MAGIC MIX

ALL GENRES

JUST IN

Lambchop

This (Is What I Wanted To Tell You)

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

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

    FORMAT INFORMATION

    Coloured LP Info: Indies exclusive white vinyl.

    Floating Points

    People's Potential / Shark Case

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

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

      Stella Donnelly

      Beware Of The Dogs

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

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

        FORMAT INFORMATION

        Coloured LP Info: Opaque olive vinyl.

        Flight Of The Conchords

        Live In London

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


          FORMAT INFORMATION

          3xColoured LP Info: Clear vinyl loser edition.

          Hot 8 Brass Band

          Take Cover

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

            FORMAT INFORMATION

            Ltd 12" Info: Red vinyl.

            Sam Duckworth

            The Mannequin

              "This is a record I wrote over September and October of last year. The record came together from ideas I knocked about with whilst touring Get Cape. Wear Cape. Fly. At times it has moments of splitter-induced cabin fever and tension, but I like to see it as a record that had a bit too much time to think. I spent a lot of time working with metaphors and parables to try to make sense of the current political climate, and the more time I spent thinking about it, the more confused I got and the more convoluted the songs became. Taking the songs into the studio was a lot of fun. Trying to make head and tail of the sketches was tough at first, Chernobyl doesn't really rhyme with many things. In the end it all went down pretty quick, Me and Jay Malhotra spent a few days trying to capture the late night lucid space of travelling with a bleakness of war. Andy Theakstone (drums) and Jamie Allen (Bass) spent a few days with us at Andy's studio (Unit studios) in Letchworth hammering out the band songs, catching the grooves and adding a bit of well needed release. A good mix from Dean Barratt and here we are. I hope you like the album." Sam

              Israel Vibration

              Reggae Knights

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

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

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


                E.B. The Younger

                To Each His Own

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


                  Various Artists

                  Fabric Presents - Bonobo

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

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

                    Royal Trux

                    White Stuff

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

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

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

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

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

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


                      FORMAT INFORMATION

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

                      Dwight Trible

                      Mothership

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

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

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

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

                        Gemma Ray

                        Psychogeology

                          Berlin-based Brit Gemma Ray's eighth album is a panoramic self-produced autobiography that takes in harmony-laden 70's pop swagger (Blossom Crawls), gothic surf disco (Death Tapes), sci-fi synthscapes meets Girl-Group dramarama (Dreaming is Easy), psychedelic torch songs (Land of Make Believe), Gershwin meets Dark Side of The Moon meets Gainsbourg's Melody Nelson (It's Only Loneliness) , and more besides. Gemma Ray draws repated connections between mindscape and landscape throughout this record, as reflected in the album's title.

                          Percussive P & Coco Bryce

                          Livin Without Trust Issues

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

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

                          Recommended.


                          Sun Ra

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

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

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

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

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

                            FORMAT INFORMATION

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

                            DJ DR-660

                            Sex Music

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

                              Various Artists

                              Spiritual Jazz 9: Blue Notes, Part 2


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

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

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

                              Various Artists

                              Spiritual Jazz 9: Blue Notes, Part 1


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

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

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

                              Various Artists

                              Spiritual Jazz 9: Blue Notes Parts 1 & 2


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

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

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

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

                              Young Pulse

                              Paris Edits Vol. 6

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

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

                              Üdytü Ützeltürk & His Male Harem

                              Kairo / Kozak2000 (Inc Boris Dlugosch Edit)

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

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

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

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


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


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


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

                              Umit Aksu Orkestrasi

                              Bermuda Seytan Ucgeni

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

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

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

                                Trio Mocoto

                                Trio Mocoto

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

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

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

                                  Stasis

                                  Circuit Funk

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

                                    Sons Of Slum

                                    Music Is Message / Show Me Tell Me

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

                                    Sillyboy’s Ghost Relatives can proudly claim to be “Greek radio’s
                                    favourite soft rock band”. The Athens-based quartet – fronted by basswielding former TV commercial composer turned Balearic popster
                                    Charalambos Kourtaras – are rising stars in their home country, with
                                    listeners warming to their distinctive blend of atmospheric guitars,
                                    retro-pop synths and head-in-the-clouds grooves.

                                    So far, international stardom has passed them by, though their
                                    distinctive songs have caught the ear of a range of DJs across the
                                    globe. One was Claremont 56 founder Paul ‘Mudd’ Murphy, who has
                                    worked his magic on one of the band’s previously unreleased gems,
                                    “In A Small Place”.

                                    Perfectly capturing the claustrophobic reality of life in a small, remote
                                    town or village where everyone knows everyone else’s business, the
                                    song sees Sillyboy plan his escape over a mesmerizing backing track
                                    rich in ghostly synthesizers, chunky bass guitar, spacey electronics
                                    and a shuffling groove that sits somewhere between pitched-down dub
                                    disco and early ‘80s West Coast AOR.

                                    Murphy’s “Extended Version” allows the track room to breathe,
                                    teasing out the clandestine and atmospheric instrumentation – eyesclosed guitar solos included – before introducing Sillyboy’s rueful and
                                    paranoid vocals. You’ll find the Greek band’s slimmed-down – and
                                    arguably even more trippy – original version on the B-side, completing
                                    a fittingly high quality musical package to kick-start Claremont 56’s
                                    2019 release schedule.

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

                                    Saucy Lady & U-Key

                                    It's All Here

                                      What's that?! THREE new Star Creature sevens in one week? Ambassador, you are really spoiling us!

                                      Old pal Saucy Lady comes correct with U-Key and brings the party home with "It's All Here".

                                      Meanwhile label stalwart Shiro Schwartz is on hand to remix said track...

                                      It's a big bad boogie banger make no mistake! And completely necessary for your burgeoning boogie and modern funk collection - don't miss out!


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

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

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

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

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

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

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

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

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


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

                                      FORMAT INFORMATION

                                      7" Info: Limited to 500 copies.

                                      Lee Scratch Perry & The Upsetters

                                      Jungle Lion / Freak Out Skank

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

                                        The 80s Italo disco /proto-house classic ‘MBO Theme’ by the mighty Klein & MBO, repressed! Comes with an heavy (and unheard) South African version on the flip.
                                        “The MBO Theme” (1983) has been a dance floor favorite since decades, created by Mario Boncaldo and Tony Carrasco - the legendary Italian/US duo Klein & MBO. The track got support in NYC and Chicago by greats as Larry Levan, Frankie Knuckles and Ron Hardy.

                                        The rare version on the flip is created by a South-African band called Warrior. Rush Hour explain how they came across the track: “We bumped into this version on a South African record digging trip. It took us a few months to realize the scarcity of this version. Ian Osrin, a well respected engineer in South-Africa who was involved in many 80ties and 90ties Bubblegum, Kwaito and South African disco records, explained us about music distribution in South Africa during apartheid. Because the country was culturally banned at the time, a lot of releases weren’t imported or exported. Even when a track was huge, like “The Klein & MBO Theme”. So South African musicians would create their own versions which were sold locally.

                                        We got in contact with Tony Carrasco from Klein & MBO. He also hadn’t heard Warrior’s version before, but he liked it as much as we do!”

                                        Curtains wide open, breeze drifting freely through the grasses outside your window, occasional ripples atop the marimo bowl in the corner - everything in its own designated place. Forgot your hot stones and reiki healing, Jonny Nash is back, returning balance to the universe with the heartfelt ambient of "Make A Wilderness". Setting out to centre each and all of us, Jonny arranges stately piano, controlled feedback, chimes and guitar into eight immersive compositions inspired by the descriptions of landscape and environment in the work of authors Shusaku Endo, J.G. Ballard and Cormac McCarthy. As such, the LP is steeped in space, widescreen and wild or ethereal and ecstatic, and captures the mist and distance of an ancient forest or future ruin in its own abstract way.


                                        STAFF COMMENTS

                                        Patrick says: After half a decade supplying the healing frequencies via his Melody As Truth imprint, Jonny Nash arrives at Music For Dreams HQ on a solo tip (he's previously graced the label as one third of Gaussian Curve) with a moody set of ambient compositions inspired by the wilds. Though far from gloomy, "Make a Wilderness" is a shade darker than his MAT work, reflecting the ambivalent energy of nature, whilst retaining those clean and clear tones he's made his own.

