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Cover of The Complete Lansdowne Recordings, 1965-1969 by Don Rendell And Ian Carr Quintet.

Don Rendell And Ian Carr Quintet

The Complete Lansdowne Recordings, 1965-1969

Jazzman

After an epic licensing odyssey that's taken us almost 20 years, we're finally able to announce the 5LP boxset release of the first ever official re-issue of all five of the iconic Lansdowne recording sessions by the legendary UK jazz combo, the Don Rendell/Ian Carr Quintet.
The five albums; Shades Of Blues (1965), Dusk Fire (1966), Phase III (1968), Change Is (1969) and Live (1969), have reached almost mythical status in the collector's world. Regarded as holy grail artefacts for even the seasoned aficionado, the collective second hand market value comes to an astonishing £6000.
Many have tried - and failed - to reissue these albums by legitimate means. However, two decades since our initial approach, Universal Music has gone to great lengths to research their vast archives, and we have finally managed to succeed.
The complete Don Rendell & Ian Carr Lansdowne recording sessions have now undergone a full and unprecedented boxset reissue. We located and acquired the original analogue master tapes from the Universal vaults and created masters at Abbey Road Studios to produce audiophile quality 180g pressings replete with replica artwork - shape, design, and even paper stock. No stone has been left unturned to deliver this absolute labour of love to the highest possible standard! The enclosed booklet contains never before seen photographs, interviews with the remaining living band members and liner notes from BBC Radio 3 presenter and award-winning jazz writer Alyn Shipton.
The band played together for seven years and during this fruitful time they made a plethora of deeply melodic, post-bop British jazz compositions that later on took influences from Indo and more spiritually guided jazz. Produced by the influential Denis Preston and recorded at his Lansdowne Studios in London, the band was primarily made up of saxophonist Don Rendell, trumpeter/composer Ian Carr, and pianist/composer Michael Garrick. This is UK jazz at its absolute finest, and the quality of our box set pays testament to that.

FORMAT INFORMATION

5xLP Info: Limited edition boxset

FREE SHIPPING This item has FREE UK shipping!

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Cover of Unusual Sounds by Various Artists.

Various Artists

Unusual Sounds

Anthology

    In the heyday of low-budget television and scrappy genre filmmaking, producers who needed a soundtrack for their commercial entertainments could reach for a selection of library music: LPs of stock recordings whose contents fit any mood required. Though at the time, the use of such records was mostly a cost-cutting manoeuvre for productions that couldn’t afford to hire their own composer, the industry soon took on its own life: library publishers became major financial successes, and much of the work they released was truly extraordinary. In fact, many of these anonymous or pseudonymous scores-on-demand were crafted by the some of the greatest musical minds of the late 20th century—expert musicians and innovative composers who revelled in the freedoms offered, paradoxically, by this most corporate of fields.

    Unusual Sounds is a deep dive into a musical universe that has, until now, been accessible only to producers and record collectors; a celebration of this strange industry and an examination of its unique place at the nexus of art and commerce. The perfect companion to the David Hollander curated book Unusual Sounds: The Hidden History of Library Music (out now on Anthology Editions), these 20 tracks, encapsulate the niche and fascinating subculture of library music. Genres were spliced, conventions dispensed with, and oftentimes hybrid music of astonishing complexity was produced. Elements of rock, jazz, soul, even twentieth-century avant-garde composition were all utilized, and no stone was left unturned. As a result, some of the best library music defies all categorization, reflecting the individualistic quirks and artistry of the various musicians who made it. This compilation includes compositions by Brainticket founder Joel Vandroogenbroeck, KPM Allstars John Cameron and Keith Mansfield, Montenegrin-born composer Janko Nilović, and the Italian film composer Stefano Torossi amongst others. David Hollander is a producer, music supervisor, writer and collector living in Texas. A lifelong record collector, his library music collection is considered by many to be one of the finest of its kind in the world.

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    Cover of Breathe by Fredfades & Ivan Ave.

    Fredfades & Ivan Ave

    Breathe

    KingUnderground

    2nd Reissue
    Fredfades & Ivan Ave's debut release
    This time on black vinyl
    300 copies
    For fans of J Dilla, MNDSGN, Madlib, Yogisoul

    Contains 17 tracks produced by Fredfades using the SP-1200 and MPC 2000XL. The A-side is all vocal tracks by the Norwegian lyrical genius Ivan Ave who is widely known for his projects with MNDSGN (Stones Throw). The B-side is a mesh of Fredfades instrumentals.

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    Cover of The Expanding Universe - Reissue by Laurie Spiegel.

    Laurie Spiegel

    The Expanding Universe - Reissue

    Unseen Worlds

      The Expanding Universe is the 1980 debut album by computer music pioneer Laurie Spiegel. The original album is reissued here as a massively expanded 3LP/2CD set, all four original album tracks plus an additional 15 tracks from the same time period, nearly all previously unreleased and many making their first appearance on vinyl in this brand new edition. Since this album’s first reissue in 2012, it has gone on to be widely established as a classic of 20th century electronic music. Some of the well-loved works included in this set are "Patchwork", the "Appalachian Grove" series, “East River Dawn” and "Kepler's Harmony of the Worlds", which was included on the Golden Record launched on board the Voyager spacecraft. The pieces comprising The Expanding Universe combine slowly evolving textures with the emotional richness of intricate counterpoint, harmony, and complex rhythms (John Fahey and J. S. Bach are both cited as major influences in the original cover's notes), all built of electronic sounds using the GROOVE system at Bell Laboratories during the 1970s.

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      Cover of Hated: 2008 – 2011 by The Men.

      The Men

      Hated: 2008 – 2011

      Sacred Bones

        NYC’s The Men have made a name for themselves as wayfaring musicians, constantly evolving and eluding their listeners. Before they were genre-hopping through country, post-punk, noise rock, and more, they were applying that experimental nature within the more confined space of punk. Within that genre they were wildly adventurous, playing noise shows, hardcore shows, rock shows, and switching up the instrumentation as they saw fit, while always operating within a general punk ethos. Their first demo was a hand-dubbed and spray-painted run of 32 copies, half of which worked, and their first shows were at New York dives like Tommy’s Tavern, Matchless, and Don Pedro (all of which have been shut down).

        That hand-dubbed demo kicked off a furious run of creative output from 2008 to 2011, much of which is now collected on the new compilation, Hated. The songs on Hated are pulled from a variety of sources — the debut demo tape, a split with Nomos, a 7", a 12" EP, and a slew of unreleased demos, outtakes, and live recordings. These songs show the huge range and potential of a band still in its infancy, when they were just beginning to blaze the path they’re still on to this day.

        The core value of the original incarnation of The Men was work ethic. The band became a lifestyle for original members Chris Hansell, Mark Perro, and Nick Chiericozzi, with Hansell even living off unemployment checks to dedicate his time to the project. The three of them would jam and obsess over music together over all else.

        For those who were at those early NYC shows, Hated will be a welcome reminder of a glorious time in the underground. For those who weren’t, it’s a chance to experience The Men as the locals did, and to get a glimpse of a Brooklyn DIY scene that doesn’t really exist anymore, at least not in the same way. And for diehard fans of the band, it’s a reminder of how much they’ve evolved, and how much more evolution they still have to go.


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        Cover of DJ Kicks - Robert Hood by Various Artists.

        Various Artists

        DJ Kicks - Robert Hood

        K7

          It’s hard to talk about techno without Robert Hood. The Motor City mainstay was a founding member of the pivotal Underground Resistance with Mad Mike Banks and Jeff Mills, and then went on to lay down a blueprint for minimal techno which continues to make an impact to this day. As Floorplan, of course, he veers into more funky and melodic house and techno, often with a gospel overtone that lead to rapturous receptions on dance floors around the world.

          But the techno he makes as Robert Hood is what he is best known for. It has come on his own M Plant label, as well as vital outlets like Tresor, Peacefrog and Dekmantel, where 2017’s Paradygm Shift album proved that, 25 years after first starting out, he is still a force unto himself. The record was a return to the roots of his definitive Minimal Nation LP in 1994, and was filled with the sort of expert melodic loops, scintillating drums and hypnotic sense of repetition
          that only a few can master: making such simple yet effective music is a skill that Hood has made all his own.

          His DJ-Kicks mix proves that once more: it is a techno mix, pure and simple. It exudes the trademark machine warmth and muscular sense of groove that makes Hood’s style so infectious. Most tracks are from the last few years and come from a range of mainly European producers, but the result is pure Robert Hood.

          The perennial futurist wastes no time in getting down to business: after a brief buzzing synth line sounds like a spacecraft warming up for take off, the rubbery, relentless drums arrive and remain rooted to the floor for seventy minutes. Despite his famously linear approach, the tension between tracks, suspenseful breakdowns and sci-fi sense of melody throughout keeps you engaged: there is just enough light in the dark, sufficient colour between the shadows and constant sense of pressure to keep you utterly engaged from start to finish. Robert Hood is synonymous with techno, and his entry into the DJ-Kicks series shows exactly why.


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          Cover of Rebirth by Farai.

          Farai

          Rebirth

          Big Dada

            Farai’s debut album (a collaborative project between London based vocalist Farai and artist, musician & producer TONE) documents a process of recovery. For the eponymous vocalist of the project, Farai, music has always been personal. Born in Zimbabwe and raised in London, her lyrics are coloured by the different cities she’s lived in, and how that series of different homes has shaped her perspective. ‘Rebirth’ weaves together South East London landmarks, the bare-bones ethos of post-punk, and the experience of being part of the African diaspora. The record is the biggest stepping stone yet in a journey which Farai started in 2012. She hit a period of feeling burnt out, and started attending weekly music therapy classes, where she started writing poetry and music for the first time. It charted a new direction, one that’s brought her to the exciting point where she now stands.

            The album follows their debut EP, ‘Kisswell’, released through NON Worldwide in 2017, the label-cum-collective co-founded by Chino Amobi, Angel-Ho and Nkisi. It attracted support from Dazed, CRACK, The Fader and Pitchfork, the latter praising their “rethinking of post-punk and new wave.” Additional support has come from Annie Mac on Radio 1 and a variety of shows on NTS. They’ve performed on Boiler Room and at the Tate, the latter as part of a special one-off connected to their 2017 Soul of a Nation exhibition.

            Farai’s partner in creating both ‘Kisswell’ and ‘Rebirth’ has been TONE, a producer she’s worked with from the early on. They’ve carved out an alternative vision of pop together, distinctive and many-sided at once, poised between punk directness and flourishes of soulful warmth. TONE’s heritage is Afro-Guyanese and Welsh, and their shared pan-African heritage was one of the things which drew them together. He spent part of his childhood in Germany before moving to the UK when he was nine. He visited the Caribbean growing up, where he was introduced to his grandmother’s roots as a performer, hearing soca, dancehall and dub.

            The album’s opener sets the tone with a short news snippet, situating the album in London: the pair’s common ground and the city where the album was born. ‘Punk Champagne’ nods to a homemade cocktail TONE mentioned to Farai, made of buckfast and prosecco, and is characteristically stripped back, composed of simply drums, vocals and synths. On ‘This Is England’, they adopt a looser structure still, an ominous synth line framing Farai’s reflections on work and hardship in contemporary Britain.

            Farai was born in Zimbabwe’s capital city, Harare, where she lived until she was 12. (Her name means “joy” in Shona, the most widely spoken of Zimbabwe’s 16 official languages.) She grew up listening to TLC, Mase and Notorious B.I.G., and at one time aspired to enter into Zimbabwe’s version of The X Factor. Her mother moved to the UK to work as a nurse, and when political unrest struck Zimbabwe around 2002, Farai followed, moving to live with her in Bermondsey. At school she studied art, including a three year stint at a college in Kentish Town, where one of her teachers had worked for John Galliano. She moved to Manchester to study fashion at university, but dropped out, finding the course overly business-focused. Instead, she moved to China for a year, and when she returned to London, became immersed in fashion and art circles, spending a lot of her time at socialite-heavy parties.

            After a couple of years, this lifestyle caught up with her and she hit a wall. Feeling exhausted and with her mental health in a bad state, she started attending music therapy classes, where she began writing lyrics and ideas. She took a new direction: she moved to Lewisham, in South East London, and started promoting music shows. She became a regular at the Shop Floor Sessions, a series of open jam nights in Elephant & Castle, started in a shop that had been squatted, and which grew into a collective of like-minded musicians.

            It was those sessions that led to her connection with TONE, who discovered a video Farai had posted of one of her appearances there. He got in touch, and they met in Gillett Square, in Dalston, where TONE found Farai dressed in a fur coat and sunglasses, playing a game of giant chess with the locals. They quickly struck up a creative dynamic, where Farai would read a poem, and TONE would work out hip-hop drum chops to accompany it. The first track they recorded, that same day five years ago, was ‘Love Disease,’ where police sirens can be heard outside TONE’s house. “I set the mic up and a guitar,” TONE recalls, “and we did it first go with the windows open.”

            It was a shared learning experience: for Farai, learning how to adapt her spoken word poems into verse-and-chorus structures, and for TONE, learning how to arrange her poetry into song structures from a new vantage point. Later on, TONE having learnt his production skills from years of playing in bands, session playing for numerous artists and working on his own productions eventually took the raw sessions which were recorded with just guitar and drum loops and re-recorded all the drum parts for ‘Rebirth’ with Marc Pell from Micachu & The Shapes, who is currently Mount Kimbie's live drummer and performs under the alias Suitman Jungle. He also applied his love of electronic instruments into the recordings with his collection of 80s and early 90s analogue synthesisers in a studio he shares with Mica Levi aka Micachu. Much of the album was made with a sense of urgency, like ‘National Gangsters’, which was recorded in TONE's DIY studio, with neighbours in close vicinity, where they were conscious of the noise. They finished it after the second take, receiving angry complaints right afterwards. The track has a raw feel, where Farai reflects on heroin in London’s streets, and drums crash into tinny arpeggios, undergirded by a bloated synth bassline. It’s in the spirit of the album as a whole; for Farai, it’s about the act of musical expression as much as it’s about the music itself.



