How about this for a dream team collaboration? The Hacker and Alessandro Adriani bringing the mechanical funk, razor sharp wave and vital electro on this killer Mannequin Records 12".
What began as a B2B DJ set between two like-minded, seasoned veterans organically developed into a full force enthralling studio project and live set. Amato & Adriani is the new found project by Michel Amato, more commonly known as influential artist The Hacker, and producer and Mannequin Records label head honcho Alessandro Adriani. In other words two mechanical titans, throwing down together in jacked up mack mode. "Falling Inside" opens the set with a rugged electro groove, driven into your brainspace by a punishing bassline while spectral fx and squalls of feedback whip through the speakers. Next up "The Language Of Numbers" is electro-squared, taking the best bits of Detroit and Den Hague then pushing the voltage off the scale. On the B1 the duo are joined by another legend, namely Stephen Mallinder of Cabaret Voltaire, who offers a typically moody vocal over the ripped electronics of "Liar". Finally "Power & Persuasion" pulls back on the throttle a little, switching the mood from corrosive electro to tensile techno.


Patrick says: If you're a fan of electro, techno, industrial or dressing up as a DIY robot, you're gonna have a serious hard drive for this one... The Hacker, Alessandro Adriani and Stephen Mallinder, all on one record!

A matter of days after the second sublime Wilson Tanner LP delivered more horizontal bliss to music fans everywhere, the Melbourne maverick is back, adopting the Andras alias for a fresh EP of advanced capitalist dance for new technologies and fractured markets. Seemingly sampling the custom sounds of the UE BOOM bluetooth speaker (piss taker!) Andras’s reprogramming of world music influenced dance music is subtle and unwired, beckoning you into the jungle with sharpened claws and 99% battery life. "Jingo" jams along like a tribal cut dropping deep into the night on a vintage Junior Vasquez tape, all pumping percussion, hypnotic keys and rolling conga idents. One whacked out interlude (Wax FM) later and we're back in the jungle, feeling the realness of "Conch", a retro-ist house jam with open-hearted chords and the deepest respect for pound-bin prog house. Flip it for "Rubber", a solid and spacey house jam with a great sense of humour. Armed with a nuanced 4/4 and squirming bassline, the jam soon slinks into bolero territories, rewritten for the mini-SD generation. Stepping out of the undergrowth and into the light, "IPX7" sounds like a distant nephew of "Voodoo Ray" who has a serious problem with Xanax and a very active crossfader. One more bit of mangled sound design and we're home free, ready for life once more.

Forged by RPG attempter and wave actuator Apta, 'Tabula Rasa' is a juxtaposition of the saturated apreggios and simplistic melodic repetition of late 80's videogames with his interest in precise, poppy synth production and crisp sidechained pads, both tracing the peripheries of anthemic rock chord progressions and key changes. 'Fading Fire' kicks things off with a simplistic saw wave chug, growing into a mid-heavy DX7 tine before launching straight into the full-spectrum sonic wash of 909 kick and ducked throbs. This churning backdrop is ridden by a snapping, syncopated x0x lead which slowly fades into the rising tide of sweeping filters and twinkling echo before being joined by panned modular strikes and reverbed wood blocks. The motif of thematic repetition and cyclic growth is an intentional nod to (or influence from) cinema and game soundtracking, with a variation on a theme revisited with renewed instrumentation or speed. It's on followers, 'Trial' and 'Esfand' which this shows most clearly, with the former rising from a wistful saw pull and twinkling delayed modular chirps into a driven, clicking surge of ducking synths and staggered snaps, and the latter emerging halfway through from a meandering walk through a sunlit wood into the haze-streamed adjacent plain.

Flip over to the B side and the delayed karplus string plucks and subtly swaying 303 of 'Like Flies' are soon joined by a shuffled hi-hat and panned soaring sine waves, coalescing into a breathing swell of DX7 and guitar. 'The Split' takes this momentum and sets off with a growling portamento and filtered arpeggio before breaking down into a melodic redux of the opening pieces, accentuated with paddling percussives and a pulsing wall of sound working its way underneath. 'Close' finishes things off with a suitably meditative marriage of reverbed piano and flickering drum machines, instruments fading away one by one into a sea of rising rhodes and shimmering bytes. 


Matt says: There's no-one in our (semi)biotic stratosphere that sounds like Apta. Unrelinquishing optimism permeates through countless arrays of New World synthesis. Clean lines and vivid colours decorate his sonic landscape; it's like playing your favourite retro video game whilst suspended in a dreamlike, AI-induced virtual reality that will become the norm in 2050...


Ltd 10" Info: Includes gatefold Print / booklet.

Loud pressed vinyl single featuring the best track from the group's 1979 album plus an unreleased take of the track ''My Fate'' on the flip.. Very smooth German AOR with definite appeal for the Balearic fraternity. 

Ara Pacis, a group from the island Föhr in the North Sea, was originally founded in 1971. Initially influenced by blues and classic rock by The Rolling Stones, The Who, and the like, they were also inspired by bands such as Steely Dan as well as the German/British group Lake. However, Ara Pacis created a style of their own when their privately pressed an self-distributed “To the Westcoast” LP was released in 1979. The songs were mainly characterized by two-part guitar riffs by Töns Brautlecht-Deppe and Wolfgang Schiffner, who also were the core songwriters of the band.

The freshly remastered single starts with the title track “To the Westcoast”. Due to its sunny, yacht-friendly vibe it is easily amongst the best and most authentic tunes out of the “Westcoast rock” genre recorded in Germany. With family connections in California, lead singer Töns Brautlecht-Deppe was able to create and capture the feeling of the Pacific sea shore just perfectly.

The single is backed with a revised studio version of “My Fate”. The track is also featured on the album but the version presented here on the 7" vinyl is an unreleased, even quite funky and more powerful take. It was recorded in 1981 at the Rüssl studio in Hamburg where Brautlecht had just started to work as an engineer.

As the "To the Westcoast" LP was released during a time when styles like New Wave, Synth Pop and Punk became popular in Germany and the interest in organic and soulful rock declined, Ara Pacis’ debut remained relatively unnoticed until today and even the Krautrock collector’s scene does not seem to be fully aware of this hard to find gem yet of which only 1000 copies were originally pressed. 


Patrick says: Perfectly categorised as "Kraut-yacht" by shop favourite and MCR DJ Forbes, this blue-eyed, open hearted AOR groover skips across the waves on a Steely Dan rhythm, enjoys some Doobie Brothers guitar chords and lifts off with CSN harmonies. Bliss!


7" Info: Limited to 350 copies and released in a beautiful picture sleeve which shows the original LP artwork.

In the time since his 2014 vinyl debut with the "Mechanical Turk" 12" on Huntleys & Palmers, Mehmet Aslan has impressed audiences around the world with his mystical sound, exploring post Anatolian pop, dark wired disco and techno-punk through a slew of magical releases and mesmeric DJ sets. Now he returns to H&P sublabel Highlife with the heavyweight throb of the 'Horonizer' EP. Opening cut "5K", presented here in radio edit form sees the producer drop the demented strings of a Turkish folk jam over a wobbling bass tone and reheated breakbeat, powering up for the post-globalization scene. The dance floor fusion continues with "Beat Two Chase", a totally trippy track which incorporates the shamanic percussion of a Cult Edit release with pseudo Goa trance idents and all manner of mangled vocal samples which dart around the stereo field for full scale brain mulch. Over the other side "600=(Longver)" revisits the "5K" theme but with an ever building arrangement designed for the more mature dance floor.

Attarazat Addahabia & Faradjallah

Al Hadaoui

Habibi Funk is back with another album from Casablanca. Completely unreleased album which was recorded in Morocco in 1973 by three generation family band. A unique blend of Gnawa, Funk and Rock. Traditional Moroccan music meets electronic guitars and dense layers of percussion by a band that used to run in the same circles as Fadoul (And actually wrote one of his songs).

Attarazat Addahabia & Faradjallah's album came to us as quite a mystery. Our friends from Radio Martiko got access to the studio archive of the Boussiphone label and a reel labeled "Faradjallah" was among the items they had found there. After listening to the selection of reels they borrowed, Radio Martiko felt it was not a fit for their label and helped us licensing it from Mr. Boussiphone instead. We knew nothing about the band. We just had the reel with the music but very little information. What we knew was that the music was incredible and very unique. Gnawa sounds were combined with funky electronic guitars, very dense layers of percussions and female backing vocals more reminiscent of musical styles further south than Morocco. We started asking around whether anyone knew the band with no immediate success until we asked Tony Day, a musician from Morocco who helped us during our search for Fadoul's family. His sharp memory came through once again, remembering all the names of the Attarazat Addahabia band members and even how to contact the bands singer and leader Abdelakabir Faradjallah. After visiting him at his home in Casablanca with our Moroccan colleague Sabrina multiple times, he shared his personal story.

The original line-up included 14 members, all from the same family. They played their first small concerts here and there starting in 1969. Later in 1973 they performed bigger shows for instance at the Municipal Theatre followed by the "Al Massira Show" at Velodrome Stadium in downtown Casablanca. Their first album "Al Hadaoui" (the one you are listening to) was recorded at Boussiphone studios in 1972 and was never released before. Nobody seems to remember the exact reason why Boussiphone ended up deciding not to put the album out. The album's title track also served as the basis for Fadoul's "Maktoub Lah", who frequented the same circles as the band for some time.

Len Barry was born Leonard Borisoff on 12th June, 1942 in Philadelphia. He formed the million-selling doo-wop group the Dovells in the late Fifties and toured with James Brown. He also toured the UK with the Motown Revue which greatly influenced his passion for rhythm & blues during the crossover to soul music. His early solo career at Decca found him composing with the likes of Leon Huff and John Madara resulting in hits “1-2-3”, “Like A Baby” and “I Struck It Rich”. Barry also wrote and recorded “Keem-O-Sabe” a hit for the Electric Indian, an early incarnation of MFSB. Our two featured tracks are both true Northern Soul anthems known and loved for over forty years but by different artists. “I’ll Always Need You” was recorded by Dean Courtney for RCA records and “Love LoveLove” by Bobby Hebb for Philips. Barry’s excellent interpretations appeared on an obscure UK Brunswick LP It’s That time Of Year which also yielded his version of the Joey Heatherton classic “When You Call Me Baby” and “I’m In Love”. The LP, known from only a handful of copies, originally surfaced at The Torch before being passed to DJ Richard Searling who played “I’ll Always Need at Wigan Casino. However, Barry’s incredible version was short lived as Richard drove away from the Casino early one morning leaving the valuable album on the roof of his car never to be seen again!

In 1972, French producer turned ZE Records founder Michel Esteban released a one-off single as Bella Vista, "Mister Wong". Like many of the records the New York-based entrepreneur worked on, the track gleefully joins the dots between spacey synth-pop, NYC style mutant disco and what these days we'd call sun-kissed Balearic disco. The slow motion, glassy-eyed original version comes accompanied by the original flipside "Disco Dub" - a much sparser affair focused on the killer slap bass, reverb-laden percussion and slivers of guitar and synth - and a brand new "Extended Disco Dub Edit" by Isle of Jura chief Kevin Griffiths as Jura Soundsystem. This extends the oh-too-short Disco Dub for greater dancefloor pleasure while adding some fantastic new percussion.


Patrick says: Despite my predilections for anything French, Balearic, sunkissed and slightly frothy (which all roll nicely into a slightly warm stubby of Panache), I'd never heard Bella Vista's brilliant "Mister Wong", until about an hour ago and it's brought a full sun out on an otherwise miserable day. Naive synths, slow disco groove and so much sugar!

Big Joanie


    The Daydream Library Series of records and tapes is the independent house label of Thurston Moore (Sonic Youth) and Eva Prinz’s publishing imprint Ecstatic Peace Library ( The Daydream Series was established in 2018 to provide a label for emerging musicians, both local and international. 

    ‘Sistahs’ is an optimistic album about friendship, melancholic memories, and the belief in a modern future. Eva & Thurston discovered Big Joanie playing live supporting The Ex in Islington (London) earlier this spring and ran to the merch table to discover the band didn’t have a record with all the songs that had just mesmerized the audience.

    BIG JOANIE are Stephanie Phillips (singer/guitarist), Estella Adeyeri (bass) and Chardine Taylor-Stone (drums). The band formed in 2013 and released their first EP ‘Sistah Punk’ in 2014 and the single ‘Crooked Room’ in 2016. As part of London’s thriving DIY punk scene BIG JOANIE have played with locals Shopping; toured with US punks Downtown Boys; and Dutch Punk band The Ex; and performed at the first UK Afropunk festival. Inspired by The Ronettes, Nirvana, Breeders and Jesus and Mary Chain, Big Joanie have described themselves as being “similar to The Ronettes filtered through ’80s DIY and Riot Grrrl with a sprinkling of dashikis.” Big Joanie recorded ‘SISTAHS’ over several sessions from November 2017 to January 2018 at Hermitage Works Studio with producer Margo Broom. The album title derives from the band’s belief in sisterhood and female friendship. One of the main reasons for coming together was to create an atmosphere to be “completely ourselves as black women and discover what was possible to realise in those spaces.” The album cover features Steph’s mum Joan, whom the band is named after, and her aunt on holiday in Wales. Outside of the band all three members are involved in communitarian activities whether running the festival for punks of colour Decolonise Fest, volunteering at Girls Rock Camp, or leading the Stop Rainbow Racism campaign which works to stop racist performances in LGBT venues. SISTAHS 


    Coloured LP Info: Transparent purple coloured vinyl.

    1994 is the year and Black Moon and the whole Boot Camp Clik are on a major roll. 'Buck Em Down' is as potent today as it was back then with Da Beatminerz bros flipping Donald with a little 'Hihache' in the mix. Oh? You love that gritty SP1200, filtered out, buddah smoke filled basement sound? Well, this is for you. All-time classic stuff right here, easily. Here on dinked 45 for the first time ever you get the dirty instrumental versions of this sublime mid-90's banger.

    More golden era heat from the Nervous vaults! It keeps coming!
    Another stripped back, rough & raw banger from the vintage mid-90's output of Brooklyn's Black Moon crew, a legendary group.
    'Powaful Impak' . still sounds super heavy today, a swirling mixture of dancehall vox, Busta samples and ultra raw and banging SP1200 loops courtesy of the mighty Evil Dee & Mr. Walt aka Da Beatminerz. Nobody comes close to the ferocity of this, super hard, street level hip-hop that encapsulates NYC beautifully, ultra gritty! Throw on your timbs, Carhartt jeans and jump the turnstyle to this right here. Essential vintage rap, instrumental included. Cop that.

    Black To Comm masterfully manipulates sound, his alterations rendering sources unidentifiable and serving as a sort of portal to new realities. Composer Marc Richter collapses the past, present and future of recorded music into kaleidoscopic pieces that transcend genre, bristling with detail, an intense sensory sonic experience. ‘Before After’ charts a hallucinogenic journey through polar extremes of emotion and to the outer reaches of sound; a perfect companion to the darker ‘Seven Horses For Seven Kings’.

