MAGIC MIX

ALL GENRES

WEEK STARTING 12 Jul

Bordello's reissue arm go into overdrive this week, slapping us round the chops with an official Attic Salt Discs re-issue of the Belgian synth-pop evergreen ‘Love In Motion’ (1984) by 1000 Ohm. The band kicked-off in 1979 with their successful debut A.G.N.E.S. / Look Around and later on developed their style from New Wave to Italo-Disco influenced Synth-Pop (‘The Claim’) and a decade later even touches of New Beat (‘You’re The One’). ‘Love In Motion’ is a beautiful mixture of 1000 Ohm’s repertoire, boasting precision engineered drum programs, chiming synth melodies and a very 80s vocal. The release comes with remastered versions of the original 12″ version, instrumental and on top a DJ friendly ‘Vanzetti & Sacco’ edit.

STAFF COMMENTS

Patrick says: Even in the throws of my wildest chair dancing, I can still find the time to thank Attic Salt Discs for this splendid reissue of 1000 OHM's Italo/synth pop gem "Love In Motion". Heady sequences, heart tugging melodies and a great new wave vocal combine for one of the finest Euro pop cuts ever.

Hailed as the most revolutionary force in popular music for two decades, Africa Express was founded in 2006 and brings together musicians from different cultures, genres and generations to break boundaries and offer a new perspective on Africa and its music. Each record and event is unique, based upon on-the-spot collaboration and filled with unique moments of magic; the collective have hosted trips and concerts in Nigeria, Democratic Republic of Congo, Ethiopia, Mali and UK to date.

Africa Express travelled to South Africa in January of last year to complete an electronic album in just 7 days, a week of discovery, collaboration and music-making. The result is "Egoli" – 18 tracks capturing the fresh, joyous sounds of Afro Futurism, straight out of Johannesburg. Featured artists include Damon Albarn, Blue May , Gruff Rhys, Georgia, Ghetts, Mr Jukes, Nick Zinner, Remi Kabaka, Otim Alpha and Poté as well as emerging and established stars of the buzzing South African music scene including BCUC, Blk Jks, Dominowe, Faka, Infamous Boiz, DJ Spoko, Mahotella Queens, Moonchild Sanelly , Muzi, Morena Leraba, Nonku Phiri, Radio 123, Sibot, Sho Madjozi, Zola 7, Zolani Mahola (Freshly Ground) and Maskandi guitar legend Phuzekhemisi.


More emissions land from Radioactive Man’s sessions at Curve Pusher studios on his Asking For Trouble label. This time it features a new collaboration with Ara-u, a friend and a figure whose heritage lies in the rave community of 90s Venezuela. Started in Hackney and finished in Hastings, on "Plastic Attack" the pair present a four track selection of raw analogue machine funk from the bunker for the warehouse floor.

"Datatheft" kicks us off with malevolent undertones across a mechanized superstructure; if the machines are indeed taking over their dark intentions are revealed through the grimy gears and rusty pistons firing off this menace.

"Failure To Communicate" is pure Keith Tenniswood brilliance; as a anthemic 303 decorates a skeletal but snappy broken beat. Much like "Daytime Robbery" which sees the producers squashed, sub-woofer tickling 303 lines growl over another minimalist electro wobble.

Finally "The Last Waltz" carries on like a buzzy UR number; a rabid sawtooth cutting through a frenetic electro hybrid beat. Add a few technoid stabs here and there and you've got yourself a sure fire body popper.



STAFF COMMENTS

Matt says: One of my favourite producers joins forces with a Venezualian rave vet for a jam packed EP of mechanized mayhem.

Ardentjohn is a project built around five core members from various parts of the UK and specialise in the sort of widescreen majesty that the cover depicts. We kick things off with the huge 'Magic Everywhere', building up like a post-rock staple, but bolstered with the sort of crescentic euphoria and tenderly sung vocals that lift it from a meandering instrumental into a fully-formed and fitting introductory piece. Things continue in a similar vein, with 'Malin Head' providing a slightly more upbeat offering, counteracting the quiet introductory passages but without sacrificing its integrity. 'Come Alive Again' is definitely more along the lines of a melodic 00's indie number, with slowly strummed chorused guitars and vocal harmonies pulling the piece along at a leisurely but perfectly measured rate.

Later on, and 'To Be My Love' and 'Orange Nights' provide a wealth of handy guitar work and pitch-perfect production, while never sacrificing the overall aesthetic established in the first half while follower, 'When The Faces Change' shows the more tender side to the band, perfectly accentuating the minimalistic instrumentation with just the right amount of slide guitar and subtle tremolo.

It's a beautiful work, and one that deserves your attention, no matter your musical leanings. 

The Artwoods

Art's Gallery

    The new release from Top Sounds Records honours one of the mid 1960’s most revered cult bands with the label’s first single artist long playing record and CD – the ARTWOODS!

    The ARTWOODS – Art Wood, Derek Griffiths, Malcolm Pool, Keef Hartley and future Deep Purple organist Jon Lord – recorded for Decca, Parlophone and Fontana from 1964 to 1967 and their Decca back catalogue in particular has been well documented by retrospective re-issues and compilations. The thirteen canvasses in ‘Art’s Gallery’ however are sourced completely from three live radio sessions that the ARTWOODS recorded for the BBC during 1965 and early 1966 and were not known to still exist. The British Broadcasting Corporation saved a number of tracks the group played for the Beeb and these have since appeared on the Cherry Red ‘Steady Getting It’ set, the rest of the ARTWOODS’ radiophonic output however was not kept by the BBC with the tapes being erased or junked. Thanks to diligent home taping by a particularly keen fan at the time, the ARTWOODS’ music for radio on ‘Art’s Gallery’ can again be heard in public for the first time in over fifty years. And besides welcome live takes of familiar favourites such as ‘Oh My Love’, ‘She Knows What To Do’ and ‘Don’t Cry No More’, there’s a spoil of cool numbers that the band never committed to disc. There’s the upbeat jazz of ‘That Healin’ Feelin’ and ‘Smack Dab In The Middle’, the slow burning blues of ‘How Long, How Long Blues’ and ‘Black Mountain Blues’, the soulful grooves of ‘Out Of Sight’ and ‘I Got A Woman’ and the pure mod suave of ‘Comin’ Home Baby’ (and more!).

    The music has been restored to the highest possible standards from the only known surviving reel to reel recordings and Top Sounds feel sure there’s a splendid time for all to be had from a visit to ‘Art’s Gallery’!

    A limited edition in both formats!!!!

    FORMAT INFORMATION

    Ltd LP Info: The vinyl version features a profusely illustrated 16 page ‘Radio Times’ sized booklet with a story featuring contributions from lead guitarist Derek Griffiths.

    Ltd CD Info: With 24 page booklet.

    Atmosfear

    Xtra Special

      In 1982 Atmosfear hit their prime with the release of this underground classic, ‘Xtra Special’. A gear switch from their jazz-funk origins, this boogie track featuring the sublime vocals of Beverley Skeete, is a prime example of an innovative band at their peak.

      Aura Safari are: Alessandro Deledda, Andrea Moretti, Lorenzo Lavoratori, Daniele Melloni and Nicholas Iammatteo.

      The band started with the meeting of a musician and a group of DJ's / producers coming from different musical backgrounds and generations. Aura Safari is the union of various musical eras and influences such as Jazz Fusion, 80's Boogie, World Music, Italo House, Balearic Beats and Jazz Funk.

      Years spent in the local scene of Perugia (Italy) attending Umbria Jazz Festival every summer and winter nights at the legendary Red Zone Club have shaped the sound of Aura Safari.

      The LP is an example of their true love of music across a vast spectrum.

      Arthur Baker Feat. Minnie Gardner

      Reachin' - Hifi Sean & Yam Who? Edits

      Recently, legendary American dance producer Arthur Baker discovered in his storage, two cuts on 1/4” tape. "Reachin" & "Good Good Lovin" he recorded in 1979 that for some insane reason have never seen the light of day. He asked Hifi Sean if he would be interested in doing something with them. Within one play Hifi was blown away and brought on board Yam Who? and they quickly got to work resurrecting these soulful disco anthems.

      The main cut featured here "Reachin", with Minnie Gardners fierce vocals (think Loleatta Holloway), just needed some modern day dancefloor energy. Salvaging the useable sections of the tape that were not worn through time and within two weeks they'd bring this percussive disco monster back to life. "Good Good Lovin" complements the A Side nicely - less bump but more room to groove. It’s a stone cold classic with glorious instrumentation courtesy of Arthur & Co.


      George Benson

      Give Me The Night / Breezin' / The World Is A Ghetto

      Legendary American guitarist George Benson started out in the sixties, putting his energy and invention into jazz, blues and r&b standards on albums for Prestige, Verve and CTI. By the latter half of the 70s, as the music industry fell under the spell of the disco beat, Benson moved further into fusion, delivering the three jazz-funk / boogie jams we find on this Groovin 12". A1's "Give Me The Night" from the 1980 album of the same name saw George team up with Jacko-era Quincy to cut a true party starting classic, all rubber bassline, neon synths and shoulder-rolling funk guitar. 'Breezin', again a title track, from his 1976 LP gives us flawless instrumentation and vibes for days, but it's the B-side track "The World Is A Ghetto" which steals the show here, taking us on a nine minute flight through conscious jazz funk, driven ever onwards by irresistible bass, fret-burning guitars and a supe soulful vocal.

      Bleached

      Don’t You Think You’ve Had Enough?

        ‘Don’t You Think You’ve Had Enough?’ is what Jennifer Clavin asked herself when she hit a turning point in her life. It’s also the title of the new record from Bleached, Jessie and Jennifer Clavin’s first album written from a place of sobriety. That newfound perspective serves as the guiding force, yielding a courageous, honest and sonically ambitious album. It’s a record about fighting both literally and figuratively for your life - and the clarity born from that struggle.

        Writing began in early 2018, both in a Los Angeles practice space and with friends and co-writers in Nashville. Producer Shane Stoneback (Vampire Weekend, Sleigh Bells) helped open every door to experimentation, wanting to be exploratory while keeping the sound singularly Bleached.

        The resulting album is explosive, grappling with the past; its twelve tracks mark some of the sisters’ most visceral, rawest songwriting to date - and some of their best. The work glimmers with inspiration found in touring with the likes of The Damned and Paramore. That arena-ready pop, incisively catchy, was a palpable influence helping to push Bleached’s sound in a new direction.

        FORMAT INFORMATION

        Coloured LP Info: Opaque cream vinyl.

        Coloured LP includes MP3 Download Code.

        Bloc Party

        Silent Alarm Live

          Bloc Party are releasing a special live edition of their debut album Silent Alarm, compiled of live recordings from last year’s homecoming show at Alexandra Palace and European tour, in which the band played the album in full. Silent Alarm was released in 2005 to widespread critical and commercial success, achieving multi-platinum sales and earning Bloc Party a Mercury Prize nomination. The album has since been heralded as one of the most influential and important of the decade by outlets as diverse as Pitchfork, Q, Newsweek, Spin, Complex and Clash, and was named in numerous lists collating the best albums of the decade, whilst NME named it as one of the best of all time.

          Best Records change lanes for the summer season, switching away from their recent boogie predilections to serve up two classic Balearic disco burners this week, starting with this bomb. Produced in 1983 by Easy Going member Peter Micioni (whose studio skills added serious weight to tracks by Gary Low, Traks, Mike Francis and Amii Stewart), "Turn Me Loose" and "My Design" pressed here in mixed fashion (as was the original release) take us for a night drive downtown for a full fourteen minutes. Slow disco beat, sultry guitars, emotive chords, delicate keys and a high drama vocal, this has every single ingredient needed for a Balearic classic. If you've never heard it in a club, this makes for the perfect set opener, end of night swayer or mid-set direction changer, and it's absolutely brilliant. Alongside the full fourteen minute bomb, we get a shortened version from German born Ibiza resident SIRS, whose ace productions have been championed by DJ Harvey right from the very beginning.

          David Bowie

          Space Oddity - 7" Box Set

            As part of the ongoing celebrations marking 50 years since David Bowie’s first hit, this a very special double 7” single of SPACE ODDITY features brand new mixes by Tony Visconti. The double 7” set will come in a box including a double-sided poster featuring an original Space Oddity print advertisement and a Ray Stevenson shot of David taken on stage at the ‘Save Rave ‘69’ concert at the London Palladium on 30th November, 1969, the backdrop featuring a N.A.S.A. astronaut. The set also includes an information card and a print featuring an alternative shot by Jojanneke Claassen from the Space Oddity promo single cover session.

            The cover of the original mono single is the rare UK promotional picture sleeve which, along with the label, features the original Philips trademark specifically cleared for this 50th anniversary release. The single itself has been cut from the original analogue single master tape. The jacket housing the 2019 mixes by Tony Visconti is a new design featuring alternative Ray Stevenson shot from the ‘Save Rave ‘69’ concert to that on the poster.

            First released as a 7-inch single on 11 July 1969, Space Oddity was also the opening track of David Bowie’s self titled second studio album, David Bowie. Initially inspired by Stanley Kubrick's film 2001: A Space Odyssey, the song gained huge popularity when it was adopted as the unofficial theme of the Apollo 11 Moon landing mission which launched five days after the single’s release.


            Brussels Art Quintet

            Vas-Y Voir

            Having been a firm fixture at the top of many European jazz collector want lists over the past decade Finders Keepers wouldn’t be alone when proclaiming this extremely rare, lesser-known two-track 7” from 1969 as one of the best jazz 45s of all time. Alongside Polish pianist Krzysztof Komeda’s soundtrack 7” for the film Cul- De-Sac and ranking closely with François Tusques’ commemorative Le Corbusier exhibition 45 (featuring Don Cherry), this format-specific release known only as Brussels Art Quintet might well sit at the top of the podium while striking similarities and arguably combining the best stylistic traits of both aforementioned contenders.

            This is all speculative and clearly a matter of individual opinion but it’s not often that one should find a recording from this era, comprising such high production qualities, keen compositional values and robust craftsmanship spread across two equally spellbinding individual tracks, all of which awards this release justified hyperbole albeit subject to a 50 year delay. It is safe to say that this unique release is ‘rare’ on many levels. Like all privately pressed art projects this single comprises some serious outsider art trappings. However, on closer inspection it also stands as a pivotal record in the micro-genre of Belgian jazz, pin-pointing an early axis for some vital progressive jazz players who went on to become sturdy pillars of the central European happening.

            Essentially as a five-piece, the short-lived Brussels Art Quintet neatly combine members of both the mythical Babs Robert Quartet (early exponents of Belgian spiritual jazz) and key players from the leading progressive jazz/rock/funk unit known as COS (formally Classroom) who would stand as close affiliates of the likes of Marc Moulin, Kiosk and Placebo through the 1970s.

            Reproduced in close collaboration with COS leader Daniel Schell who, under the early guise of Daniel ‘Max’ Schellekens, authored both tracks that make up this facsimile 45 single, this one-off single includes the only known output by the Brussels Art Quintet thus marking the essential in-road to instantly start and complete your entire Brussels Art Quintet collection not without reliving the early germination of the forward-thinking jazz fusion that came to shape Belgium’s truly unique movement. Pressed in miniscule numbers, original copies of this sought-after piece of Belgian jazz history regularly exceed £300.

            Calm

            By Your Side - Remixes Pt. 1 - Inc. Calm / Mind Fair Remixes

            After teasing us all summer long with sunset plays from the best Balearic names in the game, Hell Yeah finally floored us with the release of Calm's stunning "By Your Side" in the autumn. Delicate, dreamy and filled with cosmic charm, the LP sounded just as good in the winter as it had in the summer, making its mark on plenty of end of year charts.
            Now the label revisit the album with a series of special remixes, certain to keep us smiling all summer long. Part 1 sees the Japanese artist revisit one track himself, while Mind Fair also step up with fresh new version of album favourite "My Home Town". 
            So, Calm kicks the package off, reworking his own "Mellow Mellow Sadness" into "Mellow Mellow Acid", a sweet and subtle deep house blend with jazzy Rhodes chords, precise percussion and a gentle acid line emerging from the tumbling drums. Warm and breezy, this is midday music for beach bars, boat parties and Mediterranean excursions. 
            Golf Channel and International Feel disco duo Mind Fair step up to flip ‘My Home Town’ into a long legged and gorgeously hazy downtempo disco bomb. The chords shimmer and shine, retaining every bit of Japanese romanticism, while that relaxed rhythm will have people swaying for days, eyes closed, hearts open and full of love. 
            Two beautiful originals, reworked with passion, pride and respect - don't be surprised if this 12" becomes the soundtrack of your summer.