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            Cover of Ghost Stories For Christmas by Aidan Moffat & RM Hubbert.

            Aidan Moffat & RM Hubbert

            Ghost Stories For Christmas

            Rock Action

              It’s the most wonderful time of the year! And in the old tradition, Aidan Moffat & RM Hubbert invite you to gather round the fire for Ghost Stories for Christmas.

              The album began with an idea for a song – forthcoming single A Ghost Story for Christmas. Originally intended as a one-off, seasonal release, it proved such fun to write that soon they had enough songs for an EP. “Then, on a nice, sunny, summer morning, I phoned Hubby and suggested we just do a whole album,” says Moffat. The album also features their cover of Yazoo’s synth classic Only You, already a popular number in their live set and the cover versions is topped off with a sombre rendition of Mud’s 1974 hit, Lonely This Christmas.

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              Cover of Love & Work: The Lioness Sessions by Songs: Ohia.

              Songs: Ohia

              Love & Work: The Lioness Sessions

              Secretly Canadian

                The Lioness is the first Jason Molina project to fully turn away from the battlefield folk and deconstructed Americana of earlier Songs: Ohia recordings. At the dawn of the 21st century, the album felt modern. It aligned Molina with a new set of peers — Low, Gastr del Sol, Red House Painters and, most importantly, the influential Scottish band Arab Strap, whose producer and members were crucial in the creation of The Lioness. The avantgarde tones and arrangements of Arab Strap are absorbed here into Molina’s songwriting to create what would become, for many acolytes, the archetypal Songs: Ohia sound. Love & Work: The Lioness Sessions, the box set reissue, will serve as the seminal log of the era, complete with lost songs, photos, drawings, and essays from those who knew Molina best.

                We know Molina was diligent in both love and work. He treated songcraft like a job at the mill, and his approach to romance was not so different. We know that when he fell in love with his wife, he was dutiful in his adoration. There were strings of love letters and poetic gesture. Included in this edition are replicated examples of this relentless love — an envelope with a letter from Molina, a photograph of Molina and his to-be wife, a postcard, a Two of Hearts playing card, and a personal check for one million kisses. Some of these items were gifts he would send to his new love from the road; others, like the 2 of Hearts, were totems he’d carry with him around this time as a symbol for his burgeoning love.

                And so, the head-over-heels album that is The Lioness has its workman counterpart. Nearly another album’s worth of material was recorded in Scotland during the album sessions. While similar in tone and structure, the songs seem to deal in the grit and dirt of being. These are songs for aching muscles getting soothed in the third-shift pub. But they’re also examples of Molina’s diligence as he constructs what would be the essential elements of The Lioness. In addition to these outtakes, we also have a 4-track session made weeks earlier in London with friend James Tugwell. Comprised of primarily guitar, hand drums and voice, these songs are raw experiments that mostly serve to illustrate Molina’s well of words and ideas. But then, there is the devastating Sacred Harp hymn “Wondrous Love.” While he may have had his new love in mind, one can’t help but think of Molina’s legacy as he softly warbles “Into eternity I will sing/Into eternity I will sing.” You don’t have to try too hard to mythologize Molina. He did all the work for you.

                FORMAT INFORMATION

                2xDeluxe LP Info: Translucent purple vinyl, limited to 3000 copies worldwide.

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                Cover of Tomb by Angelo De Augustine.

                Angelo De Augustine

                Tomb

                Asthmatic Kitty

                  A quiet heartache threads through Tomb. It’s a universal feeling, the kind that piles up over the years and yearns for resolution. The 12 songs came together quickly, out of necessity following his first true heartbreak around Christmas 2017 -- and while Tomb was born from this breakup, the album expanded to explore years of loss and disappointment. Throughout, De Augustine sings of his first love (“Tomb”), attempts to reconcile possible past mistakes (“You Needed Love, I Needed You”), and reckoning with how personal and familial history impacts present and future relationships (“Kaitlin,” “Bird Has Flown”). Like the best albums about heartbreak, Tomb transforms pain into beauty. “This album is at its core a prayer for hope and clarity, and a prayer for love,” he says.

                  Ultimately Tomb reflects a beginning for De Augustine -- both emotionally and in his career. It’s a motion towards positivity, addressing lost love, the worthwhile cost of honesty, and the ramifications of regret. In the end, Tomb isn’t about burying or hiding something away, it’s about opening the seal and letting something new emerge. The album’s title reveals these sentiments: “Throughout our lives we bury many dead things in our hearts and minds,” he says. “There they go to rest and hopefully are reborn as something beautiful for the world to behold.”



                  FORMAT INFORMATION

                  Coloured LP Info: Red vinyl.

                  Coloured LP 2 Info: Yellow vinyl.

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                  Cover of Tallies by Tallies.

                  Tallies

                  Tallies

                  Fear Of Missing Out

                    Coming out of Toronto, Canada this Indie Pop band just recently formed in 2018 by lead singer and guitarist Sarah Cogan and guitarist Dylan Frankland. With Cian O’Neill on drums and Stephen Pitman on bass. Their self-titled debut album is being released in Janaury 2019.

                    FORMAT INFORMATION

                    Coloured LP Info: Limited edition blue vinyl.

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                    Cover of All by Yann Tiersen.

                    Yann Tiersen

                    All

                    Mute

                      ALLis the first album to be recorded at Tiersen’s new studio, venue and community centre, The Eskal, built in an abandoned discotheque on the island of Ushant, a small island positioned in the Celtic sea between Brittany and Cornwall, Tiersen’s home for the past 10 years. The album, mixed and co-produced by Gareth Jones, continues the themes of environment and a connection to nature first explored on EUSA, incorporating recordings from outside of Brittany, such as the redwood forests of California as well as field recordings from Tempelhof airport in Berlin (on ‘Tempelhof’), plus guest vocalists.

                      FORMAT INFORMATION

                      2xLP Info: Heavyweight vinyl, Side D etched.

                      2xLP includes MP3 Download Code.

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                      Cover of Total: From Joy Division To New Order by Joy Division / New Order.

                      Joy Division / New Order

                      Total: From Joy Division To New Order

                      Rhino

                      Despite an incredibly short recording career Joy Division remarkably have stood the test of time in terms of influential British bands. Their dark, brooding sound has inspired more artists than could be listed and their continued adoration today is testament to the forward thinking yet inward projected music and lyricism of a young band on the brink of success yet unsure of how to deal with it. With the sad passing of Ian Curtis, from the ashes rose New Order; the same core band but with a new fresh approach to their chosen career path. Loud, colourful and full of life.

                      ‘Total’ is a chronological look at the two bands most important tracks, covering Joy Division staples such as 'Love Will Tear Us Apart', and the resonating 'Atmosphere'. New Order bring to the table 'Blue Monday', 'Bizarre Love Triangle' and 'True Faith'. Also included is a brand new never released New Order track ‘Hellbent’.

                      FORMAT INFORMATION

                      2xLtd LP Info: Originally released in June 2011 on CD, available on vinyl for the very first time on 30th November 2018.
                      Mastered for vinyl by Frank Arkwright from his 2011 remasters.

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                      Cover of Soul Jazz Records Presents - Studio One: Lovers Rock by Various Artists.

                      Various Artists

                      Soul Jazz Records Presents - Studio One: Lovers Rock

                      Soul Jazz Records

                        Soul Jazz Records’ new Studio One album is a fantastic selection featuring all-star legendary Studio One vocalists - Alton Ellis, Marcia Griffiths, The Heptones, Horace Andy, Freddie McGregor, Sugar Minott - alongside a host of classic and super-rare Lovers Rock cuts, all of which Clement Dodd recorded at the Brentford Road studio.

                        Lovers rock brought together many elements and here you will find sweet harmonies, late 1960s rocksteady, 1970s soul covers, disco mixes, recuts and new rhythms, which all fit together in a timeless twilight of love and harmony - as if lovers silhouetted by a Kingston sunset.

                        Here you will find stone-cold classic Studio One tunes - Marcia Griffiths ‘Truly’, Horace Andy’s ‘I’ll Be Gone’, superrare cuts like Carlton And The Shoes’ killer 70s versions of ‘Never Give Your Heart Away’ and ‘Let Me Love You’ (vocal cut to Jackie Mittoo’s mighty Wall Street), The Invaders’ sweet lovers rocksteady bomb ‘Sweet Soul Rocking’ (currently for sale at £2,500 on certain online secondhand sites) and many more.

                        This new album comes with sleevenotes by Lloyd Bradley, the acclaimed author of ‘Bass Culture’, ‘Sounds Like London’ and ‘Reggae: The Story Of Jamaican Music’.

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                        Cover of Themes For An Imaginary Film by Symmetry.

                        Symmetry

                        Themes For An Imaginary Film

                        Italians Do It Better

                          The neon lights that decorate a dive bar’s window cast a vivid reflection in rainwater on the pavement outside, as steam rises from deep beneath the ground. A slow pan across the scene, past alleys cast in shadow, twilit corners & glass doorways streaked with the mist of humid bodies fuming inside: the camera catches the denizens of an unnamed city, studying faces heavy with secrets too sad to bear. Cut to the motorway. Sleek cars barrel through the night. Sirens moan. Engines rev. You’re behind the wheel, over the edge as the credits roll.

                          This film does not exist — but the soundtrack does. Symmetry is Johnny Jewel & Nat Walker, & Themes For an Imaginary Film is their two-hour cinematic opus pokus, a sprawling score for a movie that screens only in your mind. A “conceptual tangent between Glass Candy, Chromatics, Mirage, & Desire’s more abstract sides,” as Jewel himself describes the project, Symmetry is a vigorous, electric, restless exploration of ideas on the bleeding edge of instrumental sound. Analog synthesizers roll and crest, drums collide, keys cascade clear & crystalline. These themes evoke the phantasmic images that inspired them: urgent and ethereal, sinister & romantic. It’s a neo-noir epic of pink fog & femme fatales hidden behind rain drenched windshields after dark.

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                          Cover of Vivacity by Lake People.

                          Lake People

                          Vivacity

                          Mule Musiq

                            Lake People is back after excellent album phase transition.

                            Four different style of first class house tunes.


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                            Cover of The Conversation – Original Movie Soundtrack by David Shire.

                            David Shire

                            The Conversation – Original Movie Soundtrack

                            Trunk

                              This is the first time the complete score to The Conversation has been released on vinyl. The film itself was originally released in 1974 and a 7” demo of the theme was sent out as promotional material by Paramount (PAA-0305), but a USA stock edition was never issued. In Japan the same music was also issued on a 7” at about the same time (JET-2273), with a picture sleeve, but until now nothing else has ever been pressed on vinyl.

                              Jonny Trunk’s little obsession with this music began after I’d caught the film, late night, sometime in the mid 1990s. Musically it’s an exceptional example of the “new minimalism” in film music of the period, marking a departure (for some) from big scores to smaller, more economic ensemble sounds.

                              The film was written, produced and directed by Francis Ford Coppola and is still a thrilling journey into sound, mind and murder. Heavily influenced by Antonioni’s Blow-Up (and not, as some thought, by Watergate), Coppola wanted to fuse the concept of Blow-Up with “the world of audio surveillance”. The story centres around Harry Caul (Gene Hackman), a mac-wearing professional wire-tapper and clandestine bugger who gets unusually consumed by a conversation he’s been paid to record. Caul is a loner, an obsessive-compulsive character with numerous neuroses that play out brilliantly throughout the film. And as he slowly pieces together the conversation fragments and forms his own story around it, his world falls apart.

                              Sonically this movie – all about sound - is groundbreaking in many ways, with actual “sound design” provided by the legendary Walter Murch - the man who actually invented the term in the first place.

                              For the music, Coppola wisely chose a young David Shire, his brother in law. Shire’s deceptively simple piano theme (composed because of no budget for big orchestra) is one of tragic beauty, brilliantly capturing Caul’s loneliness, his slightly disturbed nature and this trip into darkness. The melody has both sweet and sour tones, feeling a little like a slow ragtime, which both develops and retreats throughout the film; there are even trips into avant-garde territory with electro-acoustic flourishes and concrète. The solo, agitated figure of Caul, wearing his distinctive transparent mac, is made all the more raw and poignant by the score - the sparse and curiously emotional compositions are unlike any others I can think of from the period.

                              The soundtrack for The Conversation proved to be a major break for Shire, his career really taking off from this musical point. His next score was to be the underground classic Taking Of Pelham 123, followed up later ironically by All The Presidents Men - a thriller about the Watergate scandal.

                              The Conversation went on to win several awards and nominations, and has become a classic of the “New Hollywood” movement. Hopefully now this music may become part of the renewed interest in old film soundtracks.


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                              Cover of Fair Lady London by Trevor Moss & Hannah-Lou.

                              Trevor Moss & Hannah-Lou

                              Fair Lady London

                              Maiden Voyage

                                Three years since their last album, following the birth of their son, and over a decade since the release of their debut as the song writing partnership behind hotly-tipped southeast London indie-folk pioneers Indigo Moss, the duo have produced yet another beautifully crafted and delicately delivered gem that will delight fans old and new.

                                The duo, now residents of Hastings, have earned a reputation for doing things slightly differently over the years. Having toured in tin tabernacle churches, village halls, workingman’s clubs and by canal boat, not to mention quitting a buzz band on the brink of stardom, they chose a different route entirely. Leaving the bright lights of London behind them in favour of a more DIY approach away from the city, Fair Lady London reflects both a change in environment and mentality.

                                Likewise, the recording is anything but simple. When we say ‘studio album’ it couldn’t be that straightforward. Having worked with legendary producer Ethan Johns on their last outing Expatriot (2015) Fair Lady London sees them return to the Tascam 246 4-track cassette recorder on which they recorded their 2012 offering La Ferme De Fontenaille in a barn in the Loire, however this time finding a quiet corner of a castle in the rolling valleys of East Sussex.