    ‘Before After’ was written during the same sessions that gave birth to Richter’s recent, highly acclaimed ‘Seven Horses For Seven Kings’. The intentionally crafted companion pieces mine similar raw sonic materials to yield radically different results. Where ‘Seven Horses For Seven Kings’ was a dark work focused on anger and desperation, ‘Before After’ finds faint glimmers of hope in the same sources. By reappraising the past, Richter divines new futures, opening up parallel timelines and sonic universes.

    The album bookends the current phase of Richter’s output as Black To Comm, a decisive statement piece that leaves the future of the project tantalisingly open- ended.


    Barry says: A crackling, dystopian stretch of fractured basses, fizzing electronics and stretched out vocal abstractions. Arresting syncopated melodies and post-industrial soundscapes make for a thrilling and deep journey.


    LP includes MP3 Download Code.

    Buffalo Springfield

    Buffalo Springfield Again - Stereo Edition

      Buffalo Springfield are proud to announce the re-release of their second album on 1 black heavy-weight vinyl disk, and features the biographical single ‘Mr Soul’ which addresses Neil Young’s own disillusionment with fame and stardom.

      The album was universally critically acclaimed, receiving a 5 star review from AllMusic and also featuring within the top 200 of Rolling Stone’s best 500 Albums list. This is another stereo breakout from the Buffalo Springfield boxset.

      Buffalo Springfield

      Last Time Round Last Time Around - Stereo Edition

        Buffalo Springfield are proud to announce the re-release of the third and final album from the band which was originally released in 1968. The title come on one heavyweight black vinyl disk and includes ‘On the Way Home’ and ‘The Hour of Not Quite Rain’.

        Burning Rose is proud to announce a repress of Buzz Kull’s 2017 LP, "Chroma". The seminal album is a mass of jagged synth lines and pounding drum machines, a testament to Marc Dwyer's personal sonic exploration over time. Each song on "Chroma" transcends the traditional archetype of darkwave by pushing pop sensibilities, focusing on different emotional states and boundaries.

        Since "Chroma"’s release, Dwyer has given the world a sophomore album, tackled multiple tours abroad, and continues to remain an elusive but omnipresent figurehead of darker electronics within his hometown of Sydney.

        This second pressing of "Chroma" COINCIDES with Buzz Kull’s European tour with Zanias.

        Wild Billy Childish & CTMF

        Last Punk Standing

          Like an Inexplicable Wheel' The strangest thing in life is time, not clocks but that there was a past and there will be a future apparently). Life seems to be an inexplicable wheel, and I thought there should be a pop song (or two) about that. 'Last Punk Standing' A more CTMF sounding track. This should really be called 'Who'll be the Last Punk Standing?' but it looked better as a shortened title. Again it's about time, and knowledge running out. When a generation passes there's no one left to explain the true nature of their experience. eg- those who fought in WW2 are all but gone and that's how we get the rise of the new right: we learn from history that we don't learn from history. Who'll be left to pass on the essence of what punk was about - home-made, please yourself music. PS - the character Roberta, is from a Leadbelly tune- I thought it nice to have her and Mark E. Smith in the same pop song (Mark was still with us when we recorded this number). Billy Childish – May 2019


          Barry says: There's no denying that Childish has had one of the most prolific and succesful careers in the rock and/or roll world thus far, and it doesn't look like he has any intention of slowing down. Clashing, snarling punk-rock attitude and most importantly, bloody good tunes.


          Coloured LP Info: Random red or grey vinyl.

          Wild Billy Childish & CTMF

          You're The One I Idolise C/w Everything Intensifies

            New limited edition 7” from CTMF! 600 copies on black vinyl! Featuring exclusive B-side 'You’re the One I Idolise' This is a love song, along the lines of some of the ballads we used to do in the Milkshakes - inspired by Arthur Alexander. There also seems to be some Richard Hell in there (the Voidoids have been a big inspiration over the years (I saw them supporting the Clash at Hastings Pier Pavilion in '77. Billy Childish – May 2019

            Chocolate Buttermilk Band

            Head Games (The Story Of Larry Akles & CBM Records)

            Founded by Larry Akles in 1971 in Fayetteville, North Carolina, The Chocolate Buttermilk Band, has been one of the busiest and most successful cover and backing bands in the Southern United States for the last 5 decades. While they’re little known outside the region, their handful of singles from the early 1980s are, for record collectors, among the best and most desirable in Modern Soul and Boogie Funk.

            Jerome Derradji & Past Due Records present “Head Games (The Story of Larry Akles & CBM Records)”. Released on a double LP with printed inner sleeves (or booklet) that include never seen before pictures of the band and a story written by Jacob Arnold. Artwork is by the mighty Al Kent. 

            This compilation includes every song released by the Chocolate Buttermilk Band, remastered and reissued for the first time. Needless to say, this is an essential release for fans of Boogie, Soul and Funk as the Chocolate Buttermilk Band releases are known to fetch thousands in the collectors market.

            In Larry Akles own words, “This girl in Atlanta told me one time, she said ‘Larry, I heard on the radio that Chocolate Buttermilk was going to be on the show, and I told my girlfriend, Oh, it’s gonna be onnnn if Chocolate Buttermilk on there, ’cause whoever come behind them, they got to go!’” He continues, “When we hit the stage, boy it’d be some fire. We wouldn’t have to get warmed up. We’d start off hot!”

            Clark revs up the first Throttle Records release with "E.C.S.T. T.R.A.X.", a double A-side 12” that finds him colliding music from centuries past with sounds from the future. Both tracks open the door wide to echo new modes of production for Clark by joining the dots between two great forms of the avant-garde: rave and musique concrète.

            Kicking off with "Harpsichord ECST", a track that bestows the original rave hoovers, Clark shoots off a frenetic, rapid-fire outburst that’s driven by the instrument, forging a sound that is characterized as anything other than Clark music. Its peak timed rush is perfectly framed by the use of Clark’s own vocals, which are reminiscent of both Meredith Monk’s "Vessel Suite" and Arthur Russell. Perfectly pitching it, our man explains, 'It could sound prancingly medieval, but I kind of took a blow torch to it, and made it something totally different'.

            "Piano ECST" meanwhile sets out to search and destroy piano hardcore, built around a single broken chord, weaved into a stroboscopic digital tapestry of flute flutters, tuned sirens, whirrs and jitters. Although inspired as much by classical / orchestral and avant garde greats, as dance music, the titles multiple meanings nod to Clark’s foundation in and continued love for rave culture, but also to far older forms of revelry, and a church-like atmosphere of religious rapture, which is clearly audible in these ecclesiastic style pieces.


            Stations Of The Crass

              One Little Indian are proud to announce that they will be distributing entire Crass Catalogue on behalf of Crass Records.

              Album has been remastered by Alex Gordon at Abbey Road Studios, as close as possible to the sound of the original release. “As it was in the beginning”.
              Stations of the Crass is the second album by Crass, released in 1979. The record, originally released as a double 12", includes live tracks from a gig recorded at the Pied Bull pub in Islington, London, on August 7, 1979.

              Barbara Dane / Betty O'Brien

              I'm On My Way / She'll Be Gone

              Barbara Dane was born and raised in Detroit in the late 1920s against a backdrop of deep depression and race riots, little wonder that she became a political activist. She used her folk/blues musicianship to spread her message in the coffee-houses of San Francisco where she relocated in 1949 and founded her own Blues Club… Sugar Hill. Betty O'Brian currently residing in Fort Worth, Texas, was managed by Clyde Otis who hit the big time with fellow Liberty artist TimiYuro. Unfortunately for Betty that was her only claim to fame until, finally, out of the blue, the big-voiced Country singer stole our hearts with this thumping slab of dancefloor R&B. It only took six decades to catch on!

              This very special record is a collaboration between Amsterdam based stalwart, and frequent contributor to Young Marco’s Safe-Trip label, Darling, and his extremely talented daughter, Lexi. Here the producer, Darling, crayon proofs his studio and lets his 4r yr old daughter, Lexi run riot on the synths. The resulting submerged grooves, outer worldly melodies & psychedelic nursery rhymes are made up entirely of seqeunces recorded in by the outstandingly creative youngster with Dad making the edits and laying in the beats . This record was powered by Haribo.

              Comes with insert.

              STAFF COMMENTS

              Patrick says: I'm well into this! Safe Trip associate Darling lets his 4 year old daughter Lexi run riot in his studio, serving up a totally unique set of oddball nursery rhymes, naive synth jams and cosmic funk winners.

              Love it when this happens. Completely un-hyped, none-reported, 100% certified BANGER landing fresh this week. Decius seems to be quietly becoming a cult member of the house music underground, his first four twelves all nearly sold out barring a few copies 2nd hand and slowly creeping up in re-sale value.

              It's not wonder. This producer has c-l-a-s-s. Sticking nicely to the house tradition but injecting it with new energy, new flavours, and this new double A-side is no exception.

              "Paradise" is THE Summer anthem you've been searching for but not finding. Understated and slack enough to withstand the heady Summer temperatures, but direct and killer enough to ensure the club kids'll be learning the words to sing right back at you when you drop it at the next open-air tropical dance party.

              "Duuh-Dup" is a more malicious and nefarious beast. Designed to creep into late nite sessions and wreck havoc amongst the clientele. Hypnotic, locked-in grooves just keep tumbling as lashings of acid and Roland drum boxes keep the jack vibe alive throughout. Mega.

              Don't sleep on this one house cats...

              STAFF COMMENTS

              Matt says: Release of the week for me. Perhaps the Summer. Massive.

              DJ Lag & Okzharp

              Steam Rooms EP

              Durban gqom ambassador DJ Lag and London-based Okzharp combine over four club heavy tracks rooted in their long-term long-distance connection, the EP’s title originating from the Durban nickname for the local clubs where much early gqom-style music was played. Opener "Now What" layers a wooden percussion scraper with a ticking cow bell and chants. Set at a slightly faster pace than most gqom, the track harbours a dark energy at its core generated by a low rumbling background synth and pitch shifting claps.

              "Steam One" - inspired by DJ Lag’s set at Hyperdub’s club night Ø after he brought the heavy steam room vibe - has a slow and entrancing build up with a subtle melody layering on stabbing syncopated kicks, leading up to a woozy synth breakdown. 'We were inspired by that moment in the club when things get hazy and bendy and glowy. It has South Durban via South London DNA, so inevitably there's a heavy kwai-gqom vibe with a grimey funky London twist running through it'.

              "Nyusa" opens with a grinding acidic bass line overlaid with a metallic and gravelly melody with suppressed chants. Sharp kicks drive the track leading up to a wobbly synth breakdown and back up synth stabs raising the energy. Finally, "Sambe" pairs menacing strings with a steel drum melody, displaying characteristics of both funky house and gqom in a subtle meeting of the two styles. ‘Steam Rooms’ is a collection of dancefloor heaters set to make the club sweat, the amalgamation of a London / Durban link up reflecting both producers environments and sound palettes for icey cold gqom tracks with funky house shadings. 

              Dope Feat Fuck Authority

              666 / 1381

                The lengthening days and the long beautiful evenings: it must be time to treat yourself to this wonderful (and highly limited) 10” single from Julian Cope’s Dope feat. Fuck Authority. Consisting of two 20 minute tracks, main track ‘666’ is a Deutsche sing-a-long from beyond the grave, replete with martial side drums and cacophonous orchestral strings. With raised steins, our gruff-voiced male choir recounts their bolshie nursery rhyme – a beguiling tale of a mysterious tree that predicts the future. Simultaneously traditional and avant-garde, ‘666’ will remain in people’s heads long after the vinyl has been ejected. Meanwhile, awaiting listeners on the other side of this epic release is Dope’s most overtly psychedelic offering thus far. Off-kilter and raging, this non-LP B-side is entitled ‘1381’, after the year of Wat Tyler’s Peasant’s Revolt. Unbalanced? U-Betcha! As Fat Paul’s cataclysmic FX and Holy McGrail’s Space Echo obscure and overwhelm Fuck Authority’s vast stereo bass guitar, one can only praise the poor technicians who captured it all on vinyl. Yes, with its fabulous packaging and earworm chorus, this unlikely 10” release must be a candidate for Single of the Year surely? 


                Not Enough / Runaway - Inc. Mall Grab & Ali Berger Remixes

                UKG-vocal-tech hybrids here from new project E&D who drop two OGs for FCR.

                "Not Enough" is anthemic enough to be heard across the mainstream Radio networks whilst being delicious enough to rock your local dance. A typical stylistic vocal is chopped n pitched before being coupled with a flapping sub bass line and shoulder dropped beats. The track is remixed by new school rinser Mall Grab who puts emphasis on a Balihu-styled woodblock rhythm adds some peppery breaks and generally takes the track into subliminal territories.

                "Runaway" graces the flip, a UKG effort with killer vocal and tight arrangement, rocketing through a verse-chorus structure with a hook to die for. Ali Berger get busy on the remix, taking it proper deep and heady, perfect for extended sessions at Barbarellas, Space or any of the holiday house destinations over party season. Recommended!

                La Chiesa” (The Church) is a 1989 film, directed by Michele Soavi (“Dellamorte Dellamore”) and produced by the master of Italian horror Dario Argento, who also participated in the writing of the story and screenplay. The soundtrack is composed by Keith Emerson and Goblin. Classical, prog rock and electronics sounds are skillfully blended to create a late entry Italian masterpiece. Emerson, in particular, makes extensive use of a church organ, mindful of his work for Dario Argento’s film “Inferno” a few years earlier (1980), while Goblin continue with the bombastic electro-prog rock they had fine-tuned during the previous 20 years. Audio is taken directly from the Cinevox archives.

                Brian Eno

                Apollo: Atmospheres And Soundtracks - Expanded Edition

                A whole disc of new music, plus Eno’s seminal original album re-mastered.

                "Apollo: Atmospheres & Soundtracks" was written, produced and performed by Brian Eno together with his brother Roger and Daniel Lanois. The music was originally recorded in 1983 for the landmark feature-length documentary ‘For All Mankind’, which was directed by American journalist, film director and screenwriter Al Reinert. The film features 35mm footage of the Apollo 11 moon landing with real-time commentary, as well as the Apollo astronauts sharing their recollections of the momentous events surrounding it. An extended edition of the album will be released on July 19th in celebration of the 50th Anniversary of the Apollo 11 moon landing. This very special anniversary release features the original album remastered by Abbey Road's Miles Showell, as well as an accompanying album of 11 new instrumental compositions that reimagine the soundtrack to ‘For All Mankind’.

                The music from the original album is highly recognizable, and tracks from it have been streamed in excess of 300 million times. Since its release, many of the songs from "Apollo" have found a life of their own, featuring in any number of films, television shows and commercials – most notably ‘Trainspotting’, ‘Traffic’, ‘28 Days Later, ‘Drive’ and ‘Love’. ‘An Ending (Ascent)’ was also used in the 2012 London Olympics opening ceremony. The 11 new tracks on "Apollo: Atmospheres & Soundtracks" find Brian Eno, Daniel Lanois and Roger Eno working collectively for the first time since the original album in 1983. Lanois contributed 3 compositions; "Capsule", "Last Step From The Surface" and "Fine-grained", while Roger Eno’s are "Waking Up", "Under The Moon" and "Strange Quiet".