            STAFF COMMENTS

            Patrick says: After that brilliant bonus 7" from Kito Jempere last week, Hell Yeah keep it coastal with this superb remix 12" of Calm's stunning "By Your Side" LP. On the A-side the Japanese producer takes on his own track, upping the acid and transforming 'Mellow Mellow Sadness' into a sunkissed slice of deep house, while Mind Fair flip "My Home Town" on the flip, delivering a proper Balearic disco dreamboat.

            Captain Beefheart

            Trout Mask Replica

              Trout Mask Replica is a touchstone in the history of recorded music. The mix of dada absurdist blues and previously unexplored experimental avenues has long been praised as one of the greatest albums of all time. As so eloquently put by John Peel, "If there has been anything in the history of popular music which could be described as a work of art in a way that people who are involved in other areas of art would understand, then Trout Mask Replica is probably that work.”

              In full partnership with the Zappa Family Trust and to celebrate the relaunch of the seminal Bizarre label imprint, Third Man Records is proud to announce Captain Beefheart and the Magic Band's Trout Mask Replica.

              Out of print on vinyl for nearly ten years, this remaster was helmed by industry legend Bob Ludwig and cut by the estimable Chris Bellman at Bernie Grundman Mastering. Utilizing crystalline-quality safety masters kept in the Zappa family vault for decades by the trustworthy Joe Travers, the audio here is positively glorious. Every last skronk breathes full life into the room. Every twisted guitar figure uncurls onto paths previously unpaved. Every last bark and howl shines resolute through the vast emptiness of your mind.

              Previous countless Trout Mask Replica repressings used scans of scans of scans of the cover image, but the original Cal Schenkel cover photo has been tracked down and reproduced here at its clearest — its resolution from the original release in 1969. If you’ve only ever seen a jpg online or fuzzy, smeared-looking CD issues from the 90’s, be prepared to be wowed by the fully engaging spectrum this iconic image casts.

              This 2xLP is pressed on heavyweight 180-gram black vinyl for that full-on frenetic feeling

              Brand new 12 track album. A huge moment for the trio, "RTRN II JUNGLE" marks fifteen years since the group started releasing music (and nine years since THAT infamous, "Blind Faith" MCR warehouse...) and touring the world. With this landmark moment in mind, Chase and Status have gone back to their roots and their passion - jungle music. The genre that sculpted their career in the 90’s is back, and re-crafted in an authentic way that's both sympathetic to the genre yet up-to-date with modern production standards.

              Instead of sampling dancehall, the group have gone back to Jamaica - creating their own new music to sample, and forging an organic and irresistible sound. The sound, project and accompanying documentary and installation revist this classic UK genre, shining a light on its timeless infectiousness and dancefloor slaying force. Recommended! 


              STAFF COMMENTS

              Matt says: Never been a huuuge fan of these guys but this is mega! Boring purists will find summat to complain about I'm sure, but across 12 tracks Chase & Status respectfully visit all sides of the jungle spectrum (and nearly every break too!), updating it with new vocals (those old ragga samples were getting pretty stale anyway) and snappy, radio-friendly arrangements; surely introducing it to a global audience. UK jungle should be celebrated in 2019 and who better to present it to the world.

              FORMAT INFORMATION

              Ltd LP Info: Black heavyweight vinyl.

              Children Of Zeus

              Hard Work / The Heart Beat, Pt. 2

              Exactly a year on from 'Travel Light', we release the final single from Children of Zeus' debut album. A dinked 7" single, containing one of the stand-out tracks from the album, 'Hard Work', and a re-vocalled Lover's Rock version of 'The Heart Beat' (a demo version of which appeared on 'The Winter Tape' from Christmas 2018).

              'Hard Work' is a term than can easily summarise the past twelve months in the life of Tyler Daley and Konny Kon. They've been busily touring Australia, New Zealand, South Africa, Europe and the UK twice in that time, as well as rocking shows at countless festivals across the continent.

              'Travel Light' was named "Album of the Year" by Complex Magazine, BBC 6 Music's Huey Morgan and Rinse FM's Jyoty, as well as taking 2nd place at the Worldwide Awards (for which their label First Word was named "Label of the Year") and numerous high-placing's from Fact, Mixmag, The Vinyl Factory, Juno, Bandcamp, Mi-Soul, Wordplay & Piccadilly Records, amongst numerous other notable selectors, blogs, tastemakers and musicians, with fans far & wide from Radio 1's Benji B to Chase & Status, Jazzy Jeff to Lily Allen, Stormzy to Goldie.

              The depth of styles & genres included on 'Travel Light' confirmed that Tyler & Konny are not easy to put in a box. Their initial inspirations of Manchester pirate radio in the 80's/90's all make up to form the sonic tapestry of hip hop, soul, r&b, broken beat, jungle and, in this instance, reggae.

              One of the album's biggest surprises was this now-anthemic track, 'Hard Work', which sees Tyler Daley effortlessly ride a one-drop riddim drenched in positivity, and is a highlight in their live sets, as anyone who's witnessed will testament to. Meanwhile, the flip-side transforms the quiet storm vibe of 'The Heart Beat' into a heavy, heavy dubwise track, creating an essential accompaniment and fitting sequel to the original lick.

              Pressed on a limited edition rustic JA-style dinked 7", this one is, of course, essential for any discerning collector, fan and DJ. Released on First Word Records, July 12th 2019.



              STAFF COMMENTS

              Millie says: Children of Zeus are treating us again with perhaps two of my favourite tracks (although who am I kidding, I love them all) The Heart Beat Pt. 2 takes a slowed down tempo which is ridiculously smooooth and Hard Work is a COZ classic.

              HOT new one on the ever reliable Tempo label from new signing Chromatic. If upfront drum and bass pressure is your bag - then look no further! Based in Holland and run by Frodo van Steijn (Formally Known as DJ Fusion), this label refuses to put out a bad record, offering up new updates and interpretations across jungle & d'n'b stylings.

              Chromatic's first record for the label and it is a DOOZY folks. "The Prayer" kicks us off in hyper-frenetic form - big, sweeping, stadium bursting drops making way for bulldozer hoover melodies and quick fire Apache breaks. "Roots" (titled due to its nice spoken word snip about using the turntable as an instrument) sounds like it could be taken from a mid 90s Micky Finn mix - its bubbling square wave bass, militant beats and dark synth sax hook all reminiscent of some lethal dark stepper from the golden age of the genre. "Kavos" deploys a really vintage, almost Aphrodite-esque bassline to another lesser used jungle break (Mardi Gras perhaps...?) and the result is, as you've guessed by now, nothing short of breathtaking. There is STILL one more tune! Concluding on the almost-liquid roller, "Blend" which combines glistening keys, smooth drums and classic soulful pad samples for a Fabio-friendly late nite glider that's sure to please.

              The best label for modern jungle and d'n'b? I reckon so....


              ***::>>>NEW_MOOD-HUT_ALERT***::>>>NEW_MOOD-HUT_ALERT***::>>>N
              EW_MOOD-HUT_ALERT***::>>>NEW_MOOD-HUT_ALERT>>>>....

              Regularfantasy and Void Mirror met up at the Dance Music Workshop in beautiful Victoria, B.C. during the dog days of Summer to record these tracks. Shimmering and hazy, cutting blurred lines through the clean Vancouver skyline, these are immediately resplendent with that OG Mood Hut flavour.

              DIY houz vibrations from the new school cartel! Drinking from the same soup as the pioneers Larry Heard, Virgo, Raze etc, but emitting their own unique glow and texture. Bedroom house productions 4 the deep heads - get 2 kno!

              Recommended.


              STAFF COMMENTS

              Matt says: Ya know the crack by now... Vancouver's finest DIY house cartel bring the soulful and saturated side of the spectrum to the sunblushed dancefloors.

              Cocaine Piss

              Passionate And Tragic

                Coming into twisted existence in 2014 in the Belgian city of Liège, pretty much as a bad taste joke, Cocaine Piss quickly established their own very particular style, with furious high-octane gigs that never reach the half-hour mark, kind of like watching the Dead Kennedys, Bikini Kill and Melt Banana all playing at once while really high on their namesake substance.

                The new record, again recorded by Steve Albini, marks yet another chapter in the progression of their basic sound, as it sees the frantic foursome incorporate more noise rock (think early Mudhoney or Big Black), which only makes their outbursts beefier and stronger in impact. Thematically, they'll give you plenty to think about while your body shakes uncontrollably - equality, gender or otherwise, is the main thread in their work, and songs like Fake Tears, Role Model or Poor Decisions will have you reaching for that lyric sheet long after they've finished ringing in your ears. Once again, Cocaine Piss will conquer Europe following the release of Passionate & Tragic. From April 2019 onwards, Benelux, Germany, UK, France, Spain and Portugal are all within the splash zone.

                John Coltrane

                Ole Coltrane: The Complete Session

                  This is the last of Coltrane's Atlantic label LPs, recorded in 1962 just two days after his debut for Impulse ("Africa / Brass"). This landmark LP features McCoy Tyner, Elvin Jones, Eric Dolphy, Freddie Hubbard, as well as bassists Art Davis and Reggie Workman. It includes the tracks "Ole" (an 18 minute epic), "Dahomey Dance" (clocking in at over ten minutes) and "Aisha". Once again John Coltrane proves his appreciable musical skills by ultimately advancing the entire Jazz-art-form with "Olé". The title track is striking in resemblance to the Spanish influence heard on Miles Davis' "Sketches of Spain", although Olé takes this vibe a bit further; Coltrane's combo stretches out with inspired improvisations from Dolphy, Hubbard, Tyner, and of course Coltrane, respectively. The haunting beauty of "Aisha" stands as one of the finest collaborative efforts between Tyner - the song's author - and Coltrane.

                  FORMAT INFORMATION

                  Coloured LP Info: Limited edition 180g transparent yellow virgin vinyl.

                  Kyle Craft & Showboat Honey

                  Showboat Honey

                    Kyle Craft and his now solidified backing band, dubbed Showboat Honey, reflect the sturm und drang of life with their self-titled album, the contemplative yet restless ‘Showboat Honey’. “This is basically an album centered around bad luck and good fortune hitting at the same time,” Craft explains “Then, out of nowhere, I find love. Everything went to shit except that. I guess that’s how life works.”

                    The sticky-sweet title of the album is lifted from the brightly choral ‘Buzzkill Caterwaul’: “I wanted to make something that sounded like a raucous collision of Leon Russell and Patti Smith,” he says, “But ‘Buzzkill Caterwaul’ was the only tune that ended up showcasing that vision.” Though aesthetics veer from song to song, ‘Showboat Honey’s steadfast formula remains the same. Drummer Haven Mutlz holds down the machine with a 60s/70s fast-molasses groove that locks in with the slinky rolling bass of Billy Slater. When Kevin Clark isn’t bouncing across the piano, his mellotron strings swell in and out of frame. Jack of all trades Ben Steinmetz’s organ parts well up from the deep of the songs, while lead guitarist Jeremy Kale’s solos rip through them like electricity. On top of it all, sits the tongue-in-cheek phantasmagoria created by Craft’s lyrics, in which perspectives shift to imbue life into a cast of intriguing, mysterious characters, à la Bob Dylan. (“There is not a single thing in my life that has affected me more than the first time I heard Dylan,” says Craft. “It immediately changed my life.”)

                    Craft started writing about as soon as he could play the guitar at the age of 15. He grew up in the isolated Mississippi River town of Vidalia, Louisiana where his chops weren’t honed in a woodshed but rather an old, dingy meat freezer that was out of commission. After years of touring, two albums with Sub Pop Records and solidifying the band, he’s grown into a prodigious songwriter, to say the least. The band recorded ‘Showboat Honey’ - co- produced by Craft, Clark and Slater - at their own Moonbase Studios in Portland over 2018. “We approached this record differently for sure,” Craft says. “I’d make a demo, and after putting the songs together, shoot it to the band for ideas.” Kyle and the members of Showboat Honey worked at such a feverish wine-fuelled pace that they actually ended up with two completely different albums. At the end of the day, they decided to combine the two into what is now ‘Showboat Honey'.

                    FORMAT INFORMATION

                    Coloured LP Info: Indies exclusive loser edition on clear and blue translucent vinyl with red spots.

                    Coloured LP includes MP3 Download Code.

                    The Cramps

                    Flamejob

                      The garage punk band The Cramps returned in 1994 with their sixth studio album Flamejob. Wild vocals from Lux Interior and the creepy guitar work from Poison Ivy marks one of their most energetic performances in quite a long time. The whole album centres on the subjects sex, drugs and rock ‘n roll. Most of the tracks clocking just beneath the 3 minutes and the album contains multiple covers. The most famous one of them is “Route 66”, which is infused with the famous Cramps sound. 

                      FORMAT INFORMATION

                      Coloured LP Info: Flamejob is available as a limited 25th anniversary edition of 2000 individually numbered copies on flaming (orange & yellow swirled) vinyl. The package includes an insert.

                      The Cramps

                      Real Men's Guts Versus The Smell Of Female Vol. 1

                        This originally came out 4-5 years ago as a very limited pressing on Black vinyl with only a few 100 copies available.
                        This highly saught after LP is considered to be one of the better unofficial releases as the sound quality is almost perfect (from the sound board). Great sleeve and an essential part of any Cramps collection.

                        Good luck as this will be gone fast.

                        FORMAT INFORMATION

                        Ltd LP Info: Ltd pressing of 300 copies on Red & Black splatter vinyl.

                        Dark Carnival

                        The Last Great Ride

                          Detroit High Energy Rock in its purest essence!!!! Niagara (DESTROY ALL MONSTERS) & Ron Asheton (THE STOOGES) among other great Detroit musicians recorded this killer album back in 1996.

                          Now it is finally reissued on vinyl with two added tracks to the original vinyl release, remastered in order to get its purest sound, and new artwork courtesy of Mrs. Niagara Detroit and Mr. Colonel Galaxy. And guess what?

                          This is an extension of Destroy All Monsters with absolutely killer guitars in line with The Stooges "Funhouse" with the unique stamp and signature of Mr. Ron Asheton.

                          10 classic shots which need to be in your record collection right by The Stooges, Destroy All Monsters, MC5, Sonic’s Rendezvous Band, Radio Birdman, The New Christs, Bored!, etc. 

                          FORMAT INFORMATION

                          Ltd LP Info: 150 grams vinyl, 500 copies ltd.

                          Delia Derbyshire is one of the most innovative electronic musicians of the 20th Century. She is best known for her pioneering work for the BBC Radiophonic Workshop, and for composing the classic theme song for the original Doctor Who, believed to be the earliest electronic theme song in television history. A brilliant composer and one of the few women operating in the early era of electronic music, In the early '60s she collaborated with the British artist and playwright Barry Bermange for the BBC's Third Programme to produce four "Inventions for Radio", a collage of people describing their dreams, set to a background of electronic sound. This is the first, simply titled "Dreams", an attempt to represent, in sound, the sensation of dreaming. Derbyshire's electronic and musique concrete soundbed is the perfect underscore to the narration, simultaneously jarring, dissonant, and terrifying. An amazing piece of work from one of the legendary pioneers of electronic music.

                          DMA's

                          MTV Unplugged Live

                            DMA’S are set to release the ‘MTV Unplugged Live’ album. It was recorded at Melbourne’s intimate Memo Music Hall last October, with DMA’s becoming one of the first Australian bands to play the iconic MTV Unplugged session. It’s a format steeped in history following classic sets from Nirvana, Oasis, R.E.M. and many more.