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

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

                                        STAFF COMMENTS

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

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

                                        FORMAT INFORMATION

                                        LP Info: 180gm vinyl

                                        CD Info: Mini-LP style replica packaging

                                        Thelonious Monk

                                        Monk's Blues

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

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

                                          STAFF COMMENTS

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

                                          Manu Delago

                                          Parasol Peak

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

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

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

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

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

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

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

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

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

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

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


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

                                            Lipelis

                                            Bordeaux Lovin’ EP

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

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

                                              Krystal Klear

                                              Euphoric Dreams / Miyoki

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

                                              King Tubby

                                              A Noisy Place

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

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

                                                Keith Hudson, Horace Andy & Earl Flute

                                                Melody Maker / Poor People

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

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

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



                                                Jayda G & Alexa Dash

                                                Leave Room 2 Breathe



                                                  FORMAT INFORMATION

                                                  Ltd 12" Info: Limited edition white label.

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

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

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

                                                  Instant House Presents

                                                  Awade

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

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

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


                                                    Frost

                                                    Matters

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

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

                                                      Just when you thought it was safe to get in the water along comes Elegant Borzoi with his dangerous debut release on Adult Contemporary.

                                                      Packed with remixes from West Coast contemporaries, Woolfy vs. Projections and Project Sandro.

                                                      DJ Benny Ben & Markonerism Ft Jabba

                                                      'Tis Yorn / Daddy's Enemy

                                                        Dawn

                                                        New Breed

                                                          Following her acclaimed trilogy of solo albums, electronic R&B innovator DAWN (formerly Dawn Richard) returns on January 25th 2019 with new breed, a new album-length project that dates back to her upbringing in New Orleans, taking in the city’s rich traditions and musical heritage. After releasing an initial taste of the album through the slow burning R&B of ‘jealousy’, today sees DAWN drop the album’s second single and title track. A self-produced return to the electronically-focused sonics of her previous solo work, ‘new breed’ is an authoritative stamp on the genre in her own unique fashion.


                                                          Set across 10 tracks, the album provides the most intimate portrait of DAWN’s life so far, harking back to her years growing up in New Orleans and paying tribute to the city’s culture, sights and sounds. Presenting a duality between the more soulful sounds of the city’s more traditional forms of R&B and DAWN’s own innovative brand of electronic sonics, new breed sees DAWN at her most eclectic, drawing on a wide range of influences and, alongside contributions from the likes of Cole M.G.N (Christine & The Queens, Ariel Pink), Kaveh Rastegar (John Legend, Sia) and Hudson Mohawke, has been largely self produced. Driven by innovations in tech as well as music, in 2016 DAWN became the first ever artist to perform live in 360 degrees on YouTube, partnered with Wired for the release of an award-nominated virtual reality version of her single ‘Not Above That’, and joined Adult Swim as a curator and designer. Her last album Redemption went top 5 in the Billboard Dance Charts, and saw her subsequently collaborate with Dirty Projectors, Kimbra and Mumdance on a series of singles.

                                                          Live, Dawn has spent the Autumn touring with her former Danity Kane band-mates as well as Kimbra, and performed at Adult Swim’s festival this November. With new breed, DAWN has further set herself apart as one of R&B’s true iconoclasts, merging styles and metamorphosing them to her own style to create one of the most important, culturally relevant projects of recent times. Increasingly carving her own lane in the landscape of contemporary music, DAWN is writing her own legend; one that those after her have no choice but to follow. 

                                                          Detroit bred / LA based producer Kenny Larkin has long been a force to be reckoned with, both in the studio and in the DJ booth. Under his 'Dark Comedy' alias Larkin crafted some of the deepest and most soul-searching Detroit Techno sounds to grace human ears. 'Corbomite Manuever' was originally released in 1992 and is the complete epitome of a game changer, this was Techno at it's most sensual, intelligent and human, the antithesis of a lot of what was masquerading as the real-deal at the time. These qualities are what have stood this record in it's evergreen good stead for all these years - decades, in fact. Truly genius music made by someone who lives and breathes Techno. A truly staggering collection of music that still dumbfounds today and inspires generations of producers and DJ's to this very day. The most essential of the essential, classic material from front to back. Reissued for the first time across 2 x 12"s for pure sonic superiority.

                                                          Chaos In The CBD

                                                          Orange Blank / Green Dove

                                                          Slow and smooth build up with an intense but mellow peak that just goes on and on. It fills you with empathy and intense sensation heightening. SWIM smoked a joint halfway through and melted into the couch. It’s perfect for a rolling party with a group of friends, though SWIM imagines it would be great for a proper party too. Sometimes SWIM felt like dancing, but spent most of the time staring into space. This is really nice, intense, smooth and mellow. Get ahold of these if you get the chance!

                                                          Note: Your experience will vary depending on your settings. If you're in a bad place with bad people, you won’t feel a thing.

                                                          Malihini

                                                          Hopefully, Again

                                                            Malihini may mean ‘newcomers’ in Hawaiian, but Rome-based duo Giampaolo Speziale and Federica Caiozzo deal exclusively in the music of lived experience and time-honed emotional intelligence, their disarming musical universe never less than distinctive, yet resonating with a confessional, modern European pop sophistication of a kind elsewhere purveyed by the likes of Charlotte Gainsbourg, Jose Gonzalez and Our Broken Garden. Listening to the ten co-written songs that grace Malihini’s exquisite debut album, Hopefully, Again, can sometimes feel like eavesdropping on a couple’s intimate emotional dialogues, such is the ingenuous honesty of the duo’s writing. Yet combined with their minimal, yet opulently textured arrangements (“classic song writing matched with pared-down electronics”, according to Clash), crammed with subtle melodic hooks and an embarrassment of earworm choruses, they transform the personal into the universal with a delightfully unforced eloquence. The bulk of the writing for Hopefully, Again took place during an extended retreat on the Aeolian island of Vulcano, off the coast of Sicily. Images and atmospheres of the sea and ‘blueness’ duly permeate the album’s leanly arranged songs. Swapping these idyllic environs for Mid Wales, specifically the remote Giant Wafer studio in Powys (“it was just us and a few sheep and chickens”, recalls Speziale), the album was recorded quickly, with the duo playing most of the instruments live, abetted once again by producer Richard Formby and long-term drumming amico Alberto Paone.

                                                            FORMAT INFORMATION

                                                            Coloured LP Info: Limited edition indies exclusive orange vinyl.

                                                            Coloured LP includes MP3 Download Code.

                                                            Luluc

                                                            Dear Hamlyn

                                                              Luluc released their debut album, Dear Hamlyn, in 2008; the songs were written following the death of Randell's father. Dear Hamlyn eventually gained a large group of influential admirers. Peter Blackstock co-founder of No Depression Magazine, wrote of the album, "The most beautiful album I've heard in ten years." In 2011, Nick Drake's producer, Joe Boyd, also taken by Dear Hamlyn, invited Luluc to feature in his Nick Drake tribute tour. They contributed the tracks "Things Behind the Sun" and "Fly" to the live tribute album, Way to Blue: The Songs of Nick Drake in 2013. Luluc went on to sign with Sub Pop Records and release the critically acclaimed albums Passerby (2014) and Sculptor (2018). This edition of Dear Hamlyn is the first time it has been available on vinyl.

                                                              FORMAT INFORMATION

                                                              Coloured LP Info: Loser Edition pearlescent vinyl.

                                                              Indoor Pets

                                                              Be Content

                                                                Indoor Pets (formerly known as Get Inuit) formed straight after leaving school in Sittingbourne, Kent, it wasn’t long before their effortless songs were attracting attention, with one of them making Record Of The Week on BBC Introducing and within two weeks Huw Stephens had picked up on the track.

                                                                For the next few years Indoor Pets wrote and gigged incessantly, building up a batch of killer tunes and a devoted fanbase across the country. They did, and still do, everything themselves. From making the artwork to organising their own tours on the road, producing music, building their own stage monitoring system and even running their own finances (Simpson: “if anyone wants to spend any money they have to ask me,”). It’s a fiercely DIY ethic born less from punk principle as it was from necessity. “It was either do it yourself or don’t have it done,” notes Glass, “and we decided to do it ourselves.”

                                                                Signing to Wichita Recordings, the band set about recording their debut album, a record seemingly full of a bottomless pool of great tunes. Familiar feelings of not fitting in or wanting to play the hand life’s dealt you are delivered with self-deprecating wit and Glass’ trademark use of double-bluffing word play. Think Rivers Cuomo and a pre-sandpit Brian Wilson bunking off school to play records and snigger at the cool kids. They’re smart, life-affirming and all contained within a thumping primary-coloured pop wallop.


