This striking releases lands in store with love from Amsterdam, as Rush Hour dip into the largely unreleased corner of the Aardvarck archive. The Den Bosch producer explores the ambient end of his sonic spectrum here with an octet of dreamy, delicate compositions crafted out of breathy pads, nebulous waveforms and misty modulations. It's a beautiful listen from start to finish, floating along on the breeze with the occasional swerve into rhythmic downbeat. Just to round off the perfect package, this beauty comes as a limited press and each of the 300 copies has its own unique sleeve.


LP Info: Limited Edition Of 300. Every sleeve is unique - achieved with a computer generated randomization process for each print.

After a whopping 66 releases since their rebirth a few years back, Best Records finally hit us with an EP of brand new and unreleased music. Born out of a close collaboration between Periodica and Best Italy, Afrodesia is a fresh studio project from Mystic Jungle & Whodamanny, who took inspiration from the Italian Afro-movement that lasted for few years during mid-eighties, particularly those songs produced at the legendary Les Folies Studios in Milan. Sticking on brand then, Afrodesia deliver Balearic, boogie, Afro and cosmic moods with maximal use of vintage synths and drum machines programmed and played by Dario Di Pace and Raffaele Arcella. The sound is rounded out with real acoustic instruments from Giulio Neri (Tenor Saxophone and vocals), Andrea Farias (Guitar), Davide Di Sauro (Bass) and the late George Aghedo (Percussion).


Patrick says: This is pretty much as close to my dream record as you could get - Nuovo Neapolitan boogie team Mystic Jungle & Whodamanny, teaming up with a crack team of session stars to resurrect the Afro-cosmic sound of Milan's Les Folies. Deep and groovy, dope and dubby and primed for your next cosmic set, this one's the bees' knees.

Back in stock Cover of LAHS by Allah Las.

Allah Las


    Allah Las have always been fascinated with both the carefree spirit and glitter-in-the-gutter lifestyle of their hometown LA. After three records mining its lore and lure (from the desert to the sea) and having taken their compact California on the road across the world, they couldn’t help but peek through the other end of the telescope.

    On their fourth LP, drummer Matt Correia, bassist Spencer Dunham, and guitarists Miles Michaud and Pedrum Siadatian turn their collective gaze outward and toward the horizon. "We’ve been travelling a lot the past couple years and I think that played a role in influencing the broader variety of songs on this record” Correia explains. Simply titled LAHS (a reference to a common misspelling of the band’s name), their forthcoming release on Mexican Summer finds a band at the peak of their powers.


    Barry says: The newest Allah Las outing sees the LA quartet absorb and excel at a dizzying range of influences, from classic psychedelic rock, hazy Balearic vibes and 12-bar to latin percussion, swooning lounge and of course, all underwired with hazy, swooning indie. It's a triumph of diversity and thematic consistency, and most of all, bloody good fun.


    Dinked Edition LP Info: Exclusive opaque mint green vinyl.
    ‘LAHS’ perforated 6 x postcard set.
    Hand numbered LP.
    Limited to 500.
    Download card.

    Coloured LP Info: Indies exclusive translucent orange vinyl.

    Back in stock Cover of LAHS by Allah Las.

    Allah Las


      Allah Las have always been fascinated with both the carefree spirit and glitter-in-the-gutter lifestyle of their hometown LA. After three records mining its lore and lure (from the desert to the sea) and having taken their compact California on the road across the world, they couldn’t help but peek through the other end of the telescope.

      On their fourth LP, drummer Matt Correia, bassist Spencer Dunham, and guitarists Miles Michaud and Pedrum Siadatian turn their collective gaze outward and toward the horizon. "We’ve been travelling a lot the past couple years and I think that played a role in influencing the broader variety of songs on this record” Correia explains. Simply titled LAHS (a reference to a common misspelling of the band’s name), their forthcoming release on Mexican Summer finds a band at the peak of their powers.


      Barry says: The newest Allah Las outing sees the LA quartet absorb and excel at a dizzying range of influences, from classic psychedelic rock, hazy Balearic vibes and 12-bar to latin percussion, swooning lounge and of course, all underwired with hazy, swooning indie. It's a triumph of diversity and thematic consistency, and most of all, bloody good fun.


      Dinked Edition LP Info: Exclusive opaque mint green vinyl.
      ‘LAHS’ perforated 6 x postcard set.
      Hand numbered LP.
      Limited to 500.
      Download card.

      Coloured LP Info: Indies exclusive translucent orange vinyl.

      Especial is delighted to welcome Alphonse back to the label for a third EP to again show his deep knowledge of the past to make a future. After the debut dub-breaks-poem of Same For Me and success of his warrior afro-dance Smokey 12", Alphonse made new friends with acclaimed releases for Klasse Wrecks, Hypercolour and Black Orpheus, before here returning like a chosen one with four sun kissed blessings.

      Before the fields of Letchlade, hills of Castlemorton or beaches of Skegness had witnessed Alphonse exploring the sounds of many a free party sunrise, summers were misspent travelling the "disco" buses of Europe, tripping the light fantastic from Spook to Amnesia, Disco Piu to Euritimia.

      The music, shared experiences and inclusion all led to an acute understanding apparent in his production skills. Ambient dreamscapes, warm bass lines, 808 breaks, 909 kick, piano, flute and horn melodies atop all lift to the heavens. In Moan Up and White Pepper Alphonse takes, reshapes, rebuilds and rewrites to create anew, expanding minds and hearts like never before.

      Long stories, short stores, a nod and wink, at its heart Stolen Sunrise is an EP of wonderful expression, a producer peaking, providing a soundtrack to share for those that look to the future horizons with love.

      Art of Tones are back, still in the game and still delivering. This time offering a modern laidback funky and edulcorated number with some smooth vocals on it on 'At The Club In Lagos' A nice warmer upper which fans of Crazy P will not be find dissappointing. Followed closely by what might turn the dancefloor in fire. That is 'Back Again'. A fast paced (almost house beat) funky house with vocals a la Hot Chocolate, promise to make everybody move. Last but not least we get 'Good To Me', another funk number, this time closer to James Brown somehow. Diggers may tell us, what has been sampled here because it sounds familiar but we do not know what it is. 
      A fine piece of wax that can turn any mediocre house party into something to remember.


      Sil says: Edit mania reaches all corners of the music universe and Art of Tones are no exception. They do a respectable job and you totally should give this a listen!

      Tempo Dischi's second release is an officially licensed and remastered reissue of one of electronic music’s seminal albums; 1978 Italian space disco album: Automat by Automat.

      A year after the release of Oxygène by Jean Michel Jarre, a milestone for electronic music, “Automat" was released in Italy, a timeless record that has influenced the years to come. Released in 1978 by EMI Italia, the album has been produced by two veteran italian songwriters and composers, Romano Musumarra and Claudio Gizzi after meeting Mario Maggi, one of the major innovators in the manufacturing of electronic instruments in Italy. Maggi invented the first programmable monophonic synthesizer ever made: the MCS70. Its sounds have been the basis for the production of the whole Automat album. That synth was used only for this record and remained a prototype, leaving a halo of mystery behind this record.

      The album moves in the furrows of an atypical space disco, with abstract classical arias alternating with more sustained rhythms, which combine electronic experiments, progressive psychedelic journeys with cinematic themes. The A Side, composed by Gizzi is an electronic disco-tinged suite divided into three parts (The Rise, The Advance, The Genius). Ater a brief spatial intro, the insistent arpeggio expands into a soundtrack theme with a sumptuous melody, which slowly fades away to make room for a progressive psychedelic journey. The B Side, composed by Musumarra, is made by three tracks, including ‘Droid‘, one of the most representative songs of the electronic music of the early eighties. A magic sequence between the bassline, the electro drums, and the spatial disco theme with a futuristic and cinematic mood. This is a record that has influenced the music of our days and after 40 years may still sound contemporary. 

      Arthur Baker & Lazara Casanova

      Shir Khan Presents Black Jukebox 28

      Hottest BJ for a while this! Pure terrace-friendly house music fire from legendary producer Arthur Baker. Highly limited as usual. First come - first served.

      Anyone whose served time on the dancefloors during Ibiza's more heady days will be up on the flavours showcased here: tribal-tinged, big room grooves full of congas, sax blasts and low, rumbling bass.

      Arthur and Laz met at MURKs famed Monday residency at Coyo Tacos Wynnwood Miami where Casanova is a resident and Baker a guest resident. Heavily influced by the 'Miami sound', I bet these sounds worked just as well out there as they do on Europe's treasured party isle...

      Laz and ABs first joint collab is the opener "Makossa". It started off from a few 80s loops out of Bakers vast catalogue, with Casanova whipping them in shape. It’s been battle tested over the last few years, with the subtle play between breakdown and release ratched up super tight. Big smiles all round when this bad boi drops...

      “Dale!” features the vocal and production skills of Murk's legendary Oscar. He added the wild saxophone hook and a few other nudges in a late night session at Casanova's little Havana studio, resulting in this fiery tribal house stomper that primed for mainroom play.

      Finally, "BTs Happiness" sees Baker pair up with old friend & ex-wife, Tina b (of "Rockers Revenge", "Tripping on Sunshine" and "Jazzy Sensation" fame) to do some vocalizing. A low pass filter squeezes a whole manner off funky house goodness through on this one: jubilant strings, rolling bassline and glistening guitar licks - surely big in MCDE's box right now?!


      Sil says: Tight and sweaty stuff on the latest Black Jukebox. You know the drill with this fellas, funky and deep house for the discerning dancefloor. Muevelo, dale!


      If Not, When?

        The debut EP from the fast-rising Hull five-piece, who mix up the sweet sounds of shoegaze with classic Cure-style melodies and US indie influences such as DIIV. Newly signed to Sonic Cathedral, this limited-edition 10” neatly rounds up three of Bdrmm’s self-released digital-only singles to date (‘The Way I Want’, ‘Heaven’ and ‘Kare’) and adds a brand new song called ‘Shame’.It is pressed on clear vinyl with a die-cut sleeve and also includes a download code for all four tracks, plus the band’s other two releases to date, ‘C:U’ and ‘Question Mark’. 


        10" Info: Clear vinyl 10".

        Exquisite, ultra deep dubstep here shipped over the Preston terrafirma and into our willing hands here at Piccadilly. Previously sold exclusively direct from the label, these are the last remaining copies that have been lucky enough to make it down the M61 after a rapturous response through the bass community.

        Manchester duo BFM (Bloodklart Fiyah Mandem), comprised of JFO and Sativa, drop an untitled, rare-ass dub on side A that's everyone's been dying to get their hands on after some explosive previews in the club throughout the year. Guided through thick plumes of sub bass by a dark violin, the taut, skeletal beat holds the tension while creeping bass growls and tearing metallics siphon off bursts of energy throughout. It's a deep, dubwise affair with utterances of eastern mysticism.

        On the flip JFO joins up with Glume for a rubbery, bouncy, subwoofer test track: "Dust Riddim". Playing with a stuttered, hollow pattern that bangs six times then rests, it's a brilliantly executed slice of stop-start tension that'll get the floor salivating at the mouth for a dizzyingly large drop....

        Both tracks are meticulously produced; razor sharp and with expert, sympathetic mixing that allows all elements space to shine. If you like your bass deep and dub-wise, then this exclusive double header should be right up your street. Copies are ridiculously limited, and due to the handcrafted, low-run pressing, it costs a bit more than your average 12"... But don't let that put you off this is fire. 


        Ltd 12" Info: Super, super limited edition. Absolutely no digital release or repress. Handmade in Preston!

        Big Thief

        Two Hands

          Big Thief had only just finished work on their 3rd album, U.F.O.F. – “the celestial twin” – days before in a cabin studio in the woods of Washington State. Now it was time to birth U.F.O.F.’s sister album – “the earth twin” – Two Hands. 30 miles west of El Paso, surrounded by 3,000 acres of pecan orchards and only a stone’s throw from the Mexican border, Big Thief (a.k.a. Adrianne Lenker, Buck Meek, Max Oleartchik, and James Krivchenia) set up their instruments as close together as possible to capture their most important collection of songs yet. Where U.F.O.F. layered mysterious sounds and effects for levitation, Two Hands grounds itself on dried-out, cracked desert dirt.

          In sharp contrast to the wet environment of the U.F.O.F. session, the southwestern Sonic Ranch studio was chosen for its vast desert location. The 105-degree weather boiled away any clinging memories of the green trees and wet air of the previous session. Two Hands had to be completely different— an album about the Earth and the bones beneath it. The songs were recorded live with almost no overdubs. All but two songs feature entirely live vocal takes, leaving Adrianne’s voice suspended above the mix in dry air, raw and vulnerable as ever. With raw power and intimacy, Two Hands folds itself gracefully into Big Thief’s impressive discography. This body of work grows deeper and more inspiring with each new album.


          Barry says: It's October, and this is already the second Big Thief album this year. It would be understandable to think that such prolific creation would dilute the end product a little (it often does...) but in the case of Lenker, Meek and co, it couldn't be further from the truth. Arresting, heartfelt and beautiful throughout. Yet another stunning outing from the unstoppable Big Thief.


          Coloured LP Info: Desert peach coloured vinyl.

          Blackwater Holylight

          Veils Of Winter

            Blackwater Holylight, as the name suggests, is all about contrasts. It’s a fluid convergence of sound that’s heavy, psychedelic, melodic, terrifying and beautiful all at once.

            As a heavy band, their songs aren’t anchored to riffs, but rather riffs come and go in waves that surface throughout the band’s meditative, entrancing songs. It’s a hypnotic sound, with orchestral structures that often build tension and intrigue before turning the song on its head — not by simply getting louder or heavier, nor by just layering elements. They expertly subvert the implied heaviness of a part, dissecting it and splaying the song's guts out to seep across the sonic spectrum.

            Now, having toured together extensively following the band’s wildly-successful breakout self-titled debut in 2018, Blackwater Holylight has honed their sound and identity to a powerfully captivating beast. Their live set is all about the slow build, seeming to combine the melodic tension of early Sonic Youth crossed with the laconic fever-dream blues of the first Black Sabbath album, and wiry experimentation of post-punk and krautrock.

            The lineup on this album is Allison (Sunny) Faris (bass/vocals), Laura Hopkins (guitar/vocals) and Sarah McKenna (synths), with new guitarist Mikayla Mayhew and drummer Eliese Dorsay fleshing out their sound in exciting ways.

            “The process of this album was vastly different from our first record,” says Faris. “One, because we recorded it over the course of a few weeks, whereas the first record was over the course of about a year. And two, this album was a true collaboration between the five of us. Each of us had extremely equal parts in writing and producing, we all bounced ideas off each together, and we all had a say in what was going on during every part of the process.”

            “One of our favorite things about this album is that because it was so collaborative, we didn't compartmentalize ourselves into one vibe.” She continues. “It’s heavy, psychedelic, pop, shoegaze, doom, grunge, melodic and more. The whole process was extremely organic and natural for us, we were just being ourselves.”

            Veils of Winter opens with fuzzed-drenched, drop-tuned bass and baritone guitar leading a dirge riff on “Seeping Secrets.” Faris’ lilting and funereal vocals drop in, adding to the mournful atmosphere until a short turnaround progression hints at changes to come, as Faris and Hopkins harmonize eerily and the tune suddenly turns into a krautrock charge. “Motorcycle” kicks off deceptively with a heavy grunge riff building up for about 40-seconds before the song abruptly shifts gears into a synth-led post-punk harmony, sounding something like Lush meets Syd Barrett era Pink Floyd. “Death Realms” is perhaps the poppiest track, based around soaring shoegaze guitars and interwoven light vocal harmonies. Soft piano notes, occasional woozy whammy bar dives and a driving tom-tom beat solidify its hooks. “Spiders” is a creepy-crawly guitar riff and counterpoint keys, while “Moonlit” explores prog-structures with a shredding guitar solo crescendo. The penultimate track, “Lullaby” is exactly that, a lulling, expansive tune exemplifying Blackwater Holylight’s genre smashing sound as it subtly moves across a vast sonic landscape atop a hypnotic 6/8 beat and repetitive 3-note motif. Throughout the album, their songs shirk traditional verse-chorus-verse structure in favor of fluid, serpentine compositions that move with commanding grace.