                FORMAT INFORMATION

                2xLtd LP Info: 180gm double black vinyl with a gatefold sleeve and download card.

                2xDeluxe CD Info: Limited edition deluxe 2CD format including a 24-page full-colour hardcover book.

                2xCD Info: Standard 2CD edition.

                Bam! Escort scored a knockout punch a couple of weeks back with the uber-grooving city life, and now the NYC disco crew are back, bringing maximum heat to the 2nd instalment of their new 45 series! It's Rene & Angela meets modern funk on the A Side, with the slow-burning “Slide”. Sweet, soulful and beyond boogie, this jam packs a little Revenge reworking Michael McDonald filter-funk with a mega female vocal.  On the flip is “Ride”, a Mizell Brothers-inspired souljazz jam, with soaring instrumentation featuring the legendary Brian Jackson on flute! Cool as fuck folks.

                Fixate Vs Double 99

                Ripgroove - Fixate Remix

                Can I get a REWIND! Extreme pull ups on this one massive! Ice Cream Records have signed the bootleg mix of "Ripgroove" by Fixate, which went viral when Sherelle dropped it during her Boiler Room set to a HUGE reaction.
                With over 3.5 million views across social media and counting Almost 22 years to the day since the original was released on Ice Cream Records and now part of the legendary Double 99 Double Pack. Fixate flips the script with crisp amen breaks and maximum resample to cook up a crushing DnB version which switches the original bassline into half time mode. CHAOS!

                The Flaming Lips

                King's Mouth

                  ‘King’s Mouth’ sees the iconoclastic outfit once again tread uncharted territory. These 12 new originals are threaded together by cinematic narration courtesy of The Clash’s Mick Jones. Additionally, the music parallels front man Wayne Coyne’s immersive art installation of the same name. Introduced in 2015, the installation has showcased its psychedelic visuals and soundscapes through North America in museums such as Meow Wolf in Santa Fe, NM, the American Visionary Art Museum in Baltimore, MD, the Pacific Northwest College of Art Portland, OR and Wayne’s own creative space, The Womb, in Oklahoma City, OK. A true handcrafted marvel, it consists of a giant metallic head that welcomes spectators inside. Once inside of the foam mouth, an LED lightshow begins in tandem with music from the album. Now, the record doubles as the sonic companion to the exhibit and allows fans to experience the aural side at any time.

                  STAFF COMMENTS

                  Barry says: The Flaming Lips are always riding the peripheries of the psychedelic indie wave, and here is no different. Beautifully psychedelic moments mix with weirdo off-piste melodies and woozy saturated pads, before culminating into huge, stadium choruses. It's a heady mixture, and one that continues to make The Flaming Lips one of the most thrilling bands around. Another classic Lips outing.

                  FORMAT INFORMATION

                  LP includes MP3 Download Code.

                  Musical blog and house party 'Craft Music' from Saint Petersburg launches a new label.
                  For the first release they've invited the talented Funkyjaws from Grodno. His music has been releaseed by labels such as Kolour LTD, Shadeleaf Music, Pusic (Austria) and others. Across four track we get a solid performance as he navigates world-disco on "Ole Ole", incendiary party music "Heavy Salsa Pushka Bassline", tropical house on "Untitled 1" and a wild disco-house hybrid on "Untitled II".

                  Full of live percussion lines, really inventive synthwork and a fun-loving, Saturday night energy, this is Funkyjaws as his playful best. 

                  In 1986 iconic group The Future Sound of London released the UK Top 40 chart album "Dead Cities", from which came a track "Yage". Such has been the interest in this masterpiece of electronica over the years that the guys have been back into the studio to revisit it. "Yage 2019" takes the core of the original and rebuilds it. All together there are eleven tracks reconstructions and interpretations, woven together (as FSOL do) into a 42 minute dreamscape journey. A wonderful update to this iconic release. 


                  Earth Awakes / Net Of Being

                  Lone's Magicwire label bringeth forth more hybrid breaks - merging traditional rave / UK hardcore flavours with newer production styles and a fresh forward focus.

                  Gabriola's "Earth Awakes" is a godlike trip to some exotic island. With the same expansive and grandiose vibes as, say, Gat Decor's "Passion" or Bushwacka!'s "Sueno Latino", it couples an infectious breakbeat and rippling synth line with an angelic female vocal who sings like an ode to the rainforests around the world. Very evocative, very good!

                  "Net Of Being" keeps that shamanic spirit alive through side B, though thoroughly chilling it out with a rich tapestry of sedative plants; like lying in a mushroom-hued hammock in the middle of the jungle with your third eye wide open, receiving your peak transmission. 

                  Galactic Protector


                    Accomplished musician / producer Bryan Richie, bassist for American rock band The Sword, has announced a new solo project under the pseudonym Galactic Protector. Overflowing with bright, synthesizer melodies and blissful, melancholic IDM, the 15 track effort plays out like electronic dream pop songs, hovering between ambient introspection and more active synth pop and post-rock elements.

                    Tranquil, nostalgic and melodic, 'Evening' pushes sound beyond the realms of IDM and ambient, conjuring a more kinetic, experiential expression of sound. Using an arsenal of analogue and digital synths, Richie's music as Galactic Protector blends new wave and cinematic influences with sophisticated downtempo beat patterns. The tracks initially took shape at Richie's home studio as well as in the Portland studio of producer Tucker Martine (Neko Case, Modest Mouse) during recording sessions for The Sword's 2018 release 'Used Future'.

                    FORMAT INFORMATION

                    Coloured LP Info: Limited edition pressing on “galactic” yellow 180g heavyweight vinyl. Includes insert print and download card

                    Gila is an electronic producer from Denver, Colorado. His four track EP "Trench Tones", showcases the diversity of his sound. His signature, hard-edged productions should appeal to fans of Flying Lotus, Nosaj Thing, Hudson Mohawke, Jacques Greene, Lunice, Telefon Tel Aviv & Suicideyear. Born Kyle Reid, he was a talented jazz drummer and percussionist until diagnosis of rheumatoid arthritis forced him to give up his sticks at age 17. Turning to his laptop, he channeled his frustrated musicality into beat making. Gila, (pronounced hee-la) is named for the gila monster, the only venomous lizard native to the United States. Often slow, full of texture, and deadly, the gila monster possesses many of the same qualities in Reid's music. making it more than an apt pseudonym for the producer.

                    Godtet is the brainchild of Australian Instrumentalist and producer Godriguez. Praised for his production on 'The Great Mixtape' for Sampa the Great. Godtet see's Godriguez stepping back into the live format of production with his band plus Simon Mavin (Hiatus Kaiyote) & Zeke Ruckman (30/70).

                    After releasing the self-titled debut in late 2017 Godtet have quickly become a staple within the emerging Australian Jazz & Instrumental scene with adulation streaming in from all parts of the globe. House Shoes called it his" album of the year" whilst Gilles Peterson made an exception in his Melbourne focused WorldWide FM show playing the Sydney outfits music. Whilst in Melbourne playing shows launching the first album, Godtet decided to record the next album "II", the bulk of which was laid down over one day and was rooted deeply in improvisation, just like the first record.


                    Heaven Is Humming

                      Written in periods of health and optimism, ‘Heaven Is Humming’ has been a long time coming. Three years coming, to be exact: singer / guitarist / songwriter Kenny Becker, singer / guitarist Drew Eccleston, bassist Caleb Wicker and drummer Christian Koons started work on the album in the summer of 2016, right around the time Goon’s debut EP ‘Dusk Of Punk’ came ripping in from the Los Angeles sky, spilling from the brim with monster riffs and deep hooks. After spending some initial time in the studio with Chris Lynch and Adam Rasmussen of Gardens & Villa in their space in the Frogtown neighbourhood of LA, the first Goon LP could have easily been rushed out. Instead the band chose to get it just right.

                      ‘Heaven Is Humming’ is weird in its fearless abandon but it’s also comforting and familiar at the same time, taking the sounds of foundational groups like Pixies and Boards Of Canada and contextualizing them through a modern lens, placing Goon alongside contemporaries like Forth Wanderers, METZ, Young Jesus and Partisan labelmates Dilly Dally. Becker croons like Michael Stipe one minute and snarls like Frank Black the next but you never lose the sense of who these four guys are making a beautiful racket right in the here and now.

                      STAFF COMMENTS

                      Barry says: From the heftier distorted guitar and thumping percussion to the more tender post-grunge revery, Goon have crafted a remarkable testament to a variety of genres without sounding like any single one. Brought together with perfect musicianship and an impeccable ear for a tune, 'Heaven Is Humming' is a superb and absorbing listen throughout. Awesome stuff.

                      The Gotobeds

                      Debt Begins At 30

                        Give me a minute or three to extol the virtues of The Gotobeds, the modern rock and roll sensation that has always sounded like they love to play. Never maligned by having the world’s weight on their backs, The Gotobeds - Cary, TFP, Eli and Gavin - return to the fray with their third full lengther, ‘Debt Begins at 30’. The esprit de corps and anxiety-free joy that permeates their other LPs and EPs remains intact. The octane is high-test, the engine still has knocks and pings and the battery is overcharged. The Gotobeds - as Pittsburgh as it gets, the folk music of the Steel City - have more tar for us to swallow.

                        ‘Debt Begins At 30’ is an old-fashioned blast furnace and the liquid iron flows. ‘Debt Begins At 30’ is not ‘pub sop’ in any way or shape. Though I never considered The Gotobeds a band that needed assistance from their peers, ‘Debt Begins At 30’ features outside contributors on every track. The album’s first single, ‘Calquer The Hound’, includes local buddy Evan Richards, and Rob Henry of Kim Phuc. ‘Calquer The Hound’ has euphony, a sly bridge, plenty of trademark bash, and a spacey outro. It’s a sanguine album opener, more Al Oliver than Starling Marte. On ‘Twin Cities’, the lads tap Tracy Wilson, formerly of Dahlia Seed and currently of Positive NO!, to share the vox, and the result is an exuberant pop song proving The Gotobeds benefit from women ruling the scene.

                        "Twin Cities" is more Dakota Staton than Don Caballero. ‘Debt Begins At 30’, the title trackular, includes the wizardry of Mike Seamans and legend Bob Weston. It’s a brooding romp with tribal beats and slash-and-burn guitar, more Rocky Bleier than Le’Veon Bell. Unsurprisingly, The Gotobeds called partners-in-rock-crime Protomartyr a coupla times, with Joe Casey bolstering ‘Slang Words’ and hook-fiend Greg Ahee shredding on ‘On Loan’. ‘Slang Words’ is a savory wrecking ball with a crunching bite, more of a soft shell crab sandwich from Wholey’s Market than a 4am slop feast at Primanti Brothers. ‘On Loan’ is an anthemic janglefest with high-arcing fret work, more Karl Hendricks (rest his soul) than ‘Weird Paul’ Petroskey. Silkworm guitarist Tim Midyett is tapped on ‘Parallel’, a grand song that enters a world of whimsy, melodic and uncomplicated, more Jaromir Jagr than Sidney Crosby.

                        The likes of 12XU label boss Gerard Cosloy, Tre Orsi’s Matt Barnhart, the wonderful Victoria Ruiz of Downtown Boys, Pittsburgh wordsmiths Jason Baldinger and Scott MacIntyre, and yours truly strut stuff on other tracks. In my case, I just scream “dross” on ‘Dross’ several times. Good judgment on the part of The Gotobeds to know that’s the best I can do, more Max Moroff than Andrew McCutchen. Anyways, The Gotobeds have quickly reached the veteran stage, but, based upon ‘Debt Begins At 30’, their best days are ahead of them. It’s a pleasure to be associated with such an excellent band.”

                        FORMAT INFORMATION

                        Coloured LP Info: Indies exclusive 'loser' edition LP

                        Hamell On Trial

                        Choochtown - 20th Anniversary Edition

                          Ed Hamell on ‘Choochtown’: “I was living in Brooklyn, constantly on the road, and been dropped from my major label deal on Mercury/Universal. I really had nothing to lose and I was very inspired, if I remember, by the movie Pulp Fiction and the Biggie Smalls record: Ready To Die. I recorded anywhere I could. My friend Billy Nicgorski had an analog one inch studio in his basement, his younger brother had a band and I would use them. I also did a bunch of it in my basement in Brooklyn which had a dirt floor and I set the recording gear up on plastic paint pails. Used them as drums sometimes too. I released it on my own label Such-A-Punch and it got licensed to Evangeline in the UK where it got rave reviews and established my career over there. After all the press I got for my first two albums on a major I couldn’t get shit over here in the States, only that CMJ magazine which took their silliness pretty seriously who basically said, ‘We don’t know what it is but it’s art.’ Duh. I’m pretty proud of all my records, I’ve been very lucky in that I’ve always been able to maintain complete creative control but this one I was particularly proud of because every inch of it, from the recording which one track as you’ll see was recorded on my boom box, to the artwork, was all mine.”

                          Darren Hayman

                          12 Astronauts

                            Always perfectly capturing the zeitgeist, Darren Hayman releases his 18th solo album, 12 Astronauts, on the 50th anniversary of the Apollo 11 moon landing 12 men have walked on the moon, and 12 Astronauts includes a song for each of them, from Neil Armstrong to Harrison Schmitt and Gene Cernan (the Apollo 17 astronauts who quibble about who was the last man on the moon, was it the last person to set foot on the moon (Schmitt) or the last person to take his foot off the moon (Cernan)?). Darren has always had an interest in space travel since 1977 when he saw Star Wars.

                            Back in 2001 Hefner (Darren Hayman’s previous band) released a single called Alan Bean about the 4th man on the moon (an all new version is included on 12 Astronauts). In 2011 he contributed songs and pictures to Vostok 5, a London exhibition (and compilation album) about people and animals in space (he has also illustrated the cover of 12 Astronauts). In March 2014, as part of a year-long residency at Dalston’s Vortex, he played a set of his space-related songs supported by Robin Ince (this included the live debut of a number of tracks from 12 Astronauts).

                            His record label, ‘Belka’, is named for one of the first two dogs to go into earth orbit and return alive, so it should come as no surprise that the 12 Astronauts were in the back of his mind while he researched, wrote and recorded his classics about Thankful Villages, the Essex Witch Trials, Lidos, William Morris and British seaside resorts. The songs are works of historical fiction. Although Darren researched heavily he is essentially imagining himself as each astronaut and singing in the first person. The songs are not all set during the Apollo missions. Buzz Aldrin battles with his demons and fights for his marriage. Pete Conrad sympathises with his partner’s fear of an accident in flight. David Scott wonders what happened to his bodyguard on his press tour. Gene Cernan list every object he can think of that was left on the moon. Although the subject is big Darren has always written songs about small things and this album is no different. Darren collects together tiny moments from magnificent lives.' The album itself is curious in its genesis as Darren conceived and started the album back in 2008 and only recently came back to complete it. Some of the vocals are recorded 10 years apart.