                                                                Nick Zammuto

                                                                We The Animals: An Original Motion Picture Soundtrack

                                                                  The limited edition super-deluxe vinyl format is pressed onto 100% virgin vinyl in a custom Yellow-White-Clear March-Up color mix. The records is packaged in a full-color gatefold jacket, and includes a full-sized 28-page full-color diary, and an original hand-numbered animation print cell from the We The Animals film production. The soundtrack to the massively acclaimed, aware-winning motion picture, We The Animals. We The Animals has received near-unanimous acclaim (91% on Rotten Tomatoes), and the soundrack has been praised as an integral part of the film’s profound resonance. We The Animals is the award-winning new film from Jeremiah Zagar (In A Dream). Based on the best-selling novel by Justin Torres, We The Animals is Zagar’s first narrative feature.

                                                                  It reunites Zagar with Nick Zammuto, the renowned composer and co-founder of beloved collage-pop pioneers, the Books. Inspired by the film’s setting in rural upstate New York – and influenced by the early ambient electronic music that galvanized the Books two decades ago – Zammuto pairs that earthen, wooded isolation with dynamic pulses of customized electronics and sparse, crystalline layers of melodic soft synths. The juxtaposition is arresting, and gives the soundtrack a unique heft befitting of its subject matter – and betraying of its minimal instrumentation. Beautifully edited and sequenced to act as both a companion to the film and a standalone album, We The Animals: An Original Motion Picture Soundtrack is as subtle as it is startling, and succeeds in making even the heaviest emotions feel momentarily weightless

                                                                  Various Artists

                                                                  Escape From Synth City

                                                                    Ten incredible albums culled from the deepest, weirdest co-op of record enthusiasts ever gathered under one banner. No expense was spared packaging these, pairing the idea of the Art of Compilation with living and breathing art, creating little fortune cookies baked in a factory of forgotten dreams. Video games, pyramids, trading cards, matchbooks, a working planisphere, mazes, lottery tickets, film canisters, yearbooks, and various other exercises in design absurdity.

                                                                    The mini-verse is being kicked off by Escape From Synth City, a hero’s quest worth of staccato synths, crack house Casios, off-brand drum machines, minimal Morricone, four-track fantasia, and a variety of other speculations on what the 1980s thought the future would sound like. Packaged in a 12”x12” Nintendo Entertainment System-styled jacket, replete with game sticker, die-cut outer sleeve, debossed cartridge inner sleeve, and art from our first video game, playable from the comfort of your PC.


                                                                    Roisin Murphy

                                                                    Overpowered

                                                                      A singular presence in 21st Century pop, Róisín Murphy is a genuine maverick. Her seminal 2007 album Overpowered received widespread acclaim from music critics yet, arriving at a time of waning major label interest in vinyl, it was released only as a hyper-limited double LP. Accordingly, in the decade since, it has been obscenely difficult to find. It is a true honour to finally reissue this thoroughly modern dance-pop classic on Be With. Whilst remaining true to the loud pink and orange wax of the original release, this remastered edition enjoys the bonus inclusion of fan-favourite “Parallel Lives”, finally making an appearance on vinyl.

                                                                      A sumptuous, all-killer electro-disco gem, every song could’ve been a smash. With its heavy disco influence - deep beats, lush synths and subtle horns and strings - Overpowered was focused solely on the dancefloor. Inspired by the Eighties proto-house of D Train, Mantronix and Gwen Guthrie, but also recalling the intelligent pop of Yazoo and early Eurythmics, Overpowered presented sensual electronic soul for the heads and the hips.

                                                                      Her collaborators, including Timbaland mentor Jimmy Douglass, Bugz In The Attic and Richard X, constructed a gleaming shrine to the spirit of Bobby O and Giorgio Moroder by stitching together crisp synthesised beats with the slicker tics of early house. The lead single and title track lifted the bassline squelch from the dawn of cosmic disco -- La Bionda's "I Wanna Be Your Lover" -- and the follow-up, "Let Me Know", effortlessly incorporated the chorus of Tracy Weber's 1981 boogie bomb "Sure Shot".

                                                                      The wonderfully dank, sticky R&B of “Primitive” is Murphy’s favourite track from the album: “I mean, who gets to put primordial soup in the first line of a song? That idea of not always being in control of the primitive parts of yourself, the bits that fall in love or the bits that dance or lose the plot or drink too much, and putting that across … that’s pop for me. It’s playing with all the different colours of the rainbow of life.”

                                                                      Murphy’s blistering vocals are versatile enough to elevate the icy textures of "Dear Miami", the sexed up kaleidoscopic funk of "Footprints" and the grace of "You Know Me Better". Sharp, witty and heartbreaking, here Murphy laid claim to being the kind of strident disco singer “Dusty Springfield never quite had the abandon to become”, as Pitchfork noted in their original, glowing “8.0” review.

                                                                      Overpowered was considered an instant classic and, sounding deeply prescient, it has aged gloriously. There has long been an acknowledgement of Murphy’s influence on other artists’ gonzo fashion, and many musicians have spent the last decade crafting dancefloor tracks that embrace piano house and disco, even if they’d pale when held next to "Let Me Know". Shifting from the glam pop of "Movie Star" to the buzzing acid of "Cry Baby", when the dubby ballad for her dad, "Scarlet Ribbons", wends its way to the sweetest of endings, you realise you've been immersed in the best grown-up dance-pop album since Madonna's Ray of Light.


                                                                      Odeon

                                                                      Galaxies

                                                                        Luciano e Valerio, Giacomo e Michele: Odeon are the union of two couples of Roman brothers who are not easily defined.

                                                                        Take the mellow melodies of Talk Talk and the celestial guitar riffs of Cocteau Twins bound together with some heavy Goblin-inspired bassline and you’ll be close to picturing Odeon’s signature sound. Drawing from '70 Italian B-Movies' soundtracks, psychedelic rock and early 80s new wave, and combining analog synths, dreamy guitars, melancholy vocoder and drum machine-driven percussion, Odeon put together a debut album that sounds fresh and classic at the same time.

                                                                        Ethereal and mesmerizing, Galaxies is the perfect soundtrack for a sonic journey through dying stars and forbidden planets.


                                                                        FORMAT INFORMATION

                                                                        Ltd LP Info: Gatefold Sleeve, 180g Vinyl.

                                                                        Scott Walker

                                                                        No Regrets - The Best Of Scott Walker And The Walker Brothers

                                                                          First time on vinyl since 1992 for this stunning ‘Best of’ from singer-songwriter Scott Walker. It’s now a 2LP set on 180gram vinyl. Features all the hits including “Make It Easy On Yourself” (#1 in August 1965), “My Ship Is Coming In” (#3 in December 1965), “The Sun Ain’t Gonna Shine” (#1 in March 1966), “Joanna” (#7 in May 1968) and “No Regrets” (#7 in January 1976).

                                                                          FORMAT INFORMATION

                                                                          2xLP includes MP3 Download Code.

                                                                          Gong

                                                                          Angels Egg - "invisible" Vinyl Edition

                                                                            Part 2 of the Radio Gnome Invisible Trilogy with 2015 remaster now a Special Edition clear “invisible” vinyl. 

                                                                            “this is their holy grail, uncarved block and philosopher’s stone rolled into one” - Classic Rock

                                                                            Gong’s quintessential trilogy comprised of the albums ‘Flying Teapot’, ‘Angel’s Egg’ and ‘You’ are reissued worldwide by BYG / Charly Records, remastered in 2015 from the original tapes by Nick Robbins at Soundmastering Studios. ‘Angel’s Egg’ is not your usual progressive rock album. Very quirky, with many, mostly brief compositions, the album is a tad less spacy than ‘Flying Teapot’, with just a few psychedelic-inspired lyrics, and is very technically adept. This eclectic composition travels through several movements and time changes and comes across as a perpetually progressing piece. The album sees the classic Gong line-up in full swing with primo Daevid Allen vocals and lyrics, and Steve Hillage’s first full inclusion to the band bearing fruit with musical quality akin to his solo work.


                                                                            FORMAT INFORMATION

                                                                            Coloured LP Info: Clear "invisible" vinyl edition.

                                                                            Another absolute gem of a reissue from Light In The Attic.

