synth-pop . alt-R&B . cold wave . industrial


Back in stock Cover of Crooks & Lovers by Mount Kimbie.

Mount Kimbie

Crooks & Lovers

    Adding a percussive and experimental edge to the current class of post-dubstep pioneers, Mount Kimbie, the duo of Dominic Maker and Kai Campos deliver their highly anticipated debut album. Dom and Kai met whilst at Southbank University, pushed together in a student halls that was previously a mental asylum – where the ceilings were still ridiculously high to stop patients hanging themselves: 'a cold, joyless, concrete building – the sort of building where you’d drop a pen and the sound would just go on and on in an echo.' Armed with found-sound snips and a siege mentality, Kai and Dom set about turning London’s ambience into rhythm, its chaos into coherence. Traces of influence remain – the hard-earned spaces of Burial and The Bug vie with the berserk melodrama of Xiu Xiu and Grouper’s sad-eyed glow, D’Angelo’s pervert soul gets cleansed in the intimacy of Phil Elvrum’s Microphones, Angelo Badalamenti’s swollen ‘Twin Peaks’ atmospheres find a cradle in Madlib’s lax lope. The band’s sound and response to the dubstep moment is very much their own. Sceneless and untethered from etiquette and genre codes, ‘Crooks & Lovers’ floats through dubstep and hip-hop, jazz, techno and ambient, post-rock, UK garage and film scores to startling effect.


    Would Know
    Before I Move Off
    Blind Night Errand
    Ode To Bear
    Between Time

    Hypernatural, comprises of Dan Whitford, better known as one of the pillars of Melbourne heavyweights Cut Copy, Mirko Vogel, the engineer extraordinaire who has recorded for Modular and Room40, and Mike Gamwell, also known as Knightlife, who’s racked up several releases on Cut Copy’s own Cutters Records. You could say their roots are in Melbourne, Australia, but it seems unfair to pinpoint the trio to any specific location.

    That’s because their sound lies somewhere deep in misty forests, or half-remembered dreams and subconscious wells of ancestral emotion. The transformative power of these 7 tracks was no accident however. The music was pieced together during two trips - one to the remote Swedish coast and another to the Scottish highlands. The three producers used a set of guidelines that allowed each of them to compose and arrange tracks separately yet collectively, like a connected Oblique Strategy. They took inspiration from the stark beauty of their natural surroundings, which had a huge effect on the music they were making.

    The resulting tracks inhabit a world of their own, full of shimmering arpeggios and drifting pads, taut drums and sound effects. The opening track Longboat cruises into view with white noise washes and galley master rhythms, conjuring Old Norse battleships and a sense of sailing the open sea, destination unknown. The single Stormfront is a depth-charged deep house burner, bristling with atmospheric energy and rolling like thunder. With its cascading synth arpeggios and weighty drops, it swells like moody clouds on the horizon and releases tension like the first rain of a summer storm.

    Hypernatural particularly succeeds in its world-building, and there’s a cohesion to the tracks despite their many differences in tempo and style. Spirit Walk joins marimbas with modular pulses, as well as slide guitar and snappy shakers, to bring out some Ry Cooder swagger. Unknown Caller taps into the phone line at the speed of 5G, sending breakbeats down the wire on a cold calling mission to recruit ravers for the next after hours. But there are also tracks nodding to blissed-out comedowns and daydreams. Both Changing Tides and New Dawn slow down time to an introspective moment, a catch of the breath, the witness to a beautiful moment. Album closer Valley harks back to classic rave-era ambient, an avalanche of optimism down a majestic mountainside.

    Hypernatural evokes panoramic vistas and serene countryside, and you could certainly imagine it soundtracking a hike along coastal hills, or a field at a festival. But it also resides beyond the pastoral, finding a home in airport departure lounges and autobahn service stations, until it eventually settles down inside us - even without the headphones on.