                                Former members of Danny And The Champions of the World, the album sees them joining forces with Danny George Wilson once again, signing to his and Del Day’s Maiden Voyage Recording Co. label. This follows album releases on such distinctive labels as Heavenly and Loose.

                                Fair Lady London marks the latest chapter in the journey of two of the UK's brightest stars. ‘We always said we’d do five albums as a duo, like Simon and Garfunkel'. laughs Hannah-Lou. 'Maybe this is the last one, but we always say that.'


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                                Cover of Hot Shots II by The Beta Band.

                                The Beta Band

                                Hot Shots II

                                Because Music

                                  Arguably one of the most acclaimed and loved bands of the past 20 years, by both fans and their musical peers alike, The Beta Band formed in St. Andrews, Scotland, in 1996. Innovative and singular, their unique musical and aesthetic approach to everything they did set them far apart from their musical contemporaries. Together for a relatively short period of time, the three albums and three EPs they released between 1996 and 2004 would nonetheless help define them as one of the most exciting and cherished bands of their generation.

                                  After a short hiatus the band gradually gravitated back into the studio and recruited noted UK producer Colin Emmanuel, aka C-Swing, to oversee the process of “Hot Shots II” which was released in mid 2001. Notoriously the band had intended to release "Squares", which featured a sample from the Günter Kallmann Choir's 1970 version of Wallace Collection's "Daydream", as the lead single. However after filming the music video and taking the single to radio it suddenly transpired that another single "Daydream in Blue" by I Monster featuring the sample from Günter Kallmann Choir recording was also to be released at the same time causing the band to release "Broke" instead. Touring extensively and supporting Radiohead in August 2002, they made No. 3 on Q magazine's list of "50 Bands to See Before You Die".


                                  FORMAT INFORMATION

                                  2xColoured LP Info: 2LP+CD limited colored edition in gatefold sleeve. One golden vinyl and one silver vinyl, both with printed inner-sleeves. CD included.

                                  2xLP Info: Regular black vinyl 2LP.

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                                  Cover of Nature Sounds Of The Balearics by Mark Barrott.

                                  Mark Barrott

                                  Nature Sounds Of The Balearics

                                  Running Back Incantations

                                    Nature Sounds of The Balearics is Mark’s debut LP on Running Back Incantations.

                                    Mark Barrott is the man behind International Feel, Roca, Future Loop Foundation, as well as being a founding member of the Balearic boy-band “Talamanca System” alongside Gerd Janson & Lauer.


                                    FORMAT INFORMATION

                                    Ltd LP Info: Gatefold 180 gram vinyl.

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                                    Cover of Recordings 1969-1988 (2018 Remaster) by Ursula Bogner.

                                    Ursula Bogner

                                    Recordings 1969-1988 (2018 Remaster)

                                    Faitiche

                                      Faitiche is ten years old. October 2008 saw the release of Ursula Bogner - Recordings 1969-1988, for which the label was created.

                                      FORMAT INFORMATION

                                      Ltd LP Info: Limited edition, remastered, gatefold vinyl with four bonus tracks and download code to Mark Faitiche's 10th anniversary.

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                                      Cover of Early Studio Recordings by The Telescopes.

                                      The Telescopes

                                      Early Studio Recordings

                                      Bang!

                                        At last! THE TELESCOPES first four EPs are compiled in order to reissue their studio recordings 1989-1990. Not only that but they have been remastered in order to achieve the deserved sound of this legendary British band leading the late 80s and early 90s shoegaze and melodic noise alongside The Jesus And Mary Chain among others.

                                        FORMAT INFORMATION

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

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                                        Cover of Wild Hxmans by Christian Kjellvander.

                                        Christian Kjellvander

                                        Wild Hxmans

                                        Tapete

                                          Through seven raw, compelling songs between folk, blues, Americana and free jazz, this Swedish singer-songwriter speaks to us of farewells and departures, of escape and the sensation of arriving in a new world. In doing so, he crafts a sound which breathes peacefully, pulsating as he surges headlong from intimacy into incredibly dynamic, deep, oppressive darkness. These multifaceted songs are carried by Christian Kjellvander's wondrous voice, with echoes of Leonard Cohen, Neil Young and David Sylvian, yet distinctively his own.

                                          FORMAT INFORMATION

                                          Coloured LP Info: Limited (500 only) colour vinyl version with CD.

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                                          Cover of Brave New World by Hawklords.

                                          Hawklords

                                          Brave New World

                                          Hawklords

                                            The Hawklords open the doors of perception to a 'Brave New World' In celebration of a decade since The Hawklords re-booted for the 21st century in 2008, the band release their seventh consecutive studio album "Hawklords VII: Brave New World". It follows the band's critically acclaimed 2017 album "SIX" which charted in the Official UK Top 40 Rock Chart. Featuring former Hawkwind members Harvey Bainbridge (synths & vocals) and Jerry Richards (guitar & vocals), with Dave Pearce (drums) and Tom Ashurst (bass & vocals), "Brave New World" is an album of soaring transcendence and grinding power.

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                                            Cover of Sounds Of Mirrors by Dhafer Youssef.

                                            Dhafer Youssef

                                            Sounds Of Mirrors

                                            Anteprima

                                              Dhafer Youssef, the great Tunisian Oud player, returns to his traditional roots on his new masterpiece. Together with the Turkish clarinetist Husnu Senlendirici, the Norwegian guitarist Eivind Aarset as well as the Indian tabla player Zakir Hussain. The Sound Of Mirrors is an ode to friendship and fraternity; a fascinating musical work full of meditative beauty, tonal splendour of colour and fascinating harmonies.

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                                              Cover of Negative Capability by Marianne Faithfull.

                                              Marianne Faithfull

                                              Negative Capability

                                              BMG Rights Mgmt France SARL

                                                ‘Negative Capability ’ is Marianne Faithfull’s 21st album and the most emotionally powerful of her 54-year recording career. Facing down arthritis and bolstered by collaborators including Warren Ellis, Nick Cave, Rob Ellis, Ed Harcourt and Mark Lanegan, ‘Negative Capability’ is charged with brutal honesty and autobiographical reflection as she addresses losing old friends, her loneliness living in her adopted city of Paris, and love.
                                                Driven by her supernatural reinterpretative skills, florid lyricism, battle against the pain she lives with, and realised with her stellar group of musicians, ‘Negative Capability’ is Marianne’s unflinchingly honest and relentlessly beautiful late-life masterpiece. The stark emotional heft, exquisitely framed by ornately sensitive musical backdrops can only be likened to the late-life works by Johnny Cash or Leonard Cohen.

                                                Recorded at La Frette studio on the outskirts of Paris, ‘Negative Capability’ is inexorably overshadowed by grief at losing close friends from the ‘60s such as Anita Pallenberg, Martin Stone and Cream album designer Martin Sharp. It’s produced by both Rob Ellis – the PJ Harvey producer who’s been Marianne’s collaborator for five years -and Warren Ellis from Nick Cave and the Bad Seeds. Warren’s violin blesses songs such as ‘Misunderstanding’ and ‘Born To Live’ – her intensely moving eulogy to departed lifelong friend Anita - with the stark but lustrous autumnal beauty that makes the album

                                                The first single ‘The Gypsy Fairie Queen’ – inspired by Shakespeare’s ‘Midsummer Night’s Dream’ – was co-written with Nick Cave and features his vocals and piano playing.


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                                                Cover of Ambivert Tools Volume 4 by Lone.

                                                Lone

                                                Ambivert Tools Volume 4

                                                R&S

                                                Lone delivers the final installment of his stunning "Ambivert Tools" series.

                                                Started in 2017, "Ambivert Tools" gave Lone the chance to step outside the confines of writing music for an album and get back to the basics of crafting tunes primarily for his intoxicating DJ sets. Inspired in no small part by the rich seam of house that he’s been excavating with his fine Magicwire imprint "Ambivert Tools" parts one to three have been stacked with breezy yet rugged house excursions full of his trademark atmospheres, rose-tinted smiley culture matched with melody & harmony. Each one unequivocally his own.

                                                This final transmission again finds Lone in vintage form - "Pulsar" takes inspiration from classic UK techno and IDM from the likes of Stasis and B12. Sharing its DNA with the rolling breaks of "Temples" from vol. 3 but going deeper, in search of that 6am dancefloor feeling.

                                                "Oedo 808" as the title suggests gets busy with some tight 808 drum programming bringing an electro feel into the mix. The rude bassline and glistening electronics only work to to tighten it up further for the dancefloor and take it higher than a straight-up electro blueprint could achieve.

                                                "Blue Moon Tree" rounds things off in style staying true to the DJ tool theme of the series: a killer bassline, crisp drums, gated vocal sample and galvanized stabs are all this one needs to be a staple in the right DJ’s boxes for a long time to come.


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                                                Cover of Local Guide by North Sea Dialect.

                                                North Sea Dialect

                                                Local Guide

                                                Numbers

                                                Debut album from new Scottish producer North Sea Dialect
                                                Reviews confirmed in The Wire, Mixmag amongst others.

                                                The debut release from new Scottish producer North Sea Dialect, Local Guide is a dense musical world made of uneasy ambience, shimmering distortion, subdued rhythm and propulsive melody.

                                                Buried in its soundscapes are the echoes and surrealness of alienated life - expectant youth, distant voices and broken folklore. It’s industrialised music tied together with found sound, adrenaline fuelled synthesis and the depths of late night solitude. Conceived during a move from Glasgow across Scotland and composed in isolation, a blistering sense of reality creeps through the recordings.

                                                Local Guide is accompanied by three videos for the tracks Mossy Cyphol, Subarctic Baltasound and Gloup. The short films are haunted and illuminated by the serenity of rural freedom, the power of the sea, and the collapse of industry.

                                                Watch on YouTube now: http://nmb.rs/nsd-local-guide-yt

                                                North Sea Dialect Instagram: http://smarturl.it/nsd-ig



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                                                Cover of WOD006 by Nite Vision.

                                                Nite Vision

                                                WOD006

                                                Weapons Of Desire

                                                New from Nite Vision who are Nigel Rogers (Perseus Traxx, Northern Powerhouse) and Craig Stainton (Acid Phreex, Mantra, Monofonix, Myriadd) with a slamming techno track plus a wicked remix from Canadian mainman Rennie Foster, pressed on limited edition, hand stamped & numbered one-sided black vinyl housed in a white paper sleeve with a printed insert info sheet.

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                                                Cover of You Tell Me by You Tell Me.

                                                You Tell Me

                                                You Tell Me

                                                Memphis Industries

                                                  You Tell Me is Field Music’s Peter Brewis and Admiral Fallow member Sarah Hayes. As one half of Field Music, Peter Brewis has been honing the craft of pop songwriting for almost fifteen years, whilst Sarah Hayes has been exploring contemporary folk in her solo work, and the world of indie-pop via her band Admiral Fallow. Their debut self-titled album, the last to be recorded at the old Field Music recording HQ, is set to be released in January on Memphis Industries.

                                                  After meeting at a Kate Bush celebration concert, the pair clicked. “I'd been an admirer of Field Music for a good while before meeting Peter at the gig,” Sarah recalls. “So I was pleased to discover he wasn't an insufferable diva, and delighted that he was keen to try working on some music together.” Peter had been “blown away” by Sarah’s voice during a rendition of “This Woman’s Work” and when investigating her solo work heard a lot of parallels to what he was trying to do in Field Music.

                                                  By blending their distinct compositional talents, they’ve created a record that possesses their own clear styles but also a new voice too. With both of them writing songs and lyrics, Peter describes it as “a sort of dual-personal record”. Sonically, the result is a subtly crafted album with a rich and intricate sense of composition, in which strings glide above multi-layered keyboards and percussion, and vocal melodies wrap around one another in snug unison. In many senses it feels like a classic songwriter record - rich in craft, songs, arrangements and vocal interplay - yet it manages to feel stylistically contemporary and void of nostalgia.

                                                  Lyrically, Peter says, “most of the songs seemed to either be about conversations, be conversational or about talking or not talking.” Sarah echoes this: “the subject of communication - talking and listening, guessing and questioning - looms large on this record and in general for me. It's something I think about a lot.” Which makes sense given that this record is fundamentally a musical conversation between two new collaborators and friends, a constant back and forth of new ideas, shared influences and the expunging of inner feelings.

                                                  Whilst the subject matter can occasionally be personal and explores troubled or conflicted conversations around inner turmoil, there’s also a stirring sense of beauty that comes from the record; a feeling of pastures new and moving onto new things rather than being held back by the past. What makes this an even more remarkable musical statement and achievement is that two first-time collaborators were able to channel so much of themselves into a project and create something coherent and poised.

                                                  FORMAT INFORMATION

                                                  Dinked Edition LP Info: Exclusive screen-printed sleeve.
                                                  Signed.
                                                  White vinyl.
                                                  Hand numbered.

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                                                  Cover of Kids See Ghosts by Kid Cudi & Kanye West.

                                                  Kid Cudi & Kanye West

                                                  Kids See Ghosts

                                                  Virgin EMI

                                                    Kanye West and Kid Cudi have unveiled their new collaborative album, Kids Sees Ghosts. The seven-track release has the same minimalist ethos of ye but sounds completely different, featuring more polished, haunting production and some surprising musical samples, as well as features from Pusha T, Ty Dolla $ign, and Yasiin Bey (fka Mos Def).

                                                    Kid Cudi unveiled the album artwork designed by Japanese artist Takashi Murakami. Known for coining the postmodern art movement “Superflat” influenced by the cartoon-like style of manga and anime. Murakami takes inspiration from a traditional Japanese landscape watercolour and converts it into a psychedelic scene for the album's artwork.

                                                    Kids See Ghosts is the third of five new album projects from Kanye West. It follows on from Pusha T's Kanye-produced album DAYTONA and Kanye's eighth solo album ye. Next up: the release of Yeezy-produced albums from hip hop icon Nas and G.O.O.D. Music signee Teyana Taylor (aka the star of Kanye's 'Fade' video).