                                                                            Album recorded at the legendary Wally Heider Los Angeles studios and features heavy session players Dr. John, Jim Keltner (John Lennon), and James Burton (Elvis Presley).

                                                                            Release sports 32 page CD booklet and 180-gram wax, lovingly re-mastered from the original master tapes and a deluxe Stoughton “Tip-On” old school sleeve with faithfully reproduced original artwork.

                                                                            What happens when a musically minded country boy from rural Kentucky heads to the Golden State and makes an album of blue-eyed soul with Dr. John, Jim Keltner (John Lennon), and James Burton (Elvis Presley) as his back-up band? Well, if the stars were aligned, singer songwriter Jim Ford would’ve had a major hit on his hands. As it was, 'Harlan County', released in 1969 on the minor label Sundown Records, simply fell through the cracks between monster selling titles by The Beatles, Led Zeppelin, and Creedence Clearwater Revival. Despite being allied with some of the biggest names in the business and a deft musical touch - Ford wrote songs for Bobby Womack (“Harry Hippie”), Aretha Franklin, P.J. Proby, The Temptations, and even appeared on Sly & the Family Stone’s 'There’s a Riot Goin’ On' - Ford never struck gold as a solo artist and eventually left the often cutthroat music business for a quieter life at the turn of the 1980’s.

                                                                            “Jimmy Ford is the baddest white man on the planet,” said Sly Stone of Harlan County’s main man, and listening to the album today who’s to argue? Needless to say, Light In The Attic Records are honored to re-release these ten emotive country-soul songs on CD and LP with Ford’s original cover artwork, beautifully re-mastered audio, extensive liner notes by Kurt Wolff (The Rough Guide to Country Music), and rare photos, all presented with an adult portion of love. Fans of Charlie Rich, Tony Joe White, Lee Hazlewood, and Bobby Charles, please take note. 'Harlan County' is a revelation to deep music heads and for the previously converted, an opportunity to revisit one of the California studio scene’s crowning glories. To quote the title of Wolff’s booklet essay, “Jim Ford’s Music Will Kick Your Ass And Blow Your Mind.”

                                                                            Armed with a powerful whiskey fueled voice, down home rhythms, tight horn section, and occasional spectral orchestration from Gene Page (The Righteous Brothers, Barry White, Marvin Gaye), Harlan County is ripe for reappraisal. And though Ford is unfortunately no longer with us - he passed away in 2007 - his musical legacy lives on. With fans and friends including Brinsley Schwarz leader Nick Lowe and actor Marlon Brando it’s safe to say that Jim Ford was the real deal. So head over to your local brick and mortar record shop, hit the liquor store for a bottle or two, and turn up the stereo. Take a country-funk trip to Harlan County. It’s cheaper than a flight and will take you right where you need to be.

                                                                            FORMAT INFORMATION

                                                                            Coloured LP Info: Limited blue vinyl version.

                                                                            Ossia

                                                                            Devil's Dance

                                                                              Heavy-weather, beyond-good-and-evil soundsystem poetics, channelling raw and rootical techno, Isolationist abstraction, and dub at its most turbulent and raw-nerved and space-time-warping. New worlds ahead… Equal parts tuff, tail-thrashing dancehall pressure – see ‘Hell Dub’ – and art-of-darkness ambience and introspection, culminating in the slow-burning, third-eye-opening 23-minute dreamweapon, ‘Vertigo’. Part of the Young Echo crew, Ossia embodies the best tradition of Bristol underground music in that he doesn’t pay much mind to tradition, just does his own thing. Yes, Devil’s Dance shares DNA with those sullen masterpieces we will always associate with the city, from blunted 90s street-soul/hip-hop to sub-loaded dubstep – but like his forebears Ossia is ultimately a mongrel breed, drawing from his own, very contemporary and idiosyncratic well of influences: grime, jazz, steppers, dub, post-punk and industrial abrasion, concrète minimalism…

                                                                              Devil’s Dance could easily be not just a forbidding, but a suffocating proposition. But even at its most angst-ridden it feels lithe and aerodynamic, its darker impulses both intensified, and offset, by a pure soundboy’s delight in detail and colour and higher dancefloor mechanics. The music pulses with energy, a fever to communicate…and Raki Singh (violin), Jasmine (vocals) and Ollie Moore (saxophone) add vivid flesh-tone to the punishing, plasmic electronics. The record was mixed at an infamous, subterranean Bristolian recording studio, using an arsenal of spring and plate reverbs, modded pedals, tape-delays and compressors: systems of black magic crucial to the album’s intense presence and physicality and carefully modulated dread. In the end what we are witnessing, and experiencing vicariously, is a purging, an exorcism: find the devil, dance with the devil… and then chase, chase, chase him out of the earth 

                                                                              Ragnar Grippe

                                                                              Symphonic Songs

                                                                                Recorded between the release of Sand (1977) and Lost Secrets(1981), Symphonic Songs is a formerly unreleased work that chronicles the dynamic shift and development in experimental Swedish composer Ragnar Grippe’s canon.

                                                                                Following his seminal release Sandin 1977, Swedish experimental composer Ragnar Grippe worked on various art and performance commissions, often returning to Stockholm during the summer months to focus his efforts on his compositional practice. It was there at the famed EMS Studioswhere he began employing the Buchla synthesizer and the facilities multi-tracking capabilities as new instruments to map his mining of sound and movement.

                                                                                During the late 1970’s, Grippe formed a creative collaboration with choreographer Susan Buirge, specifically writing compositions for her works ͞Restes͟ and ͞Tamis͟, thus pushing Grippe to start working in a more intricate studio environment. These passages inspired Grippe into a more complex layering process that focused more on placement and structure, rather than the aural floods and flourishes of his previous Sand album, eventually germinating in his first full 24-track composition entitled ͞Orchestra.͟

                                                                                After debuting ͞Orchestra͟ in 1980 at the Electronic Music Festival in Stockholm, Grippe holed up at EMS Studios with those lessons and the fussy Buchla synthesizer, in which Grippe affectionately recalls ͞needed to be tuned and calibrated every 20-30 minutes.͟ He emerged with a new commission for Susan Buirge later formally titled Symphonic Songs and used in her avant-garde theater piece ͞Ci-Déla͟ which debuted in Paris in 1981.Symphonic Songsshowcased Grippe’s sound au courant, pushing dense against sparse, calm into cacophonous, using each track as its own intersecting plane. Using the machinations of studio and structure to drive Symphonic Songs’ voice, Grippe culled a haunting, often cinematic electronic work that dots and darts into unexpected corners with curious aplomb.


                                                                                FORMAT INFORMATION

                                                                                Coloured LP Info: Clear vinyl.

                                                                                Richard Youngs

                                                                                Memory Ain't No Decay

                                                                                  The prolific, Glasgow based, experimental artist Richard Youngs releases ‘Memory Ain’t No Decay’ on Wayside & Woodland Recordings in November 2018. The premise was simple; instead of offering Richard a style or genre for him to refract through his unique filters and facets, Wayside’s Ben Holton (epic45/My Autumn Empire) offered him a list of sorts, reflecting the ethos of the label as a whole. One of absorbing and reflecting the environment in which we live. The list included; Degradation of memory, decay, change, loss, the beauty of abandoned buildings and places, post-industrial wastlelands, 'edgelands', 'unofficial countryside', grass verges, woodland between housing estates. From these somewhat ethereal starting points, Richard set about recording an album.
                                                                                  Memory Ain't No Decay is not a concept album. It is merely the sound of Richard Youngs stretching out over long one chord songjams. On this, possibly his 147th album, Youngsian zero histrionics inform all three tracks. Intimately expansive and expansively intimate it's about multiple guitars and one voice simply making music that leaves everything as it is. 

                                                                                  Warish

                                                                                  Warish

                                                                                    Imagine if Incesticide-era Nirvana were crossed with Static Age-era Misfits— sinister low budget horror-rock with a visceral, twisted weirdness and bludgeoning riffs. Some might call it nightmarish, we call it Warish . Warish is a very newly-minted SoCal trio formed in early 2018 that has wasted no time making its presence known. The band formed when guitarist / vocalist Riley Hawk and drummer Bruce McDonnell decided they wanted to try their hand at something more distinct than they’d done previously. “We wanted to do simpler riffs and a fun live show,” Riley ex-plains. “A little more punk, a little bit of grunge... a little evil-ish.”

