive nearer, past roadside diners jammed with dancing teenagers, through Uncanny Valley, past the most unhygienic nightclub in the world. The stereo sounds like it’s going to fall apart at any moment. The car judders to a halt and all you can hear is the sound of the sea.”


                                                                      FORMAT INFORMATION

                                                                      Coloured LP Info: Limited edition orange vinyl with art print.

                                                                      The Saxophones

                                                                      Singing Desperately Suite

                                                                        These songs were recorded with the same team behind "Songs of the Saxophones" but after the album had been released.

                                                                        MOJO – “David Lynch will swoon when he hears this exercise in etiolation.”

                                                                        Uncut – “sparsely immersive, chiseled arrangements."

                                                                        There’s a beautiful, mournful atmosphere to the EP, recalling the work of Antonio Carlos Jobim, and even parallels to some of Low’s recent work (see “Always Trying to Work It Out” from their latest album as a good reference point).

                                                                        Rockie Robbins

                                                                        Good Life / Let's Groove

                                                                          Rockie Robbins is back! From a brand new album released in March 2019 comes the title track single “Good Life”. Robbins is from Minneapolis but moved to Los Angeles in 1979 when signed to A&M Records. From his work with Skip Scarborough, Leon Ware, Richard Evans, Bobby Martin & Jerry Peters came a legacy of timeless quality music including the global hit ‘You & Me’, rare groove ‘We Belong Together’ and the celebrated interpretation of Earth Wind & Fire’s ‘Be Ever Wonderful’.

                                                                          Diplomats Of Soul

                                                                          Sweet Power Your Embrace / Brighter Tomorrow

                                                                            Diplomats of Soul through the help of Incognito have re-recreated two masterpieces of soul and jazz funk. Previously on 12”, 10” respectively and CD only, single versions of both have been combined here for the first time on 7”. “Sweet Power Your Embrace” was first recorded by James Mason, “Brighter Tomorrow” by Tom Browne. Both have become popular in the Diplomats Of Soul style, no expense spared lavishing these tracks with the finest UK musicians under the direction of Bluey. “Brighter Tomorrow” features live playing in contrast to the electronic production style of the original.

                                                                            Ty Karim

                                                                            Keep On Doin' Whatch' Doin'

                                                                              From Mississippi, Veatrice Thomas moved to Los Angeles and in 1967 began recording as Ty Karim. She worked closely with her writer/producer husband Keny Harris since her debut single “Lighten Up Baby” through to the rare groove/modern soul masteripiece “Keep On Doin’” first released in 1980. Both the 7” and 12” have been highly desirable on the collectors scene, exchanging hands for vast sums of money. This is pure quality, as you would expect from Expansion. Features co-lead vocals by George Griffin.

                                                                              Stephen Michael Schwartz

                                                                              Get Up For Love

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

                                                                                Oozing Wound

                                                                                High Anxiety

                                                                                  Chicago’s Oozing Wound are a mass of contradictions: weed lovers whose music hits you with its breakneck head banging force. The band deal with nihilism, yet remain addictively fun. Their music is equal parts sludge and thrash, noise and riff-loaded rock. High Anxiety is an unabashed mocking of the madness of modern living, its chemical induced adventures and establishment absurdity, deriding the industrial complex behind established institutions such as NASA while savaging those who deny science. Oozing Wound on High Anxiety are nihilistic pied pipers making us laugh our way to the apocalypse. The album finds guitarist and vocalist Zack Weil drummer Kyle Reynolds and bassist Kevin Cribbin blending their ferocious energy, sonic experiments and blunt lyricism for a pummeling enjoyable head-banger with an irresistible sneer.

                                                                                  On High Anxiety, Oozing Wound’s songs have become more complex, their attacks more ferocious, and bass and guitar lines more captivating. The album was recorded in four days at Steve Albini’s Electrical Audio studio. The trio ripped through live-tracking and overdubs, leaving space to experiment with new sounds and effects. The band, having an affinity for the complexities of prog music, managed to bring prog elements to High Anxiety without sacrificing any of their songs punch. Subtle layers of saxophone, flutes and synths were blended into guitar tones, adding depth and texture without cluttering arrangements. Fist-pumping blasts of whitehot riffing become a Trojan horse for sonic weirdness. The resulting recordings are at once some of their most sonically rich, immediate, and impactful.

                                                                                  High Anxiety drips with a caustic vitriol that is both riotous and intoxicating

                                                                                  FORMAT INFORMATION

                                                                                  Coloured LP Info: “Nuclear Waste Green” coloured vinyl.

                                                                                  Coloured LP includes MP3 Download Code.

                                                                                  Matmos

                                                                                  Plastic Anniversary

                                                                                    The incomparable duo, Matmos, have done it again! Their new album, Plastic Anniversary, was created using only plastic. Highlighting the crises of convenience, the Duo make music from our refuse. True to form, the band have assembled a promiscuous array of examples of this sturdy-yet-ersatz family of materials: Dominos, Styrofoam coolers, police riot shields, polyethylene waste containers, PVC panpipes, pinpricks of bubble wrap, pills, silicone gel breast implants and most horrifically synthetic human fat. Where did this idea come from? Drew Daniels and M.C, Schmidts own “plastic” anniversary as a couple.

                                                                                    Matmos glide from the tongue-in-cheek fun of “Breaking Bread” (literally smashing Bread LPs) to Cronenbergian body-horror of “Interior with Billiard Balls & Synthetic Fat.” The album is playful and poppy while conveying a very serious message and on the darker implications of ignoring the havoc we are imposing on the earth all for the sake of convienience

                                                                                    A super special limited edition set will come with a sculptural album, embedded with plastic bottles, that while is the actual album, is rendered viruatlly unplayable by the pastic floating within. This edition also includes the album on a exclusive multi color mashup vinyl, a t-shirt, and a bonus track, all exclusive to the box. All proceeds from this special edition will benefit The Ocean Cleanup.

                                                                                    FORMAT INFORMATION

                                                                                    Coloured LP Info: "Teal Mashup" coloured vinyl.

                                                                                    Dwight Trible

                                                                                    Mothership

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

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

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

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

                                                                                      Stephen Malkmus

                                                                                      Groove Denied

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

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

                                                                                        Seahawks

                                                                                        Eyes Of The Moon - Piccadilly Exclusive Violet Coloured Vinyl

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

                                                                                          FORMAT INFORMATION

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

                                                                                          Kokoroko

                                                                                          Kokoroko

                                                                                            The afrobeat-inspired eight-piece Kokoroko drop their hotly-anticipated debut, a horn-fuelled, soul-shaking introduction to the young collective.

                                                                                            Kokoroko are part of the thriving scene that’s grown out of london’s young, jazz-influenced musical circles. Led by bandleader Sheila Maurice-Grey, their self-titled ep is the group’s first solo release, following their early 2018 debut with ‘Abusey Junction’, a track that has gone on to accrue over 15 million plays on youtube and 2.6 million on spotify. Across the E.P’s four tracks, the eight-piece deliver on the promise of that memorable introduction, offering a bigger vision of their afrobeat-influenced, soulfully-imbued sound, west african roots shaded with inner London hues.

                                                                                            ‘Abusey Junction’ was first featured on we out here, the 2018 Brownswood compilation documenting London’s bright-burning, jazz-influenced musical underground, picked by Rough Trade as compilation of the year 2018, and praised by the Wire, Monocle and the New York Times. Writing and performing as a group since 2014, Kokoroko have played at iconic venues from ronnie scott’s, performed at the festival, Afropunk, and toured in Brazil, Colombia and France. Inspired by Fela Kuti, Ebo Taylor, Tony Allen and the great sounds that come out of West Africa, Kokoroko put on a performance to honour the masters that taught them.