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                                                    Cover of Dazzle Ships by Orchestral Manouvres In The Dark.

                                                    Orchestral Manouvres In The Dark

                                                    Dazzle Ships

                                                    UMC

                                                      To kick off the start of a year-long 40th anniversary campaign, we are reissuing four of OMD's albums on 180g vinyl. They will all be half speed mastered by Miles Showell at Abbey Road and housed in original packaging.

                                                      Released in 1983, Dazzle Ships is the band's third studio album which reached #5 in the UK chart and features singles 'Genetic Engineering' and 'Telegraph'.

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                                                      Cover of Organisation by Orchestral Manouvres In The Dark.

                                                      Orchestral Manouvres In The Dark

                                                      Organisation

                                                      UMC

                                                        To kick off the start of a year-long 40th anniversary campaign, we are reissuing four of OMD's albums on 180g vinyl. They will all be half speed mastered by Miles Showell at Abbey Road and housed in original packaging.

                                                        Organisation is the band's second studio album which reached #6 in the UK chart and features top 10 single 'Enola Gay'. 

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                                                        Cover of Architecture & Morality by Orchestral Manouvres In The Dark.

                                                        Orchestral Manouvres In The Dark

                                                        Architecture & Morality

                                                        UMC

                                                          To kick off the start of a year-long 40th anniversary campaign, we are reissuing four of OMD's albums on 180g vinyl. They will all be half speed mastered by Miles Showell at Abbey Road and housed in original packaging.

                                                          Architecture & Morality is the band's third studio album which reached #3 in the UK chart and features top 5 singles 'Souvenir', 'Joan of Arc' and 'Maid of Orleans'. 

                                                          STAFF COMMENTS

                                                          Andy says: Beautiful album which includes three stunning singles in Joan Of Arc, Maid of Orleans and of course,Souvenir.

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                                                          Cover of Orchestral Manouvres In The Dark by Orchestral Manouvres In The Dark.

                                                          Orchestral Manouvres In The Dark

                                                          Orchestral Manouvres In The Dark

                                                          UMC

                                                            To kick off the start of a year-long 40th anniversary campaign, we are reissuing four of OMD's albums on 180g vinyl. They will all be half speed mastered by Miles Showell at Abbey Road and housed in original packaging.

                                                            The self-titled album, Orchestral Manoeuvres in The Dark, features hit singles 'Electricity' and 'Messages'. 

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                                                            Cover of Resonator by Hans Bouffmyhre.

                                                            Hans Bouffmyhre

                                                            Resonator

                                                            Korpus 9

                                                            The Korpus 9 label welcomes Scottish techno talent Hans Bouffmyhre for a new EP. It comes after he has established himself on the world scene on labels like Soma and Perc Trax and gigs at the best clubs around the globe.

                                                            Now with these four latest cuts he once again shows off his unique, powerful style.

                                                            Opener Unconditional is a deep, driving track with firmly rooted drums and burrowing synth lines that get you in a state of hypnosis before the acidic stabs takes things up a notch.

                                                            Resonator is another perfectly planned bit of tunnel vision techno that is forceful and linear, racing forwards on bulky drums with subtle synths peeling off the groove.

                                                            Growth Chart then follows a similar path but with celestial chords lighting up the background and a curious lead synth line that gets your attention and pulls you deep into the groove.

                                                            Finally, the heavyweight Crossbow is another bulky techno roller that is designed for big warehouse spaces.

                                                            It is economical and efficient and makes for perfectly stripped back but striking techno.

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                                                            Cover of The Colour Of Midnight by Various Artists.

                                                            Various Artists

                                                            The Colour Of Midnight

                                                            ELE Records

                                                            Detroit natives, Nikki O and Javonntte, collaborate on EP filled with Motor City Soul.

                                                            Nikki O, best known for her work with Moodymann, is joined by Javonntte who worked and toured with the late Aretha Franklin.

                                                            Two bubbling soulful house tracks on the A side are followed up by three Detroit dubs on the B side.

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                                                            Cover of Superprince Edits by Superprince.

                                                            Superprince

                                                            Superprince Edits

                                                            Universal Cave Records

                                                            Having shared edit duties on Universal Cave’s 10th release, Philadelphia duo Superprince take the reins solo for UC011 with four slices of Philly rework heat.

                                                            From the soulful Caribbean funk of ‘Mama’ to the syrupy, slo-mo boogie of ‘Rose’, the A side is a sublime double header of slow jams to kick off the e.p.

                                                            On the B side, Superprince picks up the pace with delicious, private press disco for the dancefloor in the form of ‘Come To Me’, before the dubbed-out balearic bliss of ‘Buy You A Dream’ closes out the affair with a chuggier and cheekier high note.

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                                                            Cover of The Groop Played Space Age Batchelor Pad Music by Stereolab.

                                                            Stereolab

                                                            The Groop Played Space Age Batchelor Pad Music

                                                            Too Pure

                                                               ‘The Groop Played Space Age Batchelor Pad Music’ is an 8-track mini album, released in 1993.

                                                              Often noted as being one of the most influential and original bands of the 90s, Stereolab were formed by Tim Gane and Laetitia Sadier in London in 1990 and released 13 studio albums, 15 EPs and numerous singles. Simon Reynolds commented in Rolling Stone that the group’s early records form “an endlessly seductive body of work that sounds always the same, always different.”

                                                              They are often noted as being one of the most influential and original bands of the 90s. Theirs is a rich, overflowing palette, readily able to blur the gulf between Os Mutantes and the BBC Radiophonic Orchestra; merge Krzysztof Komeda with the Velvet Underground, Francoise Hardy with Neu! and Burt Bacharach with Esquivel. A deluxe blend, in other words, with ingredients plucked assiduously from pop’s coolest outposts: 50’s lounge, Rive Gauche chanson, Brazilian tropicalia, North American art rock, East European film music, Krautrock. hi-fi test recordings, mood music and more. Somehow they distil these apparently incongruent components into an ageless exotica that is all their own.

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                                                              Cover of Peng! by Stereolab.

                                                              Stereolab

                                                              Peng!

                                                              Too Pure

                                                                ‘Peng!’ is the band’s 1992 debut album. 

                                                                Often noted as being one of the most influential and original bands of the 90s, Stereolab were formed by Tim Gane and Laetitia Sadier in London in 1990 and released 13 studio albums, 15 EPs and numerous singles. Simon Reynolds commented in Rolling Stone that the group’s early records form “an endlessly seductive body of work that sounds always the same, always different.”

                                                                They are often noted as being one of the most influential and original bands of the 90s. Theirs is a rich, overflowing palette, readily able to blur the gulf between Os Mutantes and the BBC Radiophonic Orchestra; merge Krzysztof Komeda with the Velvet Underground, Francoise Hardy with Neu! and Burt Bacharach with Esquivel. A deluxe blend, in other words, with ingredients plucked assiduously from pop’s coolest outposts: 50’s lounge, Rive Gauche chanson, Brazilian tropicalia, North American art rock, East European film music, Krautrock. hi-fi test recordings, mood music and more. Somehow they distil these apparently incongruent components into an ageless exotica that is all their own.

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                                                                Cover of Powerhouse by Planningtorock.

                                                                Planningtorock

                                                                Powerhouse

                                                                DFA

                                                                  Celebrated dance producer Planningtorock - aka Jam Rostron - announces the release of their radical fourth album ‘Powerhouse’ via DFA Records.

                                                                  ‘Powerhouse’ was written and recorded across Berlin, London, New York and Los Angeles. It comes couched in the precision-tooled synths that have become Rostron’s signature, though critics and fans will hear a subtle, ear worm-y shift in style here: from the Noughties US R&B swagger of ‘Transome’ and the bubbling old school 90s house of ‘Beulah Loves Dancing’ and ‘Non Binary Femme’, to the funky, flute-laced ‘Much To Touch’ (the only track on ‘Powerhouse’ to feature a co-producer, long-time friend and collaborator Olof Dreijer of The Knife).

                                                                  Ultimately, ‘Powerhouse’ is a celebration of liberation, a groove-filled record that sees Rostron consolidating power both personal and artistic.

                                                                  FORMAT INFORMATION

                                                                  LP includes MP3 Download Code.

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                                                                  Cover of My Name Is Safe In You Mouth by Liela Moss.

                                                                  Liela Moss

                                                                  My Name Is Safe In You Mouth

                                                                  Bella Union

                                                                    “The act of making this record has felt truly exotic for me by way of its minimalism,” says Liela Moss of her debut solo album. Released via Bella Union, ‘My Name Is Safe In Your Mouth’ more than lives up to Moss’s promise of fresh, bold adventure.

                                                                    Sonically spare yet sumptuous in its emotions, elemental power and expansive melodies, the record is a richly felt, vividly-realised trip into the interior from the Duke Spirit singer.

                                                                    A serene-to-stormy series of deep dream-pop meditations on devotion and selfhood, creativity and parenthood, it treats unknown territory not as something to fear but as a seed-bed of possibility.

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                                                                    Cover of Tied & True by The Detroit Cobras.

                                                                    The Detroit Cobras

                                                                    Tied & True

                                                                    Rough Trade

                                                                      One of the earliest groups to emerge from the Detroit garage rock scene, The Detroit Cobras developed a reputation as the Midwest's finest (and most distinctive) cover band - while the band members devoted themselves to performing other people's material rather than recycling established hits, The Detroit Cobras dug deep into the well of vintage R&B and primitive rock & roll sides, building an individual identity out of lost classics from the past which they modified to fit their swaggering aural personality.

                                                                      Originally released in April 2007, with ‘Tried & True’ The Detroit Cobras practically created a new genre for themselves, delivering the sonic goods to back up some seriously supernatural soulful vocal gifts. Stretching out in the studio like never before and including contributions from top line players like Greg Cartwright, the Cobras created a versatile and formidable wall of Spector sound.

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                                                                      Cover of Baby by The Detroit Cobras.

                                                                      The Detroit Cobras

                                                                      Baby

                                                                      Rough Trade

                                                                        One of the earliest groups to emerge from the Detroit garage rock scene, The Detroit Cobras developed a reputation as the Midwest's finest (and most distinctive) cover band - while the band members devoted themselves to performing other people's material rather than recycling established hits, The Detroit Cobras dug deep into the well of vintage R&B and primitive rock & roll sides, building an individual identity out of lost classics from the past which they modified to fit their swaggering aural personality.

                                                                        ‘Baby’ is the third studio album by The Detroit Cobras. It was originally released in November 2004. It features 12 covers of R&B obscurities and one original song, ‘Hot Dog (Watch Me Eat)’.

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                                                                        Cover of Take It by Black Roots.

                                                                        Black Roots

                                                                        Take It

                                                                        Khanti Records

                                                                          Formed in 1979, Black Roots exploded onto the Roots Reggae scene in 1981 when legendary Radio 1 John Peel showcased their debut EP on his show, hailing them as one of the best new reggae bands in the UK. Their unique brand of roots reggae drew in people seeking to find a voice that spoke out against the injustices and alienation caused by the pace of political reform introduced in Thatcherite Britain. Black Roots’ uncompromising lyrical content was that voice throughout the 80’s.

                                                                          The band went back into the studio in December 2017 to record and produce 22 songs at Portishead’s J&J Studio in Bristol employing the mixing talents of Louis Beckett. The first album from this session, ‘Take It’ is released on the band’s own label Nubian Records.

                                                                          They are also performing live again delivering that conscious and uncompromising message with those harmonic vocals backed by a deep melodic roots reggae rhythm that makes them so unique.

                                                                          For fans of reggae, roots reggae, Black Roots, Groundation, Steel Pulse, Pablo Moses, Culture, The Abyssinians, Israel, Vibrations, Wailing Souls, Clinton Fearon, The Itals, Nubian Records, Khanti Records.

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                                                                          Cover of Phantom Brickworks (IV & V) by Bibio.

                                                                          Bibio

                                                                          Phantom Brickworks (IV & V)

                                                                          Warp

                                                                            One year on from the release of ‘Phantom Brickworks’, Bibio returns with two more excursions into the dreamlike environments he invoked with that album.

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                                                                            Cover of Rollover Edit Service Vol.2 by Various Artists.

                                                                            Various Artists

                                                                            Rollover Edit Service Vol.2

                                                                            Anything Goes

                                                                            Rollover Milano is proud to present Anything Goes -Rollover Edit Service Vol.2. A-Side contains two twilight-Italo-Balearic edits from Rollover DJs and Joseph Tagliabue.

                                                                            As the Sun goes down, B-side becomes darker with two deep and groovy reworks from SHMLSS and ETNA.

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                                                                            Cover of Clash The Truth by Beach Fossils.

                                                                            Beach Fossils

                                                                            Clash The Truth

                                                                            Bayonet Records

                                                                              “Clash the Truth is Payseur evolving, the band shifting in a direction that’s probably unlike what they previously imagined themselves moving toward.” CONSEQUENCE OF SOUND // “Beach Fossils have found a balance that’s better than anyone could have hoped for.” EXCLAIM // Beach Fossils’ sophomore album, Clash the Truth, is modern post-punk triumph that’s left a lasting impression on the music scene it was born out of. After releasing their self titled debut and the beloved EP, What a Pleasure, songwriter and composer Dustin Payseur began recording dissonant and introspective demos reflecting on his southern upbringing and young adulthood in New York. The tracks that would eventually make up Clash the Truth involved Payseur taking his songwriting in a new direction, employing jagged instrumentals, existential lyrics, and socially conscious subject matter. The darker themes of Clash the Truth still come out vibrant through bright guitar tones, locomotive drumming, and Payseur’s inventive home recording techniques. Referencing the sounds of Factory Records releases, New York’s no wave scene, and 90’s avant-pop, Beach Fossils expanded their sound past the perimeters of bedroom dream pop. 

                                                                              FORMAT INFORMATION

                                                                              2xColoured LP Info: Limited clear pink vinyl pressing.

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                                                                              Cover of What A Pleasure by Beach Fossils.