                                                                                    Their sound takes cues from a variety of cool underground sounds and twists it all into an energetic and exciting fist to the face of dark fury. Hawk’s effect-laden vocals hearken to early Butthole Surfers and David Yow’s tortured caterwaul in Scratch Acid. The guitars are heavy and powerful, though decidedly not straightforward cookie-cutter punk; more like Cobain’s and Buzz Osbourne’s wiry contortions. The rhythms bash and pummel right through it all with aggressive force ensuring that nothing gets overly complicated and the horrors keep coming throughout this five track, eleven minute debut.

                                                                                    Underground Youth

                                                                                    Fill The Void

                                                                                      The Underground Youth have always been steeped in a romantic nostalgia, their poignant psychedelic post-punk sounding like what might happen if Rowland S. Howard, Leonard Cohen, Bauhaus and The Velvet Underground jammed in a room together, but on this new 45 the band have turned this nostalgia in on themselves. The lyrics are taken from Dyer’s old notebooks dating back nearly a decade and in its minimalistic yet impassioned instrumentation, it also feels like somewhat of a throwback to the older recordings that left them to pick up a cult following (their 2010 LP Mademoiselle 2010 picking up over six million views on Youtube.) 'Fill The Void' and 'Take Me Awry' offer a reflective journey through the band's impassioned psychedelic post-punk, with it's 80s-style percussion, funeral vocals croons and dark jangly instrumentation that occasionally breaks down into a whirlwind of fuzzed-out guitars.

                                                                                      This desire to strip things back to their raw fundamentals and reflect on the last decade of the project came after the two tracks were nearly shelved because they didn’t quite fit the new direction they’re set to travel down on their forthcoming album. “We’d been experimenting with a completely different sound whilst in the studio recording our ninth album. What we created with these two tracks wasn't really what I was looking for and so I almost scrapped them,” Craig continues: “I just couldn't shake the rhythm of 'Fill the Void' though, we ran through the track as a band and took it out on the road. It fast became one of the most exciting tracks of our set, with Olya's pounding drum and Leo jumping on the additional snare towards the end. When we got back from the tour we revisited the tracks in the studio and decided to use them for a special release.” As The Underground Youth set to delve into exciting new waters, on this special release they've taken us on a typically-gloomy trip down memory lane - not just in terms of post-punk and psychedelia's darker histories, but also for the band themselves.

                                                                                      Wes Tirey

                                                                                      Black Wind

                                                                                        On Black Wind, songwriter / guitarist Wes Tirey makes the case for quality over quantity. After a stream of wellreceived cassettes, he assembled a reserved trio and laid down the soft law on a single night. Whereas his previous releases were turned inward, this album opens out like Terence Malick meditating on prairie grass. The arrangements are spacious, simple structures of voice and acoustic guitar, with sparse backing from a telecaster and a trap kit.

                                                                                        In addition to this fine album on Scissor Tail Records is a thematically linked book to be released by Cabin Floor Esoterica. Titled Melodrama Blues: Selected Lyrics of Wes Tirey, it collects writings from Black Wind and three past albums, all related via Tirey’s feel for a mythological americana, the threads of surrealist biblical imagery that underlie our cultural cosmos.

                                                                                        Spacemen 3

                                                                                        Forged Prescriptions

                                                                                          Forged Prescriptions is a double album by Spacemen 3, containing alternative takes and demo versions of songs from their album The Perfect Prescription, plus some previously unreleased tracks. In his liner notes, Spacemen 3’s Sonic Boom says this release presents the album's songs in their "full guitar laden versions with all the layers of beautifully streamlined guitar — considered by us to be too hard to replicate live and therefore reduced for the original release." “For me, this is where Spacemen 3 song writing came to a head - many of these songs pre-dated "Sound Of Confusion", some were even recorded at both sessions, but I am still impressed mightily by Jason’s lyrical genius on originals like "Walking With Jesus" and re-writes like "Come Down Easy" and his fluid guitar playing across the whole sessions. To be sure "Playing With Fire" was soon to be our long and sultry Indian Summer but "Perfect Prescription" was the progeny of that hot, lazy (and occasionally rainy) summer.” 

                                                                                          Soul Asylum

                                                                                          Twin/Tone Extras

                                                                                            • New compilation featuring tracks from early Soul Asylum (then known as Loud Fast Rules) and select bonus tracks from the Soul Asylum CD reissues.
                                                                                            • Includes alternate takes, demos, cassette-only compilation tracks and more.
                                                                                            • Reissue co-produced by Twin/Tone co-founder Peter Jesperson and Grammy®-winning producer Cheryl Pawelski. Soul Asylum first hit the Minneapolis music scene in early 1981.

                                                                                            This special compilation picks up select bonus tracks featured on the CD reissues of Soul Asylum’s Twin/Tone releases and is co-produced by Twin/Tone Records co-founder and Replacements manager, Peter Jesperson and Grammy®-winner and Omnivore Recordings co-founder, Cheryl Pawelski. This previously unissued, unique compilation reaches back for some of the earliest Soul Asylum recordings as Loud Fast Rules while also offering alternate versions of some well know songs. Twin/Tone Extras has been restored and mastered by Grammy®-award winning engineer, Michael Graves at Osiris Studio and cut by Chris Muth at Taloowa.


                                                                                            Soul Asylum

                                                                                            Say What You Will...Everything Can Happen

                                                                                              • Soul Asylum’s debut album.
                                                                                              • Produced by Bob Mould (Hüsker Dü).
                                                                                              • First time on vinyl since original pressing
                                                                                              • Reissue co-produced by Twin/Tone co-founder Peter Jesperson and Grammy®-winning producer Cheryl Pawelski. Soul Asylum first hit the Minneapolis music scene in early 1981.

                                                                                              Originally produced by Bob Mould, this reissue is co-produced by Twin/Tone Records co-founder and Replacements manager, Peter Jesperson and Grammy®-winner and Omnivore Recordings, Cheryl Pawelski. This fresh vinyl pressing of Soul Asylum’s debut, Say What You Will . . . Everything Can Happen is the first since it’s original 1984 Twin/Tone release and has been restored and mastered by Grammy®-award winning engineer, Michael Graves at Osiris Studio and cut by Chris Muth at Taloowa.


                                                                                              Soul Asylum

                                                                                              Made To Be Broken

                                                                                                • Soul Asylum’s sophomore release.
                                                                                                • Produced by Bob Mould (Hüsker Dü).
                                                                                                • First time on vinyl since original pressing.
                                                                                                • Reissue co-produced by Twin/Tone co-founder Peter Jesperson and Grammy®-winning producer Cheryl Pawelski.

                                                                                                Soul Asylum first hit the Minneapolis music scene in early 1981. Core members Dave Pirner, Dan Murphy, and Karl Mueller met at local punk rock shows. Coming up in the shadow of formidable bands like Husker Du and The Replacements, show they were all big fans of, was daunting but, ultimately, it inspired them to make a name for themselves. Soul Asylum stood out immediately because of their work ethic and smart, punky hard rock sound. They made four records for hometown label, Twin/Tone Records, before moving on to the majors; first A&M, then Columbia where they scored two platinum albums and won a Best Rock Song Grammy for “Runaway Train.”

                                                                                                Originally produced by Bob Mould, this reissue is co-produced by Twin/Tone Records co-founder and Replacements manager, Peter Jesperson and Grammy®-winner and Omnivore Recordings, Cheryl Pawelski. This fresh vinyl pressing of Soul Asylum’s second long player, Made To Be Broken is the first since it’s original 1986 pressings and has been restored and mastered by Grammy®-award winning engineer, Michael Graves at Osiris Studio and cut by Chris Muth at Taloowa.


                                                                                                Soul Asylum

                                                                                                Clam Dip & Other Delights

                                                                                                  • Soul Asylum’s classic EP expanded to LP length.
                                                                                                  • Original EP produced By Tom Herbers.
                                                                                                  • First time on vinyl since original U.K. & U.S. pressings.
                                                                                                  • Reissue co-produced by Twin/Tone co-founder Peter Jesperson and Grammy®-winning producer Cheryl Pawelski.