                                                                                            Lambchop

                                                                                            This (Is What I Wanted To Tell You)

                                                                                              With ’This (Is What I Wanted To Tell You)’ Lambchop Continue To Establish Themselves As Forerunners And Innovators Of What Was Once Called Alt Country. Their Sound Has Morphed To Encompass Multiple Genres, Blending Folk Songwriting With The Tones Of Urban Soul.

                                                                                              Following On From The Pioneering Sounds Of ‘Flotus' (2017), ’This (Is What I Wanted To Tell You)’ Showcases Lambchop At A New Peak In Their Career, Whilst Still Retaining The Ingredients Of Their Classic Albums. ’This’ Is Brimming With Ideas, Songs And Hooks. A Huge Influence On The New Direction Is Matthew McCaughan (of Bon Iver And Hiss Golden Messenger), Who Produced And Co-wrote Large Parts Of The Album With Kurt Wagner (Lambchop Frontman) Over A Period Of Two Years.

                                                                                              FORMAT INFORMATION

                                                                                              Coloured LP Info: Indies exclusive white vinyl.

                                                                                              Floating Points

                                                                                              People's Potential / Shark Case

                                                                                                Floating Points shows us just why he's so hot right now with this highly anticipated new 12". "People's Potential" carries on where his "Vacuum EP" left off - seering synth lines and wobbly, funky leads all played live via his classically trained ear and his original ARP synth (yes, I have been doing my research!). Jazz-tinged chords and unique, shuffled beats reveal more clues that this is one sophisticated producer even if he is down with the urban kids too.  "Shark Case" on the flip has a lo-fi 4/4 disco break looped up and sampled before a heavy-ass bassline fills the room and keeps the UKF crowd moving and shaking. The whole track is a roaring, low-end monster; gritty beats, grinding bass and a serious amount of low frequency pressure - reach for the sub-woofers! Early players include DJ Spinna, Harmonic 313, Benji B and Gilles Peterson and for the hoardes of new fans eagerly following his movement, this will not disappoint. Another stormer from Sam, the man that can! (that's his real name yer know...)

                                                                                                As one of the UK's most hyped and anticipated new producers, 23 year old Sam Shepherd aka Floating Points has a lot to live up to, but definitely doesn't disappoint on the truly wonderful "Vacuum EP". Main track "Vacuum Boogie" brings the warmth and emotion of 1980s Detroit techno to the table, with the addition of a boogie bassline and soaring synths. "Truly" posits jazz-funk inspiration on beatdown house grooves for more head-nodding 4/4s, and "Argonaute II" brings up the rear with a swinging amongst jazzy "Galaxy II Galaxy" style keyboard work. Having already rocked wonky-hop and UK funky and beatdown soul, the "Vacuum EP" shows Shepherd as a real renaissance man about the house. All three tracks are already getting heavy rotation on the playlists of Benji B, Mary Anne Hobbes and Gilles Peterson. Essential 2009 music!

                                                                                                Stella Donnelly

                                                                                                Beware Of The Dogs

                                                                                                  Stella Donnelly is a proud, self-proclaimed shit-stirrer. On lead single “Old Man,” the biting opener of her electrifying debut album, ‘Beware of the Dogs,’ she targets the song’s titular creep, “Oh are you scared of me old man or are you scared of what I’ll do? You grabbed me with an open hand. The world is grabbing back at you.” When something needs to be said, whether it’s to an abusive man, a terrible boss, or a clueless significant other, the 26-year old Fremantle, Western Australia-based musician is fearless in telling it like it is. Delivered entirely with a sarcastic wink and a full heart, ‘Beware of the Dogs’ proves across 13 lifeaffirming songs the power in sticking up for yourself, your friends, and what’s right.

                                                                                                  The album showcases an artist totally in command of her voice, able to wield her inviting charm and razor-sharp wit into authentically raw songs. It’s a resounding statement of purpose in recent memory and most importantly, it’s a portrait of Donnelly taking charge. She says, “this album made me feel like I was back in the driver’s seat. It was really liberating and grounding to realize that no one can fuck with this except me.”

                                                                                                  FORMAT INFORMATION

                                                                                                  Coloured LP Info: Opaque olive vinyl.

                                                                                                  Flight Of The Conchords

                                                                                                  Live In London

                                                                                                    In October of 2018, ten years after the launch of their hit HBO series, musical comedians Bret McKenzie and Jemaine Clement returned to HBO for the all-new comedy special. Live in London was taped before a live audience at the Eventim Apollo and featured the Conchords performing songs from the sold-out UK and Ireland edition of “Flight of the Conchords Sing Flight of the Conchords Tour.” 


                                                                                                    FORMAT INFORMATION

                                                                                                    3xColoured LP Info: Clear vinyl loser edition.

                                                                                                    Hot 8 Brass Band

                                                                                                    Take Cover

                                                                                                      Grammy-nominated Hot 8 Brass Band “Take Cover” as they bring their iconic hip hop and brass grooves to classic tracks from Joy Division, Michael Jackson, George Benson and The Jacksons. Fans include Lauryn Hill, Spike Lee, Mos Def, Questlove, Gilles Peterson, Quantic and many more.

                                                                                                      FORMAT INFORMATION

                                                                                                      Ltd 12" Info: Red vinyl.

                                                                                                      Israel Vibration

                                                                                                      Reggae Knights

                                                                                                        "Knights of the Reggae" still defend the traditional values of "Roots Music" since they started in 1976 and their famous single "Bad Intention" which we find here recorded for the first time on an album! (It was only released on a single before).

                                                                                                        The production includes their faithful sound engineer Christopher Daley (who mixed in 2009 the Burning Spear Grammy Award album “Jah is Real”!) Dean Fraser and Steve Golding (Original Roots Radics) for the arrangements and respectively for the artistic direction of brass instruments and guitars (magnificent chorus played by Golding). It is the vocalist Grub Cooper which orchestrated choirs. The album brings us in Jamaica such as we love it, definitely roots with "Bad Intention" or “Poor and Humble”, and also a return to the roots of Mento with the track "Cantankerous" where they describe the perception of people of the island by the English colonists.

                                                                                                        Wiss and Skelly remain faithful to their ideas and their line of conduct determinedly pacifist and turned into the love of people and life with all the same new influences as in the song "Original Gangster" where they hijack the dancehall to criticize the lifestyle of a generation in loss of marks.


                                                                                                        E.B. The Younger

                                                                                                        To Each His Own

                                                                                                          “What came before you is why you’re here now,” declares the man born Eric Brandon Pulido. “So embrace both the past and the present.”

                                                                                                          The current frontman of Texan legends Midlake embraces both past and present times for his glorious debut solo album, To Each His Own, under his new enigmatic alias E.B. The Younger. It’s a deeply personal record, rooted in Pulido’s love of warm, glowing rock, folk and country hues that came of age in the 1970s woven with contemporary recalibrations: guitars ripple, sigh and sizzle alongside gliding keyboards over crisp, choppy and becalmed rhythms. Pulido’s lyrics equally look back and forth, philosophising about his place in the world, the choices he’s made, and where they have taken him.

                                                                                                          Or, as he describes To Each His Own, “an eleven-song journey through the life and times of a wayward Midlaker seeking to find purpose in an uncharted land. Will he find his way? Listen, and ye shall find.”