                            Renowned for their ragged, anthemic energy often inspired by the Britpop and Manchester scenes, ‘MTV Unplugged Live’ finds DMA’S stripping their songbook back to basics. Focusing on acoustic guitar, piano, violin and cello, these new arrangements unveil fresh new perspectives on the songs. Some now carry a folk vibe, while others hone in on the poignancy of the band’s lyrics.


                            STAFF COMMENTS

                            Barry says: It's when performed acoustically that the tactile songwriting and tender balladry of DMA's songwriting really comes into its own, and shows the stylistic similarities and melodic leanings of this Australian trio to our most beloved 90's britpop staples.

                            FORMAT INFORMATION

                            Ltd LP Info: Limited to 1000 copies in the UK.

                            Cult label Astral Industries reissue Atom Hearts' 1994 ambient work "Dots" on vinyl for the first time. A serene and dreamlike collection recorded in Frankfurt at Sel I/S/C. Full of delicate and emotive keyboard and synthesizer work; it merges lounge chord with childish melodies; conjuring up a naive sense of suspended bliss that's rich and evocative. Angelic, choir-like pad presets and extended reverb time add to the grandiose sense of abandon; like you're slowly ascending up to a heavenly and benign place.

                            Under exclusive license from the AtomTM_Audio_Archive this is an oft-overlooked but seriously classy electronic-ambience LP.


                            Drab Majesty

                            Modern Mirror

                              Since the 2015 release of Drab Majesty’s debut “Careless”, and the release of the acclaimed sophomore album “The Demonstration” the following year, artist Deb Demure and collaborator Mona D. have firmly established themselves amongst the pantheon of dark synth-pop greats, establishing a devoted fan base worldwide with their singular hypnotic sound and mysterious, constantly-evolving presence.  Following intense and extensive touring in support of the first two albums, Drab Majesty escaped to the inspirational landscapes of Athens, Greece to channel the songs for their most ambitious album creation yet: Modern Mirror.

                              Blowing the dust off the antiquarian myth of Ovid’s “Narcissus”, Drab Majesty uses its premise as groundwork for a modern reinterpretation. Each song tells a piece of the story, in which the listener’s own selfidentity has become warped and dissociated through rapidly expanding technology, losing touch with the origins of their own personalities. Setting the stage as a romantic saga of antiquity, “A Dialogue” asks the listener if they are truly in love amid a building wash of guitars and reverb. Elements of classic tragedy weigh heavily in the reflection of Modern Mirror in songs like “The Other Side”, possessing a fundamental sound that is energetic, luminous and hopeful. Fusing the sonic aesthetics of predecessors like New Order and The Cure within the cautious instruction of Greek mythology and modern science fiction, Drab Majesty has birthed a hybrid of dreamy malaise, captured for a future moment.

                              The first single, “Ellipsis”, romantically plays up the distorted concept of courting through modern technology in a world that has yet to adapt, while on “Long Division”, Deb’s resounding guitar cascades around the chorus shared with No Joy frontwoman Jasamine White-Gluz, wistfully warning us against our vanity and self-obsession. Even when hope for everlasting love peeks through in “Oxytocin”, a sparkling and stoic track sung by Mona D., we are firmly reminded our fleeting existence.

                              Modern Mirror is a journey of self-reflection, nostalgia, love, beauty, and heartbreak told across eight addictive and emotional synth pop anthems – a seemingly classic tale delivered unblinkingly through the frame of the modern world.


                              FORMAT INFORMATION

                              2xColoured LP Info: Clear vinyl.

                              2xColoured LP includes MP3 Download Code.

                              Carwyn Ellis & Rio 18

                              Joia

                                You might know CARWYN ELLIS from other projects like COLORAMA (part of the most heterogeneous and open-minded pop made in the UK this century), Bendith (Welsh dreamy folk) or Zarelli (hauntologic electronic). Or maybe you might be familiar with him because he collaborates with pop superstars and universal references like Edwyn Collins, Pretenders, Oasis or Saint Etienne. Or maybe you don’t know him at all, so far, because Ellis is one of those musicians that does not feel self-important, that is not under the spotlight but that is praised by other musicians and everyone wants to collaborate with. His diverse personal projects are a sample of his passionate love for the music with no borders of any kind. He is hard to label, and transforms his skin in each new record. Almost in every song. He records the albums that he feels like doing whenever he feels like doing them, and with the sound and the people that stand out for him in that moment. Most of his songs are sung in Welsh, his mother language, but his music is timeless and universal. Carwyn always approaches the global by the local.

                                It isn’t a coincidence that precisely now he has decided to take the plunge and go to Rio de Janeiro to record, along with two distinguished crazy local artists like Domenico Lancellotti and Kassin, his most colourful record. “Joia!”, in which he presents his new band Carwyn Ellis & Rio 18, is a non-explicit plea against the Brexit. Against any Brexits taking place right now any way or another in this world shocked by the continuous transformations and fears that they lead to. Pretty sure that Lancellotti or Kassin might say that it is an anti-Bolsonaro record. However, Carwyn and his fellows in Rio 18 prefer to do a cheerful and positive record, like almost all the south American music it is inspire in, to celebrate that those changes, that definitely mark an era , boost and ease the fact that a musician from Cardiff is able to record an album with musicians from the other side of the world, and make it halfway between Rio and London with the invaluable help from another top musician like Shawn Lee. A record with latin American flavor sung, again, in Welsh, whose phonetics and sound matches surprisingly well with tropical music.
                                The record stars (literally: it’s the sound of a car engine which starts this trip) with a cumbia, Unman (Nowhere, perfect title for a project like this), which is a curious starting point and a good letter of introduction of the intentions for an album recorded by a Welsh man with some Brazilian friends. But this is a sensory party, a celebration in which you never know what you’ll find when you turn around the corner. Ellis already got us used to it in all of his projects (and within every Colorama record), but that now, precisely due to the collaboration between such imaginative, incorruptible and original musicians such as the ones forming Carwyn Ellis & Rio 18, is when they get even more special and fun.

                                Cumbia, Bossa Nova, Samba, Tropicalism, Latin Funk, Pop and wonders like Ymosodwyr Anweledig (Invisible Attackers), a pure Tropical Krautrock song; like if Broadcast were to move their bunda to the sound of Os Mutantes, and which illustrates perfectly what can we expect from this JOIA which is the opposite of Brexit and narrow minds. Jump on to this trip and you’ll end, like the record ends, saying Diolch almani (Thanks For That) to Ellis for this record; obrigado, as the female chorus responds to the beat of the bossa.

                                STAFF COMMENTS

                                Barry says: It's not a combination that I would have necessarily put together, but the chilled Brazilian grooves and Ellis' intoxicating vocals make for a wonderfully enjoyable way to make your political views known (for those that speak welsh, obviously). It's as brilliant as all his other projects, and on a completely different tip.

                                Ahmed Fakroun

                                Auidny / Njoo El Leyl

                                Back in 1977, Ahmed Fakroun was doin' it in Libya. The Benghazi born multi-instrumentalist took his training in traditional folk and rai and love of disco, soul and French art rock and translated it into a super groovy cross-cultural hybrid which made him one of the biggest musical stars Libya ever produced. This debut 7", recorded with legendary British producer Tommy Vance is the perfect introduction to Farkoun's style, rolling out the speakers with a loose bassline, funk guitars and rai-styled vocals. Horns, flute and some sick synth licks further spice the pot, calling to mind Demis Roussos in "I Dig You" mode. On the flip, "Njoo El Leyl", shuffled and sizzled with syncopated perfection, delivering dusty rock for the funk crowd and desert funk for the rock fans. Chanted vocals, dreamy melodies and super stoned percussion hold it down perfectly, keeping us moving until that far out and fuzzed up guitar solo brings the psych to the party. Out of press since it's release, this official reissue is an absolute essential folk. Buy on sight!

                                STAFF COMMENTS

                                Patrick says: Forty years since it was last in press, Groovin give us a replica reissue of Ahmed Fakroun's superb debut "Aiudny". Fusing funk, folk, slow disco and Libyan rai, Fakroun drops a couple of deep desert shufflers which still slay in the present day. This one stays in the record bag!

                                As mentioned elsewhere, Best Records are in shape for summer, swapping the boogie and Italo offerings for straight up Balearic / cosmic classics. This stunner was originally released on F1 Team in 1983, and comes on strong with an irresistible falsetto vocal, which sounds a bit like the Bee Gees covering Phil's "In The Air Tonight". Beneath the totes emosh vocals, we get a low slung bassline, solid and simple maching groove and the hazy shimmer of soft focus synthesis, all of which gets whipped to a peak for the exultant chorus, before wild synth and guitar soloing puts the cherry on the dessert. This remastered pressing includes the original versions from the original 12" release plus the special extended mix.

                                STAFF COMMENTS

                                Patrick says: Remember Moonboots and Mike's Originals comp? Then you remember this absolute stunner which brought the whole thing to an arms aloft close. Soft rock? Synth pop? Balearic killer!

                                Floating Points

                                LesAlpx / Coorabell

                                Floating Points drops his first new track since 2017 in the form of "LesAlpx" - with Sam's genre-defining grooves laced through the tracks electronic core. A driving peak time track, it's destined for the bigger playrooms of the dance scene and coupled with its urgent energy, should be on constant rotation during the heady months ahead.

                                Built around a constantly evolving synth stab which, for some, may recall an aggressive manifestation of Carl Craig, it's not long before FP's idiosyncratic, skittish beats come flailing through, locking us into their garage-indebted, shoulder-dropped rhythm instantly. A cleverly formulated, attention grabbing micro-breakdown almost exactly halfway through the side ensures any lost in the fog will get dragged back to Earth, for a few moments at least, until the final furlong blasts us right back into the stratosphere. It's a huge track, make no mistake, but then did you expect anything less?

                                "Coorabell" on the flip, is equally urgent, with a technoid bleep melody that hints at Axes-era Jeff Mills (!!). Strung out keys and Detroitian synth flurries make this another one destined for the main rooms and peak hours... Has Floating Points done it again? I'm pleased to say unequivocally - YES! As essential as any of those early EPs many moons ago and a 110% sterling addition to this legendary producer's catalogue. You need. 


                                STAFF COMMENTS

                                Matt says: Big big big release from our man Sam who's been squirreled away in the studio working on his New Sound. Biting harder than ever on those Void horns, both tracks here are mastered for the club - and will surely devastate any system it's played across. He's always had the musical prowess, but it seems FP's delving deep into frequency response and pre-mastering greatness here (much like Moritz and Carl Craig did...) - the results are incredible!

                                Here the ever reliable Soundway Records reissue Free Youth’s long sought-after 1985 single “We Can Move” - one of the first known examples of Ghanaian hip hop, emerging at the dawn of ‘hip-life’ (hip hop meets highlife). It was the trio’s only release and originally pressed on 7” vinyl, but now comes fully restored, remastered and available for the first time on 12” vinyl along with the original cover art.
                                Free Youth comprised three main members: Terry “Sir Robot” Bright, Lenny “Nii Addy” Dimple, and Abednego “King Abed” Ayim Bright. In the early 80s they began performing in clubs and parties across Accra, with friends and other dancers occasionally joining them on stage - including Reggie Rockstone, who later went on to find global stardom.
                                In 1985, the band were approached by a producer and invited to record at a local studio. Without having written down any music, Terry, Lenny and Abed sang the parts and beatboxed the rhythms to the session musicians prior to recording. Out of this session came “We Can Move”, a blend of hip-hop and Afro-funk with a proto disco-boogie beat, punchy trumpet riffs and melodic rap flow.
                                Included in this Soundway release is an exclusive instrumental cover version from Welsh ensemble Drymbago. This replaces the original B side track “Freedom Video Centre” which was an advertising jingle for a business associated with their former producer.

                                Frightened Rabbit

                                Tiny Changes: A Celebration Of The Midnight Organ Fight

                                  Context to ‘Tiny Changes: A celebration of the Midnight Organ Fight’:

                                  Before Scott died, an idea was formed to celebrate 10 years of their seminal album The Midnight Organ Fight by asking some of their talented buds in music to take a crack at their own versions of a song on the album. The whole album was recorded and was due to be released last summer, but then unfortunately Scott passed away last May.

                                  The band have decided they still want to release the record as a testament to the album, and to Scott. It’s going to be released on 12th July via Atlantic, and the band are going to be very much behind the release

                                  History of the band:

                                  Frightened Rabbit are a Scottish indie rock band from Selkirk, formed in 2003. Initially a solo project for vocalist and guitarist Scott Hutchison, the line-up currently consists of Grant Hutchison (drums), Billy Kennedy (guitar, bass), Andy Monaghan (guitar, keyboards), and Simon Liddell (guitar). From 2004 the band were based in Glasgow.

                                  Frightened Rabbit's first studio album, Sing the Greys, was recorded as a duo by the Hutchison brothers, and released on independent label Hits the Fan in 2006. The band subsequently signed to Fat Cat Records, in 2007, and became a three-piece with the addition of guitarist Billy Kennedy for its second studio album, The Midnight Organ Fight (2008). The album was released to strongly positive reviews and extensive touring, with guitarist and keyboardist Andy Monaghan joining the band to flesh-out its live performances.

                                  The band's third studio album, The Winter of Mixed Drinks, was released in 2010, with former Make Model guitarist Gordon Skene joining the band for its accompanying tour. Frightened Rabbit signed to Atlantic Records later that year, and issued two EPs, A Frightened Rabbit EP (2011) and State Hospital (EP) (2012), before the release of its fourth studio album, Pedestrian Verse in 2013. A critical and commercial success in the UK, the album peaked at number nine on the UK Albums Chart, with additional guitarist Simon Liddell joining the band on its subsequent tour.

                                  Disillusioned from touring, Hutchison, Monaghan, and Liddell recorded a studio album without the band, entitled Owl John (2014). Gordon Skene departed from the band in early 2014, and the band recorded Painting of a Panic Attack the following year with producer Aaron Dessner (The National), in New York, with Liddell joining the band as a full contributing member.

                                  Scott Hutchison died in May 2018 after going missing. In December 2018, the remaining members of the band played together for the first time since Hutchison's death, at a charity gig in Glasgow.


                                  STAFF COMMENTS

                                  Barry says: There is no better a dedication to a hugely talented songwriter and superb band than a variety of artists covering your songs and retaining all of the appeal they held in the first place. From huge, folk crescendos and punky drive to gently electronic shimmerers and gently throbbing ambience, this has everything, and goes to show how timeless Scott Hutchison's writing is. Gorgeous.

                                  FORMAT INFORMATION

                                  2xLtd LP Info: Heavyweight double vinyl.

                                  Peckham's finest FYI Chris return to home soil - Rhythm Section - for another of their expertly crafted EPs. Chris Watson and Chris Coupe have fast made a name for themselves here (and elsewhere) thru their meticulously constructed, eyes-down (loose) house jams...

                                  Shunning the anthemic and mainroom for summat deliciously more understated and suited to low ceilings and dull lighting; their unique take on dance music is trickski, head turning & fun; whilst all the time remaining stylish and suave.

                                  The four tracks here find the lads in sterling form; from the ballroom-infused energy of opener, "Contact (Underground Track)" to the scorched sunblushed houz of "Daze" featuring vocals by Simeon Jones. B-side tracks "Special Names" and "Morph" don't let up either, offering up both buoyant rainforest beats and bubbling backroom gremlin chatter (the boy's speciality) respectively. Massive T I P on dis one folks...