                                                                                                  Originally produced by Tom Herbers (Jayhawks, Gear Daddies, Low), this reissue is co-produced by Twin/Tone Records co-founder and Replacements manager, Peter Jesperson and Grammy®-winner and Omnivore Recordings co-founder, Cheryl Pawelski. Clam Dip & Other Delights is now newly expanded to album length and features the original tracks from the U.K. and U.S. releases, and some previously unissued demos cut around the same time. Additionally, this fresh expanded vinyl pressing of Soul Asylum's Clam Dip & Other Delights is the first since it’s original 1988 U.K. and 1989


                                                                                                  Solarize

                                                                                                  Nachtwerk (1991-1998)

                                                                                                    Since 1981, Wilfried Franzen and Thomas Grotz have been developing their own version of experimental pop music, which oscillates between song structures, noise, and psychedelic trance. Bass and keyboards form the instrumental substructure of the duo’s compositions, which are enriched with guitars, violin, piano, electronic percussions, and samples. After self-publishing various cassettes and cds, "Nachtwerk" is the first official release of SOLARIZE, which presents selected pieces from the years 1991 to 1998.

                                                                                                    Sextile

                                                                                                    3 EP

                                                                                                      Since its inception in 2015, Sextile have gained a devout following thanks to the seductive energy of their live shows and nonstop touring. After numerous lineup changes, the now two-piece comprised of Brady Keehn and Melissa Scaduto have shifted toward a minimalist approach that's as heavy hitting as ever. Now favoring synths over guitars, they haven't thrown out the strings completely. '3' was recorded in Los Angeles at their home and practice space using a KORG MS10, a sequencer, a Fender Stratocaster, a LinnDrum, and various percussion instruments. Finding inspiration in futurist writer Luigi Russolo's "The Art of Noises," the pair employs a sonic palette that mirrors the chaos of the modern industrial era. Sextile excels at regulating noise, whether the source is a percussive clang, guitar stab, synth trill, or Keehn's militant vocals. Throughout '3,' bursts of abrupt discord punctuate thumping rhythms and hypnotic bass sequences. While the appropriately titled "Disc o" is a clubworthy opener, "Spun" delivers the signature Sextile sound with rowdy, squealing guitars. '3' places the band's sound somewhere between DAF and Gang of Four, but it's that tinge of futurism and the observations of the current political climate that steer them right to the present. It's the explosive sound of now - it's punk that can hold down a dance floor. 

                                                                                                      Revolting Cocks

                                                                                                      Linger Ficken' Good..And Other Barnyard Oddities

                                                                                                        Revolting Cocks are an American-Belgian alternative industrial rock band that began as a side project for Richard 23 of Front 242, Luc van Acker and Al Jourgensen of Ministry and was active between the years 1985 to 1993, then on and off between 2004 to present in various incarnations. RevCo was founded by Richard and Luc with Al as producer. According to Luc, the band took on their name after trying out “insulting French expressions” on a waiter in a Chicago bar, ordering something they said meant “revolting cock” which led the waiter to say “you are revolting cocks!”

                                                                                                        Their debut release was “No Devotion” on Wax Trax! Records in 1985. The single was followed by the album, Big Sexy Land in 1986 which featured a mixture of industrial, hard rock and EBM with sampling and synthesized beats. Richard quit in 1986 and the group’s remaining two members were augmented by Chris Connelly (formerly of Finitribe, later of Ministry), Paul Barker and Bill Rieflin (both formerly of the Blackouts and at the time in Ministry), with various others appearing as contributors or guests. The following live album, You Goddamn Son of A Bitch (1988), marked the band’s live debut, featuring aggressive versions of the tracks from Big Sexy Land along with new material. This continued on Beers, Steers and Queers (1990), layering sample over sample and pushing the distortion.

                                                                                                        Linger Ficken’ Good and Other Barnyard Oddities was released by Sire Records in 1993, with most of the music returning to the less layered material and having a comedic edge. Included on this album is a cover of Rod Stewart’s “Da Ya Think I’m Sexy?“ which was released as a single. A tour was planned to support the release but was cancelled and the band quietly came to an end. ROG is reissuing this classic industrial title that has been out of print on vinyl for 25 years and will be making its debut on wax in the USA!


                                                                                                        FORMAT INFORMATION

                                                                                                        2xDeluxe LP Info: Pressed on 180g color vinyl at Record Industry in the Netherlands and comes in a deluxe gatefold tip-on Stoughton sleeve.
                                                                                                        Each 2LP set comes numbered and strictly limited based on pre-orders.

                                                                                                        It's the 21st Century and the cult of mass information has finally vanquished the allure of mystery. Reality TV, live blogging, social media and iCloud leaks - we don't wanna see our idols airbrushed, we wanna see them before they zip their skin up. We want the process dammit, the 4 a.m. burnout, the smudged ink and the pencil shavings. 
                                                                                                        Melody As Truth know what we want, and the Amsterdam label duly give it to us with their new MATstudio series. Inviting us into their workspace, Jonny Nash and Suzanne Kraft catalogue some of the experiments, explorations, accidents and fortuitous events that regularly take place. Each record will feature two compositions created from a collage of works created using guitar, bass, synth, piano, chime and fx.
                                                                                                        This first offering treats us to a pair of drifting dreamscapes, both strange, beautiful and organic. Imagine floating down a river in a land of divergent DNA.

                                                                                                        STAFF COMMENTS

                                                                                                        Patrick says: Jonny Nash and Suzanne Kraft serve up the first in a series of recordings taken from live jams, improvised sessions and machine experiments. Floral beauty on the A-side, seismic power on the flip.

                                                                                                        Miss World

                                                                                                        Keeping Up With Miss World

                                                                                                          Punk Slime Recordings is proud to present the debut album from Miss World, aka Natalie Chahal of Shit Girlfriend. Keeping Up With Miss World is a raw, 13 track power-pop, garage-party movie scene that plays out like a thumb numbing Instagram scroll fest. A teen-dream magazine collage, a multi-colored sonic mood board featuring torn up images of Ariel Pink, Kim Gordon, Clueless OOTDs, Madonna and Kim Kar-dashian smeared with gluestick goo.

                                                                                                          Th’ Losin Streaks

                                                                                                          This Band Will Self-Destruct In T-Minus

                                                                                                            RIYL: Ludovico Einaudi, Max Richter, Eluvium, Nils Frahm, Goldmund. Bruno Bavota is a young Italian composer and multi-instrumentalist with seemingly boundless potential, and an extraordinary gift for marrying the intellectual and emotional into earnest and profoundly effective songs. Though favorably compared in his early career to another Italian composer, the legendary Ludovico Einaudi, Bavota has found himself increasingly pursuing ways to distort and disturb traditional arrangements and melodies in pursuit of a more distinct resonance. Armed with a plethora of outboard effects pedals and processors, Bavota manually manipulates his songs in real time as he performs - often with his bare hands engaged in a seesaw battle of construction against obstruction.

                                                                                                            It infuses a genuine sense of tension and forward momentum that makes his work extraordinarily poignant. Recorded live in one afternoon at a friend's studio in Bavota's hometown of Naples, Italy, RE_CORDIS documents many of Bavota's most recognizable and accomplished works as they stand and at this moment in time - ever-evolving musical life-forms that change shape while maintaining their distinctive skeletons. It also introduces his newest work, "The night of," a tense, escalating race of loops punctuated by a series of dramatic chord strikes. The recording is charmingly informal, leaving the sounds of Bavota's physical movements - the shuffling of feet, the triggering of effects pedals, the creaking of stools - present in the mix to mingle with the music. As an exhibition of Bavota's skills as a composer and performer, it's impressive; as a glimpse of what's to come, it's an epiphany. 

                                                                                                            Liily

                                                                                                            I Can Fool Anybody In This Town

                                                                                                              Liily are five Los Angeles teenagers hailing from deep in the San Fernando Valley to the edges of the Inland Empire. Emerging from a new and burgeoning culture of youths in the city, their wildly frenetic shows point to a new vision for alternative and hard rock music in 2018.

                                                                                                              Liily’s local shows reflect that crazed manic intensity. Their fans have turned up to dance and absolutely tear the place apart alongside the band. Having started out playing mostly house parties and warehouses, it’s only recently that the band has started entering into nightclubs to bring that same energy.

                                                                                                              “We like our music to make people crazy,” says guitar player Sam De La Torre. “It has a lot of energy. We want to make people move. When we write something, we want it to hit really hard. If we knock people out, we’ve done our job.”