            Serious bleeding edge techno material from Blawan. No-one really does it like him, and this could be the strongest material to date from the savior of modern techno.

            Cut with an industrial plane on sheets of palladium, Blawan's highly noxious, razor sharp brand of techno, often supported with piston pneumatics is unique, carnal and addictive as hell.

            There's few can touch him at the moment in terms of originality, sound design and primal energy.

            Techno heads - You need this!

            STAFF COMMENTS

            Sil says: Blawan goes full on uncompromised no frills techno. Four tracks to makey your lovely neighbours angrily bang the walls. Who cares if it is this good!


            Shiny New Model

              Brooklyn-based BODEGA announce new mini-album Shiny New Model as well as streaming a single of the same name. Following the critical acclaim of Endless Scroll, Shiny New Model marks a lush new sonic direction for the group - widescreen multi-tracked guitars and a giant sounding rhythm section complementing sharp songwriting and yearning vocal melodies.

              File next to Parquet Courts, Fucked Up, Idles, Shame, Sleaford Mods, etc

              STAFF COMMENTS

              Barry says: After last years brilliant 'Endless Scroll', Bodega were always going to struggle coming up with something with as much impact as that clashing, huge slab of noise-rock. 'Shiny New Model' is indeed a new outlook, and is chock full of solid melodies and percussive drive but with a huge sounding, widescreen shimmer and more than a nod to the grunge forbears of the 90's / 00's.


              Coloured LP Info: Indies exclusive green vinyl.

              David Bowie

              VH1 Storytellers

                On the 23rd of August 1999, David Bowie played an intimate set for invited guests at The Manhattan Centre’s Grand Ballroom in New York for the VH1 Storytellers series. Ten years later in 2009 a CD/DVD/Download of the evening was released, and now 20 years on the most complete version available will be released as a strictly limited-edition double vinyl LP.

                The Bowie set has long been regarded as one of the most memorable episodes in VH1 Storytellers history, with David delving deep in to his catalogue to perform tracks such as ‘Can’t Help Thinking About Me’ for the first time in 33 years, Aladdin Sane’s ‘Drive-In Saturday' which he had not performed since 1974 and ‘Word On A Wing’ which received its first outing in 23 years.

                Bill Flanagan, Executive Producer of the VH1 Storytellers “We were used to dealing with legendary musicians. Still, landing David Bowie was more than a big booking. There's no way to say this without being corny: it was an honour. Bowie has a unique place in rock & roll. He is not only one of the most influential musicians of the era, he does nothing unless he is fully committed”.

                Fresh off of "Bobby", Caserta and co. waste no time getting back in the kitchen to chef up another heat rock, simply titled "Luther".

                The Bridge crew take one of, if not the most recognizable voices in music and deliver 2 mixes dedicated to two of the most iconic eras of dance music. Caserta’s 'King Street Mix' takes you back to the live drums and bass grooves of late 70’s early 80’s disco. While on the flip, the 'Henry Street Mix' harkens back to the hard beats and synth stab of late 80’s to 90s house.

                With 2 distinct mixes ably traversing a wide era of dance music history, all jam packed onto a handy dandy 7".

                Julien Chang


                  Julien Chang is a 19-year-old singer, composer, producer and multi-instrumentalist from Baltimore, Maryland. Julien studied classical and jazz throughout high school but decided to start making his own music after exploring other genres and principles. Having taken a job at his local grocery store at 17, he began building a studio in his parents basement, adding new elements with each paycheck.

                  The result is album ‘Jules’, released via Transgressive Records (Flume, SOPHIE, Let’s Eat Grandma).

                  STAFF COMMENTS

                  Barry says: A stunning debut from on of the future's bright lights in whatever this beautiful but impossible-to-categorise maelstrom of woozy pop melodies and warm synthy grooves is. Brilliantly dynamic, varied but cohesive, 'Jules' is an absolute triumph and veers between perfectly realised genres with ease.

                  FORMAT INFORMATION

                  Coloured LP Info: Clear vinyl with digital download.

                  The Clash

                  London Calling: Special Sleeve

                    When The Clash’s third studio album London Calling was released in the winter of 1979, it was clear that the band had made an instant classic, an era-defining masterpiece that stands as one of rock's all-time greatest albums. The album is a hugely compelling melting pot of musical styles, driven by a passion for action and a fierce desire for social justice, with lyrics which remain completely relevant. 

                    FORMAT INFORMATION

                    2xDeluxe LP Info: This heavy weight vinyl edition has a special clear slip case printed with Ray Lowry’s artwork, which can be removed to reveal the Pennie Smith photo below.

                    2xDeluxe CD Info: This edition has a special clear slip case printed with Ray Lowry’s artwork, which can be removed to reveal the Pennie Smith photo below.

                    Cold In Berlin

                    Rituals Of Surrender

                      London rockers, Cold In Berlin return with their new album 'Rituals Of Surrender'. Nine slabs of fuzz laden, goth infused doom rock crossed with post punk attitude and vibe. There are rituals surrounding all acts of surrender; the strange dance we perform before the many endings scattered throughout our lives, before the next beginning rises from the dust. Cold in Berlin’s new album Rituals of Surrender offers up thunderous modern fables, crawling from the wreckage of an ordinary life - dark and hopeful - standing tall in the debris. Over nine songs you are submerged into the dense, heavy sounds of their fourth album:

                      A witch crawls from the ocean as the world is born looking for a new life, a woman recalls the painful love she needed to feel alive, a man cracks wide open looking for secrets, and love burns two desperate lovers - the songs are filled with heroic and overwhelming loss wrapped in the hope of what comes next. Produced with gritty clarity and volume by Wayne Adams (Green Lung – Woodland Rites) Rituals of Surrender opens with the grinding, hypnotic pulse of The Power and the apocalyptic rise of Dark Days, the record twists and turns as guitars crash, tempos warp and vocalist Maya stalks your thoughts with her mesmeric vocals. The rituals continue to build through Avalanche and Monsters, an edgy industrial throb and a sweeping prayer. Side A closes with Frantic a frenetic shard of fractured shellac. When the cut-and-thrust dies down, the album reveals the band at their most fragile.

                      The haunting schadenfreude of Your Body//My Church is a beautiful, desperate love song nestled between the ceremonial Temples and the stoner trip of Shadowman. The album-closer Sacred Ground soars from a place of Lovecraftian foreboding towards an explosion of cinematic-doom. Their grandest and most poignant piece to date. After a collaboration with punk icon Lydia Lunch for Transmaniacon - The Strange World of Suzie Pellet concept album, vocalist Maya delivers a breath taking range of shattering vocals, casting spells of apocalyptic witchcraft, breathing life into the characters that inhabit the rituals. Rituals of Surrender is not a crack of lightning or the drumming of rain on a window, it is an unnatural, ground shaking thunder raging through your veins. It is a suffocating howl crashing through your heart. But with the moments before any ending, surrender brings release, the serenity of escape, even from the darkest of days. 

                      FORMAT INFORMATION

                      Coloured LP Info: First vinyl pressing is limited to 500 copies in Transparent Red and Black smoke vinyl.
                      Included is a free CD and download.

                      Comet Gain

                      Fireraisers, Forever!

                        Here comes the beat of the broken street…

                        'Fireraisers' as in those with flames in veins – had enough of the never ending spiral of stupidity and hate and greed and religious/political hypocrisy– the inexorable rise of the moron mind and those sleepwalking in their lazy hives letting THEM do this to US... a modern rite to burn away all this to the ground and see what nice flowers rise up from the ground… we imagine an army of disenchanted, beaten down kids becoming modern anarchist magicians drawing dumb sgylls of dada retribution ... 'if we all spit together we can drown the bastards'.

                        The last LP was a gentler, inner, melancholic hug at 2 am and perhaps we would’ve continued to go down a sweeter road but the state of the world has meant we were compelled to turn the fuzz up and make something more brutal and instant. In defiance to our last LP – now it’s late night sadness turns to the angry morning. First take beats ethics. Two weeks of late afternoon 45s listening parties with The Rationals/Nerves/Messthetics/Back From The Grave garage/Fading Yellow comps/The Jam/Dead Moon – whatever had the urge. Trying to figure out how Rufus Thomas would sound if he joined the Swell Maps … condensing it all mixing and absorbing then forgetting it all and propelling the psychic mix tape into an albums worth of angry pop drops and slow howls.

                        Recorded in a living room in North London with James Hoare (The Proper Ornaments/Ultimate Painting) with the help of Joseph Harvey-Whyte (Hanging Stars) pedal steeliest. Then turned into the record it is by drummer/producer M.J. Taylor who also produced our LP 'Realistes' – the closest cousin to this one ... songs about the evil greedy mirage of world religion, Victor Jara and those poets and teachers killed for believing in love and words, about the forgotten who are blamed for everything and can't rise up from their knees to fight back, about the high street Kali-Yuga, occult terrorists with low IQ but high ESP, about the Godfrey Brothers, about Lou Reed’s mourning dog on a road trip trying to bury his masters mullet somewhere in the desert, about those stuck in the glory days of their past myopic of the present and all the other usual losers and romantics we always bang on about – with added melody and stomp … giving no real answers but pointing fingers and prodding you in the back ... in defiance of just staying silent and letting the morons win.

                        So Comet Gain is still alive longer than we should – still trying to be a collective and an idea emerging every now and then with the same grumpy erratic sounds – this one’s louder than the last one but sometimes maybe quieter. It’s made from an amazement that the hate mind is winning and we're not doing anything about it – we're still voting for these bozos and not burning the whole ugly facade to the ground. And it’s filled with love and rage. And its about 40 minutes long which is always a good thing.

                        STAFF COMMENTS

                        Barry says: Clashing, snarling punky guitars and peaking percussion meets sleazy alt-rock before pulling things back for gorgeous swooning slide guitar and brittle acoustic ballads. Comet Gain are pushing things rapidly forwards while still retaining their post-punk roots and superb melodic sensibilities. Brilliant stuff.

                        FORMAT INFORMATION

                        Dinked Edition LP Info: • Limited pressing of just 400.
                        • LP + exclusive bonus 7” (exclusive tracks = ‘Chain Smokin'’ - Vic Godard/Subway Sect cover / ‘Even This Could Be Beautiful’).
                        • LP & 7” both on exclusive blue vinyl.

                        Current Affairs

                        Object & Subject

                          Current Affairs are a post punk band from Glasgow, neatly navigating the line between new wave and goth. Formed in 2016 and Comprising Joan (ex-The Royal We/Seconds/Rose McDowall's band), Seb (ex-Anxiety/Pissy), Josh (The Downs/Kaspar Hauser/ex-Rose McDowall's band) and Andrew (Shopping/As Ondas).

                          A cassette called Object was released along the way on Comodillo Tapes and in December 2018 the band’s first 7” Breeding Feeling -bw- Draw The Line was put out into the world by Not Unloved, followed in June 2019 by Buckle Up -bw- World’s In Crisis, out via Berlin’s Dot Dot Dot (...).

                          Object & Subject is the accumulation of the band’s output over 3 years (excluding the Dot Dot Dot release), now gathered and synthesised into one convenient disc. “We never agonised over our sound or direction, but worked to our punk strengths and leaned into our pop tendencies collectively. On the cusp of releasing an album and re-imagining our live set up, it feels great to be putting out this overview of what we’ve made so far. “

                          FORMAT INFORMATION

                          Coloured LP Info: Black Grape colour vinyl.

                          Richard Dawson


                            Richard Dawson, the black-humoured bard of Newcastle, returns to release his sixth solo album 2020, his first since the critically acclaimed, Peasant. 2020  is an utterly contemporary state-of-the-nation study, that uncovers a tumultuous and bleak time. Here is an island country in a state of flux; a society on the edge of mental meltdown.

                            On 2020, Dawson introduces us to grand themes through small lives. His are portraits of human beings struggling with recognisable (and dare we say it, relatable) concerns, conflicts and desires, each reminding us that tragedy and gallows humour are not mutually exclusive, and that the magical can sit next to the mundane. Lyrically it is by far Dawson’s hardest-hitting and unflinchingly honest album to date. It is his poetic masterwork.

                            Within, we find disgruntled civil servants dreaming of better days, anxiety-addled joggers listlessly searching Zoopla for houses they cannot afford in their spare time, amateur footballers who think they’re Lionel Messi and beleaguered pub landlords battling rising floodwaters.

                            Here is life, in all its strange and wonderful ways.

                            STAFF COMMENTS

                            Barry says: Massive stadium rock choruses and strolling folk meet headfirst in this decidedly odd but absolutely on-brand distillation from Richard Dawson. Fiercely political but with a wry humour and unmissable melodic drive (an often overlooked aspect of the more 'humorous' releases) coupled with Dawson's flawless delivery and brilliant ear for a progression make this his most direct and essential release yet.

                            FORMAT INFORMATION

                            2xColoured LP Info: Indies exclusive red vinyl.

                            2xColoured LP includes MP3 Download Code.

                            Deja Vega

                            Deja Vega

                              Founded in 2015, Déjà Vega toured the circuits of their neighbouring towns before finding a home away from home in the Manchester underground scene. Having opened Liverpool International Festival of Psychedelia last year to nationwide acclaim, they have played live across the country, honing their sound and song writing abilities, becoming stronger with every rotation. Comprised of eleven tracks we begin the experience with ‘Telephone Voice’, which is a song of two parts. It begins with a pacey beat and racy vocals before commencing into characteristic empowered vocals and a complex mix of musical elements. ‘Eyes of Steel’ has been circulating in their live set and is a real foot tapper with its ridiculously catchy beat and infectious riff. The vocal harmony lends itself perfectly to the music. ‘Mr. Powder’ uses bass runs to emphasis the melody and continues the catchy countenance being created. ‘Chasing’ opens with a funk bassline and channels the finest sixties vibes which are certain to appeal to a wide audience. ‘Von Gazen’ utilises fuzzy guitar effects whilst offering a slower, more harmonic tempo. ‘Friends in High Places’ reverts back to more traditional rock sounds, with a hearty rhythm section.

                              This track focuses for the first time on the guitar riff as oppose to the groove created by the beat. ‘Pentagrams’ is a fan favourite with its fast tempo, drum embellishments and repetition. The chorus is where this track comes of age with evocative lyrics and a drive which pushes the track on. ‘The Ballad of Alfred Hitchcock’ opens with a child’s voice sound bite, has a charming bass/vocal interplay mid song before a plucky guitar finish. ‘Sound of Speed’ and ‘Seeing Double’ offer the juxtaposition of a pacey tempo and upbeat feel versus a slower, melodic number which seems out of place but serves to show the talent of these musicians.

                              To conclude, we have ‘The Test’, a track that has become synonymous with their live sets due its pace and use of a strobe light. The twangy guitar riff draws focus, yet the vocals take prominence with their sheer intensity. Déjà Vega set the bar high for themselves with the intensity of their live shows and so this album is eagerly anticipated. It will not disappoint. If you didn’t know this band before, they may just become your new favourites

                              FORMAT INFORMATION

                              Coloured LP Info: Aqua coloured vinyl.

                              Fabienne Delsol


                                Fabienne Delsol’s new album Four is a culmination of a year or so’s activity at Toerag studios. The big change this time around is the co-production by Fabienne alongside Luke Oldfield, himself a long-time engineer and producer at Toerag. Though swathed in the same toil and tears of her previous three solo albums, Four has a more nuanced and mature sound, rooted in psych whilst retaining some snappy French pop and ‘60s garage styles of auld. There is also a mass of complimentary instruments, in particular the Mellotron is a welcome and worthy addition to many of the tracks. The contemporary and original songs 'I'll Never Be Lonely Again' and 'See How They Run' are masterfully crafted for Fabienne’s distinct delivery, and both feature a strong ‘60s groove in-keeping with her trademark sound, the latter being a contender for the highlight of this classy album.