                                  Gauche

                                  People’s History Of Gauche

                                    A People's History of Gauche, a collective catharsis of anger, frustration, and trauma through creativity. Jason P Barnett, Adrienne CN Berry, Mary Jane Regalado, Pearie Sol, and Daniele Yandel find their agency and joy through creating and performing music together in 36 minutes of groove-filled power punk. When asked about the genesis of the title of their Merge debut, Daniele cited this definition: A people's history, or history from below, is an account of events from the perspective of common people rather than leaders, the story of mass movements and of outsiders. It's a fitting title for an album that tackles such heavy topics as anxiety, capitalism and colonialization, and healing ancestral traumas, as well as dismantling and dissecting patriarchy, creating beauty in the face of oppressive forces, and resisting exploitation. These are vital songs manifested in a celebratory manner, created quickly through the group's self-proclaimed "Gauche magic." Recorded with Austin Brown (Parquet Courts) and Robert Szmurlo in Brooklyn, NY, and with Jonah Takagi (Ex Hex) in DC, A People’s History of Gauche marks the first time the band worked with people outside of their ranks, resulting in a fuller sound that boasts more intricate instrumentation.

                                    From the very first line of album opener “Flash”—“Light’s supposed to show the way, not over-expose it”—Gauche are here to compel us to dance while singing along about society’s universal struggles. Gauche undoubtedly make art, but their guiding tenet is craft. "When I say that, I mean in the sense that Art with a capital A is thought of as something rarefied, something outside the context of everyday life, outside of everyone's grasp or potential," expounds Daniele. "That sense of craft, of something you return to every day and is valuable because it is something you share in common with all people, is how I think of music. Well, good music at least." Gauche bring us music and movement and struggle and light, and now it is our job to dance! 

                                    FORMAT INFORMATION

                                    Deluxe LP Info: Limited opaque pink & white marbled vinyl LP plus exclusive 7" clear flexi disc.

                                    Deluxe LP includes MP3 Download Code.

                                    Especial introduced the well respected Phil Gerus to its famed halls. "Still Blind" welds boogie, electro and proto-house music into a emotive, cosmic dancefloor stew that should find favour right across the board.

                                    Electric enough to be nocturnal, soulful enough for the discotheque and arranged perfectly, "Still Blind" has A N T H E M subtly written into its fresh grooves. I wouldn't be surprised to hear synth-jizz extraordinaire Il Bosco reaching into his pockets and shelling out for this new explosion!

                                    So good it leaves the rest of the record for remixes, Philip Lauer & Jamie Paton conjure up very contrasting versions...Lauer opts for a more Italo-tinged edge to proceedings, but keeps those classic 80s drum machines and synths firing on all cylinders. Jamie Paton meanwhile throws a digital blanket over the source material, bringing in right up to date with a minimal house / late night Balearic feel that again, should find fans in a variety of music camps.




                                    Resurrected from the dark underworld after years of dormancy, LIES summon a new seven track LP from Legowelt's most mysterious and cultish alias, Gladio.

                                    Through these seven tracks we get exactly what we want, back to basics jackin house and electro cuts direct from the depths of the Hague dungeon.
                                    "Means to Freedom" is a return to the classic Legowelt sound, taking the roots of old school Chicago and Detroit and running it through the smacked out vision of Gladio's machine world. Absolutely unmissable jacking, soaring, and stomping jams that the modern floor has been sorely missing.


                                    STAFF COMMENTS

                                    Matt says: Fierce Danny Wolfers alias perfectly suited to the LIES destruction engine. Some of his hardest stuff saved for this guise making this release sTrIcTly 4 da fReaKz...

                                    Manuel Göttsching

                                    Dream & Desire

                                      In November 1975 I had initiated a concert at the RIAS Studio 10, entitled “Futurum 3”, with ASH RA TEMPEL performing. Apart from the guitars there was also an EMS Synthi A on stage. And an old Farfisa Compact Organ that Manuel played and of which I was especially proud:

                                      I was able to buy this instrument in 1964 after a summer job at a steel drill factory. This Farfisa was on stage when I performed with my band the Team Beats Berlin, as support act for the Rolling Stones at their legendary concert in September 1965 at the Berliner Waldbühne.

                                      Somehow this instrument had survived the riot, and ten years later Manuel bought this organ from me. He had played this Farfisa in many concerts and recordings in the following years, and it can be heard also prominently here on “Dream and Desire”.

                                      Originally, the two tracks “Dream” and “Desire” had been conceived for my one-hour radio feature at RIAS Berlin in summer 1977. Then, although being broadcast only once in Berlin and Belgium, they soon became cult amongst listeners, who taped, multiplied and distributed the tracks throughout Manuel's fan base.

                                      But it was only in 1991, after 14 years, when Manuel decided to make it an “official” release on CD.

                                      Something like that is unusual at times when only the new things count - until it is dismissed by the new and gets dumped.

                                      The revival of Dream & Desire is not nostalgia but an indication that the present will only be appreciated after acknowledging the past. Applies also to art.

                                      The bonus track “Despair” was not part of the original radio-feature, but was composed and recorded around the same time in 1977, and the track fits perfectly in style and sound.

                                      Manuel's music has been with me for now almost 50 years.

                                      I own a superb LP and CD collection of him. Dream & Desire is beautiful - what more can I say ...

                                      Olaf Leitner, March 2019.


                                      It's rare that a certain sound is entirely an artist's own. Although undeniably a stew of impeccable influences – from blues to folk to Latin to dusty funk, soul and hip-hop – one cannot hear a Tommy Guerrero song without immediately recognising it as his - and his only.

                                      The cult skater from San Francisco is globally renowned as one of the original members of the legendary "Bones Brigade" team. And as an accomplished multi-instrumentalist, his laid-back soul is beloved by all who've basked in its blissful glow.

                                      There's something elemental about this music that really stirs the soul. Strikingly beautiful and instantly addictive, it's a kind of funk-fuelled, melody-driven, groove-based magic. There's a serenity and heart in the playing that radiates warmth and splendour, as if crafted for endless sunsets. His albums that surfaced on Mo Wax at the turn of the century have been treasured since their release and it's one of his most vital LPs that returns today.

                                      The originals were quietly pressed on to a single piece of vinyl and they have been lovingly remastered, cut nice and loud on to heavyweight double vinyl and presented in deluxe gatefold jackets. “Soul Food Taqueria” continued Guerrero's guitar soul but represented a step forward with its polished production and greater complexity of instrumentation. Denied the promotion it deserved upon release, it flew under the radar. It is now the most wanted record of his wondrous back catalogue.

                                      Guerrero's atmospheric touch and subtle guitar provide lush, glimmering pieces of musical texture. Within his spacious compositions, uniquely arranged instruments flourish alongside each other to create a languid soundtrack for halcyon days.

                                      As ever, the diversity on display is beguiling. From bossa nova, samba and cumbia rhythms to understated folk, funk and soul grooves, this is another exotic set of mellow gold; perfectly represented by ESPO's memorable artwork. Furthermore, the title's hybridity reflects the intoxicating sweep of stylistic flavours served up, reminding us that, however tricky it is to categorise Guerrero's special blend, it's always a pleasure to indulge in something so creative and adventurous.

                                      Dubby, bass-heavy instrumentals give way to moody folk-soul – witness "It Gets Heavy", featuring melancholic vocals from Gresham Taylor – whilst "Thank You MK" is a gentle ode to the tropics, featuring ethereal instrumentation, bright bass and warm, jazzy guitars. The second half in particular contains a number of stunning ambient tracks – check "Lost Unfound", "Another Brother Gone" and "Broken Blood" - built around minimalist, laid-back grooves and detailed guitar orchestrations which wouldn't be out of place on the latest Jonny Nash release.

                                      Guerrero closes this flawless set with a moment of true beauty. Restrained and graceful, "Falling Awake" is a pared back piece containing meditative guitar melodies set against melancholic piano arrangements. It brings proceedings to the most peaceful close. Seductively good, it reminds you just how great simplicity can sound.


                                      STAFF COMMENTS

                                      Patrick says: Superb slacker funk and sunkissed downbeat from legendary skater Tommy Guerrero. A classic that's filling the margarita shaped hole in my life on this sweltering Piccadilly afternoon.

                                      FORMAT INFORMATION

                                      2xLP Info: 2019 Repress.

                                      Gabe Gurnsey

                                      I Get Harder

                                      Gabe Gurnsey returns with another limited-edition, white label pressing that melds together two of the standout moments from ‘Physical’ into one irresistible slab of nocturnal electro. Combining the tectonic sleaze of ‘I Get’ with the roll call to rave transcendence of ‘Harder Rhythm’, Gurnsey creates, naturally, ‘I Get Harder’. Mutating his work to further perfect his halcyon club sound, ‘I Get Harder’ releases a slow-crawl ecstasy that’s ideal for dark rooms and open minds. Not one for the faint hearted.

                                      A misty glow flows along the recumbent silhouette of Kayla Guthrie’s new EP, "Falling Star". This is the body of the artist as aural ghost, her figure lit by shuddering rhythms and synthesized echoes, and she knows what she is doing when she stands in front of that light. Not only did she build it but she has written all about it, gathered the notes and transcribed the lyrics onto paper that is as sunshine. Guthrie is dazed and dazzling with so much light, yet the clouds roll in toward the light every time. Her translucent voice lifts your hem and so tender is her bite, so weird, so intense. This is new music spinning fast in a dance with archangels (Jarboe, Cocteau Twins, Lydia Tomkiw and Leslie Winer) and barreling straight through heaven’s gate.

                                      Mixed by Ben Greenberg. Cut by Josh Bonati. Photography by Lena Shkoda, lettering by Will Sheldon. Edition of 200.




                                      1977, East Hartford, Connecticut. Rahni Harris, a 21 year old reverend and multi-instrumentalist, and his band, Family Love, were not afraid to embrace their love of R&B and gospel. They laid down "A Different Drummer" LP - one of the most forward thinking LPs recorded during this period and arguably of all time.

                                      "Syncopated Love", "He’s My Friend" and "Make It Easy" have been supported by DJs and collectors in the know for many years. Now, Rain&Shine give Rahni’s’ seminal record another lease of life for discerned collectors, DJs and music lovers worldwide!

                                      Remastered with full original artwork.



                                      Donny Hathaway

                                      Everything Is Everything - Speakers Corner Edition

                                        Already a respected arranger and pianist who'd contributed to dozens of records (by artists ranging from the Impressions to Carla Thomas to Woody Herman), with this debut LP Donny Hathaway revealed yet another facet of his genius -- his smoky, pleading voice, one of the best to ever grace a soul record. Everything Is Everything sounded like nothing before it, based in smooth uptown soul but boasting a set of excellent, open-ended arrangements gained from Hathaway's background in classical and gospel music. All of the musical brilliance on display, though, is merely the framework for Hathaway's rich, emotive voice, testifying to the power of love and religion with few, if any, concessions to pop music. Like none other, he gets to the raw, churchy emotion underlying Ray Charles' "I Believe to My Soul" and Nina Simone's "To Be Young, Gifted and Black," the former with a call-and-response horn chart and his own glorious vocal, the latter with his own organ lines. "Thank You Master (For My Soul)" brings the Stax horns onto sanctified ground, while Hathaway praises God and sneaks in an excellent piano solo. Everything Is Everything was one of the first soul records to comment directly on an unstable period; "Tryin' Times" speaks to the importance of peace and community with an earthy groove, while the most familiar track here, a swinging jam known as "The Ghetto," places listeners right in the middle of urban America. Donny Hathaway's debut introduced a brilliant talent into the world of soul, one who promised to take R&B farther than it had been taken since Ray Charles debuted on Atlantic.

                                        Hieroglyphic Being

                                        A Synthetic Life Vol.2

                                        Jamal Moss' Mathematics Plus continues with more red-shift vibrations from the outer stratosphere. The Chi-town machine wizard deploys four certified instellar rockets for your listening, dancing and meditative pleasure.

                                        No point detailing the tracks individually, you all know this cat's out there on his own with virtually nothing to compare him to on the modern circuit. Flapping snares, fizzing hats, discordance-meets-harmony. The Sun God bringeth the ruketh once more!

                                        Limited copies - move fast!



                                         


                                        WRWTFWW Records continue their exploration of the Far East with the expanded reissue of one of the most fascinating Japanese ambient / environmental albums ever made, "NOVA + 4" by Yutaka Hirose. The double LP includes the album known as Soundscape 2: Nova, sourced from its original masters, as well as 50 minutes of never-released-before recordings. It comes in a beautiful gatefold sleeve, packed with liner notes from the artist in English and Japanese. "NOVA + 4" is also available on double digipack CD.

                                        Initially released in 1986 as part of the Soundscape series commissioned by Misawa Home Corporation for use in their prefabricated houses, Yutaka Hirose’s NOVA has grown to become a mythical piece of the Japanese minimalist/ambient/environmental scene of the eighties. Initiated around the enchanting landscapes of the two first tracks recorded for the project, "Nova" and "Epilogue", Yutaka Hirose’s magnum opus serenely blends vintage synth with nature sounds, exploring soothing palettes and organic backdrops. For "Slow Sky", Hirose explains he "went for a pointillism-like sound, and tried to express a scenery of awakening, where the portal of a heart is opening up", while on "Humming The Sea", he "tried to compose a kind of music that expresses the daily, lazy life of child-like innocence in a summer vacation in some small town."

                                        The bonus LP gathers four long unreleased pieces created around the same period of time for installations, described by Yutaka Hirose as "not music per se but rather sound sculptures", and including the haunting "Shadow Of A Water Droplet" which was recorded for an Ikebana exhibition.

                                        All in all, NOVA + 4 is a transcendent experience of nature in the urban context, an oeuvre which, much like Midori Takada’s Through The Looking Glass or Satoshi Ashikawa’s Still Way, holds the power to appease the soul in turbulent times. As one inspired YouTube commenter once said when describing Yutaka Hirose’s masterstroke: "I can't tell if the birds are singing inside or outside! Thank you!"


                                        FORMAT INFORMATION

                                        2xDeluxe LP Info: Deluxe 2LP gatefold with 6 colour process, liner notes in English & Japanese.

                                        2xDeluxe CD Info: Deluxe digipack with 6 colour process, liner notes.

                                        Here we have the newest outing from G C Holmes, 'Ultralove'. Sounding like a mix between the clattering, crescentic country rock of Lift To Experience and soaring blues rock, we kick things off with the flickering acoustic guitar and deftly played guitar trills of 'Into The Elixir' before bringing in the grounding constant of Holmes' eclectic vocal performance. Move a little further along, and the hefty rock vibes continue before segueing into psychedelic realms on the woozy, reverbed majesty of 'A Magical Fairytale' and 'Smokey Old Fashioned' which certainly pulls things down more into a shadowy groove before closing things off with the more shoegazing trio of 'The Girl Of The Sea Of Cortez', 'Throwaway Heart' and the shimmering, wide-ranging cinematic impact of the titular final piece. Lovely stuff all round. 

                                        Philosophy of Beyond, the second volume in Sound Supervisor Dean Hurley’s Anthology Resource series, continues Hurley’s experimental soundscape work into more ethereal and celestial territory. 12 tracks weave together a rich sonic tapestry built in part from comb-filtering experiments, tape loops, and sampled field excursions into unique acoustical environments. A bulk of the LP is assembled from Hurley’s sonic contributions to the recent feature film Perfect (2018, director Eddie Alcazar) as well as material made in residency for Art Gallery of New South Wales’ event Masters of Modern Sound...all of which are threaded together into a singular, cohesive dissertation on the afterlife.

                                        Outlining a landscape beyond physical reality, the record serves as a soundtrack to the mysterious and immortal voyage of the soul into depths beyond the known and back again. What lies beyond physical reality? Beyond intellect and the system of the five senses? What do accounts of near death experiences, alien encounters, psychedelic drugs, astral projection, even strokes all have to do with this and why do each seem to share a core architecture of description?

                                        A long time David Lynch collaborator, Hurley operated and managed Lynch’s Asymmetrical Studio from 2005-2018 where he worked closely with Lynch on the sound and music for his feature films, commercial work and albums; most recently providing material for the third season of Twin Peaks (Showtime). Hurley inaugurated the Anthology Resource series with a compilation of his licensed material from the show in 2017.