                            FORMAT INFORMATION

                            Coloured LP Info: Space coloured vinyl (in spot-gloss sleeve)

                            Horse Meat Disco & Kathy Sledge

                            Falling Deep In Love - Inc. Joey Negro Remix

                            Big disco manoeuvres this week as Glitterbox drop the first of two new singles from Horse Meat Disco and founding member of Sister Sledge, Kathy Sledge. Co-produced by Classic Music Company boss Luke Solomon, the nightlife champions have finessed their unstoppable strutting disco style with ‘Falling Deep In Love’, perfectly representing the Glitterbox sound at its freshest on this 12” release, offering a sublime preview to their forthcoming album. Sledge’s unmistakable soulful vocals paired with the impeccable production and live instrumentation give this record that classic disco sound reminiscent of some of Sister Sledge’s classics. On the flip Joey Negro delivers his funk-laden Disco Blend, with the house master demonstrating his spotless knowledge of the genres to create a cut destined to light up Glitterbox dancefloors and beyond.

                            Dansu Discs are back again, this time with local lad Interplanetary Criminal issuing a huge summer time UKG EP! 5 brand new tracks to keep you moving across this warm season. Full of mega basslijnes and snappy beats plus a smattering of reverb drench angel vox.

                            Keep an ear out on the B side as well as label favourite Breaka slices up a massive remix of "Sensational".


                            STAFF COMMENTS

                            Matt says: Summer's here, get yer garage out! Expert two-step constructions from IC here with nice keys, sweet vox and snappy beats. Inside!

                            Chuck Jackson needs no introduction to fans of Sixties and Seventies soul music. He is a member of, if not the founding father of, the exclusive club of bastions of Northern Soul that includes the likes of Major Lance, Gene Chandler, Jackie Wilson, all enjoying a prolific and long-lasting career with a string of collectable 45s. Anyone wanting to explore Jackson’s body of work need look no further than Kent’s exhaustive roster of CDs including his eight Wand albums plus authoritative compilations from where we draw our featured sides available back-to-back on 7-inch vinyl for the first time. “The Silencer” is a killer Bond-esque production on a song originally recorded by Vikki Carr for the Dean Martin movie The Silencers. It was “silenced” at the time of recording and would have to wait almost thirty years for it to be rediscovered by Ace Records. “Little By Little” is yet another fabulous big city production that eluded release at the time of recording and is available here, on 7-inch vinyl, for the first time.

                            Etta James & Sugar Pie Desanto / John Gary Williams

                            In The Basement (Soul Flip Edits)

                            Soul Flip come through with a couple of mega...err...soul flips here, plucking some sound source material and working their magic. On the A-side we get a phat big beat refix of Etta's evergreen "In The Basement", which pushes the track a mile in opposite direction of Theo's Detroit workout, opting to add a hefty back beat and up the ante in Brighton beach style. Over on the flip, John Gary Williams' soul version of George's gorgeous (and only slightly plagiaristic "My Sweet Lord") gets the dance floor overhaul with subtle boosts and extensions from the team.

                            Etta James / Mary Ann Fisher

                            Seven Day Fool / Put On My Shoes

                            Etta James, born Jamesette Hawkins, passed away in 2012 leaving an enduring legacy of class R&B hits and wonderful rarities such as this anthemic dancefloor winner from 1961. In 2007 R&B singer/songwriter Jully Black took “Seven Day Fool” to #9 on the Canadian Hot 100 produced by Black Eyed Pea – Keith Harris. But it is Etta’s original masterpiece that has been elevated to the Northern Soul Hall Of Fame. Mary Ann Fisher was born in Henderson, Kentucky and her break came when she met Ray Charles at the USO Club in Fort Knox. She had a 3-year affair with Charles before establishing her own solo career.

                            Jardín was made up of Orlando Ramírez and Raúl Gómez, and has been a true cult band of Lima's experimental underground since they made themselves known at the end of the 1990s, when they started playing at electronic music venues as well as in the context of art performances and contemporary dance events.

                            "Maqui de hierro", their fourth published work, defined the sonic universe of the duo, in which electronic cosmic experimentation converges with hypnotic rhythmic patterns inspired by ritual percussion music from the Amazon, using console feedback processed by pedals, drum machines and ocarinas.

                            Jardín's work can be related to that of other great luminaries of rhythmic repetition such as Silver Apples, Suicide, Esplendor Geométrico or Pansonic, a sound that finds in "Maqui de Hierro" a singular incarnation: metallic drum machines that lead the trance between echoes and layers of reverberant sounds, in a kind of rhythmic drone dub trip. Appeared in cassette format in 2005, "Maqui de Hierro" collects recordings of 2002 and 2003, made during intense and unforgettable concerts, as well as in recorded sessions at the duo's private haven known as Cuarto Azul, located in an industrial zone of Lima.

                            Recorded entirely live and direct to open reel tape, "Maqui de hierro" is now published for the first time in vinyl format, as part of the Essential Sounds collection, with which Buh Records discloses a series of fundamental albums of Peruvian sound experimentation.

                            Jarv Is

                            Must I Evolve?

                              JARV IS is Jarvis Cocker's new band. 

                              This 12" was given away at his recent live shows, but we've managed to get our hands on a few copies.

                              They're only available in store - not online I'm afraid.

                              FORMAT INFORMATION

                              Ltd 12" Info: INSTORE ONLY - NO ONLINE SALES

                              Elusive Sydney songstress Justine (Bradley) almost entirely wrote, produced and arranged her sole LP in ’79, an album that was funded by a radio station as the beneficiary for emerging talent. The music was created specifically for radio play without any intention of being manufactured. Luckily however, a friend with ties to a pressing plant known aptly as ‘Midnite Flite’, managed to sneak into said plant one evening and press up a small number for the enjoyment of family, friends & those involved.
                              Left Ear have decided to release what they consider to be the two most significant tracks from this release onto a 12” single, now for the enjoyment of all. The A-Side will feature the haunting ‘Wordless Songs’, a melancholic soulful number which according to Justine explores the “capacity to comprehend a partner’s internal quest for authenticity and connection”. The B-side ‘Mama Didn’t Tell Ya’ is more uplifting in both tempo and arrangements comprising an extended outro, while the lyrics remain just as personal and reflective.

                              STAFF COMMENTS

                              Patrick says: Majestic AOR folk funk here from Sydney 79' and the creative mind of Justine Bradley. Jazzy syncopation, limber bass and funk guitar sit under gorgeous vocals on these two mellow jams, which really should have been hits. Insanely Balearic!

                              Powering their way through 2019 with no sign of letting up, WOLF Music unleash their next house gem, ‘Strangerinthecity’, from German pairing Kandinsky & Mr. Fries. Six slices of soulful deepness, that range from blissfully Balearic and chugging groovers, to hazy jazz-infused sweetness, crunchy beats and sweeping interludes.

                              Kicking off the A side a cinematic intro, laced with movie samples and thundering pianos, gives a grand opening for ‘Stranger’ to slide in with its bongo delights, dusty trumpet melodies, psych guitar licks and fluttering Rhodes. Couple that with the modulated vocal snips and it’s a wave of warmness destined to win over any dancefloor. ‘Fallingasleep’ takes the final slot on the A side, a chuggy bass-arp-fuelled interlude with rippling hats, echoing rides and washes of the sea, to lead you serenely into the second half of the record.

                              On the flip side, ‘Downhere’ and ‘Strollingaround’ sandwich either side of ‘Junkfoodnmusicpt2’, like the juicy pleasures its namesake depicts, encasing it lovingly in two dreamy house numbers. The former is a trumpet laden, smokey cocktail of grooves and the latter a more disco-tinged offering, led by a dynamic bass / guitar combo alongside delicate brass and string tones. The tender filling to this deep-fried delight? ‘Junkfoodnmusicpt2’ – a beatsy trip of glistening, lo-fi, instrumental hip hop that will leave you salivating for more.

                              Welcome to King Of Kong Records! As a joint venture by Central European publisher, DJ and curator Artur8 and Scandinavian producers Anton Klint & Edvin Edvinson, it’s pretty clear it won’t be a yet another formulaic record label. KOK is all about the baltic sea connection & befriended artists from all around the globe.

                              Berlin-raised, now based in London Artur K / Artur8 has been DJing worldwide for decades, at the same time promoting countless events (including big festivals) and co-operating with numerous labels including Rekids, Golf Channel, Internasjonal, Gomma Skylax, Compost, Machine Ltd or Internasional.

                              Gothenburg’s Anton Klint is mostly known for his production work, releasing on Hivern Discs, Public Possession or as Tiedye with numerous releases and remixes on labels like Italians do it better, DFA and Modular. Together with Edvin Edvinsson, Anton runs the infamous the label/party Tryck&Ton.

                              The first record on King Of Kong comes from Tryck&Ton itself, which is a duo of Anton and his partner Edvin Edvinsson. “Pathetic Aesthetic”” is a mid-tempo chugger, with an elegant, but steady rhythm, unquestionably funky live bassline, a skeletal melody that turns into an irresistible earworm and a splash of mysterious exoticism, which is as much en vogue as simply appropriate.

                              The already intoxicating original gets even more boost by a superb cast of remixers: Sean Johnston beefs up the bass and strengthens the kick drum under his Hardway Bros alias, while Eric Duncan/Dr Dunks lets loose with looped vocals and sci-fi FX aplenty. Kasper Bjorke delivers a majestic sonic odyssey, where dreamy intro with a definitely “live” feeling kicks into a sunset/sunrise anthem before unleashing a proper hands-in-the-air dancefloor anthem. The record is rounded off with a joint remix by Newborn Jr & label boss Artur8. The remix takes a different angle: darker, moodier, it carries a lot of memories of classic (ware)house parties - and a stunning piano solo.

                              Denmark's Balearic veterans Laid Back celebrate their 40th Anniversary in typically cool fashion, releasing a brand new LP of poolside moods. Following up 2013's highly acclaimed “Uptimistic Music”, their new album wonderfully blends John Guldberg´s and Tim Stahl´s signature styles - the “Healing Feeling” of reggae, electronic, folk and soothing Balearic pop - as retro and modern as it always was. Laid Back are back - like a best friend that never really moved away.

                              STAFF COMMENTS

                              Patrick says: Forty years in the biz and still going strong. Straw hats off to Laid Back, Denmark's kings of cod-reggae and sunshine pop. This BRAND NEW LP is packed with coastal strollers and dubby rollers, mixed to perfection and finished off with spoke-sung vocals and delicate guitar. It's basically as Balearic as it gets!

                              This is the debut album from new soul sensation Laville, following on from the release of Laville’s stunning debut EP which featured singles "Easy" and "Thirty One". "The Wanderer" is driven by a certain spirit - it’s almost as if after waiting so long Laville refuses to let this chance pass him by, bringing his intense sense of focus to the fore. A bold voice that adds something distinctly new to the tapestry of soul, Laville’s talent is too strong to remain a secret forever. "The Wanderer" was steered by the expert hand of Acid Jazz’s in-house producer Sir Tristan Longworth, built during the summer months with a crack team of musicians.

                              Ada Lea

                              What We Say In Private

                                Montreal, Quebec-based musician Ada Lea is also a painter and visual artist, and traces of her many creative abilities run throughout her debut album what we say in private, a beautifully colorful collection of profound pop songs.

                                To her, music and visual art are different vessels for communicating similar ideas. Ada Lea’s appreciation of female artists -- including the writer Sylvia Plath, visual artists Frida Kahlo and Eva Hesse, and musicians Karen Dalton and Nina Simone -- provides inspiration and guidance, informing her use of multiple artforms as tools for self-expression. Whether it’s creating music or art, “It's a world that I can build around me and sit inside,” she says. Through all her work, Ada Lea explores the concept of womanhood as it feels and looks to her, as well as love and how it transforms over time. She doesn’t shy away from exploring uncomfortable and painful emotions, either. With the brightness of love, strength, and hope contrasted with the darkness of loss, suffering, isolation, and abandonment, what we say in private is a varied and vivid record that constantly seems to shift in the light, bringing together all the intricate influences she’s collected over the years.

                                What we say in private began with a need to document the ending of an important romantic relationship. Following a tormented period of staying up all night (sometimes days at a time), frantically painting or writing songs as a means of coping, she journalled for 180 days in the hope of finding herself again. She conducted this period of analysis and introspection in private, like most of her creative pursuits, and the process eventually resulted in a rebirth: a rediscovery of self and a new sense of freedom and self-acceptance.

                                These chaotic feelings and the resulting catharsis are deeply felt in the final recording of what we say in private. Ada Lea wanted the album to feel like a journal entry from those 180 days as she cycled through emotions. Throughout, she expresses feelings and thoughts that all humans experience behind closed doors and alone, but are conditioned to keep to themselves. This is reflected in the lyrics, the artwork, and the songs -- together forming a public exhibition of deeply private matter. The album is a collection of raw, confessional, and at times messy emotions, presented to a society that can fear such realness, often favoring the uncomplicated, curated, and manicured.

                                Ada Lea delivers something very special on what we say in private. Bold and daring, but also gentle and vulnerable, the album finds new ways of presenting its vision from one inspired idea to the next, a big leap into the wider world with passion and exuberance.

                                FORMAT INFORMATION

                                Coloured LP Info: Coloured vinyl.
                                2 art prints.

                                Coloured LP includes MP3 Download Code.

                                Grace Lightman

                                Silver Eater

                                  Grace Lightman brings us the beautiful rich synths and shimmering 80's pads of 'Silver Eater'. We kick things off with the punchy percussion and snapping envelopes of 'Repair Repair', forming a soft synthetic bed for Lightman's dreamy vocal line. Much like the titular follower 'Silver Eater', there are elements of soft soul and dream-pop swimming around in the rich synthetic wash beneath. 

                                  Move along further and pieces like 'Exoskeleton' are much more geared towards the more meditative side of things, covering the vocals and strings in a layer of reverb before breaking out into soulful demi-disco. Pieces like 'Ordinary Life' and 'Get Me Out Of Here' are much more low-key, relying upon shadowy abstractions and sweeping filters, where 'Deep Space Getaway' could easily be a Human League or Duran Duran synth-line but bolstered with a more modern dancefloor-orientated tilt. A varied and fascinating ode to 80's pop, but brought into this century with brilliantly modern production techniques and the soaring drive of modern digital synthesis.  

                                  STAFF COMMENTS

                                  Barry says: For people who like the crisp, rich synths on albums like the brilliant 'Chris' by Christine & The Queens, or the optimistic throb of 80's pop, 'Silver Eater' is for you. Brilliantly immersive synth-pop anthems, perfectly produced and beautifully written, and brought to you by the ever-reliable Handsome Dad records. What more could you want?

                                  Fresh from a fallow 2018, spent munching mushrooms in the Norwegian countryside, Oslo producer Magnus International returns to Full Pupp with a brand new 12" of mind altering music. Putting maximum emphasis on the percussive, the Full Pupp favourite comes through with a whacked out four track EP which splits the difference between Baldelli cosmic, Stefan Egger stomp and early Tenaglia tribal. 