                                                                                                          Pulido’s “wayward” phase began in 2014 with a break from Midlake, “to invest time in kids and musical projects less physically demanding”, he says. His first project was the transatlantic collective BNQT, a self-described ‘poor man’s Travelling Wilburys’ featuring Pulido, Ben Bridwell (Band of Horses), Fran Healy (Travis), Jason Lytle (Granddaddy) and Alex Kapranos (Franz Ferdinand) who recorded the 2017 album BNQT – Volume 1. But To Each His Own is all Pulido – or rather, E.B. The Younger.

                                                                                                          “It’s an antiquated way of naming a younger member of a family,” he explains. “I’m expressing, simply, that something greater came before me. It’s countering the idea in today’s culture that everything revolves around ourselves, that we’re the most important thing in the world. I feel that humility is a lost virtue – you only have to look at America’s current leader - which I want this record to represent. Honesty, empathy, love.”

                                                                                                          In this case, honesty begins at home. Solo debutantes typically distance themselves from their musical past, but Pulido freely acknowledges Midlake’s presence on To Each His Own, from the three Midlakers in his backing band to an album title that stems from his memories of band discussions.

                                                                                                          Says Pulido: “It’s very common in bands to have artistic differences, and we were no exception. Saying ‘To each his own’ was almost a way to collectively acquiesce and move forward when differences would arise. It’s OK that we feel differently, because both opinions are valid. The phrase is also about me doing something on my own, a statement that it’s OK to define who you are outside of what has defined you before.”

                                                                                                          With Pulido on lead vocals and acoustic guitar, he drafted in Midlakers (and BNQT contributors) Joey McClellan (electric guitar), McKenzie Smith (drums) and Jesse Chandler (flute), who dovetail with Scott Lee (bass), Daniel Creamer (keyboards) and Beau Bedford (keyboards) from local country-funksters The Texas Gentlemen to form an empathic ‘alt.Wrecking Crew’ of session

                                                                                                          players. Bedford is also the album’s principal producer, while studio engineer and Centromatic drummer Matt Pence acted as the overarching producer, alongside Pulido, as well as adding percussion and occasional drums.

                                                                                                          As Pulido explains, “Midlake self-produced and recorded everything, but as with BNQT, I wanted to embrace collaboration. I’d present songs with just voice and acoustic guitar and ask the musicians where they heard things going, and so we built the songs up organically.”

                                                                                                          Within that organic build, Pulido still had specific ideas in mind. He singles out the late, great Harry Nilsson as a key influence. “Midlake songs were often cerebral and minor-key and I wanted some of mine to be more playful and buoyant and major key, which Harry did so well, while still making deep, thoughtful music.”

                                                                                                          Pulido also hears traces of The Eagles, Cat Stevens, Joni Mitchell, Wings and CS&N in To Each His Own, plus an “eighties vibe” to the record’s freewheeling lead single ‘Used To Be’, inspired by The Last Waltz, the film documentary about Pulido’s all-time favourites, The Band. As he recalls, “The guys are sitting backstage playing ‘Old Time Religion’, and Robbie Robertson says, ‘It’s not like it used to be!’, which has always stuck with me. But it’s OK by me that it’s not like it used to be. Embrace where you’re at, and look forward. Be both the old and the young.”

                                                                                                          The Old and The Young is a familiar concept to Midlake fans, as a songtitle from the band’s last album Antiphon. In one sense, ‘The Young’ are also represented here by Conrad Lee Pulido, Eric’s three-year-old son, whose uninhibited dancing to calypso rhythms (from Harry Belafonte and Nilsson tracks) inspires the carefree Tropicália of ‘CLP’. A similarly summery vibe energises ‘On An Island’, inspired by an artist retreat (on the island of Nantucket) where Pulido, “focused on, and finished, several of the songs for the album.” But again Pulido finds a double meaning: “To be an island means you don’t live or march to the beat of anyone else’s drum.”

                                                                                                          Self-determination also defines the sumptuous, soft-rocking “When The Time Comes” where Pulido gently mocks himself as the so-called ‘artist’ who chose to “follow the dream” but without any guarantee of job security or a pension. Moreover, the exquisite ‘Hope Arrives’ recognises that making art typically involves self-doubt, as Midlake experienced. As Pulido recalls, “I felt that fear controlled the obstacles that existed for the band. But when hope arrives, fear will disappear, and peace will come.”

                                                                                                          Midlake also figure in the acoustic, sparse ‘Monterey’, named after the Californian idyll where the band played their last show to date, after which Pulido suggested a break would benefit all: to step off the merry-go-round for a while after riding it together for 15 years. “I said, we’ll pick things back up if and when it makes sense to everyone, trust me,” he recalls. “And I was at peace with our decision.”

                                                                                                          The closing title track emanates a palpable sense of peace while crystalising Pulido’s past-present/old-young mindset: “I’ve been about all alone / I’ve never felt so good before… And what we did before / No I do not ignore”. With a new BNQT album in the works and, if all goes to plan, a Midlake album to follow, Pulido is already looking forward. But his present is E.B The Younger, and his effortlessly melodic, gorgeous songs invested with honesty, empathy and love. Listen, and ye shall find.


                                                                                                          Various Artists

                                                                                                          Fabric Presents - Bonobo

                                                                                                            Bonobo is an artist who explores elements of instrumental hip-hop, electronica and ambient with live instrumentation and enjoys an illustrious career with a sea of collaborators ranging from Erykah Badu and Andreya Triana to Rhye and Nick Murphy.

                                                                                                            is highly textural aesthetic translates into an ethos that looks to introduce a more open musical palette without losing sight of its past. His mix supports 10 exclusives or unreleased tracks, including 2 from himself and another from his rare pop-up alias Barakas. Employing the multi-instrumental arrangements of his own work in this 74 minutes of house, techno, electronica and breakbeat, each track exudes character and allows animated melodies to wander and develop, all the while grounded by an acute sense of harmonic progression and rhythmic precision.

                                                                                                            Royal Trux

                                                                                                            White Stuff

                                                                                                              In the 1990’s Royal Trux established themselves as one of the greatest rock groups of that hallowed era. With albums of extrasensory scope ranging from 1990s Twin Infinitives (which belongs to the special category of albums whose impact may take decades to be measured), to 1993’s Cats and Dogs (with its seamless blend of classic roots, grunge, and punk) to 2000’s Pound for Pound (inhabiting a well-worn coat of southern hard-rock boogie), they reinvented the group concept born with the Rolling Stones (whose music inspired the duo with a definitive template with which to fuck), accepting nothing less than “The World’s Greatest Rock and Roll band” as an opening proposition!

                                                                                                              Jennifer Herrema (vocals, moog, guitar, melodica, sticks and stones, pots and pans) and Neil Hagerty (vocals and guitarist) were both in the Washington, D.C. area where they met and, as teenagers, formed Royal Trux while living in an abandoned warehouse space near the New York Avenue bridge a few miles from Union Station. The name was an evocation of their omnidirectional headspace and abilities — plus, Jennifer grew up skateboarding, moving to roller skating after removing the trux and wheels off her board grafting them onto a pair of skates, giving her an unequaled ability to maneuver . . . even then, it was all about the TRUX. The idea was to play with what little equipment and resources they had and make the most of it by starting musically with the simplicity of blues progressions. The blues also happened to fit the bill for a band called “Pussy Galore” that recruited Hagerty to fill the position of guitarist and tutor (teaching them all how to play the Rolling Stones’ Exile on Main Street album) in exchange for money, equipment and a place to stay in New York. The move to NYC (Jennifer into the YMCA, Neil with the band) was fortuitous, but the perceived similarities between the two acts weren’t much beyond initial chord progressions and of course the unmistakable sound of Hagerty’s unparalleled guitar style. The Trux walked a different talk, one with a more elusive, at times counter-intuitive attitude. Hagerty and Herrema were by nature loners, drug abusers and intellectuals; they stood out among the many art school “bands” in NYC in the late 80s. Playing with a revolving cast of freaks, fellow-travelers, and influences allowed them to discard the tradition of a “band” with “members.” Listening to the records nobody else cared to play anymore, they chose to stake out a post no-wave stance shot through with aspects of classic New Yorkia — Godz, Lovin’ Spoonful, Lou Reed and Television all fit the bill — sifting it through in a personal manner that eventually became known as the “lo-fi” genre. In this tactile fashion, they gained notoriety for their unconventional music and ideas, presenting themselves at live shows and elsewhere with an aesthetic marked by indifference and debauchery.