                                                                              Beach Fossils

                                                                              What A Pleasure

                                                                              Bayonet Records

                                                                                “These tunes create an interesting dichotomy-- joyous lyrics delivered solemnly… carefully arranged in the way a jazz or classical piece might be.” PITCHFORK // “On What a Pleasure, the carefree, lazy summer day beach pop sound of Beach Fossils has remained intact, just with refinements.” CONSEQUENCE OF SOUND // Brooklyn bedroom pop pioneers Beach Fossils’ stand out EP, What a Pleasure, is being reissued for the first time since it’s 2011 release! Songwriter and composer Dustin Payseur’s upbeat follow up to his band’s self titled debut is a refined exploration of dreamy guitar sounds, lush synth arrangements, and confessional songwriting. Born out of late night jams with his bandmates and long time collaborator Jack Tatum (Wild Nothing), What a Pleasure expanded on Beach Fossils’ sonic landscape and resulted in some of Payseur’s most memorable tracks. The EP has gradually become a cult classic among fans of the band, and many of its songs still work their way into Beach Fossils’ live sets today. 

                                                                                FORMAT INFORMATION

                                                                                Coloured LP Info: Limited edition yellow vinyl pressing.

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                                                                                Cover of Beach Fossils by Beach Fossils.

                                                                                Beach Fossils

                                                                                Beach Fossils

                                                                                Bayonet Records

                                                                                  “Beach Fossils has purpose and economy. It’s built on cleanly picked single notes stacked over complementary bass patterns and unobtrusive drums.” PITCHFORK // “Piercing post-punk guitar lines are tossed off casually, while Mr. Payseur realizes he doesn’t need to go further than his own subconscious to disappear.” THE NEW YORK TIMES // Beach Fossils’ self titled debut album is a seminal release from the halcyon days of Brooklyn’s underground music scene. Songwriter and composer Dustin Payseur’s home recorded masterpiece captures the naïveté of youth, the anxiety of routine, and the joy of infatuation, though a track list full of layered guitars and heartfelt lyrics. Beach Fossils take inspiration from 60’s jangle pop, 70’s kraut rock, 80’s post punk, to create a sound uniquely their own with this first record, causing a ripple effect on the sound of indie music in the years that followed it. The album is now being reissued for the first time on Payseur and his partner Katie Garcia’s own label, Bayonet Records, including a limited edition green vinyl pressing (500 only). 200 Cassettes made. 

                                                                                  FORMAT INFORMATION

                                                                                  Coloured LP Info: Limited edition green vinyl pressing

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                                                                                  Cover of Soft Black Stars by Current 93.

                                                                                  Current 93

                                                                                  Soft Black Stars

                                                                                  The Spheres

                                                                                    We are OverMoon to announce the 2LP reissue of Current 93’s classic SOFT BLACK STARS. Originally released in 1998 in a vinyl edition of just 2,000 copies, and on CD,, this is the first official vinyl reissue since then. Remastered by The Bricoleur, this album contains all the released versions of the album’s final track, “Chewing On Shadows”—the original album track, as well as the 2 different versions used on the expanded CD release of 2004.In a full-colour sleeve, reproducing the original paintings by David Tibet, and a 2-sided full-colour insert. 

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                                                                                    Cover of Seventeen Moments Of Spring by Mikael Tariverdiev.

                                                                                    Mikael Tariverdiev

                                                                                    Seventeen Moments Of Spring

                                                                                    Earth Recordings

                                                                                      On broadcast, Seventeen Moments was immediately immensely popular with an estimated audience of between 50 and 80 million viewers for each episode. Crime rates dropped significantly during the broadcasts, city streets were empty and power stations had to increase production to cope with a surge in the demand for electricity for TV sets. It is said that Brezhnev moved meetings of the Central Committee of the Communist Party in order not to miss an episode and that Vladimir Putin’s decision to join the KGB was influenced by watching the series when young. It became the most successful Soviet espionage thriller ever made.

                                                                                      It was rebroadcast annually in the Soviet Union and throughout the Warsaw Pact nations, and is still regularly shown in Russia where it remains one of the most popular television series of all time. Without any doubt, the score by Mikael Tariverdiev contributed to this huge success. He wrote it after some initial reluctance to be involved but its popularity catapulted him to national fame. ‘Somewhere Far Away’ and “Moments’, remain some of the best-known and well-loved cinematic songs of the era.

                                                                                      The main theme and his piano underscore to that famous café scene where Stierlitz and his wife meet-but-don’t-meet must have surely captured the haunted longings and romantic poignancy of a generation of Soviet citizens who had suffered their own forced separations, displacements, silences and losses. The score presented here follows the narrative arc of the series’ story. It has been re-mastered from transfers made from original tapes in the Tariverdiev apartment in Moscow. The download and CD versions contain three additional tracks never before released – even in Russia - including the much-loved Waltz for Gaby. 

                                                                                      FORMAT INFORMATION

                                                                                      LP includes MP3 Download Code.

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                                                                                      Cover of The Strange World Of Suzie Pellet by Transmaniacon Feat Lydia Lunch And Maya Berlin.

                                                                                      Transmaniacon Feat Lydia Lunch And Maya Berlin

                                                                                      The Strange World Of Suzie Pellet

                                                                                      New Heavy Sounds

                                                                                        The Strange World of Suzie Pellet' is a hard rocking concept album featuring a dark, unsettling and mysterious tale of future street dweller Suzie Pellet. A feisty survivor in a ruined world, Suzie is the brainchild of Ian Miller, fantasy/horror artist and novelist. His surreal. nightmarish creations have graced book covers, graphic novels and films, and have given form to the works of HP Lovecraft, Tolkien and many more. Now, one of his own dark gothic characters comes to life. Not unlike Michael Moorcock guiding Hawkwind or Sandy Pearlman, The Blue Oyster Cult, or even a cranked up Moody Blues or Who, Transmaniacon bring Miller'svision to sonic life, aided and abetted by the outstanding vocal deliveries of punk poetess and avant rocker Lydia Lunch (a hind-sighted Suzie) and Maya Berlin (a future 'present-day' Suzie).

                                                                                        Sci-fi and space rock has always been present in Transmaniacon, a previous incarnation was XM3a who released the first New Heavy Sounds single, 'Bad Robot Man', an epic 9 min acid rock riff-fest. This was followed up (as Transmaniacon) by 'The Darkening Plain' their first concept piece containing the 25 min classic 'Quintessence of Dust' - bleak, dense, forboding, and heavy. - a sort of Killing Joke/Hawkwind/Pentagram hybrid which featured the first collaboration with Lydia Lunch. But with 'Suzie Pellet' Transmaniacon becomes more a musical collective. The core of the band remains, hard and heavy riffing guitars, overdriven Hammond Organ (and this time synth) but with the addition of Tom (Uncle Acid/Limb) Mowforth on drums they are a groovier, more athletic 70's rock beast. The twin heavyweights of Blue Oyster Cult and Mountain loom large, but this time with the added groove of an an organ-driven Black Mountain. Suzie Pellet is Transmaniacon's first true collaboration with Ian Miller. Miller resurrected his post apocalyptic tale of street survivor Suzie Pellet in a rotten and derelict London-esque urban-scape called Duht. Transmaniacon have taken and expanded Miller's vision into a story in which Pellet herself, describes the dark, underworld, its characters and situations, friends and foes, all in grisly-spoken and sung diary-like, excerpts.

                                                                                        Lydia Lunch was an obvious choice for the mature Pellet. A survivor of numerous underground scenes herself from punk and no-wave through noise, avant-rock and, appropriately enough here, spoken word. In 1975 Patti Smith perhaps could have been a young Susie Pellet, in 93 Polly Harvey, but now the role falls to Maya Berlin. With her band, Cold in Berlin delivering equal parts Punk, Doom and Goth over their three highly acclaimed albums (including 'The Comfort of Loss and Dust on Candlelight Records), she was perfect. And Suzie gives her the opportunity to expand her vocal (and theatrical) talents in Grace Slick or Julie Driscoll or even Chelsea Wolfe directions. Step into the nightmare world of Suzie Pellet. 

                                                                                        FORMAT INFORMATION

                                                                                        Vinyl comes with CD version of the album enclosed.

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                                                                                        Cover of No Tourists by The Prodigy.

                                                                                        The Prodigy

                                                                                        No Tourists

                                                                                        BMG Rights Management (UK) Ltd.

                                                                                          The Prodigy's seventh studio album, 'No Tourists' will be released on their Take Me To The Hospital label via BMG.

                                                                                          In a career approaching 30 unpredictable, uncompromising years, The Prodigy have become that rare artist whose influence can be felt across all walks of life. Continually defining (and re-defining) electronic music, the band have clocked up a staggering 6 number 1albums, played to many millions around the world, and remain as relevant and respected as ever.

                                                                                          Though much has changed in the musical and social landscape, what remains a constant is The Prodigy's resolute focus on following their own path, their own way. This, perhaps, is the true meaning of 'No Tourists', and in 2018 the anger, urgency, and irrepressible spirit of The Prodigy has no doubt never been more needed.


                                                                                          FORMAT INFORMATION

                                                                                          Coloured LP Info: Limited clear purple vinyl edition.

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                                                                                          Cover of Arcade Fire EP by Arcade Fire.

                                                                                          Arcade Fire

                                                                                          Arcade Fire EP

                                                                                          Sony Music

                                                                                          This is the original Arcade Fire demo EP recorded in August 2003 in a barn in Maine, and featuring an earlier line up of the band (Win Butler, Régine Chassagne, Dane Mills, Brendan Reed and Myles Broscoe). It was produced by Richard Reed Parry, Win and Régine, and was originally only available at shows.

                                                                                          The EP features an early version of fan favourite “No Cars Go”.

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                                                                                          Cover of Leaves Turn Inside You by Unwound.

                                                                                          Unwound

                                                                                          Leaves Turn Inside You

                                                                                          Numero Group

                                                                                            The Unwound album that ended all Unwound Albums. Recorded in a moudering farmhouose basement at the crest of the new century, Leaves Turn Inside You is the no-wave response to Spector’s wall of noise call. Infinite layers of choppy guitar stabs and bridge scrapes, guttural bass thronk, thrift store synths, and monotone chanting wash over suffocating rhythms to deliver the wrld’s only choral grung LP. Remastered from the original analogye tapes and pressed on heavy weight vinyl for the discerning noise-nik.

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                                                                                            Cover of Thought Gang by Thought Gang.

                                                                                            Thought Gang

                                                                                            Thought Gang

                                                                                            Sacred Bones

                                                                                              By the time Twin Peaks’ second season had aired and Fire Walk With Me had just begun principle production, Thought Gang had been born. The esoteric jazz side-project of David Lynch and Angelo Badalamenti evolved from the seeds of Twin Peaks’ trademark slow cool jazz and blossomed into more experimental pastures: horizonless vistas of acid-soaked free-jazz, laced with spoken word narratives and sprawling noisescapes. Fire Walk With Me’s soundtrack would ultimately showcase two preliminary tracks (“A Real Indication” and “The Black Dog Runs at Night”) from a full-length album that wouldn’t see release for two-and-ahalf decades. Beginning in May 1992 and continuing throughout 1993, the bulk of the remaining material for the album was recorded in pieces, and dove-tailed into a string of contracted sessions for other Lynch-Badalamenti projects.

                                                                                              In the years following, fragments and working versions of Thought Gang material would make appearances in everything from a Lynch-helmed Adidas commercial to scenes in Hotel Room, Mulholland Dr., Inland Empire, deleted scenes from Fire Walk With Me, and most expansively utilized in Showtime’s third season of Twin Peaks. “Frank 2000” and “Summer Night Noise,” as well as an alternate instrumental mix of “Logic and Common Sense,” would score scenes from season three and aid in defining the show’s distinctly experimental, noisetilted soundtrack.

                                                                                              “It’s sort of like jet-fueled jazz in a weird way…but it’s all based on stories,” says Lynch. “It’s Modern Music.”

                                                                                              Those two words seem to efficiently capture both Thought Gang’s essence and distinctively genre-less genre. Quite often music that finds release beyond its decade of creation experiences a bit of an aural patina resulting from the process of marinating in the ether of time. Perplexingly, Thought Gang retains a contemporary quality difficult to quantify. Fittingly, the resulting album somehow still sounds “modern” and will continue to remain “modern,” decades upon decades after is creation.


                                                                                              FORMAT INFORMATION

                                                                                              2xColoured LP Info: “Steel” coloured vinyl.

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                                                                                              Cover of More Or Less by Dan Mangan.

                                                                                              Dan Mangan

                                                                                              More Or Less

                                                                                              City Slang

                                                                                                "More Or Less" is Dan Mangan’s fifth album. His new music is about witnessing birth, and in some ways rebirth. It’s about feeling disconnected from a popular identity and becoming acclimated to a new one. It’s about raising kids in a turbulent world. It’s about unanswerable questions and kindness and friendship and fear.

                                                                                                Dan Mangan worked with some incredible people who have made many of his favorite albums. In between recording sessions, he’d listen to Van Morrison’s Astral Weeks and Nick Drake’s Pink Moon.

                                                                                                In short, his album is: more sparse. Less meticulous. More kids. Less time. More direct. Less metaphor. More discovery. Less youth. More warmth. Less chaos.


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                                                                                                Cover of Jazz In Detroit / Strata Concert Gallery / 46 Selden by Charles Mingus.

                                                                                                Charles Mingus

                                                                                                Jazz In Detroit / Strata Concert Gallery / 46 Selden

                                                                                                BBE

                                                                                                  The radical discovery by Amir Abdullah of 5 two-track master tapes in the care of Hermine Brooks – widow of innovative Detroit drummer Roy Brooks – of the Charles Mingus Quintet recorded live in Detroit at Strata Concert Gallery is cause for some serious celebration. These electrifying recordings took place during Mingus’ week-long residency in February 1973. They were broadcast live by drummer/producer and broadcaster Robert “Bud” Spangler for WDET FM – a public radio station dedicated to jazz – from Kenny and Barbara Cox’s multi-purpose home for Strata Records at 46 Selden. Entrance to the gig was $5 dollars in advance and $6 on the door.