                                  Opener "Cosmic Cow Session" is slinky yet swampy, a ritualist rhythm of tumbling percussion, digital birdsong and murky low end which works your body into a frenzy despite the risk of quicksand just around the corner. The "Cosmic Rhythm Session" evolves from the primordial goo and grooves into progressive house territories, turning up the heat and intensity for a true hypno-roller. Daniel “Blackbelt” Andersen adds some strings and extra soothing drama but the concept remains clear - New York Sound Factory 1992. You wonder what Junior Vasquez would have played the 2 hours ahead of dropping the latest Stevie V? Here's your answer. Saving the best for last, Magnus slows the tempo for "Cosmic Jam Session", a shoulder rolling tribal jam with bowing bass sounds, clattering poly rhythms and enough ethno idents to have Zanzibar rocking on that Tony Humphries bump.

                                  STAFF COMMENTS

                                  Patrick says: Packed with percussion, whacked out synth fx and references to the cosmos, this is naturally my cup of tea, so expect to hear it in heavy rotation from the Talking Drums crew.

                                  Ten years and twenty records since their inception, Public Release haul in Mark E from across the Atlantic and into their North Cali abode. Mark drops four track in his now instantly-recognizable yet inimitable style. "Shake" begins with all the taut, tense, cerebral tropes that define this producer's arsenal. Constantly edging, its pitched vocal ident burrows right into the listener's head as the stretched out climax refuses to let go. "Shelter" continues with this style of dizzying repetition, combined with a psychotropic palette and unconventional arrangement that's both alluring and tantalizing; with the listener never knowing what's coming next.

                                  On the reverse is a pair of more melodious tunes, the shuffling Vancouver-esque groove that is “M-54”, complete with some beautiful keyboard and pad interplay; and the prickly “Shinkansen,” which has a sputtered and bleary-eyed thrust to make feet jitter and bodies shake.


                                  3E / 11,000 Volts

                                    Reissue of the 1978 debut 7" by Mars, one of the essential bands from New York's no wave scene.

                                    "A cavernous musical universe riddled with eerie sound storms whose poisoned atmosphere seduced and threatened. Obtuse and unforgiving. Sickly sexy." - Lydia Lunch.

                                    Club Soul deliver the first ever reissue of this cult album, now complete with the previously unreleased instrumental. If that wasn't enough, this fresh pressing comes on 180gm heavyweight audiophile vinyl in a single sleeve featuring a Club Soul insert with new sleeve notes.

                                    To the pop buying public Van McCoy is known for his 1975 Grammy Award chart-topper “The Hustle”, after which he sadly died of a heart attack in 1979 at the age of only 39. To rare soul fans Van McCoy is a hero: THE most prolific writer and producer of Northern Soul of all time, working with a host of legendary artists including Kendra Spotswood (aka Sandi Sheldon) with whom he had a five-year relationship.

                                    ‘Dancin’ ‘ was originally released by Shelby Singleton in 1976 on his SSS International label, although all the ten original songs were recorded much earlier, circa 1968-69. With its kitsch cover and out-of-kilter track list, copies soon filtered through to the UK and into the hands of club DJ’s at Wigan Casino with perhaps “Help Is On The Way” becoming the stand-out track. Richard Searling played the mid-tempo “Just Another Dress Rehearsal” in the latter days of the club while an unreleased instrumental version of “Ain’t Got No Love” was played post-Wigan from a studio acetate.

                                    Memory Band

                                    After Night / Tangled Man

                                      Formed in 2002 by producer Stephen Cracknell, The Memory Band was always conceived as a project that would develop it’s character over time rather than arriving pre-packaged and fully formed. The intention was to allow the work to be influenced by the diverse range of musicians who came aboard and the places we travelled to together and to meander along our own path. Fifteen years since our eponymous debut album on the Hungry Hill label this single features the voice of Nancy Wallace, who made her debut on that first album and whose presence had a profound impact upon the early navigations of The Memory Band both live and on record. A fine traditional singer Nancy has forged her own highly regarded solo career and as well her contributions to The Memory Band she also played a pivotal role in the formation of The Owl Service.

                                      Now resident in Canada, Nancy recently reunited with The Memory Band whilst visiting Britain and recorded the title track ‘After Night’ in London. The song uses lyrics assembled and adapted from a handful of ballads with similar lyrics but differing titles collected far and wide in the English-speaking world since the eighteenth century; songs such as Madam I Have Come to Court You, Yonder Stands a Lovely Creature; Twenty-Eighteen and Ripest Apples. Accompaniment on electric piano, organ and cello comes from Fred Thomas, who has made many contributions to our recent work.

                                      The flipside is a cover of an Anne Briggs song entitled ‘Tangled Man’ from her classic album ‘The Time Has Come’ and features acoustic guitar from John Smith. "Folkloric magic" – MOJO. “Celebrating the drifting spirits and ancient trackways of Old England through an engaging welt of engaging historic spoken-word samples, elegiac piano, found sounds and programmed rhythms” – UNCUT. “A sense of silent majesty and buried history” The Quietus. “The Memory Band is about proving that folk music is alive and breathing, not a retro historical thing...Brilliantly sophisticated" – Mixmag.

                                      STAFF COMMENTS

                                      Patrick says: Recorded with the summer solstice in mind (but employing my approach to timekeeping) this brand new single from the Memory Band is in turns pretty, pagan and preternatural. Traditional enough to please the purists, but firmly a product of the present.

                                      Minyo Crusaders rework historic Japanese folk songs (min'yō) with Latin, African, Caribbean and Asian rhythms for their debut album “Echoes of Japan”. Releases from Ryuichi Sakamoto, HaruomiHosono and Midori Takada have re-ignited global interest in Japanese music and “Echoes of Japan” marks the arrival of a big band like no other.

                                      'For Japanese people, min'yō is both the closest, and most distant, folk music' explains band-leader Katsumi Tanaka: 'We may not feel it in our daily, urban lives, yet the melodies, the style of singing and the rhythm of the taiko drums are engrained in our DNA'. Initially indifferent to min'yō, a tragic event in recent Japanese history set Tanaka on his current path: 'Following the Tohoku earthquake of 2011, I reflected on my life, work and identity. A fan of world music, I began searching for Japanese roots music I could identify with. Discovering mid-late 20th century acts HibariMisora, Chiemi Eri and the Tokyo Cuban Boys, I was captivated by their eccentric arrangements and how they mixed min'yō with Latin and jazz.'

                                      Originally sung by fishermen (KushimotoBushi; Mamurogawa Ondo), coal miners (TankoBushi) and sumo wrestlers (Sumo Jinku), these songs deal with topics such as the returning spirits of ancestors (HohaiBushi), Japan’s smallest bird (ToichinBushi) and a bride’s love for her husband’s pockmarked face (Otemoyan).

                                      Minyo Crusaders are one of the most hyped acts on the Tokyo music scene that went national in 2018 through festivals such as Fuji Rock. The band features veterans of the Tokyo roots music scene such as bassist DADDY U (Ska Flames), keyboardist Moe (Kidlat), sax player Koichiro Osawa (Matt Sounds/ J.J. Session), Yamauchi Stephan (J.J. Session), percussionist Mutsumi Kobayashi (Banda de la Mumbia), conga player Irochi (Cubatumb) and vocalist Meg (DJ collective Tokyo Sabroso).

                                      Inspired by warm climates but shaped in a rainy city, Native Cruise's "Desert Theory" opener "Late Nights" is a relaxed jam filled with crispy drum-machine percussion and nu-new age pads with delicate nature sounds in the background. The energy rises towards the title track, a marching rhythm characterised by chugging wooden drums and floaty pan flutes. "Bermuda Clouds" brings you onto shore presenting a dreamy boogie-house romp with excessive FM bass line, atmospheric pads and a wave of ocean sounds. The journey ends with "Whispers" which evokes an imaginary 80s digital world vaguely influenced by the aesthetic of labels like Innovative Communication or Les Folies Art and sounding a little like if Art Of Noise quaffed a load of cubensis in a wooden area off the Dalmatian coast...

                                      Normil Hawaiians

                                      What's Going On?

                                        Upset The Rhythm present a reissue of Normil Hawaiians' What's Going On?, originally released in 1984. To Normil Hawaiians, getting out of lockstep with Thatcherism seemed imperative. Adding to an overriding sense of anxiety, close friend and band associate Martin Pawson took his life in July 1983. Following More Wealth Than Money, released on Illuminated Records in 1982, there was an impetus to make good on hard won achievements. Rehearsal and writing sessions resumed in the early months of 1983 at Intergalactic Arts Studios. IGA was a ramshackle, semi-residential rehearsal space.

                                        Illuminated Records had been sending artists to Foel Studios in Powys, Wales for years, and it had become a kind of refuge for the Hawaiians. Studio owner/manager Dave Anderson (Hawkwind/Amon Düül II) was welcoming, unruffled, and accommodating when around a dozen band members, friends, and family emerged from the "mini-peace convoy" of vehicles into the hazy, pastoral care of the warm, Welsh countryside. Whereas More Wealth Than Money had evolved in the recording studio, What's Going On began to develop as a more pre-meditated, albeit piecemeal work. "Quiet Village" and the unreleased "Outpost" had already been finished at Foel in February 1983.

                                        Recording Engineer Brian Snelling recalls how the Hawaiians approach to making the album was unconventional and spontaneous, reveling in chance and openness. Rehearsal tapes from IGA were played along to, and improvisations allowed to develop, with further layers of sound accreting (as can be heard on "Big Lies"). "Free Tibet" was created by the band playing together exploratively with Snelling waiting to hit "Record" until he heard that something interesting was coalescing. He recalls the sessions being initially unorthodox, but eventually settling into a friendly, productive, and very familial affair. Mixed tapes were then taken by Dave Andersen and Guy Smith to Charly Records' editing studio in London. Here they spliced the recordings into an irregular yet coherent, flowing work. Final masters were then EQ'd and cut by Graeme Durham at the newly opened Exchange Mastering Studios in Camden. And then nothing happened. Unbeknownst to the band, Illuminated Records were getting into deep financial problems. The label gave the band 250 copies, but the record shops wouldn't touch them -- the company had been blacklisted. This intricate, challenging and engaging work had been failed by poor circumstance. 

                                        FORMAT INFORMATION

                                        Ltd LP Info: Glossy, printed gatefold sleeve, with offset (matte) paper inner sleeve, booklet, limited black vinyl pressing (500 copies). Download card with bonus tracks included with LP.

                                        Ltd CD Info: Bonus tracks included on CD version too.
                                        CD gatefold wallet with booklet. 500 ONLY

                                        Oceans Of The Moon

                                        Oceans Of The Moon

                                          “A dusty plain, a red sky, sand in your teeth - ‘I don’t feel so great’ - a post-apocalyptic hooptie jeep-jammer. ‘Why is everything in ruins? There must be others like us out here somewhere…’

                                          “This fine sizzling grease pit of cyber punk comes to us from psychic veteran Rick Pelletier (of Six Finger Satellite, Landed, La Machine), always bringing an interesting, bent and lurid account of visions to wax for the hungry ear bone. This time around the equipment scavenged is guitar, drums, synth and vocals. The beat goes full lotus climbing out of the goo, like men with sap gloves slapping the hulls of the remaining clubs, keeping the peace during live actions, gorgeous nauseating synthesized harmonies blowing through the ceiling vents, frickle-fried guitar belly slish and vocals delivered over the P.A. at Barter Town (sometimes from the workers in the pit, in unison).

                                          “Picture a bucket of molten metal with gobs of scalp sizzling and sinking away-dance music for the infected. Be sure to double up on your dose before driving around on this one so you can wipe the chum smear off your wind screen.” - John Dwyer.


                                          A Midsummer Nice Dream - 15th Anniversary Edition

                                          Lapsus Records proudly presents the third release in its “Perennial” series, dedicated to reissuing
                                          contemporary electronica classics from established artists.

                                          The third release is from Christopher Scott Leary, who over the last two decades has produced a plethora of material under his pseudonym, Ochre. 2019 marks 15 years since the original release of "A Midsummer Nice Dream" in 2004; on British label Toytronic, which pushed Leary to the forefront of the experimental
                                          electronic music sphere. To celebrate the releases’ fifteenth anniversary, Lapsus Records will reissue a
                                          special collector’s edition of this IDM classic in the form of a double tri-colour vinyl release, re-mastered by John McCaig (panicStudios). It will also include a full-colour print of the new artwork, re-designed by Portland (Oregon) illustrator Nathaniel Reeves, who has worked alongside Ochre for almost ten years.

                                          This special deluxe reissue entitled "A Midsummer Nice Dream (15th Anniversary Edition)", features
                                          unreleased material from the same period and includes three bonus tracks on its vinyl version, six on its digital version, making it a truly unique release. It therefore offers a golden opportunity to rediscover an album that navigates through several genre domains such as ambient, IDM and experimental electronica in
                                          its purest form, stylistically reminiscent of the likes of Autechre, conveying a sound considerably ahead of its time. In its entirety “A Midsummer Nice Dream” is undoubtedly one of the most remarkable electronica glitch albums to be released in the 2000s, when the genre experienced its zenith, largely thanks to the advent of
                                          significant breakthroughs in digital production tools. 

                                          FORMAT INFORMATION

                                          2xLtd LP Info: Solid blue, black, and solid white mixed vinyl copies

                                          Francis Hime has been a fundamental artist of Brazilian music since the mid-1960s. He began to play the piano when he was only six years old and in 1963 he started working with Vinicius de Moraes, with whom he would compose many songs. For example, ‘Sem mais adeus’, included in “Os Seis Em Ponto”, his first album as part of the band of the same name, released in 1964 on the prestigious RGE label.

                                          Hime’s rhythmic piano swings between bossa and jazz along the entire record, with the typical groove of the then emerging Brazilian sound and the characteristic arrangements and solos of the American jazz genre. The complexity of the instrumentation present on the album already anticipates what would be the pianist’s later career as arranger and director of orchestras. But the instrumental depth does not diminish the infectious groove of many of the tracks on the album, a wonderful repertoire by such solid composers as Carlos Lyra, Roberto Menescal or Castro Neves, as well as absolute legends like Vinicius, Jobim or Edu Lobo.

                                          “Os Seis Em Ponto” is a representative record from the time of its making: the golden age of bossa jazz, full of sweet and luminous melodies, but also of energetic moments in which Francis Hime’s piano receives the brilliant backing of the flute and the trombone, or the effective guitar of Nelson Motta. Despite the young age of the whole band, their instrumental skills are beyond any doubt and this is proven by the masterful performances not only of the many classics contained in the album but also of Hime’s original compositions. Among the most notable cuts on the LP are ‘Mar azul’, ‘Se você pensar’, ‘Sem mais adeus’, ‘A paz de um homem so’, ‘Amor a Êsmo’ and ‘Borandá’.