                                        What is Anthology Resource? Anthology Resource is an ongoing compendium curated both from and for film and television in the library / production music tradition. A flagship source for outrésonic material, it was conceived to service the unique gap that straddles atmospheric score and sound design. Each release organizes thematic audio material fully licensable, non-exclusive and designed for motion picture based work and listeners alike.


                                        Imperial Teen

                                        Now We Are Timeless

                                          Imperial Teen includes members of Faith No More (Roddy Bottum), The Dicks (Lynn Perko Truell), Hey Willpower (Will Schwartz) & The Wrecks (Jone Stebbins). Imperial Teen’s releases over the past 20+ years have been pointed and specific diaries of musical celebration, windows into the hypersensitive personal drama of relationships within the band, individual conquests and failures, and collective, aspirational hopes, dreams, and perspectives. Roddy Bottum, Will Schwartz, Jone Stebbins, and Lynn Perko Truell—who they’ve become, how they are dealing, and what their lives are in 2019—all of this is on Imperial Teen’s forthcoming release Now We Are Timeless. The band wrote and recorded the new album in the cities the individual members have geographically gravitated to: New York City, the Bay Area, Denver, and Los Angeles.

                                          Themes of time and movement, averting and succumbing to crisis, dealing with loss and pain are all represented on the record, but what rings triumphant is the undeniable joy and catharsis that come from the band’s spontaneous and improvisational approach to making music together. The juxtaposition of the title and the imagery of the cover of Now We Are Timeless takes us immediately to the heart of what Imperial Teen does best. By focusing on an element in the collective here and now—an iceberg in the midst of ecological crisis, clearly sinking, melting, disappearing, the absolute antithesis of timelessness—they pose the question of hope and beauty in the wake of age, a fading icon shining brightest in the final phase of its demise, exuding light and glory as the world falls apart.

                                          Now We Are Timeless indeed. In strict keeping with the band’s roots of creating seemingly clean, pop presentations as a springboard for dramatic themes of loneliness, triumph, suicide, success, and failure, Now We Are Timeless moves us into a realm of inevitability for the band. While Seasick, the band’s first release, thematically touched on the queasiness of pop and beach and sun and glare and the optimism that lies beneath, the new release serves as a bookend of sorts in its portrayal of a world in crisis, a frostbitten but melting iceberg, monolithic and stationary yet impermanent and resonant. What has remained constant over the years is Imperial Teen’s indisputable knack for writing profound hooks as a framework for their musical memories. Their songs exhibit the realness, joy, and energy that only good friends can conjure. 

                                          FORMAT INFORMATION

                                          Coloured LP Info: Indies-only Clear & Translucent blue swirled vinyl.

                                          Coloured LP includes MP3 Download Code.

                                          Weldon Irvine's debut as a leader remains one of the most fiercely idiosyncratic electric jazz outings of the early '70s. Innovative not only for its moody, nuanced jazz-funk sensibility, Liberated Brother also translates the uncommonly strong passion of Irvine's political and philosophical views into its grooves, creating music of rare sincerity and ambition. While the record's first-half features longer, more meditative songs, like the Latin-inspired title tune and "Blues Wel-Don," the second side of Liberated Brother commands the most attention. With sterling contributions from guitarist Tommy Smith, bassist Roland Wilson, and drummer Napoleon Revels-Bey, cuts like "Mr. Clean" and "Sister Sanctified" (later sampled by Boogie Down Productions for the rap classic "My Philosophy") achieve a deeply funky consciousness forged from elements of jazz, soul, and psychedelia; "Juggah Buggah" even features Irvine on Moog synthesizer, further expanding the LP's cosmic reach. 

                                          Australian techno visionary Tim Jackiw drops his debut double vinyl album on Deeptrax Records. His unique aquatic, calming and melodic signature brings us from sci-fi-indebted celestial deep house towards late night +313 groovin' techno, all in a lustrous, dreamy and nu-classical style. All material was made between 2014 to 2019 by Tim Jackiw in his home studio. From the playful & techy driving opener "Direct Access" to the intimate neo-spiritual house heaven of "Beyond The Family" before rolling into new star clusters with the epic, suspended grooves from "Solar".

                                          RIYL: Outime & D. Ball (RIP), John Shima, Sparky & classic Detroit techno.

                                          Copies are pressed on 180g heavyweight vinyl at the label's own vinyl pressing plant Deepgrooves. 


                                          For their third release, P&F Recordings makes a departure from original compositions in favor of 4 beautiful down-tempo edits, by none other than modern day master of the craft: Jaz.
                                          Known to many as perhaps the only Episcopal minister / DJ / digger, Jaz has had a prolific career of uncovering obscurities, distilling them down, and delivering them to the masses. Only last month did he make his way into the record bag of every respecting Balearic customer with an ace edit set on American standard. In an ode to the slower end of dance music, here we see Jaz survey four of his favorite 100bpm-ish cuts. Start the party, end the party, funk the party with these genre-bending, globe-travelling monsters. 

                                          STAFF COMMENTS

                                          Patrick says: Whether you're grooving through cocktail hour to the ripe guiro, wild synth blasts and poolside vibes of "Dancing In The Sunshine", cruising through town with the top down to the tune of "Here We Go", soaking in a little city pop joy via "103" or chanelling the chug on cosmic wrong-un "Push Comes To Shove", you're always in safe hands with Jaz.

                                          The fourth vinyl release from Banana Hill - the party-cum-record label based right here in Mancunia! It comes from Kenyan producer Jinku who drops the deeply personal "Vagabond" EP. Through sound textures and patterns, the waning lights of a relationship are exemplified through tension, discordant sound layers and African polyrhythms examining the damage caused through infidelity and repercussions faced for one's own actions.

                                          Vagabond's remixes come from El Buho and Sooma, both purveyors of polyrhythmic multicultural music. El Buho's remix of A2 brings his Latin American music rhythms warping and twisting Loa Myst's vocal around accordion stabs and a constantly bouncing bass. Sooma's remix of A1 leans towards her house roots, layering complex polyrhythms, creating a hypnotic groove, majestically tied to a hypnotic tribal call.


                                          STAFF COMMENTS

                                          Matt says: More solid stuff from this emergant firm. Locals will be well aware of vibrant cartel but now it seems, it's time for the world to listen!

                                          Joy Division

                                          Les Bains Douches

                                            The complete "Les Bains Douches" set spread across a double LP. A classic live album with nine tracks recorded live in Paris on 18th December 1979, three tracks recorded in Amsterdam (including the awesome version of "New Dawn Fades") on January 11th 1980 and four tracks recorded in Eindhoven on January 18th 1980.

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

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

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


                                            FORMAT INFORMATION

                                            Coloured LP Info: LP and 7", both pieces are pressed on individually numbered yellow vinyl and this is an indies exclusive version.

                                            LP Info: LP and 7".

                                            Florian Kupfer

                                            Going Down EP

                                            Big one from LIES OG Florian Kupfer on Hot Mix. Done in dat authentic, tape-encrusted J A C K style a la, Ron Hardy, Steve Poindextor, (early) Derrick Carter, Trax records etc.

                                            Two dark n twisted, raw dance traxx recorded well into the red and pressed nice an' hot onto heavyweight wax.

                                            Take no prisoners, burn the dancefloor....

                                            Limited quants - move quick!


                                            FORMAT INFORMATION

                                            Ltd 10" Info: Limited edition 10" green vinyl

                                            Legendary American ambient musician and electronic pioneer Kerry Leimer arrives at his 20th solo album with the haunting and uplifting “Uncertain Instructions”, the perfect introduction to his latest creation. Featuring the classic hallmarks that K. Leimer has become famous for, with light drifting piano punctuating the dense undercurrent of synth work and samples. Spliced vocal lines add an air of earthliness to the heavenly piece, emphasizing a sense of human fragility. As the LP continues and Leimer works his magic across a further six compositions, we continue to hear a fresh and timeless sound, a statement to his unfailing talent after four decades in the game.

                                            Kerry includes this transcript to accompany "Irrational Overcast":

                                            "Authoritarian ideas that have persisted somewhere in the depths of human nature for millennia have resurfaced at a crucial moment for the environments we all inhabit — natural, cultural, intellectual and economic. The power and influence of this ideology will again prove catastrophic, as it already has for many people in many parts of the world. Authoritarianism, along with the refutation of our shared responsibility to one another and to objective knowledge in favor of personal gain & gratification consistently lead to disaster. Yet, somehow, a significant number of people seem to feel that this time will be different. To some extent they are right. It will be infinitely worse.

                                            Irrational Overcast is preoccupied with the perpetual failings of human tribalization, of assuming dominance over nature, of choosing belief and ideology over objective reality. The impetus was brought into immediate focus by the destructive impulses and actions of such excrescences as the Trump Administration and his republicans, as well as the blatant dishonesty and bigotry of thousands more retrograde, ill-informed nihilists operating in and outside the pubic sphere.

                                            I do not profess that music — especially an experimental, lyric-free music — can change or influence such circumstances. But this is the context in which we now live, and this has shaped the music of Irrational Overcast — a coping mechanism for living under clouds of baseless beliefs and simplistic ideologies that disfigure and stifle what is an admittedly difficult though really quite lovely world. Music, to my mind, can not clearly express anything so literal, or metaphoric, or allegoric — but Irrational Overcast makes the effort to articulate the problems created by some enduring and banal aspects of human behaviour. Which is the reason it is built of lo-fi, deformed emergent or regressing or fragmented phrases, subsumed by distortion, noise, wow and flutter… and played with the understanding that there can be no more bedtime stories." 


                                            The self-titled LP, originally released on Salsoul in August 1981, is one of the greatest albums of the post-disco era. It’s one of Be With’s favourite ever LPs and they're on a mega-buzz to give it the reissue treatment. With all the touchstones of Burgess’s finest work - breezy grooves, undulating synths, funk-drenched bass and life-affirming lyrics - delivered with gospel-derived vocals and harmonies - it’s a record to uplift both body and spirit.

                                            Already a cult soul figure as lead singer of seminal vocal group Black Ivory, Leroy Burgess cut his teeth as arranger, vocalist and songwriter with legendary producer Patrick Adams on essential late-70s projects like Phreek and Dazzle. He went on to define the essence of “boogie”: the vibrant underground dance sound that stood in contrast to commercial disco. With its reduced speed - mid-90 to under 110 BPM - the cool boogie of Burgess has the disco bounce, just more laidback.

                                            All six tracks here could have been stand alone 12" hits. Indeed, some of them were. But together they are also an incredibly cohesive album, where all the compositions are deeply relevant to each other. In short, it’s essential; a thrilling showcase for Burgess’s finest arranging and production work - with his vocals at their euphoric peak alongside the inventive rhythm section of Aaron (Sonny) T. Davenport on drums and James Calloway on bass.

                                            Opener “(You’ve Got) That Something” is a balmy sunshine groover with an insistent chorus whilst the timeless vocal of “Dancing Into The Stars” - married to percolating synth and airtight drums - showcases the chemistry between Burgess and the rhythm section.

                                            The fusion of funk and gospel-influenced harmonies which propels “Something Else” is remarkable - deep, joyous and bouncy. Infamously mixed by Larry Levan, “I Know You Will” is an easy glide, all rollicking electric piano underpinned by a precise and relentlessly upbeat groove. “Lay It On The Line” radiates smooth, understated brilliance, elevated by interstellar keys and finally album-closer “Sweet To Me” is a chilled-out gem of profound soulful elegance.

                                            Logg has long been a hit with the likes of Kenny Dope and Dam-Funk whilst, in the last decade, MCDE and Harvey Sutherland have routinely cited it as a huge influence. Accordingly, finding original copies on vinyl at affordable prices has been a thankless task. This fresh Be With reissue ensures this legendary record now sounds, looks and feels as sensational as it deserves to.

                                            Mastered brilliantly by Simon Francis, cut by Pete Norman and with lovingly reproduced artwork, we think this is a reissue that does justice to this classic LP.

                                            STAFF COMMENTS

                                            David says: Yessir, I like to boogie. Do you like to boogie too? If so this Leeroy Burgess, Salsoul nugget is definitely for you. Six slices of pure heaven.

                                            FORMAT INFORMATION

                                            Ltd LP Info: 180 gram vinyl.

                                            Love Language

                                            The Love Language

                                              “A casually stunning work of one-man-band lo-fi indie pop. McLamb’s songs, a mix of moody piano ballads and bouncy guitar rock are aching love letters that combine the emotional directness of Big Star with the raw immediacy of Guided by Voices.” SPIN. From frontman Stuart McLamb: On The Love Language's most recent tour opening for Teenage Fanclub, we played for lots of fresh ears, many of whom came to the merch table after the show and asked, "If you had to pick one, which of your albums is your favorite?" That's a very tough question, like trying to pick a favorite child. While it's hard to call it "best," it's impossible to deny that our self-titled record is and will always be the most sentimental to me.

                                              It's where it all started. A collection of demos posted every couple months on Myspace between 2007 and 2008 until we were signed to our first label, Portland, Oregon's Bladen County Records, who compiled them all as a full LP in 2009. The songs came effortlessly, and each one was recorded by a mobile multitrack recorder in various rooms (storage spaces, the back office of a record store, living rooms) throughout North Carolina literal hours after it was conceived. There's a freshness and vitality to these songs that I hope, but don't expect, to recapture again. It's the sound of a songwriter discovering their voice in real time. The record has been out of print on vinyl for a few years now, and I'm excited to reissue it with some slight updates to the original packaging with my friends at Merge Records! 

                                              If ever an album could transport you to the hazy sunshine and imagined halcyon paradise of Southern California in the mid-1980s, could capture the early evening warmth of hanging at an inclusive boogie jam as it approaches “magic hour” in Santa Ana or Anaheim, then it’s Vaughan Mason and Butch Dayo’s Feel My Love. A brilliantly produced deep slung, low rider funk classic originally released on Salsoul in 1983. It’s a masterpiece of “funk love music”.

                                              Yes, this is indeed a perfectly formed five track “mini LP” of unparalleled heat, but there’s one song here that, above the rest, represents Orange County boogie-funk. A straight killer beloved by all that have had the pleasure of moving to it. A track that can fill up a dance floor within seconds of its starting. That song is the eternal title track, “Feel My Love”.

                                              This is a work of art that made people fall in love with the funk. It transcends the limitations of genre. “Feel My Love”’s deceptive simplicity makes it perfect to drop during a house set, a classic funk party or at a west coast rap jam. It’s sexy, deeply emotional, melancholic, hopeful, passionate and just radiates so, so much raw energy. This is music.

                                              The rest of the record is hardly filler though. Opener “Oh, Love” is a dizzying, emotional slow jam. With heaven-sent vocals riding gorgeous, sweeping keys that alternate between sweet twinkling lines and funk-fuelled stabbing. It’s sensational. A rollerskating jam named “Rollalong Songs” is an ultra-swish piece of dance floor dynamite. Its slick drums, staccato piano and neck snapping claps underscore Dayo’s buoyant vocals. It’s essentially “Bounce, Rock, Skate, Roll Part II”.

                                              The flip begins with “Party On The Corner”. Smoother than silk vocals, day-glo synths, a bubbling bassline and guitar licks that surely received the Prince seal of approval. It’s another example of how Vaughan Mason and Butch Dayo flirt with perfection so routinely. The most majestic closer, the kaleidoscopic, cow-bell-assisted synth-funk heater “You Can Do It” is a proto-rap groover that truly smokes.

                                              This prized LP is a stone cold jam and finding original copies on vinyl at affordable prices has been tough for years. Mastered brilliantly by Simon Francis, cut by Pete Norman and with lovingly reproduced artwork, this fresh Be With reissue ensures this legendary LP now sounds, looks and feels as sensational as it should.

                                              STAFF COMMENTS

                                              David says: Yet more heat from Be With, the reissue label de jour. They're so hot at the moment they have their own fire department just in case things get out of hand.

                                              FORMAT INFORMATION

                                              Ltd LP Info: 180 gram vinyl.