                                As is archetypal of a Fabienne Delsol LP, carefully chosen covers are lovingly interpreted via Fabienne’s delicate voice – take Lyme and Cybelle’s ‘Follow Me’, itself a wonderful heavy-handed garage-folk jaunt, or the stunning take on the Human Beinz’ second album opener ‘Face’, a spellbindingly solid piece - praise indeed to the assembled players on both. A lifelong devotee of “the Quo”, it’s no surprise then to hear Fabienne tackling a Spare Parts album track, only here ‘When I Awake’ is pared-back and sparkling, whilst Francoise Hardy’s smouldering French classic ‘J’ai Fait Du Lui Un Reve’ is reimagined with a sumptuous air of the ethereal, with stark emotion in that voice and slowly building up tonal layers as the track progresses - you’ll struggle to hear anything as haunting this year. 

                                Dengue Dengue Dengue continue expanding their carefully created aesthetic on their new album "Zenit & Nadir" by diving into the deep and rich musical history of Afro-Peruvian music, already hinted in the first single "Ágni", which is the inversion of the traditional Afro-Peruvian rhythm Ingá. The ongoing exploration of the vast and rich musical heritage of the descendants of the former African slaves in Peru has become the main focus of their new album. Their interest in Afro-Peruvian music has led them to meet and record extensively with several members of the Ballumbrosio family, a renowned musical dynasty in Peru that has kept Afro-Peruvian musical traditions alive, masters of rhythms like landó, festejo and crioullo music, with traditional dances and instruments such as the iconic quijada - a rattling percussive instrument made out of a donkey’s jawbone. The introduction of live recordings with the Ballumbrosio brothers has given a whole new dimension to their always-expanding sound, and they feature extensively all throughout the album. As they were such an integral part of the recording process it made perfect sense that they would contribute to expand Dengue Dengue Dengue’s memorable audiovisual performance as well, and have began playing live shows together this year. The marriage between the traditional and organic percussion of the Ballumbrosios with DDD’s hypnotic electronic production has created a whole new chapter for the band.

                                Having spent the past few years quietly building up a dedicated crowd of followers and dancers as a club night, Scenic Route step out for their first offering as a label with three expertly crafted club cuts from Desert Sound Colony, an artist whose pumping productions have provided some of the parties’ most memorable moments. Since his debut release in 2014 on New York’s Scissor & Thread, Desert Sound Colony (real name Liam Wachs) has been refining a deeply personal club sound with releases for the likes of Futureboogie, Me Me Me, his own Holding Hands imprint and most notably of late, Nick Höppner’s Touch From A Distance. In addition to his productions garnering support from the likes of Midland, Raresh, Andrew Weatherall and Lena Willikens, Wachs himself is also a highly sought after DJ whose skills have seen him land bookings at some of the world’s most well respected clubs and festivals, including two stints at Berlin’s Panorama Bar already this year.

                                His prowess as a DJ has undoubtedly informed the music featured on the "Cartographer EP". All three tracks are primarily designed for club use yet their intricate arrangements and undulating instrumentation ensure they remain captivating, despite the effectiveness of their functionality. The EP’s opener, "The Cartographer", is a sleazy machine-driven odyssey, continuously building and evolving until snapping back into its original groove with a vengeance. "Gypsy Moth" sees Wachs team up with fellow Holding Hands affiliate Guava (real name Bradley Hutchings) for a dangerously syncopated drum workout doused in warped agogo bells, spliced vocals and a two-note bassline with a distinctly London flavor. Rounding the release off is "Budapest". The combined power of the track’s interlocking kick and bass provide a solid stage for Desert Sound Colony to unleash an eerie arp and pads combo alongside a flurry of stuttering percussion and twisted samples while intermittently sprinkled with an unintelligible and downright ominous pitched down voice.

                                Mancunian electronic music pioneers 808 State are return with "Transmission Suite", their first new album since 2002. Recorded in the former nerve centre of the Granada broadcasting empire in Manchester’s City Centre, some of its tracks are haunted by their home city’s industrial past – and, for that matter, the influence of classic Detroit techno - but the whole thing stays true to the band’s career-long focus on what comes next. 'We’re trying to make a future for other people to immerse themselves in,' says Graham Massey. 'That’s always been a big part of 808 State: these kind of landscapes of futurism.'

                                Sonically, long term fans are definitely not gonna be disappointed as the firm gaze forward across a wide range of futuro-stylings. The aforementioned Detroitian tech rears its beastly head, while UK-centric bass hybrids and unfathomably hi-tech glitch styles (a la AFX, Boards, Seefeel etc) are explored and showcased by the band in exquisite yet comprehendible form. They not lost any of their impetus, crucial.

                                STAFF COMMENTS

                                Barry says: Having proven to be one of the most enduring and forward thinking acts of the last 30 years, 808 state show us exactly why on the blistering 'Transmission Suite'. A perfect mix of old-world electronics and timbres and crisp, modern production techniques make this one of their most direct and propulsive outings yet. Unmissable.


                                Giants Of All Sizes

                                  ‘Giants of All Sizes’ was recorded at Hamburg’s Clouds Hill Studio, The Dairy in Brixton, 604 Studios in Vancouver and Blueprint Studios in Salford with additional recording taking place at various band member’s home studios spread across Manchester. As with their previous four studio albums, ‘Giants’ was produced and mixed by Craig Potter. Guests across the album include Jesca Hoop, The Plumedores and South London newcomer Chilli Chilton.

                                  Guy Garvey describes the album as “an angry, old blue lament which finds its salvation in family, friends, the band and new life.” It is a record that lyrically takes in moments of deep personal loss whilst reflecting its times by confronting head-on the spectres of injustice and division not just in the UK but across the world. It is a record that could only have been made in the 21st Century.

                                  Given such bleak, if ultimately redeemed, subject matter, it is also, perversely, the most relaxed record which elbow have made in some time. On ‘Giants of All Sizes’, each band member extended their usual process of working on demos alone and followed their vision to its conclusion rather than, as Craig Potter puts it, ‘taking the edges off things to find compromise’. In tandem with this, they returned to playing live in the studio, encouraged to experiment with the banks of analogue equipment at Clouds Hill in Northern Germany, giving songs a looser, more live feel.

                                  The result is the most starkly dynamic record from the band in recent times, “Sonically unabashed”, as Guy would have it. Whilst album closer ‘Weightless’ has the gossamer melodies and communal harmonies for which the band have latterly been known, this album echoes earlier elbow work at times whilst also breaking new ground.

                                  ‘White Noise White Heat’ is motorik, metal machine soul driven by a vocal that is rage incarnate, ‘Doldrums’ mixes John Carpenter with The Plastic Ono Band to brilliantly disturbing effect and ‘On Deronda Road’ hitches stark bass beats and glitches to an ad-hoc choir. ‘Empires’ delivers dark resignation via an insidious melody and ‘Seven Veils’ continues the subversion by inverting the perception of elbow as a band for lovers into a band for haters, a double-barrelled fuck-you song par excellence. ‘The Delayed 3:15’ marries mariarchi guitars to jazz dynamics, Morricone via Buddy Rich, and ‘My Trouble’ is a clockwork, analogue shuffle housing a delicate melody that builds over the course of the song into a fragile monolith to the power of love.

                                  Lead track, ‘Dexter & Sinister’, released on 10” ahead of the album, encapsulates the whole. A seven-minute musical journey that blends deep bass grooves, sudden keyboard stabs, dislocated piano and guitar runs and soul stylings then abruptly shifts gear, parts the storm clouds and takes wing, flying towards the heat of the sun. It is the soundtrack for these ‘hope free, faith free, charity free days’, a denial of the divine and a reconciliation, two songs in one song, two emotions for one emotion, human, fragile and brilliant like the album which it opens.

                                  STAFF COMMENTS

                                  Barry says: With all the melodic turns of classic Elbow, but with a charged, driven analogue backbone and saturated drive, 'Giants Of All Sizes' is the most direct and heavy Elbow experience yet.

                                  FORMAT INFORMATION

                                  Coloured LP Info: Exclusive green vinyl in a gatefold sleeve.

                                  Coloured LP includes MP3 Download Code.

                                  Deluxe CD Info: An exclusive CD that has a hard clear plastic O-card sleeve on it, which when pulled off will leave the CD artwork bare of text.

                                  Beth Gibbons & Rustin Man

                                  Out Of Season - Vinyl Reissue

                                    Out of Season is the extraordinary album recorded by Portishead singer Beth Gibbons & former Talk Talk bassist Paul Webb (under the pseudonym Rustin Man). The album also features contributions from Gibbons’ fellow Portishead bandmate Adrian Utley.

                                    A departure from both previous bands, it is a distinctive mix of folk and jazz styles with a very contemporary twist, with influences ranging from Billie Holiday, and Nick Drake: to Burt Bacharach and the dark and tragic presence of Dusty Springfield. The atmospheric material lent itself to soundtrack qualities – the track Mysteries appears on the original soundtrack of the French movie ‘Les Poupées Russes’ and in Wim Wenders’ ‘Palermo Shooting’.

                                    Rustin’ Man (Paul Webb) released his critically-acclaimed new album in February 2019. Originally released in October 2002, Out of Season has been out of print on LP for many years. Now available again, remastered at Abbey Road with original artwork, pressed on heavyweight vinyl.

                                    Kim Gordon

                                    No Home Record

                                      With a career spanning nearly four decades, Kim Gordon is one of the most prolific and visionary artists working today. A co-founder of the legendary Sonic Youth, Gordon has performed all over the world, collaborating with many of music’s most exciting figures including Tony Conrad, Ikue Mori, Julie Cafritz and Stephen Malkmus. Most recently, Gordon has been hitting the road with Body/Head, her spellbinding partnership with artist and musician Bill Nace. Despite the exhaustive nature of her résumé, the most reliable aspect of Gordon’s music may be its resistance to formula. Songs discover themselves as they unspool, each one performing a test of the medium’s possibilities and limits. Her command is astonishing, but Gordon’s artistic curiosity remains the guiding force behind her music.

                                      It makes sense that this “American idea” (as Gordon says on the agitated rock track “Air BnB”) of purchasing utopia permeates the record, as no place is this phenomenon more apparent than Los Angeles, where Gordon was born and recently returned to after several lifetimes on the east coast. It was a move precipitated by a number of seismic shifts in her personal life and undoubtedly plays a role in No Home Record’s fascination with transience. The album opens with the restless “Sketch Artist,” where Gordon sings about “dreaming in a tent” as the music shutters and skips like scenery through a car window. “Even Earthquake,” perhaps the record’s most straightforward track embodies this mood; Gordon’s voice wavering like watercolor: “If I could cry and shake for you / I’d lay awake for you / I got sand in my heart for you,” guitar strokes blending into one another as they bleed out across an unstable page. Front to back, No Home Record is an expert operation in the uncanny. You don’t simply listen to Gordon’s music; you experience it.

                                      FORMAT INFORMATION

                                      Coloured LP Info: Exclusive white vinyl edition.

                                      Jacob Guresvitsch

                                      In Search Of Lost Time

                                        Music For Dreams is thrilled to announce the release of Jacob Gurevitsch’ second album ‘In Search of Lost Time’. In the past few years, the Danish composer and guitar virtuoso has become an international sensation, channeling his melodic sensibility into some of the most streamed guitar tracks in the world. More than 4 million monthly video streams alone, with the ‘Lovers in Paris’ video on some 20M views. Jacob is also a frequent feature on popular chillout / downtempo compilations like Buddha Bar, Milchbar and Jockey Club and a must-play in Ibiza chillout sets.

                                        For long-time followers, his success comes as no surprise, though. Jacob’s Spanish guitar is something of a wonder. His craft is equal parts technique and passion while the feel for emotional resonance is something that comes purely through a deeply personal engagement in his work. With a great diversity of influences, his guitar music feels at home accompanying early morning forest walks in northern Spain, just as it does soundtracking old Italian movies or lovelorn Tango dancers.

                                        ‘In Search of Lost Time’ sees Jacob taking his sound a step up in ambition. His songwriting is more refined, and his melodic universe is distilled into landscapes increasing in detail from his debut. As the title reveals, nostalgia is an overarching theme of the record, on which Jacob explores both personal memories and historical periods through his enigmatic, rose-tinted prism. Most importantly, Jacob still isn’t afraid to pour himself into his work, which comes through as an unmistakably authentic and heartfelt touch on each track. Take the Mediterranean-flavoured ‘Poesia Del Mar’, an emotional voyage of the sea, full of soulful keyboards, strings and accordions or ‘El Sham Baofek’, a contemplative piece accompanied by Danish Music Award winner Eran DD, which oozes with melancholy.

                                        On “Besame Mucho”, one of the most famous of classic Mexican boleros, is given the Jacob Gurevitsch treatment. ‘Zsa-Zsa’ the latest single ‘Sand of Joshua’ are nice, tranquil guitar pieces that sit nicely alongside the jazzy Toots Thielemans-vibey ‘Joséphine Avec Les Yeux Fermés’. Finally, both the upbeat, well-received single ’Motive Loco’ and the elegiac and cinematic opus ‘In Search of Lost Time’ are sure to stick around in your head long after listening. Two future classics, we’re sure.

                                        The Harlem Gospel Travelers are not from Harlem. They came to Harlem, however, from far-flung corners of the five boroughs of New York City, and it was in Harlem, that legendary center of African-American culture, that they found their voices. As members of the music education program Gospel For Teens, these young men spent many hours on the subway or the bus to ultimately end up at an unassuming brownstone on W. 126th Street. They walked through the red door at the parlor level, the one with the cross on it, and inside they found a world of music. Gospel music. As their teacher, my job was less to impart information, and more to show these talented young men what they already knew.

                                        They already knew how to sing, that much was obvious, but it was here that they learned what their voices could really do and how to use them. We listened to the music of the masters: The Soul Stirrers, The Swan Silvertones, The Violinaires and The Swanee Quintet, and these young men, really boys at the time, soaked it all in. They quickly moved from imitation to creation, writing their own songs and building original arrangements of traditional material from the ground up. They honed and tightened their harmonies. They learned when to shout and when to whisper. What you have before you is the distillation of all their hard work -- the first full-length album from The Harlem Gospel Travelers. Each member of the group gets a chance to lead here, and each gets to showcase his unique and individual voice. Their styles are already fully formed at such an early age (the youngest member is 18, the oldest just 21), and they use them here to great effect. Each song has a purpose, but the goal of the album as a whole is simple: to glorify the name of God and to sing His praises. We hope you like the music included on "He's On Time," but more than that, we hope it lifts up your spirit and brings you joy for years to come. 

                                        FORMAT INFORMATION

                                        Coloured LP Info: Indies only clear vinyl LP.

                                        Richard Hawley

                                        Hollow Meadows - Coloured Vinyl Reissue

                                          Recorded at Sheffield’s Yellow Arch Studio in spring 2015, Hollow Meadows' sees Hawley return to the classic, sophisticated songwriting and subtle arrangements that made him so widely loved and revered in the first place.

                                          Meditating on such themes as ageing, fallibility and relationships, much of the album shares a brooding, yet wistful and romantic atmosphere in keeping with early albums Late Night Final and Lowedges, as well as touches of 2009’s Truelove’s Gutter (‘Nothing Like A Friend’) and Standing At The Sky’s Edge (‘Which Way’, ‘Welcome The Sun’).

                                          FORMAT INFORMATION

                                          2xColoured LP Info: Double LP with Gatefold Sleeve and 8 page 12” booklet.
                                          700 copies on transparent blue vinyl.