                                                                                                              Lay Llamas (Feat Alfio Antico)

                                                                                                              Malophoros / Mondi Di Pietra

                                                                                                                Backwards Records presents the new Lay Llamas release: the new 7" in gold-coloured vinyl by Lay Llamas, moniker behind which the Sicilian musician and composer Nicola Giunta is hidden. The single will contain two tracks: on Side A "Malophòros" composed together with the shaman singer Alfio Antico - former collaborator of Fabrizio De Andrè, Tullio de Piscopo and Vinicio Capossela - at frame drum and voice. The piece sounds like an improbable mixture between the Nuova Compagnia Di Canto Popolare and the Master Musicians Of Bukkake! The text, written by Antico, is recited in Sicilian dialect and is inspired by the Sanctuary of the 5th century B.C. dedicated to the goddess Demeter whose ruins are located in the Archaeological Park of Selinunte (Sicily). The Sanctuary was a sacred place for the ancient Greek colonists in Sicily and there rituals and sacrifices were held there in order to ingratiate themselves with the divinity. On the B side the track "Mondi Di Pietra" reminds to the Franco Battiato of the "Pollution / Sulle Corde Di Aries" period. The text, in Italian, provides a mythological and esoteric vision of the Mediterranean world understood as a passage zone and cradle of ancient cultures.

                                                                                                                The mastering was curated by the English musician and producer Sonic Boom (Spacemen 3, Spectrum, Panda Bear, MGMT) at the New Atlantis Studio. The artwork is made by the Catalan artist Daniel Puiggros. Starting from March 30th, 2018, pre-order will be active on www.backwards.it and on Backwards bandcamp page. "On the A side of this 7" the meeting between the master Alfio Antico and the Lay Llamas takes place: materially occurred at the Bunker Studio of Arquà Petrarca (PD), but ideally officiated at the sanctuary of Demetra Malophòros, at Selinunte in Sicily (dating back to V century BC). Nicola Giunta of Lay Llamas has lived for years in that magical area and has asked Alfio Antico to become a sort of shaman, leading towards an indefinite temporal journey. So Antico begins his narration towards the temple of Demetra, telling us that "quannu un tempu nunera tempu and no stissu tempu was tempu now ca semu of a great tempu forsi, nun c'tempu, forsi". Here then the antique frame drum and its voice tell us, in the Sicilian archaic dialect the mythological deeds of the Goddess of fertility and agriculture and the vicissitudes of its worshipers: the peasants ("you ca facisti masters and criasti armiggi ppi the earth ") and women (" Demetra our matri natura jè! "). On the B side the song "Mondi di Pietra", sung in Italian, combines suggestions of worlds (apparently) very distant: the Mediterranean and the Italian 70s, the kosmische folk, the pseudo archeology and the vetero-astronomy of the books of Peter Kolosimo, the minimalism of Terry Riley 


                                                                                                                Juliana Hatfield

                                                                                                                Weird

                                                                                                                  Fast on the heels of April 2018’s acclaimed “Juliana Hatfield Sings Olivia Newton-John” comes Juliana Hatfield’s new self-produced all-originals album “Weird”. Freda Love Smith (Blake Babies, Sunshine Boys) and Todd Philips (Lemonheads, The Juliana Hatfield Three) each played drums on multiple songs while Hatfield played all of the other instruments (and some additional drums). Weird is an album about disconnection and discomfort. “I often feel cut-off from other people, from my feelings, from technology, from popular culture,” says Hatfield. “I feel weird, I feel like I’m dreaming my life and that I am going to wake up some day.” While Hatfield’s songs—melodies and lyrics and structures--are meticulously crafted, her guitar parts are loose and sometimes a little unhinged; first-take expressions of this temperamental uneasiness. “Personally, I feel like a malfunctioning machine. There’s a screw or two loose. I want my guitar playing to reflect that.” 

                                                                                                                  Cobalt Chapel

                                                                                                                  Variants

                                                                                                                    Cobalt Chapel, the psychedelic folk-rock pairing of Cecilia Fage (Matt Berry & The Maypoles) and Jarrod Gosling (I Monster, Regal Worm) release ‘Variants’, the companion piece to their debut album - a selection of tracks remixed, reincarnated and reimagined. Their distinctive blend of ghostly choral vocals and vintage organs, stripped back and filtered through a spectral prism of dreamlike drones and psychedelics; using Mellotron, cassette loops, effects, accordion, found sounds, field recordings, and sound collage, the album is transformed into a hallucinatory soundtrack of cosmic hymns.

                                                                                                                    Chicago Odense Ensemble

                                                                                                                    Chicago Odense Ensemble

                                                                                                                      Chicago Odense Ensemble is a unique collaboration that came together in the winter of 2008 while Danish musicians Jonas Munk and Jakob Skøtt stayed in Chicago. Via mutual friends, and a support gig for Isotope 217 in Millenium Park, a studio session was arranged for the two to improvise and lay down ideas with some of Chicago’s finest improvisers, including members of Tortoise and Chicago Underground Collective. Improvisation aren't unusual for the two danes, however, as they were already more than accustomed to working from spontaneity and freeform structures in long-running psych/kraut/prog unit Causa Sui, and has since then participated in a number of installments of the Impetus series on their own El Paraiso Records label – a series dedicated to impro sessions, chance collaborations and live recordings. During the Chicago studio session hours of loose ideas, grooves and atmospherics were recorded, ranging from loud, intense musical outbursts led by cornetist Rob Mazurek, to delicate, colourful ambiences. Later, the finest moments were edited, re-arranged and mixed by Jonas Munk in his studio in Odense, doing a great deal of cutting and pasting, and adding a psychedelic and dubby vibe to the soundscape, using delays and effects as instruments during the mixing process. The result is something quite unique: a sonic brew that exists somewhere in between the aesthetics of impro jazz, hypnotic rock and electronica. The closest reference for this kind of music is probably early 1970s proto-fusion jazz that strived for a similar synthesis of jazz improvisation, psychedelic rock, eastern and african sounds as well as the use of the studio as a musical tool. Conceptually this album therefore seems more related to Miles Davis' ventures into electric music in the late 1960s that culminated in the early 1970s with albums such as "Live Evil". And album centerpiece ”Delivery” gives a possible answer to the mystery of what the fabled collaboration between Miles Davis and Jimi Hendrix might have sounded like, had it ever happened. Even though Chicago Odense Ensemble is undeniably modern sounding in some ways, it also reaches back to an era in music where the fusion of jazz and rock were still regarded with optimism, and where musical spontaneity and freedom seemed a vehicle for cosmic beauty rather than esoteric formalism. Rob Mazurek cornet, Jeff Parker guitar, Dan Bitney drums and percussion, Matt Lux bass, Brian Keigher percussion, Jonas Munk guitar and electronics, Jakob Skøtt drums and percussion.

                                                                                                                      FORMAT INFORMATION

                                                                                                                      Ltd LP includes MP3 Download Code.

                                                                                                                      Cellar Doors

                                                                                                                      Cellar Doors

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

                                                                                                                        C’Mon Tigre

                                                                                                                        Racines

                                                                                                                          Tradition and experimentation are two familiar territories that C'mon Tigre, a duo who find their identity by working with musicians from all over the world, can balance between very well. As they did for their debut album (2014), they have put together a multicolored collective for their second record “Racines”, out on February 15, 2019 for BDC/K7.

                                                                                                                          The title is a French word that means "roots", referring to the musical roots in which C'mon Tigre's feet, head and heart are immersed, and from which their contaminated tracks sprout to create unusual and original sound environments. In their new album the sounds of the Mediterranean - the sea of their land - intersect, intertwine and overlap with a kaleidoscope of other sounds and a new approach based - they explain - "on the type of work we had done when we rearranged the first album for live shows, by emphasizing the synthetic part of our tracks". This time around they did it from the very beginning: "The composition of the pieces immediately included the use of machines and synthesizers as a basis for acoustic instruments. The goal was to reprocess the terrain of Mediterranean influences that was undoubtedly our starting point".

                                                                                                                          Imagine a work in progress where bass and guitars interact with woodwind, synths, percussions, vibraphones, dipping the listener into a sensual and hypnotic musical journey. Sailing from the Mediterranean basin and being guided by the fascination for Africa and the Middle East, C'mon Tigre give rise to a personal language, made up of mixtures with jazz, afrojazz, the rhythmics of hip hop, funk, 70s disco. All without ever confining their songs to one style, but pushing the exploration as much as possible, into a dimension that every journey worthy of this name should encompass. "With the musicians we work with the exchange and experimentation continue till the end, the songs can take different directions at any time”.