                                          The Patchouli Brothers

                                          Part One

                                          The now legendary edit imprint G.A.M.M. remain a force to be reckoned with as they deliver their 137th (!) release. Continuing to show the baddest A&R skill in the game, the label enlist the edit power of the entirely in demand Patchouli Brothers, whose releases have been hammered by everyone in the game of late. Signed up for a two-part release, the disco dons get right into the peak time, letting loose with "All Good Things", a looped up disco nugget with precision percussion, sliding bass and a soulful vocal. Jazzy, funked up and perfect for turning out the dance floor. On the B, we get more organic with a proper feel-good disco thang in classic Patchouli style. Shouted vocals, thrilling strings and horns doing the damage here over a piano laced backing. Roll on volume 2!

                                          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.

                                            Pilgrims Of The Mind

                                            Subtropiques: The Early Excursions (1993 - 1994)

                                            Three tracks from the early 90's era and coming out of the sweet sonic brew that was cooking on the West Coast at the time: elements of techno, ethno, and general smoked-out trippyness abound.

                                            Pilgrims of the Mind formed part of a small but dedicated and burgeoning group of Vancouver electronic music producers in the early 90s. On this EP, ‘Subtropique’ finally gets the bass and level back as originally intended. "Chase" was the first POTM track ever released, but only now does this downtempo gem finds itself on vinyl. And ‘Digital 4A Groove’, a track whose spoken word snippet was taken from a recorded phone message left on the producer's answering machine in 1993, also gets remastered from the original tapes. Time for a dusting off!

                                            STAFF COMMENTS

                                            Matt says: More from the riviera as another Vacouver artist displays their sonic wares.... oh but wait - this actually preceeds the whole Mood Hut / 1080p sound somewhat. If you like it lush, deep and woozy, then this prime 90s example should be right up your street.

                                            Hot on the heels of the mega Joe Claussell edit of Lenny Williams' "Changes" comes another killer 12" on a soulful disco tip, as a limited promo for the forthcoming "Edits & Overdubs Part 2" CD. This time round it's the criminally underplayed "Come Go With Me" by Pockets which gets the Claussell treatment, a timely reminder of what an absolute floor filler this is. Often overlooked by DJs as an album track (it was never released on 12"), this is another example of a perennial favourite in the Claussell family home back when Joe was knee-high to a grasshopper. In its original form, this bouncy cut marries glossy roller-rink funk, powerhouse gospel vocal and heavy horns into a towering, life affirming disco smash - certain to turn any dancefloor inside out . Over the other side Joe extends and expands the instrumental segments, bringing out a little of the house heat which lurked within this disco destroyer. Subtle and classy as always, the Body & Soul man puts his attention into the arrangement here, delivering the definitive dance floor version of this forgotten gem.

                                            Prince will forever be remembered as a commanding live performer, chart-topping recording artist, and music business revolutionary. Yet for all the time he spent in the spotlight over his four-decade-long career, Prince also worked tirelessly behind the scenes to nurture talent and pen songs for the rising artists he respected.

                                            Sourced directly from Prince’s vast archive of Vault recordings, "Originals" is a brand new 15-track album featuring 14 previously unreleased recordings that illuminates the vital, behind-the-scenes role Prince played in other artists’ careers. These are more than just demos, the production quality has been kept high and the recordings resemble a pristine quality similar to that of "Nothing Compares 2 U", which was released last year.

                                            By the mid-1980s, Prince was dominating the charts even as a writer/producer with songs he’d composed and recorded for others. In addition to releasing nine of his most commercially successful full-length albums, he also wrote and recorded endless reels of material for proteges The Time, Vanity 6, Sheila E., Apollonia 6, Jill Jones, the Family, and Mazarati. Several of the iconic songs found on "Originals" were considerable hits for the artists who recorded them. 

                                            FORMAT INFORMATION

                                            2xColoured LP Info: Deluxe 2x180g purple vinyl.
                                            Hardback 12” gatefold book with glued pocket holding 2x 180g purple LP and 24 page 4 colour booklet.

                                            2xLP Info: Standard 2xLP.

                                            Privacy Policy bringing more of the idiosyncratic blend of tape-saturated space music to the Goldbrick Records label.

                                            Five tracks of hardware house beamed from a nearby star cluster and recorded nice n hot onto some kinda of analogue medium.

                                            The grooves, beats and synth parts are expert and ear-catching as ever from this guys.

                                            RIYL: Mathematics Recordings, Ste Spandex, Anthony Naples, Mood Hut etc.

                                            STAFF COMMENTS

                                            Matt says: I really like Privacy Policy. They mix the tropical, the psychedelic and the spacey into a heady brew all of their own. Deliciously under-repped by your browser's hype machine / algorhythm, turn heads and expand minds with this emergent group.

                                            After the house and technoid curveball of "Rattlesnake", Balearic power couple Danny McLewis and Tom Coveney return to familiar shores with the sun drenched stroller, "We Can Be One". Like a languid walk across the playa in the heady early morning sun (after the night before), the track is thick with feeling yet lacking in urgency; inviting you to get lost amongst its paddling percussion, weaving melodies and undulating synth-brass. Coloured with an exotic palette, this is the perfect song to help your mind escape to brighter seas....

                                            While the original comes resplendent with New York’s Quinn Lamont Luke vocal, there's also an instrumental for the dreamers who just wanna drift. Kassian is on hand with a vocal and instrumental mix too; keeping true to the theme with effortless abandon; there's no such thing as rushing while you're on holiday, unless of course it's off a horizontally-based ecstasy moment underneath the palm trees.... bellissimo!

                                            STAFF COMMENTS

                                            Matt says: There's no such thing as rushing while your on holiday, unless of course it's off a horizontally-based ecstasy moments underneith the palm trees.... Bellismo!

                                            An amorphous musical collective put together by Rich Machin and Duke Garwood, with a rolling cast of players assembled from the likes of Soulsavers, Spiritualized, Stereolab and Julian Cope. For Machin, Garwood and the other musicians (Ray Dickaty, Tim Lewis (aka Thighpaulsandra), Pete Marsh, Paul May Doggen), a sense of adventure and devil-may-care inventiveness took precedence over precise design when they started the recording process at Gabriel’s Real World studio in the autumn of 2017.

                                            'One of the big things I wanted to achieve with this record was breaking away from things being super planned out,' Machin explains. 'To actually just go into a studio without having everything mapped out in advance. And being comfortable enough to see what happens. It was incredibly stressful at first, but once you realize it works it’s actually a really nice way to work.'

                                            STAFF COMMENTS

                                            Barry says: Like a slo-mo distillation of Joe Henderson and Alice Coltrane, the quiet temple serve up a trundling jazzy bouquet brimming with languid psychedelic flourishes, slowly growing into a bloom otherworldly drone. Properly hypnotic and brilliantly emotive.

                                            Taking the tradition of Jamaican music to utilise the same rhythm tracks ad infinitum, here, as an accompanying release to the boogie version of "I've Been Waiting For You" (ERC081), is a twist on that ideal, not using the riddim but an actual remake of the song, with a digital reggae cover of Glen Ricks' classic.
                                            Released some 8 years after the Seraff Records single in 1991, the re-titled "I Have Been Waiting" saw Ricks team up with dancehall legend Philip "Fatis" Burrell and his Xterminator label.
                                            Starting with the Kings & Lions label to release the likes of Sugar Minot and Tenor Saw, Burrell soon launched the Vena (1985) and then Exterminator (1988) - later Xterminator - labels as vehicles to the rising dancehalls stars, to much acclaim.
                                            This limited 10" release showcases perfect digital re-versions, using Ricks' soulful vocals across a simple bells and horns topped "casio" riddim. The transference comes in traditional vocal and version, so who better to craft a special extended "digimix" than returning to the 'cut'n'paste' skills of DJ Duckcomb. Again he steps up, mixing seamlessly between originals, adding desk dubbing when required and bringing a new flavour to Emotional Rescue.

                                            Mario Pierro aka Raiders of the Lost ARP (ROTLA) returns to Edizioni Mondo. “Trasmissioni” is his debut LP under this moniker, using fictitious TV show themes as an excuse to create his musically most eclectic record so far. Departing slightly from the Balearic and prog rock influences of the previous “Laguna” EP, in “Trasmissioni” ROTLA covers many territories: opening with the science-celebrating arpeggios of “Progressi della Scienza” (Italian for “advances in science”), to the funky, off-beat grooves of “Telemusic”, then taking a step into a disco during “Nightlife”, before programming his rocket towards eerie nordic drum machines and Hammond organs in “Esterno Neve” and “Effetto Notte”, and many planets more. A welcome edition to the ever expanding Edition Mondo universe and a record you can’t grow tired of. Eco-Friendly green artwork that shows how tiny we all are. Good listening!

                                            STAFF COMMENTS

                                            Patrick says: Edizioni Mondo have set the bar pretty high over the past few years, delivering gorgeous library inspired nuggets in gorgeous sleeves. This latest LP, a debut for Mario Pierro's ROTLA alias is no exception, giving us gorgeous face and a moving, melodic and inventive sonic journey.

                                            Long time underground innovator Illja Rudman returns with "Sagittarii", a fourth fantastic studio album and his second on Bearfunk.

                                            As boss of both Red Music and Imogen Recordings, as well as being a skilled DJ and diverse producer, Rudman has been an integral part of dance music for years. The Croatian effortlessly veers from electro to disco to house with his own colourful sense of melody and club-ready grooves and has done so on more than 70 releases on labels like Classic, Rong, Electric Minds and Is It Balearic Recordings. This superb new album lands just a year after

                                            his last, "Paradigma", and is another subtle evolution in his style but one that continues to deal in authentic analogue textures with flashes of throwback funk and disco gold and a slick sense of boogie.

                                            Things open up with the glistening future-retro chords of "Dreamscape Planet" a quick,upbeat cut that is ready made for dancing in the sun with its majestic strings and nimble basslines. "Cosmia (Regal Mix)" is another bit of engagingly urgent disco funk with clipped drums racing along beneath heart melting chords. The stylish "If I Keep My Eyes Closed (Mezzanine Mix)" slows things down, with a snaking bassline and wallowing chords making for more cosy and intimate listening while "Synthia 2000" is a more playful cut with wiggling bass and withering chords that bend space and time as you get down and boogie.

                                            The gorgeous glossiness continues with another tight bit of disco-funk lushness on "6th Floor Entrance (Guardians Gate Mix)" and "S.O.S. Flight Theme" serves up some rugged bass lines and mad xylophone patterns on top of corrugated drums that will get any club in a spin this summer. Closing things down in the tropical tinged exotica of "Techniques & Tactics (Nocturnal Mix)" with its long legged drums, blissful Balearic vibes and superb sunset stylings.

                                            This is an album that brims with cosmic disco energy, emotion and excellence from start to finish.

                                            Patrice Rushen

                                            Remind Me - The Classic Elektra Recordings 1976-1984

                                            Strut present the first definitive retrospective of an icon of 1970s and ‘80s soul, jazz and disco, Patrice Rushen, covering her peerless 6-year career with Elektra / Asylum from 1978 to 1984. Joining Elektra after three albums with jazz label Prestige, Patrice had shown prodigious talent at an early age and had first broken through after winning a competition to perform at the Monterrey Jazz Festival of 1972. By the time of the recordings on this collection, she had become a prolific and in-demand session musician and arranger on the West coast, appearing on over 80 recordings for other artists. She joined the Elektra / Asylum roster in 1978 as they launched a pop / jazz division alongside visionaries like Donald Byrd and Grover Washington, Jr. “The idea was to create music that was good for commercial radio / R&B,” Patrice explains. “We were all making sophisticated dance music, essentially.”

                                            Drawing on some of the leading musicians in L.A. like saxophonist Gerald Albright, drummer “Ndugu” Chancler and bassman Freddie Washington and keeping an open minded approach from her training in classical, jazz and soundtrack scores, Patrice’s music was a different, more intricate proposition to many of the soul artists of the time. “L.A. musicians were not so locked into tradition,” she continues. “None of us were accustomed to limitation and the record label left us to take our own direction.”

                                            Early classics like ‘Music Of The Earth’ and ‘Let’s Sing A Song Of Love’ were among Patrice’s first as a lead vocalist before her ‘Pizzazz’ album landed in 1979, featuring the unique disco of ‘Haven’t You Heard’ and one of her greatest ballads, ‘Settle For My Love’. “Although ballads make you feel more vulnerable as an artist because they are often personal, I think listeners relate to that sincerity,” she reflects. By now, Patrice’s records were supremely arranged and produced as her confidence as an all-round writer, producer, arranger and performer grew. Slick dancefloor anthem ‘Never Gonna Give You Up’ and the ‘Posh’ album in 1980 led to her landmark album ‘Straight From The Heart’ two years later. Receiving little support from her label, Patrice and her production team personally funded a promo campaign for the first single from it, ‘Forget Me Nots’. It went on to peak at no. 23 on the Billboard Hot 100 and the album was later Grammy-nominated, while the track became a timeless anthem and popular sample, inspiring Will Smith’s theme for the film ‘Men In Black’ and George Michael’s ‘Fastlove’.

                                            Patrice’s final album for Elektra, ‘Now’ kept the bar high with sparse, synth-led songs including ‘Feel So Real’ and ‘To Each His Own’. It concluded a golden era creatively for Patrice which remains revered by soul and disco aficionados the world over. ‘Remind Me’ features all of Patrice Rushen’s chart singles, 12” versions and popular sample sources on one album for the first time.

                                            ‘Mantra Moderne’ is a stunning, contemporary masterpiece that fuses Anatolian Psychedelia, Brazilian Tropicalia, 60’s European pop and American jazz. A must for fans of Khruangbin, Portishead, Arthur Verocai, Goat, Caetano Veloso, Tom Ze, Os Mutantes, Cortex and co. The duo is formed of Kit Martin, who lives between London and France and plays all instruments on the album, and Merve Erdem, vocalist and multi-disciplinary artist from Istanbul, now based in London. This is their debut album.

                                            The album explores universal themes such as love, loss, decay, language and ideology, mixing three different languages: English, Turkish and French. Written and recorded by the duo - Kit composed all the songs and Merve wrote the lyrics - in rural France during 2018, each song was completed within a 12- hour window, pawning contemplation for spontaneity.

                                            Dubbed by Kit and Merve as ‘lo-fi-hi-fi’ in reference to the high-end tube equipment that helped it find its way to 8-track cassette tape. The style owes its sound to narrow tape width, valve distortion, spring reverb, the mixture of high end gear with lo-fi equipment as well as a disregard to the norms of hi-fi studio techniques. All instruments were analogue and no samples were used. The instruments that are used range from tablas to darbukas, balalaikas to ouds, MS20 synths to Farfisa organs and a lot of cuica. The mixing techniques were done on-the-fly, tracking immediately to tape: compression, EQ, delay and reverb;meaning mixing could not be revisited!

                                            STAFF COMMENTS

                                            Barry says: Kit Sebastian's 'Mantra Moderne' is a brilliantly oddball juxtaposition of exotica, international psychedelia and tropical beach vibes, brought together into a swinging haze of lysergic guitar strums and staggering percussion.