                                                                                                              Royal Trux’s first tangible music releases were a song credited to them on Pussy Galore’s Right Now LP (“Fix-It”) (1987) and two tracks, “Luminous Dolphin” and “Cut You Loose,” (1988) on a ROIR cassette compilation . . . but it was the end of 1988 that saw them release their own, self-titled LP for not much more than $500. With no label or distribution in place it was the music that propelled their trajectory (not money, nepotism, or connections) — this was what it took to launch new beginnings in the music world/landscape at that time. Not long after, Drag City and Domino came calling, and an attempt to dominate worldwide was undertaken. Up through 1995, via several records, tours, a film (What is Royal Trux?) and a relentless promotion campaign (including placing their “art” as TV adverts on the sci-fi network and others), their portfolio expanded, leading to a contract with Virgin Records, who evaluated them to be necessary listening on a big-time level. It could only have been done with fresh eyes and ears and the understanding that new realms of possibility could be accessed by Truxian imagination and vision.

                                                                                                              After signing with Virgin in 1994 for a three-album stint, Royal Trux began calling themselves the “World’s Greatest Royal Trux Boogie Band.” Who could argue with that? Few even knew what it meant. After the Virgin albums they returned to Drag City with a diverse series of sounds on Accelerator, Veterans of Disorder and Pound for Pound. As always, they were open for business and taking offers, confronting the world from where they stood on the street, and seeking to jack it for all they could. Over a decade has passed and the pair’s music continues to sound just as progressive, vital, and confounding. Beyond the genre-setting and –defying music and the genius of Hagerty’s playing, they were fronted by a willfully non-archetypal female singer whose stance became it’s own archetype over the years, as the world caught on to the need for a new breed. Subsequently, a generation of females looked to Jennifer Herrema for inspiration, emulation and commodification.

                                                                                                              When they finally parted ways- following the release of Pound for Pound in 2000 - they did so just as they do everything: spectacularly. Their hiatus lasted 15 years, with little to no communication between them in the interim. It was to their fans enormous surprise - and delight - that they announced a run of new shows in 2015. Shortly after the release of their live album Platinum Tips + Ice Cream in 2017, they inked a new deal with veritable Mississippi indie Fat Possum. As part of that deal, earlier recordings from Royal Trux were reissued, many of which had been absent from streaming services. With the catalog readily available, and the appetite for the live shows undiminished, Jennifer and Neil recorded White Stuff - their first new material in in 19 years- on the industrial fringes of Los Angeles in the summer of 2018. The new music delivers all of the intoxicating alchemy one would expect from Royal Trux. Their lengthy recording break has done nothing to diminish their visionary, visceral intensity and enduring influence.

                                                                                                              Royal Trux have done as much to define the look, attitude and sound of rock & roll as any other group in the rock & roll era. This is due to their Bitches Brew approach: “everything in the pot whether you like it or not,” deriving from world music, punk rock, jazz, metal, electronic, southern, teeny-bop and all the rest. In the tradition of the blues, through appropriation and evaluation, Royal Trux changed the way we think of music — it is no surprise that their Truxian language has been further absconded with and recited uncredited for years. Such organic perpetuation only happens with original thought worthy of its own definition. This was and is Royal Trux: innovators and dedicated lifers among the sounds they love. Odds are, whether you know it or not, if you find yourself reading this you’ve been touched by Royal Trux. But only in the right places! 


                                                                                                              FORMAT INFORMATION

                                                                                                              Coloured LP Info: Limited indies only "pizza" coloured vinyl.

                                                                                                              Percussive P & Coco Bryce

                                                                                                              Livin Without Trust Issues

                                                                                                              Coco Bryce's Myor Massiv come correct as per with new signing Percussive P dropping some heartbreak jungle in the form of "Livin Without", a fast paced effort laced with scratch edits and sped up vox which later morphs into a endorphin-rushing hardcore number later on in the track.

                                                                                                              Coco's “Trust Issues” has a more serious sounding, wavy feel to it, not a million miles removed from what some might consider a liquid roller, albeit with a strong early / mid 90s breakbeat hardcore foundation, and a solid amount of tape saturation, giving the tune a nice and woolly vibe. One of the hottest in the game at the moment, and certainly prolific, Coco Bryce keeps the jungle spirit alive and kicking in 2019.

                                                                                                              Recommended.


                                                                                                              DJ DR-660

                                                                                                              Sex Music

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

                                                                                                                Various Artists

                                                                                                                Spiritual Jazz 9: Blue Notes, Part 2


                                                                                                                The Blue Note Record label needs little introduction. Musically, graphically and sonically iconic, the label created and defined the golden age of modern jazz on record. Founded in 1939 by German émigré Alfred Lion, the label's roster of artists is a litany of giants – Thelonious Monk, Sonny Rollins, Horace Silver, Lee Morgan, Art Blakey, Lee Morgan, Herbie Hancock and many more. With peerless musicians in the grooves, the legendary Rudy Van Gelder behind the boards, and graphic design genius Reid Miles creating emblematic artwork for every release, Blue Note – 'the Cadillac of the jazz lines' – was outstanding in every way.

                                                                                                                Volume 8 of Jazzman's Spiritual Jazz series takes a close look at the deeper side of Blue Note – from the experimental avant-garde explored by younger musicians such as Bobby Hutcherson, Joe Henderson and Pete La Roca, to the exciting new developments in modal sounds put forward by stalwarts Hank Mobley, Jackie McLean and Duke Pearson. The music we have selected shows how musicians working with the label responded to a period of dramatic social and sonic change, charting the route toward the esoteric and spiritualised sounds that would dominate the deepest jazz of the 1970s.

                                                                                                                As ever, Blue Note had lit the path, and this new Spiritual Jazz collection shows that the progressive and underground jazz sound of the 1960s was not only the preserve of obscure artists and private pressings. Blue spirits and heavy sounds on Blue Note – the finest in jazz since 1939, brought to you by Jazzman.

                                                                                                                Various Artists

                                                                                                                Spiritual Jazz 9: Blue Notes, Part 1


                                                                                                                The Blue Note Record label needs little introduction. Musically, graphically and sonically iconic, the label created and defined the golden age of modern jazz on record. Founded in 1939 by German émigré Alfred Lion, the label's roster of artists is a litany of giants – Thelonious Monk, Sonny Rollins, Horace Silver, Lee Morgan, Art Blakey, Lee Morgan, Herbie Hancock and many more. With peerless musicians in the grooves, the legendary Rudy Van Gelder behind the boards, and graphic design genius Reid Miles creating emblematic artwork for every release, Blue Note – 'the Cadillac of the jazz lines' – was outstanding in every way.