                                                                                                  By the early Seventies Mingus’ militant musings, volatile character and hugely innovative musical offerings had already earned him global notoriety. He’d played with the Bird, Dizzy, Max Roach, Duke Ellington and had released universally acclaimed albums as a leader like ‘Blues & Roots’, Oh Yeah’ and ‘Black Saint & The Sinner Lady’. This gig – one of a Jazz In Detroit series that also included Keith Jarrett, Tribe and Herbie Hancock – took place a few months after the release of Mingus’ “third stream” masterpiece ‘Let My Children Hear Music’.

                                                                                                  The music on these tapes is blazing. According to the late Roy Brooks, the band – which included himself and fellow Detroit trumpeter Joe Gardner - had not long returned from playing two tours in Europe. Fresh to the quintet was stellar pianist Don Pullen and listening to these recordings Pullen’s church-driven power, blues sensibility and harmonic sophistication perfectly complements the bassist’s own vision. On tenor saxophone we have the soulful and innovative John Stubblefield. Like Pullen he was a recent recruit. Unfortunately, the saxophonist’s time with Mingus lasted a mere 5 months: “I got in a fight with Mingus and I shouldn't have done that. After that, I couldn't get arrested in New York." Ironically, when Sue Mingus formed the Mingus Big Band in 1992, to perpetuate her husband's legacy, Stubblefield emerged as a talismanic presence in the ensemble until he passed in 2005.

                                                                                                  Thanks to BBE, 180 Proof Records and Strata Records we can now tune in to WDET-FM and transport ourselves back to Detroit ’73, and get a taste of the furious energy and compositional sophistication of a unique and modern master at work in the most intimate of settings.


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                                                                                                  Cover of Friendship Music by Surfbort.

                                                                                                  Surfbort

                                                                                                  Friendship Music

                                                                                                  Fat Possum

                                                                                                    Fat Possum and Julian Casablancas' Cult Records are partnering to release NY Punks Surfbort record, "Friendship Music". Surfbort, a four-piece punk band from Brooklyn, New York made up of David Head, Alex Kilgore, Sean Powell and led by Dani Miller, channels inspiration from the 80’s punk scene to produce rousing, explosive music. Surfbort’s live experience is visceral and confrontational. Their feedback-strafed, guitar-shredding punk music says no to a digital age full of intolerance; they radiate love and friendship. All are welcome in the SURFBORT FREAK FAMILY! In the last three years they have supported acts such as The Dickies, Thee Oh Sees, Fat White Family, White Fang, Martin Rev, The Garden, Tijuana Panthers, The Mystery Lights, Tomorrows Tulips, Sunflower Bean, DIIV, GOGGS, The Dune Rats, Leftover Crack etc, Meatbodies, Ex-Cult, Hinds among others…

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                                                                                                    Cover of Bermuda Seytan Ucgeni by Umit Aksu Orkestrasi.

                                                                                                    Umit Aksu Orkestrasi

                                                                                                    Bermuda Seytan Ucgeni

                                                                                                    Zel Zele

                                                                                                      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.

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                                                                                                      Cover of Ghost Forests by Meg Baird & Mary Lattimore.

                                                                                                      Meg Baird & Mary Lattimore

                                                                                                      Ghost Forests

                                                                                                      Three Lobed

                                                                                                        Musical conversations between Meg Baird (Espers) and Mary Lattimore are intimate, fluid, effortless and spontaneous. They’re filled with the euphoria of creation and, at times, they articulate hard truths and tangled emotions with an ease only trusted friends can manage. The songs alternate between extended ethereal instrumental excursions, gauzy and dreamy pop, blown-out Bull of the Woods heavy haze, and modern re-imaginations of epic traditional balladry all while touching on the strange and otherworldly places between these stations.

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                                                                                                        Cover of This Is My Dinner by Sun Kil Moon.

                                                                                                        Sun Kil Moon

                                                                                                        This Is My Dinner

                                                                                                        Caldo Verde

                                                                                                          This Is My Dinner was written during Sun Kil Moon’s November 2017 European tour. The album was recorded November 18, 2017 at TAPF Studio in Copenhagen and December 7, 8, 9, 2017 at Hyde Street Studios in San Francisco. The album includes versions of AC/DC’s “Rock ‘N’ Roll Singer,” The Partridge Family’s “Come On Get Happy,” and John Connolly’s “Chapter 87 of He” set to music. Musicians include Tony Scherr, Jim White, Scott McPherson, Ben Boye, Ramon Fermin, Chris Connolly and special guest Jordan Cook.

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                                                                                                          Cover of Captured Tracks CT10 by Various Artists.

                                                                                                          Various Artists

                                                                                                          Captured Tracks CT10

                                                                                                          Captured Tracks

                                                                                                            To celebrate 10 years of Captured Tracks, the label have created two budget-priced vinyl samplers that showcase now-classics from a roster of vibrant and varied artists. Plus, they've thrown an exclusive or two in to sweeten the deal. Ya’ll remember that supergroup called Shitfather? 

                                                                                                            FORMAT INFORMATION

                                                                                                            LP 1 Info: Volume 1.

                                                                                                            LP 2 Info: Volume 2.

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                                                                                                            Cover of Durand Jones & The Indications Live Vol. 1 by Durand Jones & The Indications.

                                                                                                            Durand Jones & The Indications

                                                                                                            Durand Jones & The Indications Live Vol. 1

                                                                                                            Dead Oceans

                                                                                                              In 2012 Durand Jones left his small-town in Louisiana, alto saxophone in tow, for the Jacobs School of Music at Indiana University. “Being a singer was never part of the plan,” Jones admits. But soon enough he found his way in front of a rowdy rock-n-roll band belting out a rambunctious rendition of “Dock Of The Bay,” to a basement full of drunken undergrads. That rowdy band unfolded into The Indications which includes founding members Aaron Frazer (drums, lead vocals) and Blake Rhein (guitar).

                                                                                                              Inspired by a handful of dusty and obscure 45s bearing names like The Ethics, Brothers of Soul and The Icemen, The Indications set out to make a record steeped in heavy drums, blown-out vocals, and deep grooves. Gathered around a Tascam 4-track cassette recorder and a case of Miller HighLife, the group spent their Sunday evenings recording into the early hours of the morning. The result is their modern soul masterpiece Durand Jones & The Indications (Dead Oceans/Colemine Records).

                                                                                                              With comparisons from Charles Bradley, Lee Fields to Al Green, this young band are now at the forefront of 60’s soul revival. Their sweaty, fiery live shows have earned them a reputation for giving it their all each night which can be witnessed on Durand Jones & The Indications Live Vol. 1. Available for the first time on limited translucent blue vinyl, the album includes tracks from their debut and deep cut soul covers fans have become accustomed

                                                                                                              FORMAT INFORMATION

                                                                                                              Coloured LP Info: Translucent blue vinyl.

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                                                                                                              Cover of Mystery Hour by Pavo Pavo.

                                                                                                              Pavo Pavo

                                                                                                              Mystery Hour

                                                                                                              Bella Union

                                                                                                                Pavo Pavo is the recording project of Oliver Hill and Eliza Bagg. On their acclaimed 2016 debut, Young Narrator in the Breakers, Eliza’s effervescent soprano was compared to “a lovelorn alien reaching out from the farthest reaches of the galaxy” (Pitchfork), and the elegant, symphonic arrangements were described as “weightless pop that sounds like it was beamed down from a glimmering utopian future.” (Stereogum).

                                                                                                                The album began as a means to process the breakup and became a feedback loop, influencing the alchemy of their separation process and informing their new roles in each other’s lives. Recurring sounds and instruments act out the shifting storylines of these characters across the album: Oliver’s pitch-shifted vocals and high melodic synths are a distorted, imperfect replacement for Eliza’s floating soprano voice, and cascading strings are an intentional soundtrack for romantic melodrama.

                                                                                                                The tone is set by the album’s title track and lead single, a tightly built pop song driven by orchestra and choir into a celestial fadeout: I realize love is to see every side of you / but mon cheri I'm designed to be unsatisfied.

                                                                                                                At the heart of the music is the openness with which the duo continues to sing together, revealing their unshakeable friendship. The record is a meditation on relationships from different angles: “Goldenrod” ends the album with a duet about loss, the expressiveness of the two voices garbled to make them sound uncanny, almost inhuman. “Close to Your Ego,” (Hold me close to your ego / and I’ll hold you close to mine) is more oblique, about the difficulty of reconciling intimacy with sense of self.

                                                                                                                Their journey began at Yale University, where the duo both studied music – they met playing in the same string quartet. Since that time, Eliza and Oliver have become prolific and vital collaborators at the intersection of classical, experimental and pop music. As a soprano, Eliza has worked closely on new music with Meredith Monk, Julianna Barwick, John Zorn, Caroline Shaw, and Ben Frost. Oliver has arranged strings for tracks by the Dirty Projectors, Helado Negro and Wet, and is a member of Kevin Morby and Vagabon’s touring bands.

                                                                                                                The album draws thematic inspiration from a wide range of media: Ingmar Bergman’s Persona to choreographer Pina Bausch, painter David Hockney, and multi-media artist Alex da Corte. Photographer Natalie O’Moore’s album cover depicts Eliza and Oliver in turbulent conversation at the beach, resembling a film still to mirror the album’s narrative drama.

                                                                                                                “The beach is an image that keeps coming back to us – the edge of the world, with the possibility of exiting it,” Oliver says. “The idea for this cover is that it builds on the Young Narrator cover, with two figures casting long shadows on the beach. That cover was a collage and this is a photograph, the hi-res, come-to-life version.” 


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                                                                                                                Cover of Lover Chanting by Little Dragon.

                                                                                                                Little Dragon

                                                                                                                Lover Chanting

                                                                                                                Ninja Tune

                                                                                                                  Little Dragon wanted to bring new music into the world that has an airy and fun lightness to it. “For all the lovers out there, chant along! Dance for peace and unity in this world of madness!” declare the band. Lead singer Yukimi Nagano adds that the EP is about, “The force of love. Not only between two people but the force of love in this universe as the ultimate ecstasy. Whether that is while you’re dancing at a disco forgetting where you are or just staring at the moon on a clear night, it can be anything. A swim in the ocean, a glance at a stranger--it’s a personal individual thing. Call it what you want but we have all felt it. So, embrace the great mystery of everything that your brain can’t grasp and lose track in the most beautiful sense.”

                                                                                                                  The story behind the track’s origins is as idiosyncratic and left-of-centre as you would expect from a band that have spent their career consistently playing by their own rules. "It started with Fred searching for a wedding march inspired by a Swedish prog funk folk keyboardist called Merit Hemmingson”, explain the band from their Gothenburg bunker. “Erik got inspired by the track and started singing! After Erik wrote his vocal verses Yukimi got a bit worried about his lyrical abilities and stepped in to add her part on the song. Håkan flew to Germany to record a beautifully tuned clavinet. Once the clavinet was recorded Fred and Erik added their flavour with some drums and deep synth bass. For all the lovers out there, chant along! Dance for peace and unity in this world of madness. “

                                                                                                                  The ‘Lover Chanting’ EP showcases the forward-facing, pioneering spirit that has cemented Little Dragon’s status as one of the most universally adored outfits working today. From early collaborations with Gorillaz, SBTRKT, Kaytranada & Flume through to recent tracks with Faith Evans, Raphael Saadiq and the previously mentioned BADBADNOTGOOD and Vic Mensa collaborations earlier this summer, Little Dragon have continued to be at the forefront of the collective music consciousness, consistently inspiring existing icons alongside a whole new generation of emerging artists. The band have also continued a longstanding tradition of working with some of the most exciting creatives across the arts. Having collaborated extensively with IB Kamara (i-D, Dazed, Vogue) and David Uzochukwu (Dior, FKA Twigs, Nike) on previous album ‘Season High’, the band worked with exciting newcomer Vicki King on the imagery for the forthcoming campaign.

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                                                                                                                  Cover of Camera by Chromatics.

                                                                                                                  Chromatics

                                                                                                                  Camera

                                                                                                                  Italians Do It Better

                                                                                                                  'I Want To Be With You…But Sometimes Life Becomes Too Real…I Want To See The Things In My Heart I Know I Feel'.

                                                                                                                  The opening track is a love song written from the perspective of the camera, asking to be held up to see the world through the eyes of its user. Chromatics’ dense electronics are anchored by the intimacy of Ruth Radelet’s vocals. Framed by negative space, this is pop music from the blurry hours. She softly sings, 'I write a song in my head, pretend that I’m lying in your arms'. The music is minimal & bare, layered with sparse percussion. The Camera EP features unreleased material, including a haunting take on Dear Tommy’s title track & the midnight mood of "Flashback To Forever".


                                                                                                                  STAFF COMMENTS

                                                                                                                  Matt says: Chromatics turn their daze to the auto-tuned neo-tropicalia-R'n'B that seams to be the commercial sound of the Summer and deliver it in effortless style.

                                                                                                                  FORMAT INFORMATION

                                                                                                                  Ltd LP Info: 3rd Edition pressed on 180-gram cherry red vinyl

                                                                                                                  Ltd 12" Info: Ivory white vinyl.

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                                                                                                                  Cover of Lung Bread For Daddy by Du Blone (Beth Jeans Houghton).

                                                                                                                  Du Blone (Beth Jeans Houghton)

                                                                                                                  Lung Bread For Daddy

                                                                                                                  Moshi Moshi

                                                                                                                    Du Blonde may sound like a band, but in fact it is, and always has been, the work of just one person. Beth Jeans Houghton.

                                                                                                                    Her new album Lung Bread For Daddy delves even deeper into self sufficiency, seeing Beth take the reigns on production, instrumentation, album artwork and direction of music videos. This project is entirely her own. “I know exactly what I want my record to sound like and apart from drums, I have the ability to play all the instruments, so I did” Houghton states.