    1. Longboat
    2. Stormfront
    3. Changing Tides
    4. Spirit Walk
    5. Unknown Caller
    6. New Dawn
    7. Valley

    Hard-edged sound design and brutalist soundscapes are what characterize this new one on LIES. ADMX-71 - the industrial side project of Adam X - contributing a fierce and uncompromising collection of tracks of the Ron Morelli's cult label.

    With a career that dates right back to 1990, you'd expect ADMX, real name Adam Mitchell, to know his way around the noise boxes. Exemplified brilliantly here is a real control of aggression - these tracks kick like a mule but the focus and intricacies are rich and rife. Tech heads are gonna be in awe of some of the sounds and textures conjured up, but jaws will drop further when witnessing the level of manipulation and control the producer inflicts onto the elements.

    Demonstrating poise when needed, destructive tendencies are nurtured throughout "The Aging Process" which shifts tectonically through a variety of dystopian moods and cataclysmic flavours. Nothing is left disregarded though, every movement, every sounds is there to do a purpose. Like a highly efficient demolition team who only bring the right tools for the job.

    It's a quintessentially brilliant addition to the LIES catalogue and another highly credible project from this long serving US veteran. 


    Side 1
    1. Speaking Via Telepathy (4:47)
    2. Sensor-Tised (5:57)
    3. Walking Through Walls (5:39)
    Side 2
    1. They've Instilled Fear In Us (6:15)
    2. Catch Me If You Can (5:14)
    Side 3
    1. Atlantis Rising (5:23)
    2. Leading The Way (6:10)
    Side 4
    1. Dormant DNA Activation (6:39)
    2. The Code Decipher (6:26)

    Inimate British pop for fans of Spike, The Cleaners From Venus, Felt, Durutti Column, Black Ark Studios and Aladdin. Charming lost tapes from the early ‘80s, treasured only by family members until now.

    "Jim and I met at university in Liverpool in nineteen seventy-five and immediately began making music together. We both had rooms in the same big Victorian house in the centre of town and our evenings were spent hanging out in the nightclubs of Toxteth, like Dutch Eddie's where the DJ played Trinidadian music all night long.

    Liverpool has always been somewhere with its own distinctive culture, poetry, and music. In the nineteen seventies it was absolutely magical. The city was still bathed in the afterglow of the Beatles and there was a kind of creative anarchy about the place. There was this band called Death Kit who used to put on multi-media events with people in fancy dress and random bits of theatre. We'd turn up completely out of our heads and it felt like we were deconstructing ourselves as individuals.

    After we left college, Jim began living in Cambridge and I returned to London where I'd grown up, but our musical relationship continued. We knew people who were making commercial sounds and having success with them but that wasn't what we wanted to do. We performed occasionally, albeit very erratically, mostly as a duo but sometimes with other musicians.

    What we were really interested in was musical exploration. Jim built a studio in his back garden, bought some multi-track recording equipment, and began experimenting. We wanted to produce something that was just for ourselves. We were undoubtedly very naïve but naivety and innocence were hallmarks of that time.

    In my childhood, I'd been fascinated with the story of Aladdin. Now that fascination began to be reflected in the music we were making. Here was a story about a boy who transforms his world and enters the magical realm. That seemed to be exactly what was happening to me. For all sorts of reasons, I hadn't particularly enjoyed my childhood but now I had managed to step out of the everyday reality, to find a place where I belonged and where I had a kind of power.

    The name we used for the band came from a song recorded in 1949 by a singer called Mel Torme. There's a line in that song that goes, "Careless Hands don't care when dreams slip through." That seemed appropriate since dreams were part of the territory we were exploring.

    I had got married immediately after leaving college and by now I had a daughter who was afraid to go to sleep at night. She wanted me to be present in her dreams with her. That became the inspiration for a period during which Jim and I tried to recreate the shifting landscape of the night-time imagination.

    Unfortunately, the choice of name turned out to be horribly prophetic when in a freak accident Jim fell into a lake and was drowned. It seemed to me that for some time, he had not been paying enough attention to his own life. So I wasn't exactly surprised when I heard the news but I was completely devastated. After Jim's death, I put away his guitar and never played again. I went on to make a career as a novelist.