                                                                                                                Volume 8 of Jazzman's Spiritual Jazz series takes a close look at the deeper side of Blue Note – from the experimental avant-garde explored by younger musicians such as Bobby Hutcherson, Joe Henderson and Pete La Roca, to the exciting new developments in modal sounds put forward by stalwarts Hank Mobley, Jackie McLean and Duke Pearson. The music we have selected shows how musicians working with the label responded to a period of dramatic social and sonic change, charting the route toward the esoteric and spiritualised sounds that would dominate the deepest jazz of the 1970s.

                                                                                                                As ever, Blue Note had lit the path, and this new Spiritual Jazz collection shows that the progressive and underground jazz sound of the 1960s was not only the preserve of obscure artists and private pressings. Blue spirits and heavy sounds on Blue Note – the finest in jazz since 1939, brought to you by Jazzman.

                                                                                                                Various Artists

                                                                                                                Spiritual Jazz 9: Blue Notes Parts 1 & 2


                                                                                                                The Blue Note Record label needs little introduction. Musically, graphically and sonically iconic, the label created and defined the golden age of modern jazz on record. Founded in 1939 by German émigré Alfred Lion, the label's roster of artists is a litany of giants – Thelonious Monk, Sonny Rollins, Horace Silver, Lee Morgan, Art Blakey, Lee Morgan, Herbie Hancock and many more. With peerless musicians in the grooves, the legendary Rudy Van Gelder behind the boards, and graphic design genius Reid Miles creating emblematic artwork for every release, Blue Note – 'the Cadillac of the jazz lines' – was outstanding in every way.

                                                                                                                Volume 8 of Jazzman's Spiritual Jazz series takes a close look at the deeper side of Blue Note – from the experimental avant-garde explored by younger musicians such as Bobby Hutcherson, Joe Henderson and Pete La Roca, to the exciting new developments in modal sounds put forward by stalwarts Hank Mobley, Jackie McLean and Duke Pearson. The music we have selected shows how musicians working with the label responded to a period of dramatic social and sonic change, charting the route toward the esoteric and spiritualised sounds that would dominate the deepest jazz of the 1970s.

                                                                                                                As ever, Blue Note had lit the path, and this new Spiritual Jazz collection shows that the progressive and underground jazz sound of the 1960s was not only the preserve of obscure artists and private pressings. Blue spirits and heavy sounds on Blue Note – the finest in jazz since 1939, brought to you by Jazzman.

                                                                                                                The Dusty Donuts crew are back at it again, and if ten releases weren’t enough, the eleventh, which features Jim Sharp is what we love to refer to as a certified banger. You see, this crew is deep with the digging knowledge, DJ experience, and the production skills to reinterpret classics for not just disc jocks but for the mainstream public to get up off of their seats and jam. Number eleven features two very prominent tracks, “Rising To The Top”, an eighties classic from Keni Burke blunted out to the max, as well as an edit of Rick James’“Mary Jane”with enough buddah funk in your trunk to get it moving. “Rising To The Top”in its original form is a feel good, get up out of your seat joint that makes you wake up your body and move it around. The bass line/ drums in this mix are so infectious, so damn good that if people can’t move to this relick, you might have to keep a doctor on hand to check pulses. Sharp’s edit of “Mary Jane”, one of the best tracks dedicated to weed in the history of weed songs, is completely on point. Like MJ, it’s not the type of track you can just tie, down, it likes to spread its love around.

                                                                                                                Young Pulse

                                                                                                                Paris Edits Vol. 6

                                                                                                                The sixth edition of Paris Edits is here and Young Pulse is getting more soulful for every release and this time he's re-tweaked a Dee Dee Bridgewater Jazz-funk cut and a super soulful L.T.D. classic.

                                                                                                                Top of the line audio quality that will sound absolutely gorgeous on a proper sound system.
                                                                                                                Nice label art as well!

                                                                                                                Üdytü Ützeltürk & His Male Harem

                                                                                                                Kairo / Kozak2000 (Inc Boris Dlugosch Edit)

                                                                                                                A holy grail of European electronic dance music, and a classic at the Italian disco scene and Hamburg's Front club alike (you might have heard it on their recent Mastermix), is finally available again. Produced in 1984 by two mysterious friends during a hazy studio session in the small town of Aschaffenburg, Germany, it is best described by Discogs member goulashdj as “a funny version of some Imam praying on top of an electronic Groove”, .“Kairo” is all you want from an oddball record: fun and funky, weird and wonderful.

                                                                                                                Featuring original vocals by one of the two friends, it seems to be offensive to religious fanatics and devout Muslims (you better watch, where you play out the original). Therefore, a philosophical advisory or religious warning: “No religion, god or believer was harmed during the creation of this record. We believe in the right to believe or disbelief in anything and everything that isn’t inhuman.” For safety reasons, it includes a persecution-proof instrumental version by Boris Dlugosch as well as the original B-side and completely atheistic “Kosak 2000”. And to close with Mark Twain: Man was made at the end of the week's work, when God was tired.

                                                                                                                Release no. 1 on Rapscallion brings 3 ridiculous broken reworks that are sure to raise an eyebrow or two.

                                                                                                                We’re not being told who in particular is responsible for such goodness here but rest assured an accomplished veteran must be at the helm for sure...


                                                                                                                Kicking things off is A Dis Yah Secret Friend - A Secret Friend of messrs Asher and Forge at the legendary Inspiration Information nights. A proto broken sound, at a point where Sir Paul was playing with the influences, instruments, melodies...definitely an important piece in fusion history. Kaidi's 'Dis Yah On I Love' provides the beat.


                                                                                                                First up on the flip is Find a Way. Take two different versions of Stanley Cowells I’m Trying to Find a Way/ Trying to Find a Way (Both as deserving of an edit as the other), add a bus load of bottom end, beautifully layered percussion and a jazz mash up it is then! A Dingwall’s classic in its origin guise, and a future classic in it’s reworked (clouseau-esque) Rapscallion disguise.


                                                                                                                Little Rudeboy closes things…Originally out in ’84, only 1 minute at 32 seconds in length and strewn with proto Brazilian boogie synthesizers boogie vibes, a rework/edit of this has been a long time coming. Paired with the Cosmosis broken classic and a surefire dance floor stormer is upon us…Clever stuff indeed !

                                                                                                                Umit Aksu Orkestrasi

                                                                                                                Bermuda Seytan Ucgeni

                                                                                                                  Zel Zele launches with a reissue of a holy grail 7” by Umit Aksu Orkestrasi - a band formed by Turkish pianist, composer and arranger Umit Aksu. Originally released in 1975, “Bermuda Seytan Ucgeni” is an outstanding experimentation of forward-thinking jazz-funk played by some of Turkey’s most talented musicians.

                                                                                                                  “Bermuda Seytan Ucgeni” is the musical adaptation of The Bermuda Triangle, also known as the Devil’s Triangle. A whirlpool leading into a jazz/funk piece with playful horn section, funky bass-line and drum breaks, almost sounding like an adventurous Blaxploitation soundtrack. A daring sax solo comes into play by the second minute that sets the ship on fire. Just when you think that must be it, starts the synthesiser havoc; chaos, alarms, whirlwind all goes off as the mystery of the triangle unfolds.

                                                                                                                  Bogaziçi Köprüsü “Bogaziçi Köprüsü” meaning Bosphorus Bridge, is the name of the first bridge in Istanbul that connects the Asian and European sides of the city. The track was released 2 years after the bridge was built. It starts with a car engine which is about to take a nostalgic and playful ride through the Bosphorus Bridge. Melodic, synth led tune that reminds us of early Italian library recordings.