                                          Richard Hawley

                                          Standing At The Sky's Edge - Coloured Vinyl Reissue

                                            FORMAT INFORMATION

                                            2xColoured LP Info: Double LP with Gatefold Sleeve plus 8 page 12” booklet.
                                            700 copies on transparent blue sparkle vinyl.

                                            Richard Hawley

                                            Truelove’s Gutter - Coloured Vinyl Reissue

                                              Truelove's Gutter, the sixth studio album from Hawley, was first released on 21 September 2009.

                                              Another album title referring to an ancient street in Hawley's native Sheffield, now thought to be the location of present-day Castle Street, which was allegedly named after 18th-century innkeeper Thomas Truelove, who used charge local people to dump their rubbish in the gutter in the street that then flowed down to the River Don.

                                              Thematically, Hawley’s darkest album to date. The album features some uncommon instrumentation, such as the waterphone, megabass, and cristal baschet.

                                              FORMAT INFORMATION

                                              2xColoured LP Info: Double LP with gatefold sleeve plus 8 Page 12” booklet.
                                              1100 copies on transparent amethyst vinyl.

                                              Lee Hazlewood

                                              400 Miles From L.A. 1955-56

                                                Phoenix, Arizona 1955…a twenty-five year old disc jockey and fledgling songwriter, Lee Hazlewood, is trying to break into the music industry. He takes Greyhound bus trips to Los Angeles to pitch songs, only to be rejected each time. Undeterred, Lee starts a record label called Viv Records. Running the label out of his house, Lee finds the artists, writes the songs, produces the sessions, arranges the pressings of the records and handles distribution. Recently discovered tapes in the Viv Records archive yielded an unbelievable find, the earliest known recordings of Hazlewood singing his songs…Lee’s first demo! The mysterious and bountiful tapes featured Lee singing early unheard compositions and a complete first draft of his Trouble Is A Lonesome Town song cycle that would become his first official solo album in 1963.

                                                Light in the Attic Records is proud to continue it’s Lee Hazlewood archival series with 400 Miles From L.A. 1955-56, a collection of previously unknown intimate recordings, never intended for release. Lee sings, plays guitar and even presses the record button on the tape machine. These are rural sketches and small town dreams, captured in an innocent time before the path ahead was clear.

                                                These songs rewrite Lee’s recorded history, adding a new first chapter to his saga. For Hazlewood addicts, hearing these early tracks and the embryonic version of Trouble Is A Lonesome Town is akin to finding an early draft of the Old Testament.

                                                “That’s beauty of Lee’s songwriting. It lives on. People will hear it for the first time, even though it’s fifty years old or whatever, if it’s good enough and strong enough, they’ll accept and like it as much as if it was just created. That’s the wonderful legacy that Lee has. It’s wonderful to look back and make all this early work available. To put “Boots” and all those other LHI songs into perspective. That it all started somewhere and this is where.” – Arizona Music Historian and record producer, John Dixon.

                                                FORMAT INFORMATION

                                                2xLtd LP Info: 2xLP pressed at RTI & housed in a deluxe Stoughton “tip-on” jacket.


                                                The Star Of A Story / Ain’t No Half Steppin’

                                                To celebrate what would have been the world-renowned songwriter, Rod Temperton’s 70th birthday, one of the highlights of Heatwave’s ‘Central Heating’ album, and never before released as a single, the mystical ‘The Star of a Story’ gets an official, remastered outing on 45! Backed with the intoxicating, funk joint ‘Ain’t No Half’ Steppin’ it’s an incredible insight into the magic of both Rod and Heatwave as a whole.

                                                Formed in 1975, Heatwave, primarily a chart topping funk / disco outfit, dropped ‘The Star of a Story’ an uncharacteristic yet deeply elegant and ethereal departure crafted by keyboardist, Rod Temperton. Like an eternally warming Balearic blanket, angelic, siren-like falsetto vocals from Johnnie Wilder lure from a distance as harmonies straight outta heaven drift across the airwaves.

                                                It’s a serenade of the sweetest kind backed with sweeping cellos, soft keys and laidback acoustic guitars. A dream-inducing, drifting beauty that has been sampled numerous times by the likes of A Tribe Called Quest, The Pharcyde and Hudson Mohawke and even covered by the legendary George Benson.

                                                On the flip side, a trademark Heatwave mid-tempo funk number, in the form of ‘Ain’t No Half Steppin’. Beginning with a head spinning intro that leads into a true showcase of the group’s collective power on the mic. Mario Mantese jams out on the bass as blaring horns, lively strings and grooving chord struts turn this up about as hot as you can get. Sultry, soulful and smooth bursting at the seams with funk richness it’s long been a staple of the some of the best DJs out there and famously sampled by Big Daddy Kane, amongst many others.

                                                Heavy Lungs


                                                  Few can lay claim to mastering their craft within just a few years, yet Bristol’s Heavy Lungs have catapulted into the scene relentlessly. Since releasing their first EP in 2018, they’ve won over the ears of some of the biggest names in the business and earned themselves one of the most loyal fanbases around. Now armed with 5 new tracks released on The Idles Balley Records label , they’re ready to unleash their most ambitious, outspoken and expressive work yet. ‘Measure’ . EP opener ‘Half Full’ kicks things off frantically with a crescendo of feedback and raw vocals.

                                                  Next up is ‘Self-Worth,’an intoxicating track that exploits even more controlled chaos. ‘T.O.T.B’s arena-sized choruses make for an instant sing-along, whilst first single ‘(A bit of a) Birthday’s gnarly riff and fuzzy guitar work takes the aggression up another notch. Closing the EP is ‘Pacemaker,’an atmospheric and suitably captivating record that rounds things of nicely. On creating the EP, frontman Danny Nedelko added:“Measure centres around the undeniable importance of self-worth. From inner observation of myself and of the people around me over the course of past year, I’ve noticed that it can sometimes very much be neglected. The purpose of this EP is to hopefully remind us to value ourselves and grow more comfortable in our skin -to believe in ourselves. Our own inner strength and capabilities are vastly superior to our own perception of them.”

                                                  Rising up in Bristol’s thriving punk scene, Heavy Lungs have previously released 2 EPs, headlined multiple tours and shared the stage with the likes of Idles. In fact, Idles’ track ‘Danny Nedelko’ is named after Heavy Lungs’ frontman and their friendship extends as far as joint releases and touring together. Their fiery live shows and infectious stage presence hasn’t gone unnoticed and has resulted in playing live on KEXP, not to mention some of the biggest festivals in the UK; Glastonbury, Truck Festival, 2000 Trees, Live At Leeds, Liverpool Sound City, Camden Rocks and many more. With extensive tour dates taking them into Europe, the UK and beyond until the end of the year and their new EP up their sleeve, Heavy Lungs are ready for you –are you ready for them. 

                                                  The Hecks

                                                  My Star

                                                    Chicago trio The Hecks have been at it since 2012, starting out as the duo of guitarist Andy Mosiman & Zach Hebert. The band drafted guitarist Dave Vettraino into the fold, a recording engineer who was recording the band's s/t debut (Trouble In Mind, 2016) & ended up joining the band In 2017. The band's journey to the end result of "My Star" - their second album - has taken them three years. After recording an initial version of the album in 2017, The Hecks started gigging with new fourth member & keyboardist Jeff Graupner, whose synthesized squiggles added some welcome heft & swagger to the band's tunes. After reworking & rearranging much of the new material to accommodate Graupner, the band scrapped the recordings & rebuilt them from the ground up, incorporating Graupner's skills at the keys.

                                                    The results speak for themselves, as "My Star" is a gigantic leap forward for the band, absorbing everything from "Manscape"-era Wire to Paisley Park nu-funk to abstract new wave & art rock plucked straight from the Cold Storage playbook. Much of "My Star"s ten tracks are designed to bewilder; the production is intentionally disorienting, with the mix tipped toward the treble, alternating from sparse to confoundingly dense at times, but never at a disservice to the songs themselves. Opener "Zipper"s intertwining guitar jabs & synth lines herk & jerk so rapidly it's liable to break your neck, while lead track "So 4 Real"s neon-laced dayglo soul ratchets up the mutant funk throb so tightly that the lilting, melodic guitar break at the chorus is a welcome dose of ear-candy. "Heat Wave" dials it back, reveling in romantic washes of synth and flange & it's yearning refrain of "It's tearing me apart, ripping out my heart again"; a captivating, slow burning ballad unlike anything the band has done before. Meanwhile album closer (and title track) "My Star" is so cinematic, it feels like the lost end credits scene to a heartfelt teen drama, with its end coda taking up the bulk of the song's near-eight minute run time. "My Star" is designed to make you move, you just have to let it. 

                                                    FORMAT INFORMATION

                                                    Coloured LP Info: Limited indies-only light blue vinyl.

                                                    H exhales tension and relaxation. That's the magic of H. You might only find this mixture on some great records from the Kraut-era, Harmonia and Cluster records, and H could be wonderful next to a record like e.g. Rastakraut Pasta by Moebius & Plank, but also the LeRoy albums Sklash and Bambadea (both on Schamoni Musik), This Is The Place by Das Hobos (another highly acclaimed alias of the duo Hopfinger and Simonetti) and the one or other Echokammer production, like Entrance To The Exit by Blacken The Black. 

                                                    Makoto Inoue and Yasushi Yamashita’s Inoyama Land project spans nearly four decades, still active to this day . This collection expands upon their sound heard on Kankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980-1990 (LITA 167) to illuminate material that is even lesser known outside of Japan – some of it presented publicly for the first time.

                                                    A portmanteau of their family names, the “Land” of Inoyama hovers between imagined mythical space and concrete reality, extending beyond physical releases into installations, site-specific sound design and theatre scores. After their famed Haruomi Hosono-produced 1983 release Danzindan-Pojidon, the duo became involved in the budding environmental music business that was taking shape in Tokyo during the development boom of the asset bubble – working directly with figures like Hiroshi Yoshimura (with whom they developed sound design for the International Stadium in Yokohama) and Takashi Sekiguchi (Bamboo from Asia).

                                                    Working initially with Munetaka Tanaka’s Sound Process Design (an acoustic consulting company formed by Tanaka with Satoshi Ashikawa, before Ashikawa’s tragic death in 1983), their commissioned work mirrors the sound world first fleshed out on Danzindan: chiming synthesizers, pastoral hues, childhood memory – all pulsing with a distant, emotional resonance. This material – culled from limited CD issues of the material on Tanaka’s Crescent label, Kazunao Nagata’s Transonic Records and self-released CDRs – presents a window into this process, illustrating how Inoue and Yamashita’s idiosyncratic musical identity gelled perfectly with all of the disparate environments of their commissions. Included is music written for the Kankaku (Sense) Museum in Miyagi, an exhibit on slime molds at the National Museum of Nature and Science in Ueno park, the 1977 stage performance Collecting Net (which also included music that would later become Danzindan-Pojidon) and their score for a Tokyo re-staging of New York avant-theatre pioneer Richard Foreman’s post-modern stage piece Egyptology.

                                                    Salsoul opens the vaults once again to today's top editors and remixers. This latest 12" bonanza sees Aussie legend Late Nite Tuff guy take the reins.

                                                    Side A boasts a monstrous filtered rework of Instant Funk's "I Got My Mind Made Up", spread out across the whole side for maximum impact. Flip it over to side B for some serious Tuff Guy reworkings of Orlando Riva Sound's "Body To Body Boogie" (huge spin for Ruf Dug...) & Salsoul Orchestra's "Ooh I Love It" (flip of MFSB's "Love Is The Message" - both nipped & tucked in the finest way, by a true school disco head who knows what's up!

                                                    Fully licensed, sanctioned and released by Above Board distribution and Salsoul Records, 2019. 

                                                    STAFF COMMENTS

                                                    Sil says: LNTG touching up legendary Body to Body. Did it ever needed to be touched up? If you want the LNTG treatment then you are in for a treat. A quantized 4/4 to make your sets as smooth and easy as possible in included!

                                                    Sweeping through disparate signals to find a secure connection, Origin Peoples make contact with cyberpunk auteur JAK3 in the depths of the Pennsylvania underground. Operating on the frontline of a sonic warzone, surrounded by charred buildings and rusted skyscrapers, the producer translates the dystopian urban environment into blackened hybrids of hip-hop, Detroit sludge and radioactive techno. 

                                                    New EP 'R4VER' continues in the mode of previous transmission 'Moonlight Radiation', with the producer's divergent influences drawn together and pulled apart across six mutant compositions which shun conventional song structure. 'Finally, I'm Free' begins life in a cinematic swell of queasy synths, gradually collapsing around gritty drum machines until a blast of static diverts the track into an underworld of armored muscle cars and fractured beats. The distorted sub-bass and gated waveforms of 'Lies' continue our descent into chaos, swelling the speakers until the abstracted trap idents are our only remaining reference. 'Too True' assaults our senses with suffocating pads, cocked firearms and benzoed rave breaks, while B-side opener 'Chase The Sun' sandwiches a Last Poets vocal between blown out hip hop and the retooled UK hardcore which grows in intensity across the last two tracks. On 'My Blood, My Soul' JAK3 pushes rave rhythm and hip hop vocal way into the red, gets thrown out of the club and stumbles into free party euphoria somewhere down the street. Appropriately, 'Raverboy', a collaborative cut with Waistdeep Clique colleagues Agnarkea & Big Up Menace X, closes the set with a message of unity and togetherness, standing against the CJA 1994 with a heart-aching refrain and eventual drop into jungle intensity. JAK3's world may be a broken dystopia, smoked out and smudged with distortion, but it still has a dance floor, and 'R4VER' is all the survival training you need.

                                                    As a member of the sprawling Waistdeep Clique, JAK3 belongs to a new generation of producers, raised by the internet and informed by the immediate risk of societal collapse. Embracing the dystopian influence of late 20th century sci-fi, as well as the recent Memphis rap revival, JAK3 and his contemporaries update the cyberpunk aesthetic for the urban environment, delivering a muscular and aggressive soundtrack for an all too possible future. Turning his Hanover home into a creative hub, the young producer has facilitated a number of collaborations within the scene, not least the scene-defining 'Kwantum Entanglement' with Calsutmoran and Agnarkea. All the while, JAK3 sinks deeper into his own sonic universe, constantly honing his own production approach. Caked in a thick patina of distortion, characterised by rumbling sub bass, urban rhythms and erratic structures, JAK3's compositions reflect the world around him - unstable, reliant on flawed technology and gradually rolling towards chaos. Referential but ultimately radical, these sounds are just the first signpost to JAK3's musical potential.

                                                    "Noche de fiesta" (1975) was the first album that Julian Angulo and his combo recorded for Colombia's INS label. With arrangements and piano by Alfredo Linares, it's a thrilling LP sought after by collectors and DJs not only for its hard salsa and instrumental "descarga" tracks but also because of the funky dancefloor cuts 'Enyere Kumbara' (covered by Quantic), 'INS-Rock' and 'Estoy soda' as well as the excellent original version of 'Las calenas son como las flores' (made famous later the same year by The Latin Brothers). Angulo described his sound as "Afroantillano", combining Cuban, New York Latin and Puerto Rican elements with Colombia's own tropical traditions. Presented in facsimile artwork and pressed on 180g vinyl. Part of a new Vampisoul reissue series of classic LPs from Colombia's INS label. 

                                                    Al Kent

                                                    The Jazzy Edition

                                                    The UK's finest vinyl connoisseur and edit maestro Mr Al Kent returns to GAMM this week with a gorgeous two-part vinyl experience. On part one we find Al in jazzy mode, serving up the slick and soulful tackle with his perennial penchant for disco alive and well. On 'The Light Of You' we get a grand instrumental cover version of Stevie's "Another Star" which is destined to peak at your local disco.
                                                    On 'Sing A Song' Al digs even deeper and re-edits a fierce Latin-fusion jam that will get all the jazz dancers out there in check...proper dance music!