                                                                                                                    True to form, the first peak of the new album is the self directed video (Houghton has also made videos for Ezra Furman, Red Hot Chilli Peppers and LUMP) for lead single 'Buddy' which also stars a bathtub, 3 bottles of vegetable oil and 37 packets of spaghetti.

                                                                                                                    Lung Bread For Daddy sees a meeting in which Beth’s previous two albums, 2015’s ‘Welcome Back To Milk’ and her debut ‘Yours Truly, Cellophane Nose’, take a seat at the table and make amends. Veering wildly between proto-punk, psych rock and the wholesome song writing of the 1970’s, taking the listener on a journey through the landscape of her past. It is an honest and often uncomfortable look into the life of a person who’s experiences have been touched by a myriad of characters, homes across continents, periods of extreme loneliness, mental illness and a search for an understanding of personal identity. “My lyrics are always autobiographical. I have to be able identify with what I’m singing, and telling my story is therapeutic”.

                                                                                                                    Houghton's insatiable thirst for creation on her own terms has seen her take charge of every aspect of Lung Bread For Daddy including the brutal self portrait that adorns the cover of this record. Painted from a photograph taken during one of her lowest points, the image depicts Beth devoid not only of makeup, but self worth and confidence. “I look tired and pretty much destroyed, which is a feeling I’ve known many times over; in the aftermath of relationships and that of making a record. Lyrically the album is very naked so I’m carrying on the nudity of my previous album covers, only this time it’s emotional instead of physical.”


                                                                                                                    FORMAT INFORMATION

                                                                                                                    Coloured LP Info: Sunflower yellow vinyl.

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                                                                                                                    Cover of Nite by Chromatics.

                                                                                                                    Chromatics

                                                                                                                    Nite

                                                                                                                    Italians Do It Better

                                                                                                                      This Was The Follow Up To The "Healer/Witness" White Label 12 Inch & The Last Recordings Chromatics Made Before Ruth Radelet Joined The Band. Archival Reissue Originally Recorded 2004-2005 In Portland. Out Of Print For Over A Decade. LP Includes Unreleased Outtakes & Alternate Mixes From The Original Tapes. Recorded During The First Experimental Studio Period For Chromatics That Would Would Eventually Become The Sound Of The "Night Drive" Album.


                                                                                                                      FORMAT INFORMATION

                                                                                                                      Coloured LP Info: Gatefold LP pressed on 180-gram ivory vinyl.

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                                                                                                                      Cover of Adjust by Bendik Giske.

                                                                                                                      Bendik Giske

                                                                                                                      Adjust

                                                                                                                      Smalltown Supersound

                                                                                                                        The performance artist and saxophonist’s mesmerizing debut takes listeners on a true journey through the euphoria and wanderlust of nights spent clubbing—using little more than his voice, saxophone, his instrument of choice, and more than a few well-placed microphones.

                                                                                                                        Giske finds a natural home in Smalltown Supersound as he cites Lindstrom’s arpeggio sounds and Evan Parker’s circular breathing as references, both of whom have released on the label. By combining the two extreme sides of the scale, he seamlessly fuses freeform jazz and club music. “I take the building blocks of electronic music and play it live—without layering or looping, to the best of my ability. All the faults of being human come through. It’s an exercise in something impossible: to be a machine.”

                                                                                                                        Surrender as a verb is a key concept to Giske’s debut and the word itself takes on multiple meanings to him. “I consider myself a queer performance artist—the queer perspective is always there,” he states.“In gay culture, we have the terms ‘top’ and ‘bottom,’ with ‘bottom’ referencing an act of surrender and trust. Creating these repeating structures, relying on muscle memory for these sequences, and seeing what happens—it’s also an exercise in the act of surrender."

                                                                                                                        With breath, steel and muscle Giske is transmuting his clubbing experience through the saxophone.


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                                                                                                                        Cover of On Reflection by Selling.

                                                                                                                        Selling

                                                                                                                        On Reflection

                                                                                                                        City Slang

                                                                                                                          It’s easy to eye collaborative records between two established artists with either a weary sigh or a degree of cynicism. In an age where a track or record seems to perform better directly in relation to how many artist names are on the digital byline, it can often feel like engineered circumstance or a desire to exponentially boost appeal comes before any natural create endeavour. In the case of ‘On Reflection’ however – the new record by Derwin Dicker AKA Gold Panda and Jas Shaw, one half of Simian Mobile Disco, the venture, under the moniker Selling is rooted in a long-standing friendship and prior creative history.

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                                                                                                                          Cover of Escape From Berlin by In Mirrors.

                                                                                                                          In Mirrors

                                                                                                                          Escape From Berlin

                                                                                                                          Italians Do It Better

                                                                                                                            Escape from Berlin is the last surviving nitrate print of a film thought lost to time — a bleak noir fantasy on the outer limits of sound. Its after-hours tenor has the beautiful blur of a night spent in the gutter, a confrontation with despair long past last call. Defiance in the face of suffering. Curtains of texture and electronic noise drape the walls.

                                                                                                                            Recorded in deep isolation on location at Nite Prison in Vancouver, the album plays as a dizzying singular collage. Acutely focused on texture & the negative space between moments, composer & poet Jesse Taylor is the anchor in a revolving cast of cameos. For this album, his partners in crime are Suzanne, Hiromi Inada, & Andrew Grosvenor on clarinet. As enigmatic & fleeting as reflections in a hall of mirrors, these themes are fractured & textural. Taylor ambitiously asks us to look beyond the mirror…through to the other side. We imagine Phillip Glass playing chess with William Burroughs while Klaus Schulze slaves over a droning synthesizer in the corner. We hear vapor trails from Coltrane, Carpenter, & Amon Duul. This debut is a glance at one of the most varied artists on Italians Do It Better’s roster. Johnny & Jesse have been collaborating behind the scenes since 2003. Distilled in a process strengthened by time from Portland to Montreal…Los Angeles to B.C. In Mirrors blurs the imaginary lines between genres. Opening with a sultry Stevie Nicks cover & closing with 14 minutes of expansive aural fusion. Perhaps Taylor’s good friend, Joey Casio said it best…”Change the channel, this one is the mirror.”


                                                                                                                            FORMAT INFORMATION

                                                                                                                            Coloured LP Info: 180-gram grey marble vinyl.

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                                                                                                                            Cover of Lady by Chromatics.

                                                                                                                            Chromatics

                                                                                                                            Lady

                                                                                                                            Italians Do It Better

                                                                                                                              B-side features the unreleased “Lady” (On Film) which contains the 3rd vocal verse that was never released on “Kill For Love,” plus the extended 15 minute disco version of “Looking For Love”.

                                                                                                                              FORMAT INFORMATION

                                                                                                                              12" Info: Pink champagne coloured vinyl.

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                                                                                                                              Cover of The Only Ones by Farah.

                                                                                                                              Farah

                                                                                                                              The Only Ones

                                                                                                                              Italians Do It Better

                                                                                                                                Persian-American cryptic electronic ingenue Farah can’t be solved or explained. She makes dreamy, archly somber disco tunes that somehow sound both spontaneous & immaculate, painstaking & off-the-cuff. Crooning laconically — sometimes in English, sometimes in Farsi, but always with the taste of a woman too cool to betray anything as vulgar as emotion. “Come, come, come, come, come, come, come” she commands on “The Only Ones”, the chant a wanton incantation. It’s difficult to tell if the majestic synths that swirl around her are in harmony with the spirit or its counterpoint.

                                                                                                                                B-Side “Baby Girl” delves into a chorus of Persian idiom: “Dooset daram,” she sings, or “I love you” in the Iranian expression. The song has the air of enigma — another of Farah’s dance floor mysteries. The instrumental tracks that bookend the record are its atmospheric framing device. Enter the maze.


                                                                                                                                FORMAT INFORMATION

                                                                                                                                12" Info: 180-gram pink champagne vinyl.

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                                                                                                                                Cover of The Lapse Of The Exchange / Alone Moving Often by Reto A Ichi (AKA Prefuse 73).

                                                                                                                                Reto A Ichi (AKA Prefuse 73)

                                                                                                                                The Lapse Of The Exchange / Alone Moving Often

                                                                                                                                K7

                                                                                                                                  A hustle. Reto A Ichi is a sonic tabula rasa for Guillermo Herren AKA Prefuse 73. There are identifiable elements of the artist you already know - an uncanny sense for rhythm, an ability to shape samples and frequencies like clay, an affinity for the subtle changes of repetition - yet this is first and foremost music born from the need for silence. There is no easy entrance point or index for the listener.

                                                                                                                                  The first album, The Lapse of Exchange, is the sound of life as heard from a small Chinatown window in downtown Manhattan, the thunder of populism on the horizon. The album opens with music that reflects the inherent tension between the life of the artist - the self-doubt, the late nights, the aspirations - and the world outside - the hustle and bustle of a city that never sleeps, the wars abroad, the politicians at home. It's a tension felt in the repeating, circling keys of "Let The Pianos Freeze", the pulsating rhythms of "No Juntos", or the call and response of pitched vocal samples in "A Sword In The Rain". Ultimately it all becomes too much for our unwitting hero: the car horns outside the window, the 24 hour news cycle, the early stages of an election that tears down any remaining semblance of normality. Reto A’ichi can no longer grasp his humanity or connect to that of people around him.

                                                                                                                                  With the walls closing in, he packs his small life and escapes. This change in situation is reflected in the second half of the album, with tension giving way to a rush of emotions: modulated elation on "All Regrets", sweeping melancholy on "Tuesdays Always Awful", and soaring hope on "Broad Plant Pt.2". On Alone Moving Often, the second album, we find Reto A’ichi away from the city, lost in the vastness of empty summer houses and the complications that solitude brings. Sitting in the prison of his own quiet, Reto A’ichi seeks to capture the essence of silence: the compositions are stripped back further ("Pforever Reto"), the instruments given prominence ("So Contra"), and the chaos of the city replaced by the cacophony of nature ("Criminality"). To be alone, one must learn to constantly move in both work and purpose. As the rest of the record unfolds, Reto A’ichi comes to realize that nothing is ever truly quiet and that to run from the world is to simply find yourself in another part of it. A sense of acceptance for these unsettling realities is reflected in the music, from the harsher tones and frequencies that resonate throughout "Noise Counter Melody" and "Ghost Arpeggio" to the heavy stroke of the keys on "Alone Moving Often" and the haunting drone of "Mountainside Hillside".


                                                                                                                                  FORMAT INFORMATION

                                                                                                                                  2xLP includes MP3 Download Code.

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                                                                                                                                  Cover of Call The Void by Lusts.

                                                                                                                                  Lusts

                                                                                                                                  Call The Void

                                                                                                                                  Blinky Watts

                                                                                                                                    The self-recorded and self-released LP 'Call The Void' has a diverse palette of sonics and themes, having been influenced by the endless motion of the city, otherworldly nights, and brutalist architecture. It’s a utopian and romantic record; Lusts are more interested in being part of a developed and progressive future than being caught in a dystopian mire. The album is hopeful rather than despairing, but there are also explorations of darker themes.

                                                                                                                                    ‘Call of the void’ (or ‘l’appel du vide’ as it was initially inspired) covers concepts of artificial intelligence, the fragility of mental health, gothic futurism, nostalgia, and the void itself. It’s also evolved from the bands travels across the UK, Europe, and the US, as well as their experiences living in London, the tracks have taken inspiration from a range of new sounds, visuals, and encounters such as Andrei Tarkovsky films Stalker and Solaris, Mikhail Bulgakov’s The Master and Margarita, Francis Bacon paintings, as well as Grimes, Tame Impala and William Basinski.

                                                                                                                                    Utilising the haunting, reverb-drenched production of classic 80’s post-punk as well as the glistening sheen of the iconic synth-pop the decade is so famous for, Lusts explore a rich soundscape of Lynchian ambiance amongst their poppier hooks. There’s a layer of experimentation here too, whether it’s Andy drawing from the themes of Jean Baudrillard’s America for the single ‘lost highway’ or James introducing a rhythmic pattern by tapping pint glasses, inspired by Steve Reich’s minimalistic approach, for ‘joy in a joyless place’.

                                                                                                                                    “The album is about the feeling of standing on the edge of something high up and getting the urge to jump” they tell us, “it’s not necessarily about a death wish, more, paradoxically, it’s about wanting to live and how the mind has strange ways of expressing that. We felt like it’s a really accurate reflection of what we want to achieve musically - some of what we create could be seen as being quite dark thematically, but there’s a positivity to what we do, there’s a light there even in the darkness, and we want to uncover and explore that.”


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                                                                                                                                    Cover of Time Tourist - Reissue by B12.

                                                                                                                                    B12

                                                                                                                                    Time Tourist - Reissue

                                                                                                                                    Warp

                                                                                                                                      New edition of the second B12 album, originally released by Warp in 1996. It continues the sleek, Detroit-inspired sci-fi techno moves of their Electro-Soma era, but ties the tracks to a playful concept in which the tracks are presented as an educational soundtrack designed by the 22nd-century company “B12 Systems”. Housed in an evocative Designer’s Republic sleeve based on a classic Trevor Webb airbrush painting, the sleevenotes riff on a dystopian future society looking back at the primitive past and includes references to such genre touchstones as Blade Runner, Philip K. Dick and Star Wars. For the new vinyl edition the original “B12 technology times” sleevenote has been re-designed as a standalone booklet insert, and there is an A5 sticker sheet of future corporate logos from the Time Tourist universe. The download card includes 4 previously unheard alternate versions of tracks from the album.

                                                                                                                                      FORMAT INFORMATION

                                                                                                                                      2xColoured LP Info: Comes with booklet, sticker sheet and d/l card including 4 previously unheard alternate versions.

                                                                                                                                      2xColoured LP includes MP3 Download Code.

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                                                                                                                                      Cover of Otway Chimes by Hayes & Zeitgeist.