                                              Tulsa vocalist Paulette Parker joined the renowned vocal group The Ikettes in 1967, before meeting Andre Lewis, whom she would marry some time later, changing her name to Maxayn Lewis. Both of them, along with former colleagues of Andre in the group Buddy Miles Express, formed in 1970 a new band that would be baptized after the singer's own name: Maxayn.

                                              Their first recording was self-funded and easily achieved a contract with the company Capricorn Records to release it. It was in 1972 when that first album, self-titled, saw the light. The result is a superb record of soul and funk spiced up with a gospel vibe and also a distinctive rock sound. As a curiosity, two of the most soulful and deep songs by The Rolling Stones, 'Gimme Shelter' and 'You Can't Always Get What You Want', were chosen to be part of the album's repertoire and in both cases Maxayn's vocal performance manages to appropriate these two famous songs to the point that it seems that they were originally written for the singer herself. Facing two classics of such high caliber and successfully passing the test is a challenge that few would dare to try. Not in vain, Maxayn deserves to be placed in the same league as other better-known funk artists such as Betty Davis or Yvonne Fair.

                                              Along with the successful versions of the Stones, their own compositions include 'Trying For Days', 'Jam For Jack', 'Song' and 'Doing Nothing, Nothing Doing', in which the energetic tandem formed by Maxayn's voice and the solid support of the band's musicians achieves an electric and timeless result.

                                              FORMAT INFORMATION

                                              LP Info: 180g vinyl, gatefold sleeve.

                                              Julia Meijer

                                              Always, Awake

                                                Julia Meijer is a Swedish-born singer, song-writer and guitarist based in Oxford, UK. Julia is gearing up to release her debut album, Always Awake, which will also be the debut album release by Oxford-based music agency and label PinDrop. Always Awake features star musical turns from Julia's band, including former Guillemots drummer Greig Stewart, guitarist Andrew Warne and keyboard player and composer Sebastian Reynolds. Julia has appeared at festivals such as Rob da Bank's Common People, Wilderness, Truck and Wood, and performed shows in Oxford and London. Single Train Ticket received a premiere from Clash Music, and support from Gideon Coe and Lauren Laverne on 6Music, and with the release of Always Awake it seems only a matter of time before Julia stops being Oxford's best kept music secret.

                                                Melvins

                                                Houdini

                                                  The iconic fifth album Houdini by the Melvins captures the band’s power, vision, and musical strangeness. It’s an essential ‘90s release, combining elements of grunge with hard rock and sludge metal. Their biggest commercially success and first major label release is an album where they displaying the full width of their musical abilities. Buzz Osbourne’s guitar sound is deep and heavy and combined with Dale Crover’s powerful drum rolls and fills it sounds really impressive. Kurt Cobain (Nirvana) added his guitar skills to the track “Sky Pup” and plays the part of percussionist on “Spread Eagle Beagle”. It’s one of the most accessible Melvins albums and the gateway to explore more records by the band. Houdini is the ultimate Melvins classic and a must have for every grunge and music fan in general. 

                                                  FORMAT INFORMATION

                                                  Coloured LP Info: 180g audiophile silver coloured vinyl, limited to 1500 copies.

                                                  Melvins

                                                  Stag

                                                    The popular and influential American rock band The Melvins recorded their eight studio album Stag in 1996. It doesn’t sound like anything they recorded before, because they exploring new fields of music. The first notes of opener “The Bit” make it clear that they’re experimenting by bringing together the drone sounds of the sitar with the greatness of King Buzzo’s guitar riffs. The schizophrenia can be heard in the introductions of noise and ambience. The album even includes prog based music, like in the epic “Buck Owens”. It’s one hell of a ride, from sludge metal and experimental grunge to blues rock and pop. Another classic tune is “Bar-X and The Rocking M”, which explores the power of the trombone.

                                                    Starting at the early days of The Melvins guitarist Buzz Osborne and drummer Dale Crover created some influential pieces and are releasing records nowadays on a yearly basis. The variety of different musical styles they explored during their career made them popular in different fanbases. 

                                                    FORMAT INFORMATION

                                                    Coloured LP Info: 180g audiophile silver coloured vinyl, limited to 1000 numbered copies.

                                                    Melvins

                                                    Stoner Witch

                                                      The true gods of the stoner underground music, the Melvins, released their album Stoner Witch in 1994. The album is one of their most successful releases and one where their musical capacities can be felt in the depth, powerful and experimental sounds. It melds the sound of their earlier records with some ambient and hardcore melodies. The monster anthem “Revolve” is a true masterpiece that breathes the southern rock and brings a handful of well crafted riffs. Another epic track and one of the best recordings by the Melvins is “At the Stake”. “Queen” is a much more radio friendly approach, but even in this song you’ll feel their traditional sound.

                                                      The Melvins can be classified as one of the most versatile bands. They recorded albums which mixed influences from blues, pop, metal, rock, grunge and doom music. Even now they’re still performing and recording music like there’s no time to waste.

                                                      FORMAT INFORMATION

                                                      Coloured LP Info: 180g audiophile silver coloured vinyl, limited to 1000 numbered copies.

                                                      METZ

                                                      Automat

                                                        METZ, the widely-adored and delightfully noisy 3-piece punk band from Toronto (ON, Canada), have been laying waste to stages around the globe for over 10 years. During that tumultuous chunk of time METZ, comprised of Alex Edkins, Hayden Menzies, and Chris Slorach, have cemented their reputation as one of the planet's most exhilarating live acts and trusted providers of bombastic outsider rock. Along the way, they’ve earned enthusiastic support from The New Yorker, Mojo, NPR, The New York Times, KEXP, Pitchfork, Stereogum, The AV Club, Q, Uncut, Exclaim, and a bunch of others. Referring to the trio's tireless tour regime and unquenchable thirst to bring their music to the people, John Reis (Hot Snakes, RFTC, Drive Like Jehu) once said, “your ambition is really unflattering, chill out.”

                                                        They did not listen. Instead, their love of the road and passion to create uncompromising and challenging music remains unwavering and has only grown over time. Their recorded output to date, a cornucopia of pop-inflected noise punk and damaged fuzz anthems, includes 3 critically-acclaimed LPs with Sub Pop, as well as a plethora of limited-edition releases, collaborations, covers, and rarities. Which brings us to Automat, a collection of non-album singles, B-sides, and rarities dating back to 2009, available on LP for the first time, and including the band's long out-of-print early (pre-Sub Pop) recordings.

                                                        Included here are the band’s first three 7” singles, recorded 2009-2010 and originally released by We Are Busy Bodies Records; a demo version of “Wet Blanket,” the explosive single from 2012’s METZ; two tracks from the limited-edition bonus single that accompanied preorders of METZ; “Can’t Understand,” originally released in 2013 by [adult swim]; and both tracks from the band’s 2015 single on Three One G.

                                                        STAFF COMMENTS

                                                        Barry says: Clashing, rawkous punk-rock guitars and huge percussion meet noise-rock production and hardcore screaming in a clattering maelstrom of fiery chord changes and snarling vitriol. Absolutely insane, and unfathomably packed with huge swathes of razor-sharp distortion and heft.

                                                        FORMAT INFORMATION

                                                        Coloured LP Info: Loser edition on clear vinyl. Comes with bonus 7".

                                                        The Modern Lovers

                                                        Rock 'N' Roll With The Modern Lovers

                                                          Rock ‘n Roll with the Modern Lovers is the second album released as Jonathan Richman and The Modern Lovers. The band, which is build around singer-songwriter and guitarist Jonathan Richman, almost totally focuses on the sound from the ‘50s. The lo-fi record breathes folky roots music and rock ‘n roll as it would sound ages ago. “Ice Cream Man”, “Egyptian Reggae” (earning them a UK Top 5 hit) and “Roller Coaster by the Sea” are all superb songs, uncomplicated and wonderful. This is one of the most remarkable projects recorded by Jonathan.

                                                          The Modern Lovers were formed in 1970 by teenage singer, songwriter, guitarist Jonathan Richman, augmented with Jerry Harrison (keyboards), Ernie Brooks (bass) and David Robinson (drums), with Richman’s friend and original band member John Felice joining them occasionally.

                                                          FORMAT INFORMATION

                                                          Coloured LP Info: 180 gram audiophile.
                                                          Limited edition of 1500 audiophile turquoise coloured vinyl.

                                                          Irie Mona goes for a dub adventure on new label Mystery Booms. He’s a producer based in Lyon and he knows perfectly how to inject new digi-attitude in the old-school way of dub productions. A perfect nu-bass-ballad for some tribal sun dancing. Both sides killah... You need this bass dreads!

                                                          Early Support : Judaah (BFDM), Tarba (BFDM), The Pilotwings (BFDM), Sacha Mambo (Macadam Mambo), Leo James (Berceuse Héroïque), Nummer, Chez Emile Crew, NVST, Folklore Crew, Groovedge, Emeline XIII (Sumo Smash), Warzou (Jump, Nous Disques), Eddy Larkin…

                                                          STAFF COMMENTS

                                                          Matt says: A surprise Summer stepper for zee dubby dance I hear you say?! Yes sir-ee Bob! Top drawer this...

                                                          Mono

                                                          Hymn To The Immortal Wind (10 Year Anniversary Edition)

                                                            To commemorate the 20th anniversary of MONO – and the 10th anniversary of their most iconic album Temporary Residence Ltd. proudly presents Hymn to the Immortal Wind – Anniversary Edition. Beautifully remastered from the original analog master tapes by Bob Weston at Chicago Mastering Service, this super deluxe reissue sounds, looks, and feels more pure and powerful than ever before. The CD format has been repackaged in a gorgeous full-color gatefold jacket with metallic gold inks, matte varnish, and custom inner sleeve. The 2xLP vinyl format is packaged in a mind-blowing full-color, custom die-cut jacket with metallic gold foil stamping, matte varnish, and 7 interchangeable full-color cover inserts. The vinyl is pressed onto 100% virgin, audiophile-quality vinyl. No expense was spared in properly honoring what has become MONO’s most beloved album. 

                                                            FORMAT INFORMATION

                                                            2xColoured LP Info: Indies Only Metallic Ocean Blue & Green vinyl.

                                                            2xColoured LP includes MP3 Download Code.

                                                            Airto Moreira

                                                            Soul Jazz Records Presents Airto: Samba De Flora

                                                            Soul Jazz Records re-release Airto Moreira’s classic album ‘Samba de Flora’, out of print for 30 years ever since its original release in 1988.
                                                            The impact of Airto Moreira in both the world of American jazz and in Brazilian music is unparalleled. At the start of the 1970s Airto was invited to join Miles Davis’ groundbreaking ‘electric’ group, which with albums such as the seminal ‘Bitches Brew’ helping Davis regain his title from John Coltrane as the most important jazz artist of all time.
                                                            Two years later Airto helped establish two of the most important jazz fusion groups of all time: Weather Report, with Wayne Shorter, Joe Zawinul and Miroslav Vituous; and Return to Forever, with Chick Corea, Stanley Clarke and Flora Purim.
                                                            Airto Moreira also began his solo career in the USA in 1970 and alongside his wife, the singer Flora Purim and Brazilian artists such as Hermeto Pascoal, Sivuca, Deodato, Raul de Souza, Azymuth, all played a major part in the Latinised sound of American jazz fusion throughout the 1970s. By this time Airto established himself in the USA in the 1970s, he had already had a formidable career back in Brazil in the 1960s as an important figure in the Bossa Nova movement, which soon after spread throughout the world. Airto played in a number of important groups during this time - Quarteto Novo Sambalanco Trio and Sambrassa Trio (all of with Hermeto Pascoal) - which proved to be three of the most ground-breaking groups of this era.
                                                            The album ‘Samba de Flora’, including the seminal jazz dance title track, is a masterpiece of jazz and Brazilian fusion and features Airto Moreira alongside Flora Purim, fellow Brazilian artist Raul de Souza and heavyweight USA jazz musicians Alphonso Johnson, percussionist Don Alias (from Stone Alliance), Cuban conga player Cachete and Argentinian pianist Jorge Dalto.
                                                            The album was originally released on the small independent Montuno Record label (which was run out of the unassuming Record Mart record store situated in the Times Square underground subway station!) and has been unavailable for many, many years.
                                                            This album is fully remastered and re-released by Soul Jazz Records for the first time ever.

                                                            Planet Mu Recording artist, Gobstopper label boss, and Boxed club night founder Mr.Mitch provides the third release of 2019 for Pressure. This strictly limited, blue and yellow splattered vinyl platter is futurist dancehall at its most exhilaratingly demented. Random synth patterns, chaotic bleep emissions and all round oscillating madness ensures this furiously fresh track, flows freakily, like a bogle frenzied droid transmitting from Kingston, Jamaica, year 2049. Kevin Martin aka The Bug, nagged Mitch into submission, to release this acid-ragga (new genre alert..?! - ed) killer, after the label CEO, heard "Not Modular" standing out clearly from Mitch’s gobsmacking one hour "Techno Dancehall Mix" at the end of 2018.

                                                            And as a tribute to South East London don dada Mitch, The Bug himself decided to slice, splice and dice "Not Modular" into two additional atomised remixes. The Bug’s ‘Straight’ remix, is sub aquatic bashment, pulsating deeply from the bottom of the ocean, buried in a blizzard of white noise and disembodied, hypnotic chimes, with panic sirens set to stun. Whilst the ‘Raw remix’ is no less disorientating and funky, sounding like Lenky’s classic ‘Diwali’ riddim rewritten by an 808 clap addict, with hips set to full rotation. Conclusively alien and ridiculously infectious. 


                                                            FORMAT INFORMATION

                                                            12" Info: Limited splatter vinyl!

                                                            Mueran Humanos

                                                            Hospital Lullabies

                                                              Since their last album ‘Miseress’ at the end of 2015, Mueran Humanos have continued to expand their audience playing major festivals and most notably completed a full European tour supporting The Horrors, hand picked by the band themselves.

                                                              For the uninitiated, Mueran Humanos, (Tomas Notcheff, Carmen Burguess), can be a tough one to explain. I could list their influences and call them “a psychedelic-krautrock garage punk-electronics duo who manage to capture the rich cultural history and excitement of their adopted home of Berlin and infuse it with a sophisticated South American chic imported from their native Buenos Ares”, but that would be doing them an injustice. The reality is that there isn’t anything to explain. They don’t need a pretentious description full of talking points that make music nerds get all mushy and gushy. Once you listen to them, it just makes sense. At their core, these are simple and catchy songs with a solid electronics foundation solidified by driving bass lines and textural keyboard parts (which could just as easily take you on an atmospheric journey as they could break out into a “Sister Ray”-esque Velvets freakout at any moment). Vocals are shared by both members, and they create an important dichotomy between the masculine and feminine energies that shape the band. Spanish speakers are in luck, because the lyrics are surrealist poetry of the highest order. Thankfully for the rest of us, they occupy that special place reserved for bands like Einsturzende Neubauten, (Jochen Arbeit of EN actually appeared on the bands last album), or Os Mutantes where they transcend language barriers and are capable of telling a story through the sheer power of the human voice. There is something magical about this band, and it oozes out through the cracks every chance it gets.

                                                              Hospital Lullabies is a companion piece to a movie of the same name directed by Carmen Burguess, and without question this is their most refined and cohesive statement so far. While there is a darkness to some of it (fleshed out by imagery of nightmares, childhood terrors, and the trauma of mental institutions), it is balanced by feelings of romance and optimism and an overwhelming sense of childlike wonder.

                                                              Hospital Lullabies has delicate dream-like moments (Vestido), motorik cosmic freakouts (Alien), EBM floor-fillers (Los Problemas del Futuro), avant-garde poetry soundscapes (Cuando una Persona Común), and New Order/OMD-esque electro dance-pop ballads (Detrás de una Flor). That being said, there is a thematic linear thread that ties everything together, and the album really should be approached as a whole rather than a mere collection of songs.
                                                              Ultimately, this is a record that could only be made by two people completely and totally in love with one another - two people who have dedicated their lives not only to each other, but also to this music (which they are generous enough to share with the rest of us). So, if this is your first exposure to Mueran Humanos - then welcome! You’re in for something special. If you are a longtime fan, then what are you waiting for?