                                                    STAFF COMMENTS

                                                    Patrick says: Million Dollar Disco don Al Kent is back at it on the evergreen G.A.M.M., turning out a killer instrumental edit of "Another Star" on the A-side and a super groovy Latin fusion cut on the flip. Scorchio!

                                                    New album by jazz pianist and producer Kiefer, the follow up to ‘Happysad’ (2018). ‘Superbloom’ is a double A-side vinyl release and CD containing the tracks from earlier 2019 release ‘Bridges’ plus seven new tracks. The digital format does not include ‘Bridges’. Since the release of his last full-length, ‘Happysad’ in Summer 2018, Kiefer released the mini-album ‘Bridges’, toured the USA and Europe and produced beats for Anderson .Paak’s albums ‘Ventura’ and ‘Oxnard’. Animation on cover drawn by London based artist Joe Prytherch. For fans of Thundercat, Badbadnotgood, Mndsgn, Kamaal Williams and Kamasi Washington. Kiefer is a frequent collaborator with others: he’s a constant in Mndsgn’s live trio, has shared the stage with Moses Sumney and Terrance Martin and has lent production talents to the likes of Kaytranada and Anderson .Paak.

                                                    Mark Kozelek With Petra Haden

                                                    Joey Always Smiled

                                                      Mark Kozelek teams up with violinist and singer Petra Haden for a new LP called Joey Always Smiled. Along with Haden, it features contributions from Sonic Youth’s Steve Shelley, character actor Kevin Corrigan, regular Kozelek collaborator Ben Boye, and more. And following six originals with very Kozelekian song titles, the record closes out with a folky, beautifully spare cover of Huey Lewis & The News’ immortal Back To The Future soundtrack hit ‘The Power Of Love”

                                                      A new imprint dedicated to all things reggae / dancehall, Homemade Soundsystem is a much personal homecoming for BFDM mastermind Judaah. Setting a whole new aesthetic agenda for the Marseilles-based groove slinger, revolving around fresh interpretations of classic skanky riddims and further sweat-inducing Caribbean tropes, the label pays a vibrant tribute to Judaah's first love, following straight in the footsteps of the artists who played a crucial role in the birth and development of his taste over the years; from Sizzla to Bounty Killa, via Buju Banton, Augustus Pablo and Lee Scratch Perry. Though mainly born out of a life-affirming teenage love for the aforementioned styles and their bastardized sub-divisions, HSS is also and further crucially intended as a platform for shrewdly executed cross-overs and quaky bass moves zeroeing in on bringing dancefloors to an unchaste, swelteringly sensual boil. Expect mad tides of booties bumpin' and shakin' as HSS ruff drum progs, heliotropic melodies and knee-buckling breaks cut a path of destruction across the clubs, Judaah's your skipper for a helluva wild ride into damp musical tropics.

                                                      After a seven year hiatus since the release of their debut LP on ESP Institute, Kyle Martin and Jonny Nash’s Land Of Light return with their sophomore album for Melody As Truth. Written and composed over the course of two years, “The World Lies Breathing” reflects the pair’s shared development towards spacious, abstract composition crafted from a wide range of contrasting sound sources. Utilising a combination of acoustic instruments, contact microphones and Martin’s self-built modular synthesiser “The World Lies Breathing” focuses on the space between sounds, conjuring up an organic yet alien landscape that exists on the edge of an unknowable void.

                                                      Lightning Bolt

                                                      Sonic Citadel

                                                        For their seventh full length, ‘Sonic Citadel’, Brians Gibson and Chippendale have done the daring, stripping away some of the distortion mask to reveal the naked pop forms as never before.

                                                        Throughout their 25-year history Lightning Bolt have toured the world, performing at Coachella, ATP, Festivals, Pitchfork Music Festival, Austin Psych Fest and FYF Fest, to name a few.

                                                        Brian Chippendale has collaborated with Björk, Boredoms, Andrew W.K. and Lee ‘Scratch’ Perry. Brian’s comics are published with Drawn & Quarterly and Picturebox. Brian is also in Black Pus.

                                                        Brian Gibson’s game Thumper, produced by his own company Drool, was awarded the 2019 Apple Design Award, was on Gamespot, Hardcore Gamer and IDN’s Best Of 2016 lists and won countless other awards.

                                                        STAFF COMMENTS

                                                        Barry says: With the grinding guitars and machinated percussive blasts, Lightning Bolt have always proved an intimating presence. 'Sonic Citadel' sees them embracing more of the rapid-fire punk aesthetic than their more dirgy stoner sludge, and is all the better for the glimmers of melody and old-school thrash-punk fire within.

                                                        FORMAT INFORMATION

                                                        2xColoured LP Info: Double coloured vinyl edition.

                                                        The Lilac Time

                                                        Return To Us

                                                          “Return To Us” is the new album by The Lilac Time, the country folk band fronted by Stephen Duffy. The collection is their tenth so far and Stephen’s twentieth long-player in a career that has spanned four decades.

                                                          Coming off the back of five-star rave reviews for the reissue of Stephen’s album I Love My Friends, Return To Us was recorded by the three-piece of Nick Duffy, Claire Duffy and Stephen who have been the core of The Lilac Time since 1999.

                                                          The nine-track album was recorded in Stephen and Claire’s home and covers topics as diverse as The D-Day Landings (March To The Docks), auditory processing disorder and the difficulties in recognising and interpreting sounds (King Kopetsky), Italian Neorealism (A River That Runs Both Ways), life before the Internet (The Simple Things), not getting dragged back to a fictitious golden age (Return To Us), a Christmas song of sorts (The Needles) and needing ‘reassurance because the world went stupid’ ((I’m) A Believer).

                                                          Stephen Duffy: “This our first release on a major label since 1990. After a calamitous time with RCA around the recently reissued I Love My Friends album I never considered it an option. But then after our last performance at Port Eliot in 2017, we were approached by BMG’s senior scout who suggested we send our new record to them after some time we did and here it is”.

                                                          FORMAT INFORMATION

                                                          Coloured LP Info: Limited purple coloured vinyl.

                                                          By 1974, salsa was taking Colombia by storm and so the directors of the INS label decided to create a band that would appeal to salsa fanatics and be able to compete with labels such as Discos Fuentes and Codiscos. Thus was born Los Afroins, an obscure, short-lived combo that would release two LPs and six 45s. Their first album, "A gozar salsomanos", is a sought-after collector's item and contains ten brassy, heavy-duty salsa gems: covers of salsa hits by Ismael Rivera, Los Ahijados, Roberto De La Barrera, Cheo Marquetti and even the smash pop hit by the French modern classical and electronic music composer Saint-Preux (a great instrumental descarga version of 'Concierto para una sola voz'). In addition, there are two originals that are equally hot. Presented in facsimile artwork and pressed on 180g vinyl. Part of a new Vampisoul reissue series of classic LPs from Colombia's INS label.

                                                          Lou Rebecca


                                                            Playfully capturing the hearts and minds of her fans, Austin-based Parisian synth-pop starlet Lou Rebecca unveils her highly anticipated full-length debut. Following the breakout success of her 2018 self-titled ep, Lou returns with a collection of ten gorgeously seductive tracks, chronicling the path of a brilliant artist coming into their prime. Written in her native French and English, Lou composes romantically nuanced music engineered with the talent and grace of a true trendsetter. The ability to genuinely connect with her audience through timeless songwriting, choreography and fashion gives Restless distinguished and memorable characteristics that are exclusively Lou Rebecca.

                                                            Born and raised in Paris as the daughter of accomplished musicians, Lou started playing piano at the age of five and received an early education in the history of jazz, classical music and film scores. Lou grew to become a prolific songwriter and skilled vocalist, moving through phases in everything from rock to disco while continually adding to her repertoire of talents in each successive stage. In 2014, she began exploring the world of synthesizers and composing with electronics rather than traditional instruments, sparking her true artistic voice and partially inspiring her to relocate to the United States the following year. As she settled into the dense music scene of Austin, Lou methodically expanded her output to incorporate both dance and filmmaking as essential elements of her artistic expression. This multifaceted approach to pop music has engaged a rapidly burgeoning group of devotees eager for an artist with authenticity and sophistication. With the addition of Josh Mills (Missions) as her production and writing partner, Lou has found a perfect compliment for her creative vision in the studio and on stage, enhancing the depth of her songs and allowing her magnetic persona to shine.

                                                            Restless is the liberation of Lou’s relentless passion for composition, performance and design. The driving force of the drums and bass on “Break It Apart” and “Bonbon” are intoxicating, translating the energy of dance rhythms into powerfully moving songs. At times whimsical and delicate, Lou’s precise arrangements and eloquent lyrical cadence display a visionary talent mastering the subtleties of their work. Her shimmering voice and alluring melodies on “Waiting” and “Créature” are unforgettable, showcasing Lou’s rich understanding of pop music and contemporary sensibilities. Shifting between vignettes of Lou’s vibrant imagination, each song on Restless was conceived in tandem with curated costumes and accompanying choreography. Produced by Alan Palomo of Neon Indian, closing track “To Keep You” is beautifully orchestrated to feel like the encompassing onset of a lucid dream as she bids adieu with poetic finesse. With attention to detail from start to finish, Restless marks an important milestone in the future legacy of Lou Rebecca.

                                                            The pure and unmanufactured work on Restless sets the threshold of a vast wave of greatness in front of Lou Rebecca. The shining trajectory of a rising star is difficult to capture but impossible to ignore.


                                                            Compiled 2.0

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

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

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

                                                              Stephen Mallinder

                                                              Um Dada - Signed Edition

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

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

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

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

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

                                                                STAFF COMMENTS

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

                                                                FORMAT INFORMATION

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

                                                                CD Info: Signed copies while stocks last!

                                                                A winsome and dizzying spin on disco pop, recorded in westernized Iran during last moments before the 1979 revolution. All but criminalized in the wake of Ayatollah Khomeni’s theocratic repression, Hamlet Minassian’s solo masterpiece is a testament to the Middle East’s forgotten dance music culture. This six-song, 44-minute LP hybridizes Euro attitude and Armenian traditional songs to create long, hypnotic proto-house, seemingly beamed in from another dimension.


                                                                Body Negative

                                                                  The album is a rare record that manages to be both fiery and textural. It combines the charge and speed of a record that resembles a car veering dangerously close to a cliff edge yet also manages to instil a confidence in the ability of the driver. MNNQNS exude a sense of controlled danger and chaos and this permeates throughout their debut. This feverish and unpredictable approach is also represented by the band’s diverse musical tastes and inspirations. If you’ve ever wondered what a record would sound like that shares influences as eclectic as Deerhunter, Death Grips, the Beach Boys, Omni and the films of Jean-Jacques Beineix then wonder no more because MNNQNS debut is the answer.

                                                                  Such a sense of determination and focus is apparent on the record throughout; whether it’s the post-punk assault of “Wire (Down to The)”, the harmony-soaked pop swing of “NotWhatYouThoughtYouKnew”, the deeply textural explorations of “Stagnant Pools” - which combines seamless melody with an urgency that resembles This Heat - or the kick-down-your-frontdoor charge of “Urinals”. This duality of harmony and discordance that exists on the record is something that D’Epinay feels when he reflects on the recording process. “Some tracks make me want to go out and dance whilst others remind me of being totally alone in the countryside. Listening to the record is like being pushed away from the city and then dragged back in.”


                                                                  Ten Rapid (Collected Recordings 1996-1997)

                                                                    After the success of the limited edition coloured vinyl for 2018's Record Store Day, Mogwai's sell-out 1997 compilation album of singles, b-sides and rarities from 1996-1997 is getting a limited coloured repress. After this, it goes back to black!

                                                                    FORMAT INFORMATION

                                                                    Coloured LP Info: Limited run of green heavyweight vinyl.

                                                                    Mr Scruff

                                                                    Keep It Unreal - 20th Anniversary Green Vinyl Edition

                                                                    Scruff's debut for Ninja Tune was quite literally, legendary. Bootlegged feverishly amongst my set through high school and college, the battered C90 tapes became somewhat of a status symbol for the musically inclined. If hip-hop culture seemed too overtly masculine and aggressive, then Scruff's quirky, jazzy, upbeat-downbeat grooves shunned aggression for playfulness; decorating the album with some hilarious spoken word facets and samples, giving birth to what would become Andy's unique sonic (and visual) world throughout his career.

                                                                    A product of post-acid house Manchester, Mr Scruff is a legitimately celebrated one-off. A cheeky innovator who had more than paid his dues and served his time both as a musical apprentice, a performer, a DJ and a producer. Deliberate, thoughtful and patient; I remember seeing a young Andy spinning 45s at the Cellar Bar over in Blackburn back in about 2001 thinking 'this guy's destined for big things').

                                                                    This album set his stall out wonderfully: in one moment delivering deep, downtempo dinner jazz while the next, he's chopping up breaks and scratches with all the finesse of Coldcut. There's a maverick spirit throughout which sticks two fingers up at music elitism, yet Scruff is so well musically educated that no-one could pick holes in his argument either! A breath of fresh air for people stifled by dance music's overly serious, alpha-male-dominated program, the wacko humour of "Spandex Man" and the nigh-on-ridiculous "Shanty Town" and "Fish" must have pissed off the beard strokers but it made us fall in love with him even more!

                                                                    I like that Scruff's been named the Salvador Dali of beats and breaks, it kinda suits him. Every home needs this LP on its shelves and this 20th anniversary edition, on green vinyl is a superb addition to the catalogue. 

                                                                    FORMAT INFORMATION

                                                                    2xColoured LP Info: Translucent green vinyl housed in green paper inners.

                                                                    Gary Numan

                                                                    Replicas - The First Recordings

                                                                      Beggars Banquet release two special titles to commemorate the legendary albums Gary Numan/Tubeway Army issued in 1979 – these editions are titled Replicas – The First Recordings, and the debut under his own name, The Pleasure Principle – The First Recordings.

                                                                      While both of these albums have remained in print, these releases concentrate on the early recordings made prior to the completed albums and present the evolution of the albums. The tracks have been sequenced as they appeared on the original tapes and the audio has been taken from the high resolution digital transfers made by John Dent in 2007. One of the Freerange studio tapes suffered irreparable print through damage on two tracks so they were not used in the 2009 release. However an alternative source has been located so the tapes can now be presented as complete for this release.

                                                                      In late 1978, Gary Numan was booked into a small studio in London’s Chinatown with the same musicians that had played on Tubeway Army’s debut album, released a month earlier. Two stereo master tapes were compiled of eleven tracks. A month later they again went to Gooseberry Studio and recorded an additional three tracks, including “Are ‘Friends’ Electric?” and “Replicas”. At the same time, the band recorded a session for the BBC’s John Peel show, taping alternate versions of three songs from the December recordings. Finally Numan returned to an upgraded studio, Marthus Music, in February to overdub and remix the Gooseberry recordings into their released versions. Only one alternative out take still exists (“Down In The Park”) which is included in this release.

                                                                      Gary Numan

                                                                      The Pleasure Principle - The First Recordings

                                                                        Beggars Banquet release two special titles to commemorate the legendary albums Gary Numan/Tubeway Army issued in 1979 – these editions are titled Replicas – The First Recordings, and the debut under his own name, The Pleasure Principle – The First Recordings.

                                                                        While both of these albums have remained in print, these releases concentrate on the early recordings made prior to the completed albums and present the evolution of the albums. The tracks have been sequenced as they appeared on the original tapes and the audio has been taken from the high resolution digital transfers made by John Dent in 2007. One of the Freerange studio tapes suffered irreparable print through damage on two tracks so they were not used in the 2009 release. However an alternative source has been located so the tapes can now be presented as complete for this release.