    Most of the recordings we produced were lost over the years. A bunch of master tapes was accidentally thrown into a dumpster and others were left in the attic of a house I lived in at some time during the nineteen nineties. This album has been pieced together from fragments that somehow survived the cull."

    - Brian Keaney November 2020


    Matt says: Following on from the AMAZING The Bernhardts EP, Smiling C uncover more heartfelt, earnest, DIY wave and indie from the North of England.


    Seeing Double
    New Lamps For Old
    Just Like Strangers
    On The Bridge
    Face In The Mirror
    Dream My Dream
    Looking For A Secret

    Back in stock Cover of Discovery - 2021 Repress by Daft Punk.

    Daft Punk

    Discovery - 2021 Repress

      "Discovery" was originally released in 2001, five years after those Daft Punks blew us all away with "Homework" and the world was a very different place. "Homework" had been the shot of adrenaline that club culture needed, prompting the golden age of filter house, with a legion of imitators following their lead. But the French duo hadn't spent the interim resting on their laurels, instead they'd dug deep into their record collections, exploring the productions of Thomas' father (Daniel Vangarde, who hit the charts with Ottowan's "D.I.S.C.O.") and honing their songwriting skills. They'd also spent a fair bit of time in the workshop making two very snazzy robot costumes which have become their uniform ever since. And when they were good and ready, they unleashed "Discovery" (or Disco Very) on the world. Opening with the massive hands in the air "One More Time", the album soon heads into a sampledelic melting pot of 70s disco grooves, reinterpreting the likes of Edwin Birdsong, Cerrone, Sister Sledge, George Duke, Tavares and Barry Manilow!!! This time around though, they'd taken a step back from the dancefloor, instead creating a pop gem that'd work in a club, on the radio, in an armchair or  anywhere really, that even contained proper songs. Perfect in its conception and execution this was the album that turned them from house music's golden boys to global megastars, and rightly so.


      Side A
      1. One More Time
      2. Aerodynamic
      3. Digital Love
      Side B
      1. Harder Better Faster Stronger
      2. Crescendolls
      3. Nightvision
      4. Superhereos
      Side C
      1. High Life
      2. Something About Us
      3. Voyager
      4. Veridis Quo
      Side D
      1. Short Circuit
      2. Face To Face
      3. Too Long

      Back in stock Cover of Hold On To Your Dreams : Arthur Russell And The Downtown Music Scene, 1973-1992 by Tim Lawrence.

      Tim Lawrence

      Hold On To Your Dreams : Arthur Russell And The Downtown Music Scene, 1973-1992

        Hold On to Your Dreams is the first biography of the musician and composer Arthur Russell, one of the most important but least known contributors to New York's downtown music scene during the 1970s and 1980s. With the exception of a few dance recordings, including "Is It All Over My Face?" and "Go Bang! #5", Russell's pioneering music was largely forgotten until 2004, when the posthumous release of two albums brought new attention to the artist. This revival of interest gained momentum with the issue of additional albums and the documentary film Wild Combination.

        Based on interviews with more than seventy of his collaborators, family members, and friends, Hold On to Your Dreams provides vital new information about this singular, eccentric musician and his role in the boundary-breaking downtown music scene. Tim Lawrence traces Russell's odyssey from his hometown of Oskaloosa, Iowa, to countercultural San Francisco, and eventually to New York, where he lived from 1973 until his death from AIDS-related complications in 1992. Resisting definition while dreaming of commercial success, Russell wrote and performed new wave and disco as well as quirky rock, twisted folk, voice-cello dub, and hip-hop-inflected pop.

        "He was way ahead of other people in understanding that the walls between concert music and popular music and avant-garde music were illusory," comments the composer Philip Glass. "He lived in a world in which those walls weren't there." Lawrence follows Russell across musical genres and through such vital downtown music spaces as the Kitchen, the Loft, the Gallery, the Paradise Garage, and the Experimental Intermedia Foundation. Along the way, he captures Russell's openness to sound, his commitment to collaboration, and his uncompromising idealism.

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