                                                                                                                  Stasis

                                                                                                                  Circuit Funk

                                                                                                                    Growing up as a teenager in East London, break-dancing and writing graffiti with B12’s Mike Golding, Steve Pickton’s AKA Stais musical education moved along a familiar path, from hip-hop to Electro and onto Techno. Schooling himself in music theory and purchasing a sampler Pickton set about making his own music. Releasing on a whose who of seminal UK electronic labels including A.R.T., Likemind, Otherworld and B12 under various pseudonyms Pickton’s UK take on lush Detroit melodies fused techno, funk, hip-hop, dub, blues and jazz into a dense concoction all of his own making. Re-issued for the first time since its initial release in 1993 Circuit Funk Pickton’s debut release on Peacefrog is packed full of lush Detroit melodics and future funk that still sounds unique and fresh today.

                                                                                                                    Sons Of Slum

                                                                                                                    Music Is Message / Show Me Tell Me

                                                                                                                    Sons Of Slum released three singles on Stax and Gamma in the 1970s when they were reputed to be Chicago's finest live band of their time, the band broke up in 1978. 'Music Is Message' is a high-octane funk and soul crossover jam which has the potential to be a future classic. On the flip the tempo is lowered and a rasping horn supplements the killer groove with a smoothing vocal delivery.

                                                                                                                    Ukraine's arguably most interesting contemporary electronic music producer Mikhaylo Vityk, known as Vakula, returns to our label family. Having released an EP for Burek in 2012 under the Vedagor alias, for Barba he came up with a new name - Rocco Siffredi, and a spaced out 3-tracker EP titled "Per Asper Ad Astra". As it is expected from an artist as unique and prolific as he is - Rocco hits the spot, so to speak, with this 12" as well. A1, the title track "Per Asper Ad Astra" is a very late 70's reminiscent italo disco affair. Bubbly synths, flying arpeggios and pitched vocals make it feel perfectly at home in between a Giorgio Moroder and Space track, but somehow Mr Siffredi made it "his own" and sounding fresh and futuristic even in 2018. A2, "The Elements", is the records most forward momentum track and probably the most psychedelic one. It's a pure dancefloor cut with a tight drum programming counterpointed with airy synths and reverbrating guitars which are begging to be played during an open air venue sunrise moment. It's a track which exposes itself in layers of influence...from synth pop to disco and early electro. B1 cut, "Code P" is the ambient come-down tune. Rich sequences and beautiful synth pads seem to wrap themself around you as the track progresses and drown you in echoing bubbles closer to the end. Beautiful way to get lost in the record and finish it with style. We're pleased to say that Rocco delivered a diverse but consistent EP which heavily leans on the late 70s lingo of synth-infused disco and pop but carries a stamp of "today". Art by Wanda Kuchvalek.

                                                                                                                    Powder is an alchemist of time. Her ceremonious DJ sets invite listeners and dancers to extend their imaginations to abstracted spaces, while allowing the body to vessel the voyage in free, flowing style. Playful, thoughtful, and natural without knowing, Powder’s crates encourage abandonment of arbitrary boundaries and expectations surrounding genre, movement, schedule, and societal convention to revel, spirited and harmonious, in the passage of time.

                                                                                                                    Momoko Goto relocated from her hometown of Nagasaki, Japan to Tokyo in 2011. This is where the story of Powder, as the international dance music community knows her, begins. With the change in location came a change in lifestyle, where a balance of 9-to-5 office life and sacred, nocturnal recording sessions invited Moko to reflect on music’s unique ability to “stop the clock” and “expand or shrink our sense of time.”

                                                                                                                    While many workers across the world feel the pressure of artificially controlled measurements of time, Moko’s musical mission to transcend these weighty associations, to shed light on the positive possibilities of passing time, resonates far past her island’s shores. Experiencing the pleasure that comes from physical and emotional transformation. Creating and nurturing memories.

                                                                                                                    In embracing these positive properties of time, Powder uses the hypnotic language of patterns to communicate with listener-dancers. Patterns represent the meter by which bodies are compelled to move; they also represent a method for collection and organization of sound, where the cohesive stylistic and historical narrative of different pieces of music are laid over one another transforming both intimate and universal moments into a dreamy, experiential, and endlessly interpretable whole.

                                                                                                                    Moko notes that patterns, “are always ancillary and never playing the leading part of things, and the patterns themselves recognize this fact and act low-key.” This interpretation of sound and rhythm mirrors critical aspects of underground club culture, such as collective energy-making and protection, togetherness over spectacle, the layering of multiple bodies, and narratives upon one another in ecstasy.

                                                                                                                    Since her debut release on Born Free Records, 2015’s Spray, Powder’s sound has flirted with numerous unconventional dance institutions and outlets, releasing on ESP Institute, Wichelroede and the Cocktail D’amore imprint, as well as regularly contributing to the latter’s illustrious mega parties. For her Powder in Space mix, Moko presents two new songs that were created within a new schedule, with summers spent touring Europe and North America, welcoming the unique experiences offered by each location.

                                                                                                                    “New Tribe” toasts the global community Powder’s connected during her travels. Marching-band snares, breathy ostinatos, motivating chords, springy auxiliary percussion and bouncy melodic details – all Powder trademarks, coalescing into one of her most celebratory offerings yet. “Gift” is a subtler jam, shuffling and twinkling in perfect balance. Reminiscent of “Spray,” it sustains a retrofuturistic groove that defies the house / techno categorical binary.

                                                                                                                    On the the EP, Powder’s two new originals sit alongside Daphne’s “When You Love Someone (Groove Instrumental),” a sultry, twirling vibraphone deep house number from 1993; and the first ever release of Samo DJ and Hidden Operator’s atmospheric scene setter, “Захват Сзади Rox.” For the CD and digital mix release, these four originals weave within an impeccable mix of memories from Moko’s travels and experiences over the past years touring and sharing with new friends.

                                                                                                                    Powder In Space marks the first in a new series exploring dance music’s form and informality from Tim Sweeney’s Beats In Space Records. The friendly voice behind the longstanding Beats In Space radio show and a formidable DJ to dance floors around the world, the …In Space series, like the rest of the label’s eclectic catalog, is testament to Tim’s trust in the selector and vice versa.


                                                                                                                    Super fresh loud 45 cuts of this monster psychedelic horn driven funk jazz theme with one of the best drum breaks - 10/10. A hard to find DJ favourite that brings the house down every time. 

                                                                                                                    FORMAT INFORMATION

                                                                                                                    7" Info: Limited to 500 copies.

                                                                                                                    Lee Scratch Perry & The Upsetters

                                                                                                                    Jungle Lion / Freak Out Skank

                                                                                                                      7” singles were instrumental to the development of the Jamaican music industry, more affordable than full lengths for the consumer, they also allowed the labels to turnaround what was being recorded into music played from their booming sound systems as quickly as possible. In that spirit, Get On Down will be reissuing some of the most crucial reggae and ska sides on 45. This time out we revisit a single Lee Perry first issued right after his fabled Black Ark Studio was first up and running. On the A-Side you know you’ve got something special when a cut kicks off with Lee Perry growling like a lion, “borrowing” heavily from Al Green’s “Love And Happiness” for “Jungle Lion.” On the B-Side Perry lets The Upsetters do the roaring with the cut being remixed into “Freak Out Skank.” First issued in 1973 on Perry’s own Justice League imprint with a UK issue following almost immediately, miss this and you’ll miss one of the most crucial developments in the sonic evolution of Scratch’s 1970s output.