                                                                        Even before the single “Are ‘Friends’ Electric?” was released, Numan had recruited a permanent drummer and keyboard player and demoed an album’s worth of new material between April 9-12, 1979 at Freerange Studio in London’s Covent Garden. This was supplemented by a second session, probably the following June, that yielded four further songs and two re-recordings. Following the hectic schedule of promoting “AFE?”, Numan recorded a new session for John Peel the day after the single hit #1 on the UK charts. Rather than record as Tubeway Army, the session was credited to Gary Numan and the group name abandoned at the peak of it’s success. As before, rather than promote the current album, Numan chose to record four new songs. While the album Replicas hit #1, Numan was busy recording a follow up in Marcus Music Studio. From the surviving tapes there are six mixes marked as out-takes and these have been included in the CD package. The discs have been sequenced with the stronger, second Freerange demo preceding the first session but all tracks are in the order of the tapes.


                                                                        Over The Top Orchester

                                                                          The two-man band are set to release their long-awaited debut album in 2019 on Bureau B. The eight tracks contain familiar OTTO ingredients, from organ sounds and rhythm presets to disco strings and the monophonic waves of a 1970s synthesizer. Arpeggio and Hohner notes add extra sharpness to the proceedings. Classics from their live repertoire sit alongside brand new numbers, invariably strange synthesizer compositions.

                                                                          Thee Oh Sees

                                                                          Dog Poison - Vinyl Reissue

                                                                            REISSUED!!! The beloved Dog Poison full-length record by THEE OH SEES, and boy, is this one a monster. More layered and textural than the previous Oh Sees releases while keeping all the typical JOHN DWYER punch, oomph and weirdness. Ten fantastic songs originally released by Captured Tracks in 2009. "If it were approached from a different angle, a song like album opener "The River Rushes (To Screw MD Over)" might not have sounded out of place on Dog Poison's predecessor. But by switching to an acoustic guitar and letting the flute player channel Ian Anderson, Thee Oh Sees give their sound a new wrinkle. Indeed, with Dwyer copping a few vocal moves from Mark E. Smith, "River" ends up sounding a little like the Fall covering the Kinks. There's another, purer, Kinks-like turn on Dog Poison, with the loping high-pitched tra-la-las of "The Sun Goes All Around" sounding like something left on the cutting room floor from Village Green Preservation Society. Elsewhere on the album, the group emulates the cavernous, smoky gait of Deerhunter ("Head of State"), shambles in a folkier fashion ("Fake Song"), spaces out a bit ("Dead Energy"), and mostly just lets it all hang out over the course of this LP's 24 minutes."—Pitchfork

                                                                            Abdallah Oumbadougou

                                                                            Anou Malane

                                                                            Historic cassette of first Tuareg guitar studio recording. Newly restored and remastered. Tuareg guitar gets the electronic treatment, with a reissue of the cassette by legendary Nigerien composer Abdallah Oumbadougou. Produced in Benin in 1995, “Anou Malane” is one of the first studio recordings of Tuareg guitar. The genre, known for minimal folk ballads performed on acoustic guitar, is transformed with a full-on 90s swinging groove. Abdallah Oumbadougou is one of the original creators of Tuareg guitar music. Active in the Tuareg rebellion in the 1990s, his early compositions were politically charged, addressing the fighters scattered in the desert. These low-fi recordings were recorded on boomboxes, and found their way throughout the diaspora, passed through clandestine networks of cassette dubbers. In exile, Abdallah traveled to Benin to record an official release with Nel Oliver, a West African producer known for his work on a number of seminal boogie and afro-funk records. Oliver’s influence is heavily felt on the recordings with early digital techniques of programmed drum effects and backing synthesizer, transforming Saharan political ballads into Afro-boogie anthems for the discotheque. The resulting album went on to become a classic and pushed Tuareg guitar and the rebellion into the public consciousness.

                                                                            It's the return of our favourite nocturnal strigiforme, fresh from the roost with a new batch of floor-filling edits mined from the best moments of dance music history.

                                                                            "Betar" kicks us off, a mega-mix type sequence that takes in Stardust's "Music Sounds Better With You" and a lesser known disco burst to keep the momentum and happiness levels soaring high throughout.

                                                                            The second, entitled "Groov" takes Harvey Mason's "Grooving You" and chops out any superfluous bridges and bars to avoid that fatal moment, endemic to much of the late 70s output, when you lose the groove and everyone heads to bar. The Owl knows what to keep in to ensure attentiveness throughout - you won't have a moment to think about rehydration!

                                                                            "Girlz" is a funny one, does it sample Modjo's turn-of-the-millennium pop-house monster "Lady", or Chic's "Soup For One"?? I think the crafty Owl has cleverly teased both into the mix here to ensure maximum head-scratching and unrivaled bottom-shaking throughout - go on mate!

                                                                            "Pimp Of The Year" sees the EP off in more adventurous form. A liquid disco-funk jam that screams of more recent times and look! - it's a brand new OG from The Owl! Showing that there's more to this bird that the cutting table - he's also a whizz on the dials too. Crafting a fine, low slung bassline peppered with flanged-up guitar chops and radioactive organ chords - get in!

                                                                            Limited copies, buy now or cry later!

                                                                            STAFF COMMENTS

                                                                            Sil says: No crate diggin here. Straight fully recognisable hits given the amount of eddity necessary to make it even more dancefloor friendly. Top of the pops!

                                                                            Thick n chunky™ new tech-house here from old friends PBR Streetgang on the newly minted Kurtz records. The second on the label so far, if this is anything to go by expect rib-tickling wall shakers round the clock from this firm!

                                                                            Whether or not all tracks are dedicated to the wonderful Mr. Hardy we're not 100% sure, but we get four distillations of acid house goodness, with squelchy analogue synths, crisp AF drums and plenty of lysergic sfx littering the background. It does sound like you've just stumbled into Ron's infamous Music Box during the part of the night when his acid punch would kick in and he'd mix acid trax on cassette for hours, twisting people's heads inside out.

                                                                            The bonus here is that you've got that narcotic style of production but brought up to date with nice clean, digital production. All four are gonna sound super tight through the speaker stacks of today and bring to mind the wild n free energy of the old Barbarella club at the first Croatian, Petrcane site. 

                                                                            The Pendletons take a bold step with their first full length album, 2 Steps Away, releasing this spring on the Bastard Jazz imprint.

                                                                            Recorded in San Francisco with a rock-solid band consisting of some of the best musicians in the Bay Area, including guitarist Carl Locket (Shalamar, Rick James) and Star Creature recording artist Elive, the duo taps into a classic soul/boogie sound that rides a wave of '70s and early '80s funk with ease but somehow remains true to the excitement of those classic recordings without being overly nostalgic. The music shines, as does the songwriting, which is honest, undiluted and spiritually inspired. Disco horns, heavy percussion and slap bass punctuate dance floor burners, which give way to sweet soul steppers, making for a blissful balance on the 9 song album.

                                                                            The Pendletons is a long-standing boogie-funk and modern soul project of E da Boss (one half of Myron & E) and Trailer Limon. The group emerged with their very first release in 2010, a 7" inch of "Coming Down/Waiting On You" on the Slept On record label, which set the tone for the group to emerge... It instantly became a cult classic receiving constant play at nights like Sweater Funk and Funkmosphere, and fetching for serious sums among collectors.

                                                                            In 2013, they followed up with another 7" featuring K-Maxx, Jacqueline Mari and Songbird Remos and later a very limited flexi-disc release title "Winning Ova You". In 2016, they released the EP "Gotta Get Out". The title track caught the ear of renowned global tastemaker Gilles Peterson, who liked it enough to release it on his Brownswood Bubblers' compilation. In 2018 the group released the Funk Forever EP on the Bastard Jazz label to critical acclaim.

                                                                            Now armed with a live band with a full horn section, a vast array of accomplished jazz and funk contributors, and a knack for quality song-writing, the Pendletons' sound has shaped into something fresh and unique. The duo release their debut full length album, 2 Steps Away, on Bastard Jazz this spring.

                                                                            Sizzling reissue tackle here from Best Italy, who furnish us with an official remastered limited edition of 1983's most sought after Italo-Disco bomb. A one off studio project featuring Belen Thomas on vocals. Built on a slinky bassline from none other than a Roland TB-303, "Melody" is one of those weird Euro-pop pearls which went over wonderfully in Chicago's nascent house scene. Not only do we get the dance floor majesty of the original mix, but we also get an unreleased dub version which teases and pleases in equal measure. Over on the B-side we get the equally adored "Stop Fantasy", a sugary female vocal groover along the lines of "Just An Illusion" but with a little more sass.


                                                                            Driving / Trash In Bed

                                                                              POLIÇA have announced the release of their new single “Driving / Trash In Bed” on limited edition hand stamped and hand numbered white label vinyl. It’s the first taste from the band’s forthcoming fourth album and their first new music since their Record Store Day 7” release “Lipstick Stains / Still Counts” in 2017.

                                                                              Backed with exclusive b side “trash in bed”, Driving is limited to just 200 copies worldwide.

                                                                              Future Afro-Latin jazz house from Italian master percussionist, multi-
                                                                              instrumentalist and composer Gabriele Poso. Featuring guest vocalists Nailah Porter, Nina Rodriguez, Quetzal Guerrero & Sofia Rollo. Following a long-term collaborative partnership with Osunlade / Yoruba Records, as well as albums on BBE and Agogo Records, on ‘Batik’ Poso further develops and matures his sound - exploring his extensive roots in Afro-Cuban percussion, while delving into the realms of jazz and soulful house. Much of the album features Poso on not only vocals but many of the instruments - including percussion, guitar and kalimba. With mixing by renowned Spanish DJ and producer Kiko Navarro, the lead single “Africa Linda” is an up tempo live take on Latin house, featuring American-born soul singer Quetzal Guerrero on vocals.

                                                                              In 1979 the late Congolese musician Lumingu Zorro, protégé of Kinshasa’s legendary 60s band leader Dr Nico, recorded Mosese, his only pre-2000 solo album, for the Tabansi label- and this is it. CHAMPETA STORM WARNING! The first-ever reissue of one of West Africa’s best-kept rumba-soukous secrets- as well as being one of the most in-demand titles on Colombia’s booming Champeta sound system scene, where a rare record is protected as fiercely as on the Northern Soul or Jamaican sound system scenes, the label scratched off, the record hidden from view when not on the turntable. Possibly one of the strongest and most consistent Congo dancefloor albums ever recorded perfectly balanced between voices, horns, guitars and percussion. Which is why original copies of this all-time rumba rarity almost never reach the open market, being traded between Colombia’s champetapicoteros (sound system selectors) instead. In Kinshasa they say ‘Mizikiezelakielengndeko’- ‘Sweet music, brother!’. Roger that.


                                                                              Artificial Imaginations

                                                                                New Words is proud to present: Artificial Imaginations, the debut album by synthesist and composer, Quilsk.

                                                                                Venture through environmental constructs, this music stimulates the listeners imagination and catalyses synaptic transmissions.

                                                                                STAFF COMMENTS

                                                                                Emily says: A deep new offering from Bristol based label New Words. Ambient textures formed via a loose-knit network of rippling synths, dusty samples and spacious beats.

                                                                                Be With Records and Emotional Rescue team up to present a special release of US jazz vocal group Rare Silk and their cult song, "Storm". A diggers cut for many years, more recently it's become an algorithm "hit". Presented here as a stand-alone limited 10" release, the song is backed by a spellbinding echo-drenched remix by New York's exemplary electronic sonic explorer, Arp.

                                                                                Originally formed when sisters MaryLynn and Gaile Gillaspie met Marquerite Juenemann in southern California in the late '70s, with the arrival of Teddy Buffa the trio quickly expanded to a four-part harmony vocal group. Signed to Polydor, they rose to prominence over the ensuing decade with the release of three albums that gained them multiple Grammy nominations. Taken from their 1985 album "American Eyes", Storm is based on a Stanley Turrentine song of the same name, from his 1971 album Salt Song. With additional vocals written by MaryLynn, as with much of their music -underpinned as it is by an otherworldly exotica - the artisanal, crafted care of the instrumental and vocal arrangements, featuring lush, rich phrasing, is evident in their exquisite reading of the song. When deciding how best of present the song it seemed right to ask a favourite of both labels. Having appeared on Emotional Response in 2017/18, Alexis Georgopoulos returned to his Arp project with last years' much-heralded Zebra album on Mexican Summer. Stripping out the vocals, the remaining instrumental is rearranged, rebuilt and then soaked in heavy tape echo. The result is a discerning dub to act as the perfect accompaniment.

                                                                                Rev Rev Rev


                                                                                  Kykeon is the long-awaited third album from Italy’s finest shoegazing noise-rockers Rev Rev Rev, following on from their 2016 LP Des Fleurs Magiques Bourdonnaient. The band say of the new record: “Kykeon is about exploring the obscure. It’s a ritual descent into the underworld, but also a flight through the cold spaces amid the stars. There’s stripped-back song structures, trance-like drumming, fuzzy reverberated guitars, abrasive atonal sounds and tonnes of feedback.” Kicking off the album with a relentless torrent of noise is ‘Waiting For Gödel’ and ‘Clutching The Blade’: two cuts of blistering psychedelic noise-rock that take no prisoners.

                                                                                  The band say of the latter: “Clutching The Blade’ is a good snapshot of our sonic virulence. Among the new songs, it’s the one that truly conveys the energy of our live show. The song itself is about being trapped in the quicksand of a certain situation and the appalling feeling that the more you struggle, the faster you sink.” This sense of danger and losing control runs throughout the album, manifested perfectly in the claustrophobic noise-rock of ‘Sealand’ and ‘Egocandy’: primal and piercing, both tracks are dominated by screeching feedback and slabs of unforgiving fuzzed-out guitars that are more than capable of blowing both amplifiers and eardrums. Kykeon isn’t always quite such an intense affair though. Tracks like ‘Summer Clouds’ and ‘Adrift In The Chaosmos’ deal in a sublime Loveless-esque shoegaze sound; Laura Iacuzio’s shadowy, ethereal vocals emerging through all-consuming walls-of-noise. Then there’s the murky, ritualistic drone-rock found on ‘Gate Of The Dark Female’ and ‘One Illusion Is Very Much Like Another’ which keep hold of the band’s trademark fuzz onslaughts but gear them more towards explorations into repetition and texture. ‘One Illusion…’, especially, is bolstered by modular synths, DIY guitar pedals built by guitarist Sebastian Lugli and the use of a tanpura, a stringed drone instrument originating from India. Their finest work yet, Kykeon proves that Rev Rev Rev – based in Modena, Italy – are without a doubt one of the finest bands today to be carrying the torch for shoegazers far and wide, old and new – praise that’s already been justly lauded on them countless times since they formed back in 2013

                                                                                  Fantastic Voyage kicks off the first vinyl focused label, Fantastic Wax, with Hong Kong based vinyl aficionado, and owner of Pharmacy Records and Fauve Radio, Romain FX. Inspired by his love and respect for African music and it's deep roots, Romain approached it with a modern mindset to give a second life to the tracks that we're disappearing due to the lack of accessibility and rarity of these records.

                                                                                  STAFF COMMENTS

                                                                                  Sil says: Piano ridden a la old school house music in the infectious 'Indaba Kabani' which gives way to my favourite track here 'Gambian Neptune', a Balearic diamond with a house pace and a certain Miami Vice and pink flamingos feel.
                                                                                  On the flip, the vibe is very positive but takes the hip hop route this time in the Nigeria house bomb that is 'Nigerian Charo'. Closing this banger of a 12" is 'Sudanese' with its chants and folk instruments over a slightly breakbeat beat. Very warm and out of the beaten track edits for our lovely discerning customers!

                                                                                  Rockers Revenge Ft Donnie Calvin

                                                                                  Walking On Sunshine

                                                                                  Smokin' hot remixes of the ultimate classic that is Rockers Revenge ' Walking on Sunshine'. 
                                                                                  Ful intention takes the classic to another level by focusing on the drum break and the apotheosic climax that will turn the dancefloor upside down. Dangerous game to touch a classic like this one but Full Intention are not amateurs and deliver a house bomb. Two actually if you count the dub on the flip which focuses more on the beats and the bassline. 
                                                                                  A resolutely essential 12" that will fly - so do not sleep on this gorgeous yellow piece of wax!