                                            James Shinra

                                            Signs / Arc- Inc. Benjamin Damage / John Beltran Remixes

                                            Feel My Bicep follow up releases from Hammer, 808 State and Cromby with a 12" from a fresh signee: James Shinra.

                                            With over 10 years experience in releasing music, James is an artist with a broad sound palette - evidenced clearly in his 2018 LP "Vital Heat" within which he astutely turned his hand to everything from laid back piano pieces to frenetic breakbeat workouts.

                                            Having also previously remixed Kiwi duo Sandboards on FMB008 he now captures a distinctly Feel My Bicep tone in bringing together 2 impassioned tracks suffused with 80's character. Cleverly structured and melodically complex, they showcase his skilful synth-work perfectly.

                                            Also included is a robust interpretation of "Arc" from 50Weapons and R&S affiliate Benjamin Damage as well as a balmy remix of "Signs" from the legendary John Beltran fresh from his Placid Angles album earlier this year.

                                            STAFF COMMENTS

                                            Matt says: Soundsystem-tested, dancefloor constructions from the Feel My Bicep blog-cum-record label. Shinra delivers those flourescent house shards a la Telephones, Roy Comanchero, Gnork etc. Melodic, endorphine-cruising music for the open air dances.


                                            The Velvet Ditch

                                              Kent’s favourite two-piece punk provocateurs, Slaves are back with their first new material since the release of their top-ten album, ‘Acts of Fear and Love’. The EP sees the band showcasing the two sides of their collective personality.

                                              Side 1 is a balls-to-the-wall display of the band’s more aggressive tendencies, ‘One More Day Won’t Hurt’ starts with a Thrash Metal-inspired riff which descends into a heavy mid-paced groove, with Isaac roaring over a thundering beat, while ‘It Makes Me Sick’ shows the influence of breakneck hardcore punk, such as Minor Threat, the Casualties and Discharge.

                                              Side 2 finds the duo in a more contemplative mood. The EP’s title track has Laurie strumming out a slow, acoustic blues line while Isaac laments the commercialisation of our culture in a style akin to Baxter Dury. ‘When Will I Learn’ on the other hand is new territory, a plaintive piano ballad showing the band in a more vulnerable light.

                                              “The Velvet Ditch is four songs from four different corners of our band.” Laurie explains. “This EP was us approaching small town mentality, destructive behavioural patterns, and the mental cycles that can be such a struggle for us all to break. The dark recesses within all our minds and how to keep them at bay is what we were exploring through these different styles of music.”

                                              Fresh for 2019, Soul Clap returns with “Ready To Freak”, a disco infused tribute to New York City nightlife, featuring the legendary Kathy Brown on vocals. The release is the US based duo’s latest excursion on their eponymous Soul Clap Records since their collaboration with Funkadelic and features 4 special versions Ready To Freak any discerning dancefloor, boombox or Walkman.

                                              The "Disco Mix" lives up to its name, edited and arranged with Morgan Wiley (Midnight Magic, Hercules & Love Affair, etc..) it takes the melodies and basslines of the original demo and loads them up with Wiley's keyboard wizardry over live drums. On the "Disco Dub", Soul Clap’s Eli aka Bamboozle and Wiley flip the groove with a Roland RX7 drum machine for that 80’s proto-house feel. Then on the flip-side, Soul Clap’s Charlie aka Lonely C pulls out all stops for a pumped up piece of floor shaking house music on his "Club Electronique". Finally, his "Dub Electronique" makes things oh-so-DJ-friendly with a bass driven drum work out that has already gotten massive reaction during Soul Clap's DJ sets! 

                                              The Specials

                                              Encore - Double Red Vinyl Edition

                                                The Specials, one of the most electrifying, influential and important bands of all time, release “Encore”, their first new music for 37 years.

                                                2019 marks the 40th anniversary of the formation of The Specials and the legendary Two-Tone label in Coventry in 1979, and also marks 10 years since the band reformed to play some of the most vital and joyous live shows in recent memory.

                                                FORMAT INFORMATION

                                                2xColoured LP Info: Special limited edition version, includes 'Best Of The Specials, Live'.

                                                The Spitfires

                                                Enough Is Enough

                                                  The Spitfires return with their new single ‘Enough Is Enough’. Produced by Simon Dine, the track showcases a new sound direction for the band.



                                                    Australian, psych-rock luminaries Stonefield announce their new album, ‘Bent’, via Flightless Records. Produced by Joe Walker and Stu Mackenzie of King Gizzard And The Lizard Wizard, the album was recorded in-between tours in just five days. Written largely on the road, the songs on ‘Bent’ are filled with reference and reflection - the kind that comes from months spent far from home, living on four wheels. The surreal isolation of trudging through white-out snow and snaking down deserted highways served as the perfect backdrop for the band to look inward. “It’s a culmination of experiences, emotions, and stories collected over time,” explains lead singer and drummer Amy Findlay, “A growth of honest, raw, energy that has been burning within us and waiting for its moment.”

                                                    ‘Sleep’ opens the album with guitars covered in five inches of sludge and distortion and something that sounds like a far-off siren, or the high-pitched howling of the wind. It serves as a warning, a call to arms, kicking things off with a next-level version of the massive, unholy racket the band has become known for over the course of their last three albums. “‘Sleep’ was inspired by the concept of floating in the in- between,” explains Findlay. “An ode to the darkness of not wanting to cross to the other side.”

                                                    FORMAT INFORMATION

                                                    LP Info: Red vinyl.

                                                    The Stroppies

                                                    It's A Hit!

                                                      It's A Hit! brings together four songs recorded by The Stroppies at home on their Tascam 4 track in mid 2017. Permeated by dystopian imagery of machines building machines and cats driving cars, It's a Hit! is perhaps the Stroppies most idiosyncratic release. Indeed, the title is a humorous nod to the inherent lo-fi quality of the recordings, a sound that some might not consider to be "radio friendly". Surley though, the songs contained herein are still unashamedly pop, albeit adorned in crackle and hiss. For reference think Alex Chilton's "Like Flies on Sherbert", early Swell Maps, and a touch of Loaded-era Velvet Underground shuffle. Originally released only in Australia via Hobbies Galore as a limited edition 7" in a hand stamped sleeve, the long sold-out EP is now being given an international release on the eve of the band's debut UK tour. Limited to 300 copies on white vinyl, and with a different sleeve to the first pressing. 

                                                      FORMAT INFORMATION

                                                      7" Info: 7" EP on white vinyl, limited to 300 copies only.


                                                      Suicide - Art Of The Album Edition

                                                        By the Summer of 1969 the US hippie dream lay in tatters but the cultural influence exerted by New York City would echo loudly through the decades that followed and no louder than it did with the incendiary electronic NYC duo, Suicide, who came to notoriety nearly a decade later. If dismissive at first, the music press have gone through something of a dramatic U-turn in more recent years with many mainstream publications now regarding Suicide’s 1977 debut as a stone cold classic.

                                                        It sits at #39 in Pitchfork’s Top 100 Albums Of The 1970s; it placed at #441 in Rolling Stone’s 500 Greatest Albums Of All Time; and reached #236 in NME’s The 500 Greatest Albums Of All Time.

                                                        Four decades later, we are only just now counting the positive cost of their influence across genres such as techno, noise, electro clash, goth, synth pop, psych and industrial. However, a sense of their vital impact can be discerned from the number of cover versions of Suicide tracks there are delivered by the likes of Pearl Jam, Bruce Springsteen, Peaches and R.E.M. Elsewhere they have had been praised widely by Nick Cave, Jim Thirlwell and M.I.A. and count Jason Pierce (Spacemen 3/ Spiritualized), Lydia Lunch, Nik Void of Factory Floor and Savages as fans. This Art Of The Album edition of Suicide sees the record remastered and presented in its original form and packaging, with in-depth liner notes covering the context, craft, impact and legacy of the album.

                                                        FORMAT INFORMATION

                                                        Ltd LP Info: Deluxe edition celebrating the album as an art form, with in-depth liner notes covering the context, craft, impact and legacy of the album.
                                                        Plus exclusive 12" sleeve art print.
                                                        Limited edition red vinyl.

                                                        A year on from the highly-acclaimed album 'It's A World Before You', Kaidi Tatham brings more new music to First Word Records - a continuation of his previous EP's for the label (2017's 'Changing Times' & 'Hard Times'), here we enter 'Serious Times'.

                                                        Kaidi Tatham is one of the most revered multi-instrumentalists in the game. Dubbed by Radio 1's Benji B last year as "the UK's Herbie Hancock", his versatility as a musician is actually more akin to Prince in the sense that he can play most instruments, and play them well. His contributions as a musician, composer & producer have included work with Bugz In The Attic, Amy Winehouse, Slum Village, Mulatu Astatke, Soul II Soul, Moonchild, Leroy Burgess, Amp Fiddler and loads more over the years, additionally to being a key player on Jazzy Jeff's PLAYlist album 'Chasing Goosebumps' along with Masego, Stro Elliot, 14KT, Tall Black Guy, Rich Medina and the like, and various projects alongside Dego (2000 Black) and First Word label-mates Eric Lau, Darkhouse Family & Children of Zeus.

                                                        'Serious Times' is another 4-track set comprised of Kaidi's unmistakable style, encompassing broken beat, jazz, boogie and hip hop. The EP starts off with the hype jazz-funk bruk of 'Cost of Living', maintaining the tempo into 'Don't Cry Now' which leads with a sweet latin-tinged piano riff. Onto the flipside, and we're treated to the slinky synth-boogie of 'Sugar' before dropping the tempo down & closing the selection with a warped but jazzy instrumental boom bap piece entitled 'Zallom'.

                                                        Kaidi is a national treasure quite frankly, and this EP is another mere taster of this man's endless talents and unique vibes. Some grown folk music, perfect for these 'Serious Times'…

                                                        STAFF COMMENTS

                                                        Matt says: Broken beat business from one of the OG crew. The jazz credentials and generally expert musicianship flows throughout the four tracks here. A master!


                                                        Who's Terry? EP

                                                          “What to do with a spud like you?” Melbourne post-punk wags Terry return this summer with their new EP ‘Who’s Terry?’. You can just make him out in his hobnail boots, peering from behind the sandwich board, wink, wink. Following on from last year’s huge-sounding ‘I’m Terry’ album, this third EP from the band brings you right up to date with their wobbly politico-pop.

                                                          ‘Spud’ is a class A toe-tapper that sees the band don fatigues and set their sights on the enemy. The rough and the tough, wrestled wrists and fools with crooked smiles all make an appearance as Terry sing as one over snare snaps and keyboard croaks. ‘Bizzo and Tophat’ follows with a stride across the underbelly, a thick slice of bop-heavy observation that gives way to one of Terry’s most elegiac refrains… “holding on and going forth”! Their gang vocal approach never sounding more resolute. ’Eggs’ then picks up the pace, a sure-footed romp that skips alongside prods of saxophone to join the parade.

                                                          ‘Drawn for Days’ pulls the EP to a close, a sedate, melodic ponderance of strummy guitar, jangling bells and Amy and Xanthe’s soft-sung vocals. “Haunted by the big and small, hunted hanging for the fancy fall”. “I can’t stand up” the band decry in unison as the track scales its peak and gives way to warping synth noise. ‘Who’s Terry’ encapsulates what Terry does best, the queasy marriage of the upbeat and traumatic, the catchy instant and the nagging distance. Their alliterative lyrics always sharp as tacks, their sense of melody and beat sunk deep in the heart of now.

                                                          FORMAT INFORMATION

                                                          Ltd 7" Info: Limited to 500 copies.

                                                          Timeless Legend are Jackie Hogg, Allen B. Burney, Donald Harmon, and Michael Harmon from Columbus, Ohio. Their music is among the most elusive on the rare funk / soul scene. The second of two reissues on Expansion here is this coupling of two songs first released in 1975. It comes on the blue Black Forest label with the original artwork faithfully reproduced here. Original copies of this have exchanged hands for over £1,500, incidentally, the same price as for an original of the label's first reissue “I Was Born To Love You”. Nicely done boys!

                                                          Mel Torme / Solomon Burke

                                                          Comin' Home Baby / Cry To Me

                                                          Mel Torme was born Melvin Howard Tormé in 1925. Known as “the Velvet Fog” he was the son of Russian immigrant parents who settled in Chicago. He aspired to be Frank Sinatra and could have been too! His 1962 vocalisation of “Comin’ Home Baby” earned him a Top 40 hit on both sides of the Atlantic and a permanent slot in any discerning R&B and Northern Soul playlist. Solomon Burke, preacher/singer was born in Philadelphia in 1936 and is regarded as the de facto Southern Soul singer who bridged the gap between R&B and Soul. He recorded “Cry To Me” in December 1961 and scored his second chart hit. The Bert Bernes song truly heralded the dawn of the soul era and it has been covered many times most notably by the Rolling Stones and Betty Harris.

                                                          TRASH KIT have a wild feel for melody, writing songs that pull at the reins with a spontaneous charm. Having formed the band in 2009, Rachel Aggs, Rachel Horwood and Ros Murray have since become the glowing core of London’s DIY underground. Their music is primal yet thoughtful, affirming yet sincere, drawing on the potential of post-punk and the naturalism of an internal folk music.

                                                          Although Trash Kit have their forebears in bands like X-Ray Spex, The Ex and The Raincoats, their sound is very much their own take on facing forwards. Galloping polyrhythms, overlapping sung-spoke lyrics and entwining guitars are all drawn together into a taut unity, sounding willfully alive. Both Rachels tangle their vocals with each other whilst expressive drumbeats and restless guitar flurries provide the rhythmic drive. Aggs’ guitar playing is as much informed by African fingerstyle patterns as the percussive attitude of various no wave shredders. Horwood approaches her drumkit with an untamable freedom, pushing it into the realm of a vivid lead instrument. Trash Kit's music is full of pauses, woven silence and punctuation too and this is where Ros Murray and her resonant, soulful bass work finds a perfect home.

                                                          In 2010, Trash Kit released their self-titled debut album on Upset The Rhythm, which met with critical applause. The Sunday Times called it “tumbling, spirited and joyously nimble”, whilst it reminded The Quietus that “female punk can sound like cocoons cracking open in full fierce sunlight”. Since then Trash Kit have toured Europe several times, recorded two more 7”s and explored other musical projects as members of Golden Grrrls, Halo Halo, Sacred Paws and Shopping most notably.

                                                          Writing for their new album, entitled ‘Confidence’, started up again in 2012 and saw the band over the last two years recording sets of songs at DIY recording hub Sound Savers with Mark Jasper. When the basket became full earlier this year, the tracks were then handed over to Canadian musician / sound engineer Sherry Ostapovitch for mixing, before they were mastered by Mikey Young (Total Control etc).