                                                                                                                      Is it me or am I hearing echoes of maestro Arthur Russell all over the place? And those cowbells...mmm I love cowbells and Russell used them very often. This is definetely no Arthur, but his spirit is well alive and kicking all over the Marching Orders.
                                                                                                                       
                                                                                                                      The vocals ondulate smoothly between ghostly and falsetto, while McNany’s arrangements and instrumentation bump, click, and whirr like a lovingly tuned Rube Goldberg jukebox. Not too surprising, perhaps, considering they named the band after a song by schizophrenic outsider favorite Daniel Johnston, and they cite Harry Nilsson and Roxy Music as influences - perhaps they forgot Russell and his disco not disco sensitivities; perhaps not. 

                                                                                                                      You get 'Marching Orders' in four different flavours: the original, the instrumental, the acapella and... the drumapella!  What a package!

                                                                                                                      STAFF COMMENTS

                                                                                                                      Sil says: As said above, it has an 80s diy Arthur Russell feel to that it is difficult to shake off. This is not a semi-covert way to say this is rubbish. It is not. It is a decent track and you definitely got to listen to it. We like it here at the towers. If you do not dig the vocals, go straight for the instrumental!

                                                                                                                      Hot on the heels of Impulse’s recent unearthed Coltrane Number One hit album comes another beauty from jazz’s ‘holy trinity’. This is a previously unreleased, precious lost treasure from Monk’s most critically acclaimed line-up; Charlie Rouse on saxophone, John Ore on double bass and Frankie Dunlop on drums. Known as the ‘High Priest of Bebop’. Without a widely agreed must-have Monk release, could this fill the void as the Monk everyone should own? Recorded live in Copenhagen in 1963 at the peak of Monk’s career. A year later he was to feature on the cover of TIME Magazine, one of only for four jazz artists ever to do so. The vinyl format is a genuine AAA release (analogue recording, analogue mix, analogue master) using the original source tapes, making it a true all analogue, audiophile primed release

                                                                                                                      FORMAT INFORMATION

                                                                                                                      LP Info: 180gm vinyl

                                                                                                                      CD Info: Mini-LP style replica packaging

                                                                                                                      Thelonious Monk

                                                                                                                      Monk's Blues

                                                                                                                        Renowned and revered for his improvisational abilities, his contributions to the lexicon of jazz standards, and his many innovations in composition, it's no wonder that Thelonius Monk's catalog is one of the most recorded of all time. (Topped only by Duke Ellington.) An eccentric and quirky pianist, Monk's recordings were marked by strategic dissonance, abrupt key changes, and the usage of silence as an instrument, a style which was not fully understood in its time, (One jazz critic referred to Monk as "the elephant at the keyboard") but would prove highly influential to the likes of Wynton Marsalis, Mulatu Astatke, Chick Corea, and even his contemporaries like Miles Davis and Charles Mingus. Monk primarily worked alone or with a quartet of musicians, but this was not always the case.

                                                                                                                        1968's Monk's Blues changed up his formula by pairing his traditional cool bop sound with a big-band horn section, orchestrated and conducted by bandleader and television/film composer Oliver Nelson. Pairing the normally very cerebral and precise Monk with an array of brass was a strange decision at the time, and baffled critics, who believed the horn elements distracted from Monk's piano-playing. In spite of this, Monk's Blues holds a unique place in his catalogue as a remarkable oddity. (An oddity that featured appearances from jazz session pros like Buddy Collette and Tom Scott, as well as big band legends like Conte Candoli.

                                                                                                                        STAFF COMMENTS

                                                                                                                        Millie says: Thelonious Monk’s Blues saw him head in a different direction. The collaboration with composer Oliver Nelson gave a different element to Monk’s traditional jazz standards, perhaps ahead of its time as some critics were unsure but it’s not jazz if it stays inside the box, innovative and different all the way!

                                                                                                                        Manu Delago

                                                                                                                        Parasol Peak

                                                                                                                          Pioneer of the hang (handpan), captivating musician Manu Delago has announced the forthcoming release of a unique and awe-inspiring movie and accompanying album, Parasol Peak out September 7th, in which Delago leads an ensemble of 7 musicians on a mountaineering expedition in The Alps. Along the way, the group perform a collection of brand new compositions in different locations, at varying altitudes.

                                                                                                                          The Austrian-born composer was discovered by Björk, who first invited him to perform alongside on her Biophilia tour. He is now a fixture of Björk’s live lineup and has also toured with The Cinematic Orchestra and Olafur Arnalds. Further, he earned a Grammy-nomination for his work on Anoushka Shankar’s album Land of Gold, performed Hang on Poppy Ackroyd’s latest album ‘Resolve’ and appeared as a soloist with the London Symphony Orchestra.

                                                                                                                          It is for this reason that the musician spends a great deal of his life on the road and in studios, collaborating with various artists as well as writing, recording and performing his previous two critically-acclaimed electronic-driven albums Silver Kobalt and Metromonk. This was how Parasol Peak became an exercise in the artist removing himself from studios, tour busses and laptops, and seeking to compose and perform both within and as part of nature, using only totally acoustic instruments.

                                                                                                                          Delago was not only inspired to incorporate the ensemble’s natural surroundings in The Alps, but also the percussive sounds of the group’s climbing gear. Delago comments: “Of course performing on acoustic instruments has been done for thousands of years, so I wanted to add an extra component – nature, or more precisely the Alps. I wanted to utilise our surroundings by incorporating lots of percussion sounds like trees, water, little rocks as well as the gear that we were carrying, such as helmets, carabiners or ice axes.

                                                                                                                          “In general, I find limitations inspiring and in the case of Parasol Peak I was limited to a fixed ensemble of 7 musicians. The different locations also brought various limitations, which affected how I composed the music. At some locations we were vertically aligned and couldn't see each other. At others we couldn't hear each other, or we were trying to survive while playing.”

                                                                                                                          Director and producer Johannes Aitzetmüller knew that the expedition would be one of his most difficult shoots yet. He comments: “Because I know the mountains and the situation I knew I could handle it, but what about the rest of the crew? How long can we shoot and how many times can we film the same performance over and over again in these conditions?

                                                                                                                          “On almost every location we faced a tough climb first, then very cold conditions (physically and also playing), snow, installation time of the audio, instruments out of tune and finally – the shooting. We sometimes could film only 2 takes, because the instruments were out of tune again, or the fingers too cold or the icy wind blowing too fast. The audio engineer, Michael Reisigl, installed a network of recorders, cables and microphones all over the rocks. On the right and left side there were sometimes more than 50m of vertical rock – so falling was no option. It was crazy how he performed. Further, we knew that the crew shouldn’t wait too long doing nothing because of the cold, the motivation and the instruments. And I knew that the filming had to be perfect first time – there won’t be another chance.”

                                                                                                                          The expedition posed life-threatening conditions for the ensemble, which at times had Manu questioning the project. “There were several moments of physical struggle and anxiety in the group” says Manu, “but that makes playing music together even more emotional”. A drastic unseasonal temperature drop causing heavy snowfall complicated the journey further and made for a bigger challenge musically, with the group performing in exposed locations at freezing temperatures.

                                                                                                                          “There were definitely moments when individuals in the group would have turned around and left the expedition” Manu admits. “But because we could only do it as a group, we had to strongly support each other. We had to help each other carrying instruments and gear, as well as help each other in overcoming anxieties and exhaustion.”

                                                                                                                          The result of the struggle that the group endured is a completely rare, once-in-a-lifetime piece of work – both stunning visually and remarkable musically. The album could very much sit wonderfully amongst the contemporary classical giants of the present, but there is no escaping its distinctiveness – with flecks of European folk embedded in the brass and accordion melodies, as well as prog drones performed on the strings and handpan, ornamented by taps and whistles from various natural sources. Sonically, without the visual, the evidence of nature is present throughout.