                                                                                  STAFF COMMENTS

                                                                                  Sil says: Mega bomb for da dancefloor. You get a super hit oomphed to the max by well-seasoned fellas Full Intention. Full on fun!

                                                                                  FORMAT INFORMATION

                                                                                  Ltd 12" Info: Yellow 12"

                                                                                  “The Next Chapter/Recognise Me (I’m An African)” marks the return of the godfather of British hip-hop, Rodney P aka The Riddim Killa, with his first solo release in over a decade. Out on Tru Thoughts, the white promo 7” represents the Rodney P of today. The two killer tracks embody and personify the evolving music and culture of his heritage while paying homage to his contribution to the UK hip-hop canon. “The Next Chapter” is both personal and cultural. It’s a reintroduction to the hugely influential legend while laying out the next chapter in his respected career. “Recognise Me (I’m An African)” sees Rodney reconnect on a deeper level with his West-Indian heritage as a second-generation immigrant. Referencing Ghanaian politician and revolutionary Kwame Nkrumah, Rodney explores themes of identity and the ideology of pan-Africanism (the idea that the destiny of all people of African descent, depends on the fate of the continent of Africa). A pioneer who inspired a generation of hip-hop and grime MCs with his homegrown reggae-influenced flow, Rodney P set the scene ablaze back in the late ‘80s with the seminal group London Posse. Since then, he has had a rich and varied career as a radio and television personality, while musically collaborating with the likes of Bjork, Skinnyman, Omar, MJ Cole and countless others.

                                                                                  Oscar Scheller


                                                                                    We dare you not to smile ear-to-ear when listening to Oscar Scheller’s newest single, Interstellar Disco. Despite its cheerful disposition on the surface, the song’s cosmic alignment into existence actually occurred from a darker place. Oscar explains “The day I wrote it was probably one of the hardest days of my life and it means something very special to me. Luckily I was writing with Lucy (PAWWS) who is a musical soulmate and the perfect dance partner. We found a bittersweet escape. It’s there when you need it”.

                                                                                    “It’s a song about a two friends meeting at a fantasy location called the Interstellar Disco. It’s a place you go when the sky feels too low and the universe feels too big and you just wanna forget about everything and dance like Napoleon Dynamite”.

                                                                                    Oscar’s forthcoming HTTP404 project boasts a series of noteworthy collaborations with the likes of Lily Allen, Ashnikko, Havelock, and Kero Kero Bonito’s Sarah Midori Perri. The set of songs focuses on the importance of searching for something that no longer exists, not finding what you’re looking for. It’s philosophical & existential in places, but there’s an underlying message across the board to stop thinking about things so much & just start living!

                                                                                    Speaking about the project Oscar Scheller had to say “I’ve been gone for a minute, trying to find myself, and I think I did. I also found a lot of friends along the way. What you’re looking for may not exist how you think it does. It may not even be what you thought it was either. HTTP404 is where I’ve been. But now I’m back online with good enough WiFi and a heart full of love”.

                                                                                    FORMAT INFORMATION

                                                                                    LP includes MP3 Download Code.

                                                                                    'We Can Do Anything We Want Because They Say We Can't Afford The Police'

                                                                                    Talking Heads lost in Ancoats. Prince in a Berghaus. The Compass Point All-Stars meet the Piccadilly Gardens Spiceheads. Welcome to the world of See Thru Hands.

                                                                                    Here to bring salvation to a Broken Brexit Britain, See Thru Hands is a fresh band from Manchester with hooks for days and a SERIOUS live vibe. Their debut EP on Manchester legend Ruf Dug's label Ruf Kutz - "The Hot City EP" - brings you two new songs backed with remixes tested on the world's best dancefloors.

                                                                                    Opener "Hot City"'s energetic punk / funk battalion conveys a dark story of British city life outside the London bubble. Our councils are fucked, our public services neutered and all anyone cares about is when Deliveroo is gonna be available in their neighbourhood. Throw away your post-apocalyptic fantasies because it's already like that - the only option is to dance. It's grim up north.

                                                                                    After dancing ur arse off and simultaneously coming to the realisation that we're all fucked pls don't worry - See Thru Hands are here to pick up your pieces with "Nothing To Lose", a whimsical modern pop banger with shades of New British House that will instill in you a sense of freedom and ease all your worries. Yes we are all going to hell in a handcart but with See Thru Hands as our companions, I think it's all gonna be just fine.

                                                                                    The package comes backed with a pair of deadly remixes - boss man Ruf Dug strips back "Hot City" to the bare bones, rigs up a couple of jazzy neon lights and a DMX drum machine and brings you his "Metrolink Vibes In The Area" version, while young upstart Metrodome completes the all-Mancunian lineup on this record with a twisted, Marmite 2-step interpretation that is either gonna make you buzz or spew. It's not for everyone.

                                                                                    The Seshen

                                                                                    Dive / 4AM

                                                                                    “Dive / 4AM” is the latest outing from San Francisco Bay Area-based sixpiece, The Seshen. The 7” outlines the steps the group has made since their critically acclaimed sophomore album in 2016, both as a band and as individuals. “Since ‘Flames & Figures’, a lot has been taking place both internally and externally.

                                                                                    Side A opens with distorted four-to-the-floor chomper, “Dive”. Aggressive yet danceable, gritty but somehow unstoppable, “Dive” is inspired the profound need for change, catalysed through the somnambulant Larry Heard-esque bassline meshed to the warped tones of Lalin’s vocals. “The path towards my power, my strength, being okay with being unapologetic is just starting. I’m reclaiming what I have lost, reclaiming what has been passed down to me. The song is about the ground beginning to shake”, Lalin preaches.

                                                                                    While in contrast on side B, “4AM” untethers the listener by exploring a sense of spaciousness, flourishing the sparseness, distracting with moving snippets of delicate production. Lyrically tackling the insomniacs waking nightmare, “4AM” is about the witching hour, battling against oneself. “I was experiencing anxiety at night...where I would review all my actions and all the things I said throughout the day in search of something that I did wrong. At times it would keep me up, and I felt that I was at war with my mind.”

                                                                                    Don Slepian

                                                                                    New Dawn

                                                                                      Very limited pressing. “360 degrees of freedom is overwhelming in music, and you need not truly begin to find freedom until you put yourself under extremely narrow constraints.” It was with this quote that Don Slepian laid the groundwork for over 40 years of musical output. Slepian’s work draws equally from the harmonic terrain he explored while performing with a Javanese gamelan ensemble, as well as his time spent building and modifying electronic audio equipment for studios and fellow musicians. Gravitating towards improvisation and experimentation, Slepian built a breathtaking sound-world that stretched the briefest of moments into an eternity of detail and depth.

                                                                                      In 1980, Slepian self-released a series of cassette albums that built upon and perfected this practice, offering “New Music for Digital Orchestra”. New Dawn is one of those albums - an enthralling example of New Age euphoria, and early-electronic experimentation. New Music For Digital Orchestra? An ironic subtitle for an album without any traces of digital technology found within. The instruments, tools, and recording techniques are entirely analog. A Korg PS3100, Mellotron voices, Mellotron flutes, analog tape echo and analog recorder were used to create both of the pieces found on New Dawn with both tracks being recorded live with no overdubs. 



                                                                                        The English shoegaze band Slowdive formed in 1989 and primarily consisted of Nick Chaplin (bass), Rachel Goswell (vocals, guitar), Christian Savill (guitar) and the band’s primary songwriter Neil Halstead (vocals, guitar).

                                                                                        Souvlaki is Slowdive’s second studio album, originally released in 1993. It’s considered as one of the best Shoegaze albums of all time, but didn’t receive much credit during its release. The album contains synthesizer contributions from Brian Eno on “Sing” (which he co-wrote) and “Here She Comes”

                                                                                        It was a joy to witness a record which was given no hope (by the snide music press) gather genuine grass roots, word of mouth praise over the ensuing decades until it ended up being seen as a classic pop record, Shoegaze or otherwise.

                                                                                        STAFF COMMENTS

                                                                                        Andy says: One of my favourite albums given a beautiful reissue on glorious coloured vinyl. I loved their comeback LP but for me, this is their best record.

                                                                                        FORMAT INFORMATION

                                                                                        Coloured LP Info: Souvlaki is available as a limited edition of 4000 individually numbered copies on transparent & black (smoke-coloured) swirled vinyl. The package includes an insert and the cover jacket has a special airbrush finish.

                                                                                        Former owner of Berlin’s Bass Cadet Records and part of Arcarsenal duo, Solune, joins Anma with a number of tribal-influenced, spiritual house tracks.

                                                                                        "Ceremony" rolls out the swinging percussion and swooping hi-hats. The sub-heavy bass rumbles add to the bouyant nature of the track which nods in respect to Ron Trent's Electric Blue series. Vibing keys, bird song and rainforest sfx all guiding us deep into a ritualistic workout.

                                                                                        The follow-up track, "Colibri In The Urban Zone", muses on the same musical philosophy by speeding up the pace of the drums and delving deeper into a moodier, pad-soaked framework which is decorated by a skilled, echo-drenched Rhodes improvisation, plumeting the track into a rich, velvety patina. 

                                                                                        On the flipside, "Colibri In the Sacred Mountain", drops off the drums entirely and focuses on fusing industrial soundscapes with traditional flute and synthesizers to develop an ever-evolving, arpeggio embracing rhythm that embues peace and serenity to all. 

                                                                                        The release is rounded up by Detroits’ own Patrice Scott. The faster tempo, minimal-electronic percussion and floating keys instantly strike a chord with fans of this dance music mainstay as he delivers a high grade remix resplendant with colour, warmth and vibrancy. 

                                                                                        The Specials

                                                                                        Specials - 40th Anniversary Half-Speed Master Edition

                                                                                          This 40th Anniversary Edition of their debut album ‘Specials’ has been mastered and cut at half-speed by Miles Showell at Abbey Road Studios using the original production tapes.

                                                                                          This edition has been split across 2x 12” vinyl at 45rpm for optimum audio quality.

                                                                                          The Specials are one of the defining bands of the late 70’s/early 80’s along with Jerry Dammers’ iconic label Two Tone Records. Originally formed in 1977 as The Coventry Automatics, The Specials combined Jamaican ska and Rocksteady mixed with the energy of punk and launched a whole Ska Revival which helped fellow like-minded bands Madness, The Beat and The Selecter to release their first singles. The Specials first single, ‘Gangsters’, was released in May 1979 with independent distribution by Rough Trade and the initial pressing of just 5,000 records sold out. The band and label soon signed with Chrysalis Records who picked up on the release of ‘Gangsters.’ The next single, ‘A Message To You Rudy’, followed in September with their first album released soon after in October. 


                                                                                          Devour You

                                                                                            Starcrawler’s remarkable sophomore album Devour You is a record that dynamically captures the essence and aggression of their gloriously unhinged live shows. Produced by Nick Launay (Nick Cave & the Bad Seeds, Yeah Yeah Yeahs, L7) at Sunset Studios, Devour You takes the feral intensity of their 2018 self-titled debut and twists it into something grander and more gracefully composed.

                                                                                            With its more elaborate and nuanced yet harder-hitting sonic palette, the result is a selection of songs radiating both raw sensitivity and untamable power, and a record that the band’s Arrow de Wilde says, “encapsulates all the blood, sweat, bruised knees, and broken fingers of a Starcrawler show.”

                                                                                            STAFF COMMENTS

                                                                                            Barry says: Scathing, fiery rock riffs, a wonderfully odd exotica-meets-punk visual aesthetic and an incendiary live show have gotten Starcrawler to where they are today, and 'Devour You' is certainly set to continue that legacy in fine fashion.

                                                                                            FORMAT INFORMATION

                                                                                            Coloured LP Info: Limited edition blood red marbled vinyl with scratch & sniff sleeve.

                                                                                            Stiff Little Fingers

                                                                                            Inflammable Material - Vinyl Reissue

                                                                                              Stiff Little Fingers are proud to release Inflammable Material. Originally released in 1979, this seminal record, printed on black vinyl, explores themes of teenage boredom and sectarian violence with an underlying insight into Northern Irish life during the peak of the tensions.

                                                                                              Their punk rock aesthetic is authentic, with raw lyricism and harsh instrumentation. Containing the anthemic track ‘Alternative Ulster’, Stiff Little Fingers promote the ‘grab it and change it’ narrative. 

                                                                                              FORMAT INFORMATION

                                                                                              Ltd LP Info: 180 gram black vinyl edition.

                                                                                              The first remixed release from Studio Mule / BGM and it's Portland's RVNG-affiliated Visible Cloaks (aka Spencer Doran)  enlisted to produce two remixes swathed in their beguiliing Japanese-influenced synthscapes. The compiler of our much loved Japanese ambient compilation "Kankyo Ongaku" has remixed two tracks from Studio Mule starting with "Face To Face".

                                                                                              The interestingly titled 'Cathedrale Saint Alain De Lavaur mix' sees Spencer mix the angelic, lilting vocal into a sumptious bed of gentle synth; a duet between voice and synth that soars up to the heavens and remains there, beaming light on everything below it. 

                                                                                              "Yogao" receives an 'Overtone Mix' on side B, driving distant, reverberating piano into a smudged, compressed saturated haze; possibly reversing string like elements so as to reveal, unexpectedly, bursts of light through an inpenetrable grey. Slowly keys, strings and vox all melt into this continuously reverberating scene, creating an almost holy union of sound. 

                                                                                              Kaidi Tatham

                                                                                              You Find That I Got It / Mjuvi

                                                                                              Kaidi Tatham returns to 2000black with his unmistakable sound. 'You Find That I Got It' shows Kaidi's ability to mix soul,jazz and dance all together harmoniously. Its that mid tempo stepper that goes rock steady. On the b-side 'Mjuvi' is THAT cheeky groove that shows Mr Tatham's unique ability to groove off beat on time inside.


                                                                                              Hot Motion

                                                                                                It is one of the brilliant facets of recorded music that while it can frame forever in time one of humanity’s most fluid art forms, those captured sounds themselves can go on to become an active launchpad for the ideas, memories, emotions and feelings of those listening. Returning with their third album, Hot Motion, Temples have not just provided a strong demonstration of this dual static/frenetic nature, but they’ve created a record that revels in this beautiful contradiction.

                                                                                                A brilliantly crafted, thoughtfully recorded collection, the album’s propulsive, seemingly immediate songs soon reveal an impressive depth of ideas and energy with subsequent listens because, as its title warns, Hot Motion is not a record that stands still.

                                                                                                “I’m excited for people to experience these songs for the first time,” declares singer and guitarist James Bagshaw. “They are constructed in such a way that the album should feel relatively instantaneous, but we did not water down our creative ideas. Getting that balance can be hard, perhaps on the last record on some songs we used too many layers to create depth, but making this album we discovered that depth doesn’t simply come by layering things, it can come from the intensity of an idea.”

                                                                                                While proud of 2017’s electronically orchestrated Volcano, the trio – completed by bassist Tom Walmsley and guitarist Adam Smith – feel they have reconnected with the verve and spirit of their debut, 2014’s Sun Structures, although Hot Motion proves as unique and forward-thinking as any Temples album.

                                                                                                “There’s something more primal about this record,” suggests Walmsley of its energy. “We didn’t want to complicate things. We wanted it to have a more robust feel to it and focus more on guitars. Having less on there, but making everything sound as big as possible. I’ve always wanted our records to sound quite grand and larger than life, but we achieved that with some more earthy sounds in this time.”

                                                                                                As with the band’s first two LPs, the group recorded the album themselves in Northamptonshire, although this side of Temples as evolved too. “We’ve gone from bedroom to living room to a dedicated space. We could all set up in the same room and allow things to play out a lot more like a band. That played a huge part in the sound of the record,” says Walmsley, although despite the extra room Hot Motion remains a home recording like its predecessors.