                                                              You know Munk probably from the songs he did with James Murphy, Peaches, Asia Argento or one of many other indie disco tracks he released on his former label Gomma. Gomma now is sleeping and since Mathias Munk Modica started the Toy Tonics label with his friends Manu Kim & Mo Butschek he hasn't released many things under that name. Instead has been playing keyboards, bass and drums on many tracks of other artists on the TT label. And of course has been building up the TT imprint from his new home in Berlin. Now it's summer and it felt right to put out a few balearic remixes reworks of Munk tracks. Beach party and daytime disco vibe. So here u get reworks of Munk's friends Severino from Horse Meat Disco, Lauer, and Kai Alce from Detroit. Right for this summer.

                                                              Last time out Lil Static added a little extra energy and a whole lotta bass to Kraftwerk classics 'Numbers' and 'Computer World 2', and here they flip the script a little, taking a ganja leaf out of the 5 Borough Breaks playbook with a sampledelic 7". Giving much props to Q-Tip and his press pause production method, the label slap Illmatic classic "One Love" on the A-side, then switch vibes  on the flip for the original sample, evocative jazz opus "Smilin' Billy Suite" by The Heath Brothers. Hot!

                                                              Fifth Album by the Bill Wells project feat. words by Aidan Moffat A masterclass in nuance, interpretation and the purifying power of the human voice, Standards Vol. V represents another captivating chapter in the career of a singular figure in contemporary music. For his fifth album as the mischievously named National Jazz Trio Of Scotland, the prolific jazz outsider Bill Wells posits yet another collaborator in the diffuse light cast by his tender chord shifts and understated arrangements. The voice on Standards Vol. V is that of Black, whose other musical activities include the band Babe, Francois And The Atlas Mountains, Rozi Plain and Charlotte Gainsbourg.

                                                              New Order

                                                              ∑(No,12k,Lg,17Mif) New Order + Liam Gillick: So It Goes..

                                                                In June 2017, New Order returned to the stage at Manchester’s Old Granada Studios where Joy Division made their television debut on Tony Wilson’s So It Goes programme in 1978. For the celebrated show ∑(No,12k,Lg,17Mif) New Order + Liam Gillick: So it goes .., New Order deconstructed, rethought and rebuilt a wealth of material from throughout their career: familiar and obscure, old and new.

                                                                Featuring tracks such as Disorder, from Joy Divisions Unknown Pleasures and not played live for 30 years, up to 2015’s Plastic from New Order’s critically acclaimed Top 5 album Music Complete - this is the perfect document of those magical 5 nights. The album was recorded live on 13th July 2017 and includes the full show and encore plus 3 additional tracks recorded over the residency to give listeners a full representation of the breadth of material performed. 

                                                                This special series of intimate shows took over Stage 1 of Manchester’s iconic Old Granada Studios for five nights in June 2017. Created in collaboration with visual artist Liam Gillick, who has previously presented solo exhibitions at venues such as Tate Britain and MoMA in New York; and orchestrated by composer-arranger Joe Duddell, a fellow son of Manchester and a frequent collaborator with the band, the live show was performed by the band with a 12-strong synthesiser ensemble from the Royal Northern College of Music. 

                                                                STAFF COMMENTS

                                                                Barry says: Mute present this essential landmark in New Order's lineage with this 2CD / 3LP set from MIF almost exactly 2 years ago. The catalogue is given a renewed and invigorated twist, showing another side to an already venerable set of classic songs. An essential piece for any fans, and another reason New Order retain the status they've held for so long.

                                                                FORMAT INFORMATION

                                                                3xColoured LP Info: Limited Edition Triple album pressed on transparent coloured vinyl housed in a slip-box.
                                                                Vinyl 1: Red Transparent.
                                                                Vinyl 2: Light Green Transparent.
                                                                Vinyl 3: Blue Transparent.
                                                                Packaged in individual sleeves and into a hardback slipcase, all with spot gloss finish.
                                                                24 page 12" sized booklet with silk finish containing exclusive imagery and text relating to the legendary event.
                                                                Includes hi definition digital download of all 18 tracks.

                                                                2xCD Info: Double CD w/ Deluxe Booklet, packaged in triple gatefold sleeve with spot gloss varnish.

                                                                North Sea Radio Orchestra

                                                                I A Moon

                                                                  REISSUE / REPRESS of NSRO's critically acclaimed third album from 2011.

                                                                  "Chamber pop pastoralists make great leap forward... Who knew that what the music of Steve Reich has been crying out for all these years is a Krautrock makeover?" MOJO 4**** 'What makes the North Sea Radio Orchestra so special is Fortnam's gift for orchestration, the deft and original way he puts deceptively simple materials in the hands of sophisticated performers. Melody pours from his pen on every page.' The Guardian *****

                                                                  On this release, the influences apparent on the first two albums (Britten, Vaughan Williams, Reich, ISB, 70's prog) have been augmented by a distinct whiff of Krautrock

                                                                  N.O.T.E.

                                                                  Phase Alternating Lines

                                                                  The impeccable Tartlet label nears ever-closer to its half century milestone, drafting in the illusive 'Nelson Of The East' - N.O.T.E.

                                                                  The Swiss-born, Milanese artist released his first EP "Night Frames" just last year, making a strong entrance on Tartelet and registering our interest here and elsewhere through some truly intriging vibrations. This time around, N.O.T.E explores 80s electro boogie with "Phase Alternating Lines" on the A side, and delivers his very own take on obscure tribal house with “Burning Palm” on the B side.

                                                                  N.O.T.E is young, thirsty, and dead serious about his music. His admirable work ethic shows off not only in his own releases but also in his collaborations with other artists. In the past year alone, he has produced for Wayne Snow and several others that are keeping their work under wraps – while simultaneously creating music as N.O.T.E and under his Verner moniker. All the hard work seems to be paying off on this new 12’, where he comes through with two outstanding dancefloor bombshells.

                                                                  Limited-edition release of 400 copies mixed at Panalama Studios in Copenhagen on the Neve 5088 Shelford console for good measure.


                                                                  STAFF COMMENTS

                                                                  Matt says: Fuckin' love this guy... Dint expect him to come thru with a killer new cosmic-boogie romp! And that tribal number on the flip! - oh monsieur you are really spoiling us!

                                                                  Michael Orr And The Book Of Life

                                                                  Love Will Rise

                                                                  Amazing private gospel modern soul/boogie LP originally released in 1981, featuring an incredible alternate version of the dance floor killer "Spread Love".

                                                                  Having grown up in rural West Virginia, Michael Orr is a marvelously talented musician and accomplished singer, songwriter, and producer. From the time he was placed on a piano bench as a toddler, Michael has been playing and composing music.

                                                                  In 1975 Michael Orr recorded his first full record “Spread Love” which became an international classic. In 1979 he recorded his second and much lesser known album “Love Will Rise” in Los Angeles and released it on the Birthright record label. The single “Love Will Rise” was a tribute to The Reverend Dr. Martin Luther King Jr. A gem of a smooth soul album – completely rare in the original, and a fully honest soul testament from Michael Orr. Orr's got a real talent for a song – and his commitment to strong vocals can be heard in his mix of styles that recall bits of Andy Bey, Jon Lucien, Gil Scott-Heron, and DJ Rogers. An absolutely incredible gospel modern soul album, finally available again, fully licensed and remastered, with original artwork. Not to be missed!

                                                                  Shuggie Otis

                                                                  Inspiration Information -

                                                                  This beautiful Shuggie Otis album went largely overlooked at the time of its release in 1974. Which is a shame, because it’s one of those albums that you hear new things in every time it’s on the platter. Shuggie played every instrument here himself, giving us a look into his psyche: soothing, subtle, harmonious and elegantly funky. Some say the album is ahead of its time - so much so it would fit into the Trip Hop genre with ease. We’ll let you decide, all we know is we can’t stop playing it!

                                                                  Inspiration Information 45th anniversary limited edition is available as 1500 individually numbered copies on flaming (yellow & orange marbled) vinyl.

                                                                  STAFF COMMENTS

                                                                  Andy says: All you need to know about this beautiful record is that it was a massive influence on none other than Prince, and in a normal world would have propelled Shuggie Otis onto world super stardom ! Think a gentler, subtler Sly Stone. Stunning.

                                                                  FORMAT INFORMATION

                                                                  LP Info: LIMITED 45TH ANNIVERSARY EDITION OF 1500 INDIVIDUALLY NUMBERED COPIES ON FLAMING (YELLOW & ORANGE MARBLED) VINYL

                                                                  The ever-reliable (read; absolutely essential if you like new techno and electro!) Pyramid Transmissions label presents the 1st solo release on the label from on-going partner Pathic.

                                                                  Pathic aka John Cranmer, is no stranger to electro heads as he has been releasing beautifully crafted trax for 20 years now, releasing on Outside Recordings, Cultivated Electronics, Minimal Soul, Earthlings & Ai.

                                                                  The "Rebirth" EP is a sturdy, bunker-resistance collection of deep n dirty electro with Detroitian inflections throughout. Ignore the also-rans, this is the real deal shizzle. Gritty, street-ready hardware jams that'll rock the club and car soundsystem in equal measure. 


                                                                  STAFF COMMENTS

                                                                  Matt says: Favourite track for me? The gurgling, Radioactive Man-indebted, "Am I Eating Mushroom Soup". Proper, bassbin buggin' goodness eeks out the motherboards in fine style.

                                                                  Penelope Isles

                                                                  Until The Tide Creeps In

                                                                    For every sibling band forged in rivalry, many others mount an unassailable genetic argument for keeping the music in the family. The latter is assuredly the case with Penelope Isles, a brother- sister-centred alt-rock quartet from Brighton (via Isle of Man/Devon) whose debut album, ‘Until The Tide Creeps In’, is released through Bella Union.

                                                                    Formed around the chemistry between dual songwriters Jack and Lily Wolter, the quartet’s expansive DIY mix of translucent dream-pop, fuzzrock guitars and indie-psych flushes comes lovingly dipped in exquisite harmonies and lustrous melodies: a combination so intuitive, you’d think it was in their blood.

                                                                    Crisp and woozy, blissful and biting, it’s an album deepened by shared experience: experiences of, in Jack’s words, “leaving home, moving away, dealing with transitions in life and growing up. We are six years apart, so we had a different experience of some of this, but we share a similar inspiration when writing music. Family, leaving home, disconnection and connection all ring bells!".

                                                                    FORMAT INFORMATION

                                                                    2xColoured LP Info: Pink vinyl. Includes a pull-out poster.

                                                                    2xColoured LP includes MP3 Download Code.

                                                                    On-U follow up the recently released and critcally-acclaimed "Rainford" set from Lee Perry and Adrian Sherwood with this system-ready 10" smasher. The A-side of this EP serves up an extended version of album highlight “Makumba Rock”, with the vocal mashed into dub, and the instrumental elements brought to the fore with all manner of mixing desk insanity in classic Jamaican discomix style. On the flip is the essential non-album track “Heaven & Hell”, a psychedelic funk shuffle with decaying horns disintegrating into the fog of effects and relentless Upsetter wisdom. Both cuts are exclusive to this release, the latest in On-U’s long-running and highly collectable discoplate series.

                                                                    STAFF COMMENTS

                                                                    Matt says: If it's On-U and Adrian Sherwood on 10" then I don't really need much convincing. Add some alien toasting wackiness from reggae's intergalactic spokesperson - Lee Perry - and it's in the bag it goes!

                                                                    FORMAT INFORMATION

                                                                    10" Info: Indies exclusive, limited to 1000 copies worldwide.

                                                                    Afro-Peruvian music, also known as 'música criolla', finds its roots in West African music, Spanish and European genres and native musical traditions from Peru. Flamenco-influenced sounds sit next to African tribal elements and a simple yet effective percussion instrument called cajón.

                                                                    After a long struggle to preserve música criolla through oral tradition over generations, actually resulting in much of the original music being lost, a renewed interest in those rhythms and melodies arose in the 1950s. Some years later the legendary Peruvian singer Chabuca Granda provided help to promote Perú Negro, a dance company that also incorporated percussion combined with música criolla. Ronaldo Campos, "Lalo" Izquierdo, Víctor Padilla, Rodolfo Arteaga and Caitro Soto, among others, played a key role in the foundation and early days of the company. Their shows celebrated and recreated black culture in Peru and they quickly became regulars at Lima's theatres.

                                                                    In 1969 they won the main award at the Festival Hispanoamericano de la Danza y la Canción in Argentina. The repertoire performed at the festival was later included in this album, originally released in 1973 in Peru and Spain only. The lyrics and music of these songs reflect the country's multicultural diversity, blending elements from the African tradition and echoes of Spanish-influenced melodies around stories of slavery days, rural labour and folklore.

                                                                    Although lesser known than music from other nearby countries, Peru Negro's recordings are reminiscent of Afro-Colombian or Afro-Cuban rhythms. If you have an interest in Cuban son or Colombian bambuco, this record will be an essential addition to your collection and the perfect introduction to the fascinating música criolla.


                                                                    Luc Pestang & Pierre Henry

                                                                    Saint-Exupery

                                                                    During his long and illustrious career the French composer and musique concrète pioneer Pierre Henry created a lare amount of incidental music to accompany literary texts, both on record and for the stage, from Jules Verne to Victor Hugo, from Lautréamont to Antonin Artaud. This incredibly rare LP from 1959 is a radio play about the life of French pilot and writer Antoine de Saint Exupéry, based on the 1956 book by Luc Estang on the subject. The interpreters are a small theater troupe including French actor Paul Meurisse (1912-1979), famous for popular films and as a member of national theater company, La Comédie Française. Underlying key scenes, Pierre Henry’s contribution to the play consists of electronic and musique concrète sounds, adding a contemporary dimension to the text. A beautiful piece from one of the mid-20th century's truly brilliant sonic explorers.

                                                                    Piccadilly Records

                                                                    Roll Top Record Bag - Black

                                                                      Super stylish roll top record bag.

                                                                      Holds 25/30 records.

                                                                      Padded laptop compartment. padded back and base.

                                                                      Front zipped pocket.

                                                                      Padded adjustable shoulder straps and sturdy grab handle.

                                                                      Adjustable clasp closure.

                                                                      Made from tough polyester fabric.

                                                                      Dimensions 32 x 44 x 13cm.

                                                                      FORMAT INFORMATION

                                                                      Record bag Info: Black with red embroidered logo.

                                                                      Piccadilly Records

                                                                      Roll Top Record Bag - Grey Marl

                                                                        Super stylish roll top record bag. 

                                                                        Holds 25/30 records.

                                                                        Padded laptop compartment.

                                                                        padded back and base.

                                                                        Front zipped pocket.

                                                                        Padded adjustable shoulder straps and sturdy grab handle.

                                                                        Adjustable clasp closure.

                                                                        Made from tough polyester fabric.

                                                                        Dimensions 32 x 44 x 13cm.

                                                                        FORMAT INFORMATION

                                                                        Record bag Info: Grey marl with orange embroidered logo.

                                                                        Piccadilly Records

                                                                        Roll Top Record Bag - Military Green

                                                                          Super stylish roll top record bag. 

                                                                          Holds 25/30 records.

                                                                          Padded laptop compartment.

                                                                          padded back and base.

                                                                          Front zipped pocket.

                                                                          Padded adjustable shoulder straps and sturdy grab handle.

                                                                          Adjustable clasp closure.

                                                                          Made from tough polyester fabric.

                                                                          Dimensions 32 x 44 x 13cm.

                                                                          FORMAT INFORMATION

                                                                          Record bag Info: Military green with black embroidered logo.

                                                                          Pottery

                                                                          No. 1

                                                                            Hailing from across Canada and the UK, Montreal’s Pottery consists of core writers Austin Boylan and Jacob Shepansky, along with Peter Baylis, Paul Jacobs and Tom Gould. Initially bonding over artists such as Orange Juice, Josef K and Devo, the band create a sound that combines eclectic traces of post-punk, pop and dance music, forming an unusual atmosphere that envelopes audiences.