                                                          As a follow up to their exuberant debut album, ‘Confidence’ sticks with the “play it all live” pluck we’ve come to expect from Trash Kit. There’s a minimal bent, a lyrical directness, an unadorned ethic that all evokes the sense that the song is being written at the same time as it’s performed. Yet whilst the first album at times felt too fleeting, its succinct songs flashing by so fast, ‘Confidence’ is startlingly more assured, allowing ideas to develop, conclusions to be gathered. Tracks like ‘Hair’, ‘Skin’ and ‘Boredom’ embrace dynamics like never before. Their clatter and chime are complimented through subtler passages of introspection and the occasional noisy breakdown, with snare and cymbals approaching roar. Ros is joined by her previous bandmate Verity Susman (of Electrelane) on a few tracks including the adventurous ‘Shyness’ and lead single ‘Medicine’, lending some fluently inventive saxophone flourishes. It all adds to the heady, sensation of free-falling through the album. A feeling that the horizon has become broader.

                                                          ‘Beach Babe’ dashes away with the start of the album, “We spent the summer waiting for summer to come, if we keep waiting we’ll be waiting for summer til it’s gone” declares Aggs over some decidedly racing drums, her guitar riff playfully leaping out in front of the rooted low-end. ‘Big Feeling’ is a patchwork rush of staccato chords, elastic bass and brisk drum fills, all set off by the band’s wordless vocalisations which feature on many of the songs when words can’t get close enough. ‘Leaves’ meanwhile is a more tender rumination, beginning with nature: “Sun shines in through the leaves, this warm glow. That way you look at me, I just know” harmonise Aggs and Horwood. Towards the end of the song its title shifts meaning though as we hear that it all “Leaves me speechless, leaves me speechless, try to hide all this but somehow you already know”. This delight in dual meaning is present in the album’s title too, with Aggs admitting that she liked the ambiguity of it. Her diary entry-like lyrics are seemingly spoken to you in confidence and trust, as well as embracing ideas of self-belief.

                                                          ‘Confidence’ is a robust album with several themes at its heart that keep reappearing. Lyrically the tracks deal with identity, miscommunication, the passing of time and listening closer. Trash Kit are unmatched at making the personal poetic and vice versa, they never become overwrought, they just keep things honest and follow their natural course. Overall a feeling that you must run with the moment and trust in yourself emerges, echoed brilliantly through the instrumentation. There’s a restless energy that abounds, a momentum growing stronger, an alchemy at play between each member of Trash Kit and between each song on ‘Confidence’. It’s this reason why we should listen closer, listen to the sum of the parts, listen to ourselves. One day we’ll find gold where once there was only hope.

                                                          FORMAT INFORMATION

                                                          Coloured LP Info: Repress of 300 on white coloured vinyl.


                                                          Helpless Spectator

                                                            Umberto is an artist whose work is distinctly cinematic. Composer Matt Hill’s performances and delicate compositions taken together have the cumulative ability to surprise. Hill, whose Umberto moniker is an homage to director Umberto Lenzi, is an experienced and active film composer, most recently scoring the film ‘All That We Destroy’. In addition to film and commercial work, Umberto has released a number of lauded solo recordings.

                                                            On Umberto’s Thrill Jockey debut ‘Helpless Spectator’, his haunting music is otherworldly and affecting alike, leaving the listener with an unsettling and profound air of mystery. Umberto’s early recordings harken back to classic synth- driven sci-fi and horror soundtracks. ‘Helpless Spectator’ uses synthesizers in an entirely different manner. Cold, looming monolith tones are now warm, softer pads that envelope the listener while guitar, cello, banjo and pedal steel add movement and light. Still, Hill unsettles with his arrangements and melodic phrasing. Unexpected shifts and turns in even the most tender movements of ‘Helpless Spectator’ are inflected with a contemplative melancholy and fragility.

                                                            Umberto makes masterful use of varied textures throughout the album, blending supernatural effects and grounded instruments to create distinct atmospheres. ‘Helpless Spectator’ is inquisitive and moving in equal measure, an album of sombre elegance and delicate arrangements whose cumulative effect of unease is entirely unexpected.


                                                            Quocumque Jeceris Stabit

                                                              The first new studio album in 13 years from Uzeda, the legendary long-running Italian post-punk quartet. Recorded by longtime touring companion, collaborator, and friend, Steve Albini. Last year Uzeda celebrated their 30th anniversary as a band in the most appropriate way they knew: They hosted a weekend music festival in their hometown of Catania, Sicily, and filled it with all of their closest friends' bands. That weekend as they played host to scores of similarly legendary bands (including Shellac, The Black Heart Procession, The Ex, Three Second Kiss, and a reunited June of 44), Uzeda cemented their reputation as Italy's national treasure of underground rock music. Now, one of the longest-running punk bands on the planet returns with their first new album in 13 years,Quocumque jeceris stabit.

                                                              The title Quocumque jeceris stabit comes from the famous inspiration phrase that loosely translates in English to "Wherever you throw it, it will stand" – a testament to the resilience and adaptability of Uzeda. Like a buoy in turbulent waters, virtually everything around the band and its members has changed significantly since their last album, Stella, was released in 2006 on their previous longtime label, Touch and Go Records. They've endured the passing of friends, family, collaborators and business partners. What they've never lost is their will to continue to inspire and draw inspiration from all of those around them, in life or otherwise. Recorded, as always, by longtime friend and collaborator, Steve Albini, Quocumque jeceris stabit sees Uzeda picking up where they left off, albeit with the sands and scars of time cutting new creative paths within the reputable map through which Uzeda have traveled for the past four decades. Vocalist Giovanna Cacciola's fragile, dynamic rasp still cuts through the jagged guitar of husband and fellow Bellini member, Agostino Tilotta, while the rhythm section of bassist Raffaele Gulisano and drummer Davide Oliveri provide the sturdy foundation on which all Uzeda songs are built. But there's something noticeably different now, a kind of melodic tension that was always hinted at but perhaps never fully displayed until now. It is a sound and a feel that Uzeda was made for, and one that unquestionably defines them

                                                              FORMAT INFORMATION

                                                              Coloured LP Info: Limited edition indies-only Pearlescent Platinum coloured vinyl

                                                              Coloured LP includes MP3 Download Code.

                                                              Edgar Valcárcel (Puno, 1932 - Lima, 2010) is one of the most important composers in Peru. He belonged to a crucial generation, the Generation of the 1950s, which also included César Bolaños, Leopoldo La Rosa, Celso Garrido-Lecca, Enrique Pinilla and Francisco Pulgar Vidal. These musicians were responsible for introducing locally the new languages of the international musical avant-garde, in a meeting with the legacies of Peruvian native music, where the folkloric material was used under very free and abstract conceptions. Although Valcárcel distinguished himself as a prolific and remarkable composer of orchestral and chamber music, as well as a notable pianist, his interest in electronic composition was registered in four pieces that are a good example of his musical obsessions.

                                                              "Invención" [Invention] (1967), composed in Columbia under the watchful eyes of Vladimir Ussachevsky, represented an outstanding beginning in these new languages and can retrospectively be considered as one of the masterpieces that sprung from the New York research center. There he also began the composition of "Zampoña sónica" [Sonic Zampoña] (1968-2006), a visionary work, initially designed for magnetic tape and flute, revised after his appointment at McGill University in 1976, until its final form in 2006, which was premiered in Lima in a version for native instruments processed live with the original electronic track. "Flor de sancayo II: Retablo" [Flower of Sancayo II: Altarpiece] (1976) for piano and magnetic tape, was composed at the Electronic Music Studio of McGill University in Montreal, Canada, led by alcides lanza and where Valcárcel was appointed as a guest teacher. The work takes as a reference a huayno from the region of Puno in dialogue with electronic sounds. "Canto coral a Túpac Amaru II" [Choral Song for Túpac Amaru II] (1968), for choir, percussion, projections, lights and magnetic tape, a work based on the poem "Canto coral a Túpac Amaru, que es la libertad" [Choral Song for Túpac Amaru, who is Freedom], by the Peruvian poet Alejandro Romualdo, is inspired by the indigenous leader of the largest anti-colonial rebellion that occurred in Latin America during the eighteenth century.

                                                              The Valves

                                                              Robot Love / For Adolfs' Only

                                                                Facsimile reissue of The Valves' debut 7" from 1977, a classic of the late 70s Scottish scene straddling the line between high energy rock & roll and punk. Edinburgh four-piece The Valves were active between 1977 and 1979, playing live extensively and releasing a total of three singles. Straddling the line between high energy rock & roll and punk, their debut 7", 'Robot Love' / 'For Adolfs' Only', was the first release on Bruce Findlay's Zoom Records and has become a classic of the late 70s Scottish scene, reissued here for the first time in a facsimile vinyl edition.

                                                                A heavyweight astral shower of rhythm and vibes, Ash Walker’s third album ‘Aquamarine’ is released on 19th July 2019 via Night Time Stories. Ash’s production output is similarly exploratory: his journeys have taken him far and wide, from tunnels under the river Thames to recording local percussionists in the Atlas mountains of Morocco. Inspired by a deep dive of sounds from artists including Duke Ellington, Quincy Jones, King Tubby, Bo Diddley, 4Hero, J Dilla, Pete Rock, Curtis Mayfield, Philip Glass, and Steve Reich; his first two albums, ‘Augmented 7th’ (2015) and ‘Echo Chamber’ (2016) gained attention from the likes of BBC 6 Music DJs Gilles Peterson, Don Letts, Gideon Coe and Clash Maga- zine, XLR8R and MIMS.

                                                                ‘Aquamarine’ is a projection and culmination of all he’s absorbed. A cosmic explosion of sound and colour, rhythm, shape and patterns. The arrival of an unassuming dreamer now projecting his unique flavour of expression. ‘Aqua- marine’ is the take-off of this audial spaceship, a sound discovered in the grooves of thousands of records, united in one. A meditation designed to inspire good energy, Ash hopes to bring a sense of calm and tranquility to the listener amongst the chaos of life. Recorded at home with the freedom of time and space, it combines analogue with digital, and a fondness for normally unwanted shapes and textures such as fuzz, hiss and crackle.

                                                                “My previous albums have felt to me more like ventures on land. This one feels more like a deep sea voyage into the subconscious. Living to dream with visions of grandeur. Manifesting a beautiful path to walk on. It was inspired by everything around me, from friends and family to art and design, engineering and architecture, movement and how we use our five senses. I love to try and push my own boundaries of what I perceive to be right and wrong, seeing mistakes as innovations, and obstacles as inspiration.”

                                                                Highlights on the album include ‘Under The Sun’, ‘Time’ and ‘Finishing Touch’, all of which feature the smooth and silky voice of Laville. Themes of metaphysical exploration and transportation re-occur in the cosmic jazz of ‘Brave New World’ and the smoked beats on ‘Come With Us’. Also featured across the album are trumpet and flugel-horn genius Yazz Ahmed, bassist Marc Cyril (Keziah Jones, Jr Walker & The All Stars) and renowned musician and producer Jonathan Shorten.

                                                                STAFF COMMENTS

                                                                Barry says: Mixing elements of downbeat, hip-hop and a healthy dose of soul, 'Aquamarine' is another superb outing for the ever-talented Ash Walker. Shadowy beats clash with reverbed guitar and echoing vocals before breaking into loungy slow-jazz and heady opium-den instrumentals. It actually confounds all genre expectations and is all the better for it. Proper lovely.

                                                                FORMAT INFORMATION

                                                                Coloured LP Info: 180g teal coloured virgin vinyl.
                                                                Limited to 1000 copies.

                                                                Wreckless Eric


                                                                  Eric Goulden, the man everyone knows as Wreckless Eric, is a rare example of an older and established artist who hasn't lapsed into comfortable formulas. Exactly a year after his last album, the well-received Construction Time & Demolition, he's back with a new album, Transience. For every song of Wreckless Eric's you remember from his early days on Stiff Records, he's recorded 10 more that you've probably never heard. The early DIY British indie label may have been his entry-level position into the music business, but Eric Goulden didn't stop making music after the novelty of Stiff Records - and his being known as Wreckless Eric - wore off. Forty years on, Goulden is still making insightful music while the original label is but a footnote in music history.

                                                                  On Transience, Eric is joined by friends including acoustic 12-string guitar player Alexander Turnquist, Cheap Trick bassist, Tom Petersson, Amy Rigby on piano and backing vocals, jazz horn player Artie Barbato, and on drums Steve Goulding, late of Graham Parker & the Rumour - the first time he and Eric have recorded together since Eric's enduring hit "Whole Wide World" back in 1976.

                                                                  He wrote the songs on the move, alone in grubby rooms, in dilapidated motels, and 'poolside' at rundown, out-of-season resort hotels, during gaps between tour dates. And in roadside cafes, parking lots and launderettes. "I was seeing stuff and writing it down, little vignettes. I felt like I was in a succession of Raymond Carver short stories."

                                                                  Early on in his career, Eric said that all he wanted to leave behind was an indelible stain. During last year's gruelling tour schedule, Eric lost his mother and also his ex, the mother of his daughter. "You start to think, that's it I'm next. There's more time elapsed than there is time left to go. It's like the school summer holiday when I was a kid - at the start it stretched away endlessly but suddenly there was only a week left and then it was over. We're all going to die, it's inevitable and unavoidable. As this vague concept becomes more than just a disquieting reality, I get preoccupied with what is and what might have been."

                                                                  The sun goes down and California slides majestically into the ocean. Eric grinds the hell out of a cheap electric guitar.

                                                                  Thom Yorke


                                                                    Thom Yorke releases his new album ‘ANIMA’.

                                                                    ‘ANIMA’ was written by Thom Yorke and produced by Nigel Godrich.

                                                                    A ‘one-reeler’, also entitled ‘ANIMA’, will be available exclusively via Netflix, made by Paul Thomas Anderson and set to three tracks from Thom’s new album.

                                                                    STAFF COMMENTS

                                                                    Barry says: Anima is yet more evidence of Yorke's endless artistic vision and his ability to turn his hand to any musical or audio-visual endeavour with unparalleled success. Amina is both an arresting visual feat and a brilliantly realised auditory artifact, as comfortable being listened to in situ (with visuals) or on it's own.

                                                                    FORMAT INFORMATION

                                                                    2xColoured LP Info: Indies exclusive 140g orange vinyl in a wide-spine single sleeve with an additional 10th track (Ladies & Gentlemen, Thank You for Coming).

                                                                    2xColoured LP includes MP3 Download Code.

                                                                    2xDeluxe LP Info: A beautiful hardback book containing both the lyrics and many strange drawings done in pencil by Stanley Donwood & Dr Tchock.

                                                                    Orange 180 gram double vinyl with an additional 10th track (Ladies & Gentlemen, Thank You for Coming).

                                                                    Printed onto Italian Fedrigoni Special Brown material paper and section sewn, the book is made up with an exposed orange cloth spine and orange gilt edging and finished with Bodonian Binding.

                                                                    2xDeluxe LP includes MP3 Download Code.

                                                                    2xLP Info: Black 140 gram double vinyl in a wide-spine single sleeve with an additional 10th track (Ladies & Gentlemen, Thank You for Coming).

                                                                    2xLP includes MP3 Download Code.

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