                                                                                                "The room is a 300 year-old outbuilding at my house,” continues Bagshaw. “I spent two years fixing it up because it had a leaky iron roof on it. It was nice to work in a space which had a little charm to it but still felt like home recording.”

                                                                                                That space fed directly into Temples vision. While retaining their enviably poppy instincts, the band created a host of brand new guitar sounds for this record and also took a lead from the “simplicity” of some 70s rock recordings which ensured the fundamentals behind each track are organic and original. “We were hiding less behind synth sounds and delays, which meant that the pureness of the melodic construct of each song was more thought through,” explains Bagshaw. “There was an element of less is more in some places.”

                                                                                                A glorious technicolour infuses much if the album, but there is a David Lynch-like undertone that adds a gravity to Hot Motion’s soaring moments. “It felt like there was a darker edge to what we were coming up with and we wanted to make sure that carried through across the whole record,” says Walmsley. “It’s not a ten track, relentless rock record from start to finish, it’s got a lot of light and shade and more tender moments, but that heavier, darker sound for us is something we wanted to make sure was in there and explore further.”

                                                                                                The exemplar of this is the opener and title track Hot Motion. Starting with a seemingly innocent, crunked ice cream van-like riff, the song quickly bounds through a sonic landscape of shadowy valleys and exalted highs as the track captures Temples at their inventive best, and shares an expansive, irresistible energy with the listener.

                                                                                                “Hot Motion is the feature piece,” declares Walmsley. “It was one of the first songs we put together for the record and it felt like it had all the marks and inspiration that we wanted the whole record to have, that was an important track.” Bagshaw agrees, suggesting that it set a tone for the next phase of Temples’ development. “Hot Motion is a better song than I ever dreamed it could be,” he says. “There was something in essence of that song to conjure with.”

                                                                                                From the impressive opening, the rest of Hot Motion similarly boats an initial immediacy before unfurling greater depth and ideas, although each song cascades onto its own unique territory. Tracks like The Beam, It’s All Coming Out and Step Down offer swirling, enticing mini journeys, while the groove on Context “huge and a bit of a nod to an old school hip hop vibe” according to Bagshaw. “Songs like The Howl and Holy Horses have a slightly harder, heavier than we’ve done before,” adds Walmsley. “It felt like it was very important to retain that element on the record because it allowed us to open up with tracks like Atomise.”

                                                                                                Lyrically too, this record has seen Temples embrace “purer, primal” feelings.

                                                                                                “I’m really proud of You’re Either On Something lyrically because I feel deeply connected with the words – they’re so truthful,” admits Bagshaw. “On that track, I can hear influences of stuff that I listened to when I was growing up. There’s almost a nostalgia to that track, even though it’s very forward-looking. Equally, while the words on [album closer] Monuments are a little cryptic, it’s very much about the time we live in. I wouldn’t say it’s a political song but you can’t help but write about the things that are happening otherwise you’d just be a hermit.”

                                                                                                Fizzing with ideas, bursting with kinetic energy and balancing an immediate impact with an enduring, timeless intensity, Hot Motion is an album that very much provides a snapshot one of Britain’s most progressive bands’ soul, while offering its audience a starting point for their own flights of emotion and imagination. Indeed, one of its creators is jealous that he cannot experience it anew too.

                                                                                                “This record has really got me excited,” declares Bagshaw. “I really want to be on the receiving end of it more than any other record we’ve done. While we were making it I was thinking I wanted to be able to hear what it sounded like without working on it – I’d love to hear this out of the context in which it was made. I was really longing for that as we worked on each song, so I’m excited for people to experience these songs for the first time.”

                                                                                                Don’t delay this life-affirming trip, Hot Motion awaits.

                                                                                                FORMAT INFORMATION

                                                                                                Coloured LP Info: Limited transparent red and black marble edition.
                                                                                                Includes poster.

                                                                                                Coloured LP includes MP3 Download Code.

                                                                                                Indies Exclusive LP Info: Limited indies only zoetrope version. US import. Forest green & tan mixed vinyl with red & yellow splatter. Standard weight. Includes animated zoetrope labels, gatefold jacket, double-sided fold-out poster, custom inner sleeve, and digital download card.

                                                                                                The Wire

                                                                                                Issue 429: November 2019

                                                                                                  On the cover: Kevin Martin + Stephen O’Malley: Bottom end technicians and high priests of high volume Sunn O))) guitarist Stephen O’Malley and Kevin Martin aka The Bug meet in Paris to discuss their low lives. Mediated by Mike Barnes.

                                                                                                  Plus: Francis Gooding decodes the conceptually minded Ideologic Organ label; Abi Bliss talks to choreographer Gisèle Vienne; Phil Freeman on Martin’s close associate Justin Broadrick; and Joe Muggs on The Bug’s MC collaborators.

                                                                                                  Also inside this issue: Hanna Hartman: The Berlin based Swedish electroacoustician has amassed three decades of work. As composer-in-residence at this year’s Huddersfield Contemporary Music Festival, she’ll be bringing it to the stage. By Philip Clark.

                                                                                                  Jöelle Léandre: The French bassist has travelled the globe with the aim of collapsing barriers and conventions. On a stopover in Mexico City she discusses her self-described nomadic career ahead of a residency at London’s Cafe Oto. By Louise Gray.

                                                                                                  Plus: Invisible Jukebox: Jaimie Branch, Global Ear: Sokołowsko, Lara Rix-Martin, George Xylouris, Swing Ting, Corporate Ambient, Jessica Pavone, Apprentice Destroyer, Joe, hundreds of reviews and more.

                                                                                                  FORMAT INFORMATION

                                                                                                  Magazine Info: Free with this issue: The Wire Tapper 51

                                                                                                  Tom Blip & Swordman Kitala

                                                                                                  Kitala Beat

                                                                                                  For Blip Discs’ eighth installment, label head Tom Blip presents two bass-loaded, grimy workouts recorded with local Ugandan MC, Swordman Kitala. Spoken in a hybrid of Luganda and English, Swordman’s lyrical lines fittingly compliment the skippy 808-driven instrumentals laid down by Tom Blip, gaining early support from Auntie Flo, Call Super, Ploy, Roska and even UK funky legend, Donae’o.

                                                                                                  Comes with a funky mix which deploys those trademark snares and some tuned 'drip' fx for an incendiary flip on this meticulous new riddim.

                                                                                                  We heart Tom Blip! Recommended.

                                                                                                  First ever official reissue of Vance & Suzzanne's "I Can't Get Along Without You", presented here by Kalita. A true holy grail which adorns the shelves of many a proud disco collector, it regularly fetches triple figures 2nd hand. Kalita have not only re-pressed the vinyl on ultra slick 12" with both vocal and instrumental versions, they've included never-before-seen press photos and interview-based linear notes.

                                                                                                  Originally privately released in 1980 on Vanton Records, this is the first time that both the record and the label’s story has been told. The product of two members of Crown Heights Affair (Richard Vance Turner and Eleton Johns), the label was established as a way to protect both their musical freedom and copyright that they would have lost had they signed to a major label. With Vanton, they sought to create a sound that combined Eleton’s love for Philadelphia with Richard’s love for New York-based productions.

                                                                                                  Vance & Suzzanne consisted of Richard and his childhood friend and fellow band member Suzzanne Slaughter, who was a background singer for many bands in New York including Sister Sledge. The result of a late night writing session between Richard and Eleton and recorded to tape the following day, the record was finished in just twenty-four hours. Yet it’s legacy lives on as one of the most sought-after disco singles in existence.

                                                                                                  Two thousand copies of "I Can’t Get Along Without You" were originally pressed to test the market, with the initial plan being to re-record it again at a later date with additional strings. However, the record received such great acclaim by DJs such as Larry Levan that the idea of a re-recording was put on ice. Sadly, due to academic and familial commitments of both Richard and Eleton, only one other single was ever released on Vanton Records in 1985. This elusive little beauty should be right at the top of your disco purchases this week!

                                                                                                  STAFF COMMENTS

                                                                                                  Sil says: A gentle and soothing soulful number oozing love and passion. Hot stuff.

                                                                                                  Kurt Vile

                                                                                                  Childish Prodigy - 10th Anniversary Edition

                                                                                                    Reissued with the original 7” for the first time since its original pressing, and printed on coloured vinyl for the first time ever, Kurt Vile’s Matador debut Childish Prodigy is back this October.

                                                                                                    FORMAT INFORMATION

                                                                                                    Coloured LP Info: Coloured vinyl LP and 7".
                                                                                                    LP on light blue vinyl, 7” on purple.

                                                                                                    The Village Callers


                                                                                                    The Village Callers were born out of a band called Marcy & The Imperials in the mid-1960s and soon became very popular in East Los Angeles, playing all the top venues. They brought many different sounds into the mix: jazz, soul, R&B and Latin percussion… Their manager, Hector Rivera, got them a record deal with Eddie Davis' Rampart Records in 1968 that led to three 45s and their only ever LP, "Live". Their first 45 featured two original compositions: 'Hector' (also included in the LP) on the A-side, an original composition which became a hit in Los Angeles, backed by the wonderful ballad 'I'm Leaving'. It's easy to see why 'Hector' quickly gained airplay and took off, thanks to its hip and infectious Latin groove which would later be sampled by hip hop artists such as De La Soul, Beastie Boys, Cypress Hill, Ice Cube… Similarly, it's not surprising that 'Hector' has been picked by Quentin Tarantino to be part of the soundtrack of his new film, "Once Upon A Time In Hollywood", set in late 60s Los Angeles, as the song's effortless vibe really takes you to that time and place. Unfortunately, the recording career of The Village Callers didn't last too long after they decided to change label management and left Eddie Davis. Also, their powerful Latin sound progressively faded out as the original members were replaced by new musicians, transforming The Village Callers into a rock band.

                                                                                                    The Wedding Present

                                                                                                    George Best

                                                                                                      'George Best' is the debut album by The Wedding Present, originally released in 1987. Hugely anticipated, 'George Best' saw indie heroes The Wedding Present refine the blitzkrieg pop brilliance of the band's early singles into a nuanced styled that was distinctively theirs: heartbreak at the bus stop, set to the soundtrack of a million jangling guitars. 

                                                                                                      FORMAT INFORMATION

                                                                                                      Coloured LP Info: Limited edition green vinyl.

                                                                                                      Coloured LP includes MP3 Download Code.

                                                                                                      CD Info: The 'Plus Edition' CD includes an additional 11 non-album tracks from the same era.

                                                                                                      The Wedding Present


                                                                                                        'Tommy' is a compilation album by The Wedding Present, originally released in 1988, collecting songs from the band’s first four singles, plus four tracks recorded for BBC Radio sessions. Bringing together material written in the band’s first two years of existence, 'Tommy' proved that The Wedding Present’s essence was in place from the start. These kinetic blasts of homespun high-velocity bedsit drama presaged the more finessed 'George Best', but represented the band’s definitive portrayal.

                                                                                                        FORMAT INFORMATION

                                                                                                        Coloured LP Info: Limited edition white vinyl.

                                                                                                        Whether re-defining experimental fusion sounds with the hugley acclaimed Yussef Kamaal, or his catalogue of 12”s for imprints such as MCDE, Eglo, and Rhythm Section as Henry Wu, South London’s Kamaal Williams has been a key figure in his thriving international scene for the past few years. "The Return" is a natural evolution from the Yussef Kamaal project, mining the influence of visionary jazz but blended with all kinds of texture, sounds and signals from the over-saturated London streets.

                                                                                                        At times the keyboard work evokes the classic 70s fusion work of Lonnie Liston Smith or Roy Ayers, but underpinned by rhythms more reminiscent of blunted hip-hop and arrangements subliminally laced with the cut-ups of pirate radio. Progressive, funky, cosmic, exploratory and effortlessly musical, this is the sound of a musician honing their craft into thrilling new shapes.

                                                                                                        In the US the like of Kamasi Washington and Thundercat have made great strides in opening a whole new dialogue between jazz and hip-hop, drawing in a young, highly engaged new audience in the process. Kamaal Williams mine a similar seam on the other side of the Atlantic alongside other exciting London talents such as Ezra Collective, Ruby Rushton and Shabaka Hutchings.

                                                                                                        The Return is exactly that: a return and refinement to the sound Yussef Kamaal were progenitors of, and first set the scene for one of the most exciting musical movements London has had in years.

                                                                                                        Notable tracks for old and new listeners are ‘Slow', 'Situations', 'Medina', 'London Shuffle' which features Mansur Brown (of Mansur's Message) and for those die hard Yussef Kamaal fans - they should hear the interpolated roots of 'Strings of Light' in the title track 'The Return’. And that signature Wu Funk can be heard on Broken Theme, and High Roller.

                                                                                                        "The Return" will be the debut album released on Wu's new label Black Focus Records.

                                                                                                        STAFF COMMENTS

                                                                                                        Millie says: Brilliantly funked-up jazz grooves, rolling bass licks and flickering percussion make this not only a fitting follow-up to Williams' collaboration LP from last year, but a significant progression. Simply stunning, and every bit the summer jazz stormer.

                                                                                                        FORMAT INFORMATION

                                                                                                        Coloured LP 2 Info: Limited edition clear vinyl.

                                                                                                        Joey Negro & Z Records unstoppable "Attack The Dancefloor" series powers it’s way to its 14th Volume of remixed disco gold and is still one of the most highly collected series on the market!

                                                                                                        First up Joey brings one of his signature reworks to Delia Renee’s - "You're Gonna Want Me Back", pure uplifting female energy with all the pizzazz of the ‘80s. Dr Packer then steps up to give a fiery re-shake of (funky house classic) Foreal People's "Shake".

                                                                                                        On the B side the UK Garage royalty Grant Nelson takes the classic Z Factor "Gotta Keep Pushin" to another dimension, turning it into a fist pumping disco-house hit that again, works the soundsystem in completely desirable ways.

                                                                                                        Joey Negro lights up the last slot with a trademark Redemption Mix of Four80East & CeCe Peniston's "Are You Ready", drenched in spiritual organs and CeCe’s untouchable vocal prowess.

                                                                                                        Another indispensable ATDF 12", destined to cause waves across dancefloors worldwide and ripples of investment across the discogs stock exchange. Get in there first to avoid tears later! 

                                                                                                        The third installment of the Future Bubblers compilation is here showcasing some stunning hip hop, jazz, electronica. The programme, started by Brownswood founder and 6 Music broadcaster Gilles Peterson has garnered a reputation of being at the forefront of cuttingedge music, having previously released tunes by artists such as Yazmin Lacey & Skinny Pelembe. Peterson says of the release “Another year deep into Future Bubblers... and another fascinating selection of exciting music from across the country. Keep on keepin’ on Year 3s” Serving as both a new music discovery platform and a mentoring scheme - Future Bubblers aims to support left-field music by offering advice and practical support to the acts hand-picked from the multitude of applications received. Future Bubblers 3.0 continues the tradition of wonky electronica, soulful rhythms and jazz infused bops. From the Mancunian twang of Blind MIC to the freeflowing improvised hip-hop of Nutribe, the velvety vocals of Shunaji to the sultry r’n’b tinged Aaliyah Esprit - this new generation of creative and progressive musicians here showcase their individual skill - as well as the unifying and supportive ‘extended family’ ethos that comes from working as part of Future Bubblers. Future Bubblers has been running since 2014, artists are chosen through an open application process each year. They’re paired with a mentor from the music industry who, along with the Future Bubblers team, develop these artists. This album is focused on the ten artists from Year 3.

                                                                                                        STAFF COMMENTS

                                                                                                        Millie says: Future Bubblers showcase the best upcoming artists in Hip Hop, R&B, Jazz and Electronica with talent overflowing from these ten tracks. Big MIC, fellow Mancunican displaying jazzy beats and Ayy’s hip hop is fire! Stay up to date with the fast paced music trends with the best of new artists on the Brownswood label which you can trust is only things you need to be listening to.

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