                                                                                                                          The result is a mixed, cosmopolitan record, which escapes from any label for the affirmation of a free attitude. The attitude that led C'mon Tigre to seek a connection with dancefloor culture, even if considered only as an evocation to revisit in an absolutely personal way.


                                                                                                                          FORMAT INFORMATION

                                                                                                                          LP Info: 180g vinyl, comes with 84-page book.

                                                                                                                          Bodycode

                                                                                                                          A New To Bloodmoon

                                                                                                                            Alan invited his favorite female singer “Niqe” and produced two first class vocal deep house tunes.

                                                                                                                            Big Star

                                                                                                                            Live On WLIR

                                                                                                                              • Remastered and restored performance originally recorded and broadcast in 1974.
                                                                                                                              • On LP officially for the first time.
                                                                                                                              • New liner notes from authors Robert Gordon and Rich Tupica.
                                                                                                                              • Liners include an interview with bassist, John Lightman.

                                                                                                                              Big Star recorded their second album, Radio City, as a trio, after the departure of founding member Chris Bell. When it came time to tour, original bassist Andy Hummel decided to return to school to pursue his engineering education. With this departure, Alex Chilton and Jody Stephens recruited fellow Memphis native John Lightman to take over on bass duties, and the band readied their live set. That set is on display as Big Star recorded a radio session at Ultrasonic Studios in New York for broadcast on the city’s preeminent WLIR. Nearly two decades later, those recordings were issued as Live in 1992. Omnivore Recordings is proud to reintroduce those recordings, restored and remastered from the original tapes, as Live On WLIR, on CD—and, its first official release on LP.

                                                                                                                              The 15 track set features material from the band’s two releases, as well as a cover of “Motel Blues” by Loudon Wainwright III (which originally appeared on his classic 1971 sophomore release, Album II). With new, updated liner notes from Memphis writer/filmmaker, Robert Gordon (who won a Grammy® for his essay in 2010’s Big Star boxed set Keep An Eye On The Sky) and an interview with John Lightman by Chris Bell biographer Rich Tupica (There Was A Light: The Cosmic History Of Big Star Founder Chris Bell), Live On WLIR enters the Big Star canon in the form it deserves. Because, you know, you get what you deserve.


                                                                                                                              The Beasts

                                                                                                                              Still Here

                                                                                                                                After an extremely emotional final performance with the Beasts of Bourbon, Tex Perkins hit upon the idea of getting all of the band's members, past and present into a recording studio with no particular agenda other than to do just that. It was more of a celebratory thing he had in mind than anything. Sadly, bassist Brian Hooper didn't make it along as he passed away a week after the Beasts last show. Assembled in Soundpark Studio a couple of weeks later were Charlie Owen, Boris Sujdovic, Tony Pola, Spencer Jones, Kim Salmon and Tex Perkins. Deeply sad is that Spencer was only around long enough to make it onto one track. Absolutely wonderful is that he did make it onto the recording. And with such a funny and typically Jones style piece of observation as At The Hospital. With respect, this isn't the Beasts of Bourbon. It would need to have Jonesy on every track to be that! But loudly and proudly this is: The Beasts Still Here. 

                                                                                                                                A Place To Bury Strangers

                                                                                                                                Fuzz Club Session

                                                                                                                                  For over a decade Brooklyn’s A Place To Bury Strangers have been dealing in pure sonic destruction. Famously lauded as the loudest band in NYC, their thunderous noise-rock has seen them pick up a cult following and shatter many unsuspecting eardrums across the globe. With no release or live show similar to the last, APTBS have continually twisted their malevolent sonic assault into something not of this world. Following 2018s Pinned LP (Dead Oceans) the trio is back once again – this time with a live session LP on London-based imprint Fuzz Club. Whilst in London at the end of a European tour in support of Pinned, the band spent the day at Love Buzz Productions in South London to lay down a Fuzz Club Session, due for release February 15th as a vinyl exclusive alongside a collection of videos which will be released online.

                                                                                                                                  Raw, punishing and unpredictable, the LP – recorded live in one take - perfectly captures the APTBS ethos through-and-through and sees the unwavering intensity of their live show committed to wax like never before. “It’s good to record at the very end of the tour,” reflects Oliver Ackermann, the band’s vocalist/guitarist and founding member: “You’ve been playing these songs all tour and there’s a certain point when you kind of get tired of them so you have to reinvent what they mean and what happens in them. I feel like that always pushes things to the next level. It’s exciting.” Some songs on the session may date back a decade but, true to the APTBS way, they’re totally reconfigured and pushed to their very limits.

                                                                                                                                  Spanning their lengthy back- catalogue, there are two tracks from Pinned (‘Never Coming Back’ and ‘Punch Back’), one from 2015’s Transfixiation (‘We’ve Come So Far’), one from 2012’s Onwards To The Wall (‘Drill It Up’), another from their 2007 S/T album (‘Ocean’) and a previously unreleased track (‘Chrome Shadow’). What makes this LP stand out is the way in which the live setting perfectly captures the band’s ability to work as a collaborative unit; every member feeding off one another, their tight-knit playing hardened by months on the road. Ackermann’s visceral guitars and FX pedal manipulations may be what defines the APTBS sound but just as integral on this LP is Dion Lunadon’s scuzzy, remorseless basslines and the primal percussion and snarling vocals of Lia Simone Braswell, who joined the band just last year. There aren’t many bands who can make deafening chaos sound so tight and meticulous but that’s just how APTBS roll. The Fuzz Club Session LP serves as a perfect indoctrination into the fuzzed-out world of A Place To Bury Strangers - taking you through a no-holds-barred tour of their discography whilst also offering a glimpse into the almost-hypnotic power of their live show. This is an album just as much for fuzz veterans as it is for the uninitiated. 

                                                                                                                                  Claypool Lennon Delirium

                                                                                                                                  South Of Reality

                                                                                                                                    South Of Reality, The Claypool Lennon Delirium’s epic sophomore album might be just the antidote this sick world needs. Music so potent it could repel an asteroid impact from space, these seasoned warriors of psychedelia have crafted timeless songs that may as well be chiseled in stone. The monolithic dream team’s new record was produced by Les Claypool and Sean Lennon themselves, and engineered and mixed by Les Claypool at his own Rancho Relaxo studio in Sonoma County, California.

                                                                                                                                    FORMAT INFORMATION

                                                                                                                                    2xColoured LP includes MP3 Download Code.

                                                                                                                                    The Sundowners

                                                                                                                                    Ancient Cares / Pig Pen Blues, Stinkeye

                                                                                                                                      Drag City / Sea Note mystery artists.

                                                                                                                                      So say the label: “Another single from the jolly blokes who brought you ‘Goat Songs’, ‘The Girl With The Thing In Her Hair" and ‘Singing Death Chants To The Stars’.

                                                                                                                                      Never mind rumours about who this might be - just listen to the music.

                                                                                                                                      Once it's loud enough to dominate all attention in the room, then it's at correct playing volume - a fairly sonic approach”.

                                                                                                                                      Limited edition 7”


                                                                                                                                      next 100

                                                                                                                                      Latest Pre-Sales

                                                                                                                                      237 NEW ITEMS

                                                                                                                                      Let the Saturday shopping commence. We’re open until 6pm. https://t.co/KL1FeNcZ4F https://t.co/UHSnkkRpSV
                                                                                                                                      Sat 16th - 10:30
                                                                                                                                      The new self titled album from @LadytronMusic is out today. It’s their first album in seven years on Ladytron Music… https://t.co/8kbjEmO9hd
                                                                                                                                      Fri 15th - 4:37
                                                                                                                                      .@DavidBowieReal fans. His 1983 album Let’s Dance has been reissued/remastered. Out today on @parlophonehttps://t.co/45eM108QJy
                                                                                                                                      Fri 15th - 1:35
                                                                                                                                      Hollow Earth is the new album out today from @PyeCornerAudio aka Martin Jenkins, his third for Ghost Box. It’s conc… https://t.co/USB9oQ9yrj
                                                                                                                                      Fri 15th - 12:14
                                                                                                                                      .@dinkededition No 5 has landed 🙌🏻 @HOOMESHAAKE album ‘Helium’ available on “fruit punch” coloured vinyl, hand nu… https://t.co/hLkc9AvkLC
                                                                                                                                      Fri 15th - 11:43
                                                                                                                                      E-newsletter —
                                                                                                                                      Sign up
                                                                                                                                      Back to top