                                                                                                                          “For most of us it was physically the hardest thing we've ever done” Manu comments, summarising the journey. “But it was an incredible feeling to reach the summit and overcome those challenges. More than anything – the whole expedition was simply an incredibly connecting experience for the ensemble.”


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

                                                                                                                          Lipelis

                                                                                                                          Bordeaux Lovin’ EP

                                                                                                                            Anthem Alert. Lipelis, who debuted on Public Possession under his TMO moniker, returns for the follow up w/ this 2 Track Maxi 12” featuring: Bordeaux Lovin’ - epic, emotional rave tune, building up for ecstasy. What is it - jump for joy piano house. 

                                                                                                                            First opus of the new series is La Batterie, by the UK’s Richard Podolor and Sandy Nelson in 1983 in the hypnotic shimmering disco of “Let There Be Drums.” The music of Polodor and Nelson is being given new life by Kalahari Oyster Cult. Alongside the entrancing original are two remixes. First up is Australia via Amsterdam’s very own Max Abysmal with his “Spooky Remix.” Adopting and adapting the raw energy of the ’83 version, Abysmal layers ghostly notes and spectral snares into his mechanical remake. The flip takes on a different slant with “Shotgun” taken from the EP of twenty fives years ago. A super slick work of understated funk shot through with bold keys and powerful chants to show another side of the UK pair. The fiercely talented Benedikt Frey closes, turning his daringly able hand to “Let There Be Drums.” He keeps the vocal line, the rest of his rework is dipped in a thick heart of darkness threat. Pulsing thumps, menacing notes and danger lurk in this jungle of Frey’s own making.

                                                                                                                            Krystal Klear

                                                                                                                            Euphoric Dreams / Miyoki

                                                                                                                            How do you go on after a feast like „The Division“ - especially if it included a main course like Neutron Dance? You don’t! And you don’t even have to try. But like with any great meal, one can do magic with the leftovers (see chop suey, stew or goulash for further reference). In any case, Krystal Klear doesn’t need to worry about that. Having cracked the DNA code of „dance music“ on his first EP for Running Back, this double-A-side-follow-up-single feels alive, floats upstream and fires on all cylinders. While Euphoric Dreams is the musical incarnation of an Alexander Shulgin formula (your spine gets tingled all the way including a wonderfully prolonged break down) or the scoring of the proverb that „at the bottom of patience one finds heaven“ and „happiness is just around the bend“. Speaking of which, Miyoki does exactly that to every pair of knees around. A relentless bass line and a deadly snare („yes, you thrill me, when you fill me“*) are enough to force almost any kind of dance floor into submission. 

                                                                                                                            King Tubby

                                                                                                                            A Noisy Place

                                                                                                                              7” singles were instrumental to the development of the Jamaican music industry, more affordable than full lengths for the consumer, they also allowed the labels to turnaround what was being recorded into music played from their booming sound systems as quickly as possible. In that spirit, Get On Down will be reissuing some of the most crucial reggae and ska sides on 45. This time out Get On Down has collected two Bunny Lee produced masterpieces into a never before issued 45.

                                                                                                                              On the A Side, King Tubby works his magic on The Aggrovators “A Noisy Place”, the instrumental version of John Holt & Horrace Andy’s classic cut “A Quiet Place.” Rather than drop “A Quite Place” into the mix, a second and more rare Tubby dub of the cut known as “A Ruffer Version” rounds out the single. The argument can be made that no one was more instrumental in the development of dub reggae than King Tubby, a statement even (many days) his friend and sometime rival Lee Perry would agree with

                                                                                                                              Keith Hudson, Horace Andy & Earl Flute

                                                                                                                              Melody Maker / Poor People

                                                                                                                              More vibes from Keith Hudson, Horace Andy & Earl Flute this week as Dub Store and Mafia look to these pillars of JA culture for their latest slew of re-issues.

                                                                                                                              "Melody Maker" originates from 1973 and the Summit label (another one that's UK manufactured & distributed...) and is quite a sought after little nugget on the scene.

                                                                                                                              "Poor People" on the other hand is a much more elusive beast. I'm pretty sure this didn't even get a proper 7" pressing - maybe it got compiled onto a few CDs or perhaps its even been completely unreleased until now! Answers on a postcard please as this one's left me scratching my beak folks! It's a radiant if slightly melancholy piece of rocksteady-infused roots reggae decorated tastefully with flurries of Andy's iconic melodica. Jah!



                                                                                                                              Jayda G & Alexa Dash

                                                                                                                              Leave Room 2 Breathe



                                                                                                                                FORMAT INFORMATION

                                                                                                                                Ltd 12" Info: Limited edition white label.

                                                                                                                                With the theme of 'Quality house Music Never Betray', Eureka! strives to provide the supreme taste in House music.

                                                                                                                                Our 4th release is by Milan-based trio Jaxx Madicine, made up of artists Turbojazz, Parker Madicine and the talented and mysterious young jazz keyboardist 'Veez_0' who have released their full album 'Distant Classic' from Local Talk in 2017.

                                                                                                                                The lead track of this three-track EP, 'Astral Changes' is starting with spicy intro then swoop down into breakdown to unfold the powerful rich melodic sound, alongside 'Ten Thousand Fingers' that collaborates Veez_o's characteristic synthesizer melody with punchy kick drum sound, and 'God of Water' that brings you to the outer space with beautiful sequenced piano sound.
                                                                                                                                The perfect blend of the three individual artists plays a spacey and futuristic sounds centres around jazzy beats and melodic urban synthesizer that will probably remind you of ‘Galaxy 2 Galaxy’ today.

                                                                                                                                Instant House Presents

                                                                                                                                Awade

                                                                                                                                  Coming soon will be a very special 7inch edit of the highly sought-after
                                                                                                                                  Joe Claussell Remix of Awade. On the flip side will be another unreleased gem
                                                                                                                                  taken from the Instant House Archives titled Drum Box.
                                                                                                                                  This will be a very limited 7inch so don’t sleep…

                                                                                                                                  Barbara Howard's "On The Rise" is more than just another rare soul LP. It's a love story. It's a dream. It was an attempt to break through. And although Barbara certainly never became a star, one song did become a staple in rare soul and funk DJ sets, keeping interest in Barbara Howard just under the surface. And as fate would have it in 2016, a sealed copy of the LP would find its way into Plaid Room Records in Loveland, OH and kick start the revival of her story and her music. In 1968, as an outgrowth of a community movement and talent search program called "Operation Step-Up", Steven Reece wanted to take his community movement to the next level.

                                                                                                                                  This is when the idea of founding an independent label came to mind. The idea was to self-produce quality records and through successful sales attempt to land major label distribution. Steve identified Barbara Howard as the talent and set to producing her record. The idea was to produce an LP with a variety of tracks that could be marketed to a variety of radio formats and markets (gospel, pop, soul, jazz, etc.). And while the record fizzled shortly after its release, Steve and Barbara ended up getting married shortly afterwards making this possibly the most romantic production of a record in soul music history. So via Colemine's reissue imprint Remined Records, we are proud to present to you Barbara Howard's "On The Rise". 


                                                                                                                                  Frost

                                                                                                                                  Matters

                                                                                                                                    Frost is a Brighton-based collaboration between French-Swedish sound artist Johanna Bramli (vocalist for Stereolab offshoot Imitation Electric Piano) and Fujiya & Miyagi’s synth player and producer Steve Lewis.

                                                                                                                                    For fans of the likes of Broadcast, Silver Apples and Kraftwerk together the duo create angular and electronic music by blending Motorik and hypnotic radiophonics into neatly wrapped often bilingual pop structures.


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