                                                                            While often shrill and jarring, Pottery’s songs simultaneously engage listeners into a hypnotic state. It’s this dualism that binds them together, uncovering harmony within discord. Hailed as one of the hottest acts at 2019’s SXSW and The Great Escape Festival, Pottery’s debut mini album, titled ‘No. 1’, is available for the first time on vinyl, via Partisan Records

                                                                            Preservation Hall Jazz Band

                                                                            So It Is

                                                                            At a moment when musical streams are crossing with unprecedented frequency, it’s crucial to remember that throughout its history, New Orleans has been the point at which sounds and cultures from around the world converge, mingle and resurface, transformed by the Crescent City’s inimitable spirit and joie de vivre. Nowhere is that idea more vividly embodied than in the Preservation Hall Jazz Band, which has held the torch of New Orleans music aloft for more than 50 years, all the while carrying it enthusiastically forward as a reminder that the history they were founded to preserve is a vibrantly living history.

                                                                            ‘So It Is’ (2017) finds the classic Preservation Hall Jazz Band sound invigorated by a number of fresh influences, not least among them the band’s 2015 life-changing trip to Cuba. A visit to the island, so integral to the evolution of jazz and New Orleans culture in general, had long been in the works when President Obama’s diplomatic opening suddenly allowed for a more extensive journey than had originally seemed possible. Producer David Sitek, a founder of art rock innovators TV On The Radio who has helmed projects by Kelis, the Yeah Yeah Yeahs and Santigold among others, offered both a keen modern perspective and a profound respect for the band’s storied history.

                                                                            Preservation Hall Jazz Band

                                                                            That's It!

                                                                              At a moment when musical streams are crossing with unprecedented frequency, it’s crucial to remember that throughout its history, New Orleans has been the point at which sounds and cultures from around the world converge, mingle and resurface, transformed by the Crescent City’s inimitable spirit and joie de vivre. Nowhere is that idea more vividly embodied than in the Preservation Hall Jazz Band, which has held the torch of New Orleans music aloft for more than 50 years, all the while carrying it enthusiastically forward as a reminder that the history they were founded to preserve is a vibrantly living history.

                                                                              Preservation Hall Jazz Band’s ‘That’s It!’ (2013) is an eclectic album that draws on the collective experience of players nurtured in the New Orleans tradition but determined to build something fresh and exciting on that foundation. It marks an important milestone in PHJB Creative Director Ben Jaffe’s crusade to carry forward the Hall’s original mission while making it relevant to today’s audiences. For his part, co-producer Jim James (My Morning Jacket) is convinced that the PHJB has a future as vibrant as its past: “The music will speak forever,” he says. “Will people stop listening to Beethoven? Will people stop listening to Bob Dylan? Will people stop listening to the Preservation Hall Jazz Band?”

                                                                              Los Angeles based Principleasure releases his debut LP "I" to critical acclaim. 'An enthralling debut album' according to Mixmag who promptly made it their Album of the Month, 'A brilliantly crafted debut album' proclaim Future Music Magazine and 'Brooding with icy contempt' say Electronic Sound in their full page review.

                                                                              We say: if you've enjoyed the strung-out discord of Donato Dozzy, the elastic synthlines of Carl Craig and the galloping analogue keyboards of vintage Italo and new beat / EBM - then this baby's for you! 


                                                                              FORMAT INFORMATION

                                                                              2xColoured LP Info: Limited edition double clear vinyl.

                                                                              Purple Mountains

                                                                              Purple Mountains

                                                                                “Well I don’t really like talking to myself, but someone’s got to say it, hell...”

                                                                                You know this voice. An old friend has returned. It was some years back that you dropped the needle on the record and heard it say, “No, I don’t really wanna die...” Like so many lines you couldn’t possibly have guessed the finish to, it’s now among the flat natural-born good-timin’ faves that you sing along with in the jukebox inside your head. It’s loaded up there along with at least a couple dozen others from Silver Jews, whose classic run was made somehow finite in 2009, when the voice himself, David Berman, announced his retirement from music. Ten years have come and gone since then. Where the time goes, we do not know. What do they say about old songwriters? We don’t know that one either, okay? We’re not good with jokes – we’re just glad that there’s always more songs to be written and sung. That’s what raised up Purple Mountains for all of us, after all.

                                                                                Yes, Purple Mountains is the new nom-de-rock of David Berman. Purple Mountains is also the name of what will be known as one of his greatest albums – full of double-jointed wit and wisdom, up to the neck in his special recipe of handcrafted country-rock joys and sorrows that sing legendary in cracked and broken hearts. The songs are produced impeccably by Woods’ Jarvis Taveniere and Jeremy Earle, buffed up like a hardwood floor ready to be well-trod upon for an evening of romance and dance. And then…

                                                                                What is 10 years? What are 50? How is everything anything in the eventual blink of eternity? The songs of Purple Mountains are a potent brew, stitched together from lifetimes, knitting the drift of the years with the tightest lyric construction Berman’s ever attempted. Honesty is archly in the air, but lines of incredible bleakness somehow give way to playful distraction and the hiding of surprises for close listeners. Even still, as the songwriter once wrote, “every single thought is like a punch in the face.” It won’t take long after slapping the record on the platter for you to hear that this is one of THOSE albums. There’s breakup records. There’s apocalypse records. Then there’s Purple Mountains.

                                                                                The portrait is David Berman’s most to-the-bone yet, very frankly confessing a near-total collapse from the first moment, then delving into the layers of nuance with twin lazers of personal laceration and professional remove. This etches a picture that cries to be understood in the misbegotten country that made everything great about Purple Mountains. America’s fate is that of its treasured icons: the cowboy, the outlaw, the card sharp and the riverboat gambler, who all face simple resignation in the end. There are no perfect crimes. Berman’s poet-thief of so many precious moments, now stripped and chastened, recalls his latest lowest moments in perfect detail, hovering ghostly above the tumescent production sound as it echoes with tragic majesty and the sound-fragments of former glory, evoking the defeated-king era of late Elvis, soutern-fried and sassy still on his countrypolitan way down, and somehow still solid-gold at the bottom.

                                                                                Berman’s songwriter’s bone’s never been laid more bare, either – if redemption doesn’t come on the lyric sheet, the act of putting these songs into singing, dancing form allows them their finest end – to provide infotainment for others, embodying moments of life and truth via music that elevates with disarming warmth and a reassuring commonality, even as David himself stands outside the communal campfires.

                                                                                Where are you tonight, America? The things that used to be have slipped away into the darkness without you knowing it, and your children are wandering in a blasted landscape, with only Purple Mountains left to comfort them, and David Berman’s shattered fables for company.

                                                                                STAFF COMMENTS

                                                                                Barry says: Emotive Americana-tinged guitar work and jangling rock vibes on this self-titled debut LP from Purple Mountains, with brilliantly written melodic turns and moving, rich tapestries of sound. Beautifully evocative without being sugary-sweet, Purple Mountains is a perfect addition to the hazy summer days and balmy heat of summer.

                                                                                Hailing from Virginia Beach, VA, Pusha T got his start as one half of the legendary duo, Clipse. More than a decade later, he has ascended to hip-hop royalty both as an artist and a record executive. His first album proper, "Fear of God II: Let Us Pray", emerged after a trio of hot mixtapes, establishing Pusha T's identity as a solo artist. Far removed from his past as a drug dealer, the street references and gangsta shit largely sits in the rearview here, replaced by the Virginia rappers exploration of luxury lifestyle and the trials and tribulations of a wealthy black man in America. The album features the RIAA Gold certified "Trouble On My Mind" featuring Tyler, The Creator and includes standout performances by the biggest names in hip-hop such as Kanye West, 50 Cent, Meek Mill, Rick Ross, Young Jeezy, French Montana and Pharrell Williams. This limited reissue is available for a limited time only on Mass Appeal Records in celebration of the 5th Anniversary of the iconic label. 

                                                                                Alternative Fox delivers a landmark release in the history of minimalism with a live performance documented from one of the genre’s key figures - Steve Reich. Recorded live at Berkeley University in the 1970s (home also to key minimalism figures Terry Riley and La Monte Young), this performance sees Reich deliver some of his now legendary compositions, such as the shifting tape-loop experimentation of "My Name Is", whereby vocals are cut up, looped and played at different speeds to create constantly shifting combinations. Similar to his "It’s Gonna Rain", it’s utterly disorientating and makes for an absorbing listening whilst doffing a cap to cut-up techniques championed by early Dadaists and later Brion Gysion and Burroughs. The two-part "Piano Phase" demonstrates the effects of playing minimalistic notes on two separate pianos at slightly different speeds, so the two drift in and out of phase with each other. The effects are highly meditative, causing subtle rhythmic mutations throughout the piece, whilst "Phase Patterns" explores a similar technique albeit with a grainer electric organ. Last but not least, "Four Organs" explores the effects of sustained chords on multiple organs, set amongst a perpetual maraca, whereby the combination of interlocking chords on the separate instruments amalgamate to form a dense, textured tonal tapestry.

                                                                                The Rhythm Method

                                                                                How Would You Know I Was Lonely?

                                                                                The Rhythm Method were recently described by The Guardian as 'a Balearic vision of romance as imagined from a parochial nightclub dancefloor'. Formed half a decade ago in a Thameside squat protection scheme intended for professionals but inhabited by the barely-employed, the duo of lyricist/vocalist Joey Bradbury and top-liner/singer-songwriter Rowan Martin turned a summer of FIFA tournaments, cosmic breakdowns and 4pm beers into a series of bizarre, outsider-music iPhone demos that became a Soundcloud, then a band, then a live show and now an album.

                                                                                "How Would You Know I Was Lonely?" is a journey through the present - a descent into late 20's, late-capitalist mind-funk; 12 stories of near-romances, yellow label dinners, chemical catatonia and lack-of-identity politics. Its influences are strange and diverse, not always entirely credible or tangible; Scritti Politti, Aswad, Irish Pub karaoke, ITV4, YouTube freestyles, Celtic standards, Golborne Road radios and more than a dose of Rod Stewart.

                                                                                Pocket symphonies such as "Sex and The Suburbs", "Local, Girl" and "Cruel" sound like the Saturday night playlist from a Quantum Leap FM Radio station – ostensibly pop songs, but ones in possession of a rare intelligence, frankness and deep weirdness. The references may be initially esoteric, but the themes are palpably universal. Opener "Salad Cream", referring to a mid 90’s Heinz campaign, is about creating social demand for yourself via scarcity. "Cruel" is pub-karaoke paean to the spectre of addiction. "Single Life" explores the dark, bleak desperation of romantic dejection, set to sleazy noir funk and muted trumpets. Joey Bradbury's verses could be a man on the verge of a nervous breakdown recording the voice notes of his crack-up, whilst Rowan Martin's choruses ask questions you never thought you'd hear in such hummable form.

                                                                                Fans and supporters have ranged from spiritual forbearers such Mike Skinner (who produced "Cruel", which also features London electronic pop artist Zoee), Squeeze frontman Chris Difford (who lends a knowing baritone to the chorus of Zone 2 opus "Wandsworth Plain"), Elton John and Suggs; contemporaries including The 1975’s Matty Healy (who is responsible for half of the band’s YouTube views), Wolf Alice and Shame; actress and poet Michaela Coel and Denise Welch; highlighting the varied magnetism of the lyrical insight, classic songcraft and inquisitive spirit at the heart of these off-kilter pop tunes.


                                                                                STAFF COMMENTS

                                                                                Matt says: Not my usual cup of tea, quirky indie, but the lol'ing genius of some of these lyrics combined with the tongue-in-cheek approach throughout has won me over. Comedy genius + catchy tunes = massive hit for boring afternoons!

                                                                                FORMAT INFORMATION

                                                                                Ltd LP Info: Limited to 300 white label units worldwide.

                                                                                Audiences will impose meaning as they see fit, relative to their own contexts, and the convergence of our emotional literacy can draw us to one another. In 2018, Ripperton gifted the ESP Institute with Sight Seeing, and we became tourists joining the artist's departure from the comforts of his known creative narratives, however, with his tender monument of devotion, Contrails, we now find ourselves blissfully lost in his code. These expansive 73 minutes are punctuated midway by a poignant solitary confession—
                                                                                “I’m afraid of what I might find, but I’m even more afraid of not facing this fear. I love you. I love you more than my life.”—in accordance with the fundamentals of Minimalism, the vast negative space bookending these words undoubtedly amplifies their significance. “I’m afraid of what I might find…” Communication comes easy for some artists; the tools are obvious, logical and tangible, the dialogue is palatable and their art is often inoffensive. For others, there may be conflict, trauma or fear that result in pragmatic challenges—the tools feel foreign, deep complexities give way to creative paralysis, and communication struggles to find its form and emerge—the art becomes as much a therapeutic confessional as is a formal exercise.
                                                                                “…But I’m even more afraid of not facing this fear…” Within the residue of the artist’s emotional labor, full of nuance, reservation and vulnerability, is potent code that can neither be taught nor learned, an elusive unknown whose shadows some spend a lifetime chasing, trying in vain to articulate or translate, often at their own peril.
                                                                                “…I love you. I love you more than my life.” It’s this code that inexplicably tethers the soul to art—music being perhaps the most magnetic attractor of all—capable of true love upon first encounter. The blood flows like rapids, the hairs on the back of the neck stand erect, the heart surrenders absolutely to a romantic chemistry and a mutual bond is forged, a love to defend with vigor. We own the music and the music owns us. We are enamored, without words, simply head-over-heels.

                                                                                In 2018, approximately at the same glorious time of the year we’re about to reach (the early days of Summer, what else?), River Yarra released the age-of-content-friendly "#Lucky #Boy", his debut EP on Antinote. Since then, the record has been living a happy life of its own, as a collection of four ace dance melodies unfolding at different BPM’s, being played in various environments – from quality warm-up sets for small-scale dancefloors to indie podcast series. Twelve months (punctuated by short but witty mails) later, River Yarra offers an update for his music, with a second set of four ace dance melodies unfolding at different BPM’s (from 88 to 140).

                                                                                After focusing mainly on human conditions of living in a post post-modernist cultural mayhem, River very logically turns his back to rotting humanity and pays tribute to our next of kin, frogs (unless humans decimate their whole population before our own extinction). Here we are with "Frog Mania", here we are. “All hail Yarra, thou shalt be frogking hereafter”.
                                                                                The opening song, "Toad Charmer", is a seductive sarabande to bewitch frogs in which the pied piper of Hamelin is Priscilla Queen of the Desert and there’re acid sparkles in the pond. Now that we know what kind of track we’re on, River Yarra makes his program for SS 2019 clear with "AMFYBYONZZ": it’s going to be all about tranc-e synths, orchestral hits and amphibian gimmicks – and like "Toad Charmer", the lyrics on "AMFYBYONZZ" are not cluttered up with superfluous phrases: “amphibian” is (the only) word.

                                                                                On the flip side, the BPM keeps on accelerating, reaching whopping 140 BPM with the soberly named closing song, "Prog Frog". But there’s still one tune to go through before reaching Frogmania’s climax… Did I mention how infectious all of these songs are? And "Frogz Ov Gondwana" is no exception to the rule, channeling the particles of MDMA you may have absorbed into the right corner of your brain with its wild arpeggiators and synthetic howling. Finally, it’s time for Frogmania’s anthem, Prog Frog, an up-tempo ballad through time and space, from frogs’ ancestors from the Devonian to their future incarnation; in other words, a song that ensures Frogmania to become an essential record for any batrachian lover.

                                                                                STAFF COMMENTS

                                                                                Patrick says: Not content with dominating more or less every DJ set via his Antinote debut last year, River Yarra is back, bringing us this well dressed 12" of frog lovin' prog and new trance excitement. Kickin' Pidge is putting his money on the racey and pacey flipside, while I'm all about the slow and skew whiff weirdness of the A-side.


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