                                                                                                                                      Hayes & Zeitgeist

                                                                                                                                      Otway Chimes

                                                                                                                                      Moonshoe Records

                                                                                                                                      Moonshoe set their sights south of the border, shining a light on a collaboration between two vanguards of the Melbourne underground - Ziggy of 30/70 and Analogue Attic alumni Matthew Hayes. This EP bridges both their sounds while retaining a flavour all of its own, and Hayes’ spacious production affords their ideas room to breathe. The result combines disparate influences from jazz, ambient techno, house music, and broken beat to form a musical vernacular that feels singular to these two.

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                                                                                                                                      Cover of Willoughby’s Beach EP by King Gizzard & The Lizard Wizard.

                                                                                                                                      King Gizzard & The Lizard Wizard

                                                                                                                                      Willoughby’s Beach EP

                                                                                                                                      Flightless

                                                                                                                                        Willoughby’s Beach EP is King Gizzard & The Lizard Wizard’s first EP, originally self-released in 2011 and limited to 350 hand numbered copies. The reissue features new artwork re-imagined by Ican Harem and comes on red(ish) coloured vinyl.

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                                                                                                                                        Cover of Oddments by King Gizzard & The Lizard Wizard.

                                                                                                                                        King Gizzard & The Lizard Wizard

                                                                                                                                        Oddments

                                                                                                                                        Flightless Records

                                                                                                                                          Oddments is KG&TLW’s fourth studio album released in 2014. It features a collection of “odd” songs recorded between 2007-2014 and was originally limited to 500 copies. The 2018 reissue features a re-designed gatefold of original artwork by Jason Galea, and comes on grimace purple coloured vinyl.

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                                                                                                                                          Cover of Float Along - Fill Your Lungs by King Gizzard & The Lizard Wizard.

                                                                                                                                          King Gizzard & The Lizard Wizard

                                                                                                                                          Float Along - Fill Your Lungs

                                                                                                                                          Flightless

                                                                                                                                            Float Along – Fill Your Lungs is the band’s third full-length LP released in 2013 and includes the psychedelic fan favourite “Head/On-Pill”. The reissue features a double-sided fold out poster and comes on Easter-yellow coloured vinyl.

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                                                                                                                                            Cover of Eyes Like The Sky by King Gizzard & The Lizard Wizard.

                                                                                                                                            King Gizzard & The Lizard Wizard

                                                                                                                                            Eyes Like The Sky

                                                                                                                                            Flightless



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                                                                                                                                              Cover of 12 Bar Bruise by King Gizzard & The Lizard Wizard.

                                                                                                                                              King Gizzard & The Lizard Wizard

                                                                                                                                              12 Bar Bruise

                                                                                                                                              Flightless

                                                                                                                                                12 Bar Bruise is the debut full-length album by KG&TLW originally released in 2012 and limited to 500 hand numbered copies. This reissue includes new artwork reimagined by Jason Galea and comes on doublemint green coloured vinyl.

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                                                                                                                                                Cover of Danny Nedelko / Blood Brother by Idles / Heavy Lungs.

                                                                                                                                                Idles / Heavy Lungs

                                                                                                                                                Danny Nedelko / Blood Brother

                                                                                                                                                Partisan

                                                                                                                                                  Idles returned this year with their highly acclaimed, Top 5-charting second LP - 'Joy as an Act of Resistance'. Produced by Space and mixed by Adam Greenspan & Nick Launay (Arcade Fire, Yeah Yeah Yeahs, Kate Bush), ‘Joy as an Act of Resistance’ takes aim at everything from toxic masculinity, nationalism, immigration, and class inequality - all while maintaining a visceral, infectious positivity.

                                                                                                                                                  Now Idles have teamed up with Heavy Lungs for this split 7".

                                                                                                                                                  Heavy Lungs feature the legendary Danny Nedelko as their frontman – made famous by IDLES’ pro-immigration anthem ‘Danny Nedelko’, which features on the 7”. He is a close friend of the band (and Ukranian immigrant). ‘Blood Brother’ is a new track by Heavy Lungs. The song is about Idles’ Joe Talbot. 

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                                                                                                                                                  Cover of A-Moms + Algebra Mothers by Algebra Mothers.

                                                                                                                                                  Algebra Mothers

                                                                                                                                                  A-Moms + Algebra Mothers

                                                                                                                                                  Third Man Records

                                                                                                                                                    The Algebra Mothers/A-Moms were formed by four like-minded misfits/artists/musicians/friends (Gerald Collins, Ralph Valdez, Diana Balton and Kirsten Rogoff) from Detroit’s Cass Tech High School. They made their professional debut in 1977 and in 1979 they released the weirdly incredible Strawberry Cheesecake b/w Modern Noise 7” on their own Aftertaste Records (TMR re-issue imminent). They played around Detroit and the country with everyone from Destroy All Monsters and Sonic’s Rendezvous Band to Pere Ubu until 1984.

                                                                                                                                                    Several decades later, Third Man Records contacted head Mothers Gerald Collins (Jeecy and The Jungle) and Ralph Valdez (former WDET Disc Jockey) and discovered they were sitting on at least an album’s worth of home studio demos and live recordings. Now we proudly present to you “A-Moms = Algebra Mothers” LP, 14 never before heard tracks recorded between 1977-1984 in various home studios and clubs. It will be their first release in nearly 40 years and only their second release ever.

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                                                                                                                                                    Cover of Cookie Zoo by Colorama.

                                                                                                                                                    Colorama

                                                                                                                                                    Cookie Zoo

                                                                                                                                                    Banana & Louie Records

                                                                                                                                                      For the last decade, and almost secretly, Carwyn Ellis records have meant the greatest news for people who love pop with no labels, nor affiliations. People who, after a record-hunting afternoon, enthusiasticly arrives back home with findings like Françoise Hardy LPs from the Vogue era, Arthur Verocai, Broadcast reissues, an Alessandro Alessandroni soundtrack, Meic Stevens' "Outlander" and an original, mint condition, O'Jays' "Back Stabbers" LP.

                                                                                                                                                      Ellis has proved to be plenty of tools and talent to sum up, in forty minutes, all the magic of the best pop music recorded in the last fifty years, very well absorved and excitingly mixed, and steeped by a magic and pastoral halo from his native Wales.

                                                                                                                                                      Before Edwyn Collins decided that Carwyn had received much less attenction than what he deserved, and supported in his label AED two wonderful records like "Good Music" (2012) and "Temari" (2014), Ellis had already recorded the "Magic Lantern Show" EP (2009), the acclaimed by Shindig magazine, "Box" (2010); and this first album, "Cookie Zoo" (2008).
                                                                                                                                                      A debut, after his thirties, where we can find all his personal universe. "Cookie Zoo" is linked to "Dere Mewn", one of the most beautiful songs recorded in the United Kingdom in the last decade. An unique flower living in a botanical garden, filled with brilliant songs of all possible colours.

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                                                                                                                                                      Cover of Live In San Francisco by OCS.

                                                                                                                                                      OCS

                                                                                                                                                      Live In San Francisco

                                                                                                                                                      Rock Is Hell

                                                                                                                                                        Here we have OCS - recorded Live, at The Chapel, San Francisco, CA in December 2017 to be exact. OCS played four shows in California last December, raising funds for charity, and also enabling OCS to play out the tracks from the (then) recently released album "Memory of a Cut off head". Bandleader John Dwyer assembled his ensemble for these shows with players from the album and current Oh Sees members also, including Brigid Dawson, Emily Elkin, Eric Clark, Heather Lockie, Heidi Maureen Alexander, Paul Quattrone, Tim Hellman, and Tomas Dolas.

                                                                                                                                                        The shows sold out in a trice, and thankfully one of the San Francisco shows were recorded by Eric Bauer, Dwyer mixed the record and it was passed onto old friends the Austrian Label ROCK IS HELL (Oh Sees fans will note early releases by Thee Oh Sees appeared on Rock is Hell a whiles back).

                                                                                                                                                        Initially released (and long sold out) as a silk screened 4 LP set with some incredible artworks by Elzo Durt (he did the art for the Carrion Crawler / The Dream EP ).. Dwyer /Rock is Hell decided to make a more widely available 2LP version. 

                                                                                                                                                        FORMAT INFORMATION

                                                                                                                                                        2xLtd LP Info: Heavy weight black vinyl offset printed thick cardboard slip-in cover offset printed thick cardboard innersleeves download codes included shrinkwrapped.

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                                                                                                                                                        Cover of Goners by Laura Gibson.

                                                                                                                                                        Laura Gibson

                                                                                                                                                        Goners

                                                                                                                                                        City Slang

                                                                                                                                                          It is her best record, and also her strangest.

                                                                                                                                                          Goners, the fifth album from acclaimed singer-songwriter and multi-instrumentalist Laura Gibson, found its name in the first line she wrote in the bleak beginning of 2017:

                                                                                                                                                          If we’re already goners, why wait any longer, for something to crack open

                                                                                                                                                          That line became a lyric in the title track. It also became a sort of mantra. “I’d known for a long time that I wanted to make a record about grief. In some ways, every song I’ve ever written has something to do with grief. This time around, I felt compelled to stare into the abyss. Goners seemed an apt title because it speaks of both the future and the past. The word is used for two types of people: those who lose themselves in the ones they love, and those whose deaths are imminent.”

                                                                                                                                                          It is Gibson’s best record, and also her strangest. There are hauntings and transformation, odd birds and harbingers. Women become wolves, men metamorphose into machines, ghost-children wave in the rearview mirror, a scar becomes a vessel for memory. Her lyrics are populated with sharp objects: a needle, a thistle, a sickle, a scythe, claws and animal teeth. “I wanted the songs to feel like fables, to unfold with dream logic.”

                                                                                                                                                          Much of Goners explores the loss of her father as a teenager, and her wrestling with the decision of whether or not to become a parent herself. “My days are charged. Potential future grief forces me to reckon with past grief. These were two points on a map of grief. I wanted to explore the territory between them.”

                                                                                                                                                          Gibson co-produced the songs with engineer and friend John Askew, with whom she’d also collaborated on her 2016 album, Empire Builder, in his Portland, OR, studio. They began as simple demos, but Gibson kept returning to the studio to tinker, until she realized these demos had become a record. She ditched her guitar on half the songs and instead played piano and Wurlitzer. “There was a lot of experimentation, stacking vocals and using tape loops to transform sounds. We were landing on arrangements that seemed impossible to recreate and so we kept moving forward.”

                                                                                                                                                          She enlisted a number of long time collaborators, including guitarist/synth extraordinaire Dave Depper (Death Cab for Cutie), drummer and found-sound percussionist Dan Hunt (Neko Case), and stand-up bassist Nate Query (the Decemberists); then built horn and woodwind arrangements with Kelly Pratt (St. Vincent and David Byrne, Father John Misty) and imaginative string parts with Kyleen King (Stephen Malkmus, Case/Lang/Veirs).

                                                                                                                                                          It marks the first record Gibson made after completing a MFA in writing, and her language has never felt more alive, her storytelling sharper, her imagination looser. “I wanted to aim for wildness in my lyrics, not perfection. Trauma and grief are far messier than the stories we make of them. Despite this, we will forever keep telling our stories to each other.”

                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                          Coloured LP Info: Indies exclusive dark green vinyl.

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                                                                                                                                                          Cover of 8 Regards Obliques by Etienne Jaumet.

                                                                                                                                                          Etienne Jaumet

                                                                                                                                                          8 Regards Obliques

                                                                                                                                                          Versatile

                                                                                                                                                            In a time when Jazz music is entering a contemporary renaissance and exciting the ears and minds of new audiences, Zombie Zombie's Étienne Jaumet offers us his unique, idiosyncratic take on the sound with the sprawling “8 Regards Obliques”, his 3rd solo album with the Versatile label.

                                                                                                                                                            Jazz requires a certain freedom of technique, interpretation and improvisation that already matches Jaumet’s own production style and sonic aesthetic as well as his playful approach towards music. The eight pieces that make up the new LP were very quickly recorded; Jaumet let himself be carried away by the atmosphere without focusing too much on fine details or the laborious aspects of the composition process. The finished article is a spontaneous collection that stands out, a true mirror image of the creative process adopted by the artist. Not surprisingly, spontaneity is one of the characteristics already present in his music, in both his recorded output and his live happenings, where he leaves much room for freedom and improvisation.

                                                                                                                                                            “8 Regards Obliques” was recorded at the Versatile studio in less than 3 weeks with quite a basic set up: TR 808, selected synthesizers, vocals and of course the saxophone, which is a constant presence also in his previous albums. For the mix Etienne has again appealed to the maestro I:Cube, a central figure of the Versatile story and a prdigious engineer and artist in his own right. He immediately understood that it was necessary to keep the spontaneous side alive and to not over-produce the pieces or over-edit them, being constantly mindful to retain the power in the sound and in the frequencies. From Sun Ra with “Nuclear war”, Miles Davis in “Shhh / Peaceful” or “Theme from a symphony” by Ornette Coleman to “Caravan” (already quoted by many jazzmen), Etienne enjoyed revisiting classic masterpieces and paying tribute to his inspirations. He allowed himself only one personal and original composition, “Ma révélation mystique”.


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                                                                                                                                                            Cover of State Of The Union - Bob Stanley & Pete Wiggs Present by Various Artists.

                                                                                                                                                            Various Artists

                                                                                                                                                            State Of The Union - Bob Stanley & Pete Wiggs Present

                                                                                                                                                            Ace Records

                                                                                                                                                              By mid-1968 there was a growing consensus that something had gone horribly wrong with the American dream. The nation’s youth had loudly made their feelings clear, but now the older, pre-Beatles generations began to look at the country – with urban riots, Vietnam, and the assassinations of Martin Luther King and Bobby Kennedy – and wonder what the hell was happening. This album includes rare classics (The Beach Boys’ ‘Fourth Of July’), lost masterpieces (Roy Orbison’s seven-minute ‘Southbound Jericho Parkway’), and forgotten gems by some of the biggest names in the business (Elvis Presley’s ‘Clean Up Your Own Back Yard’).

                                                                                                                                                              Reactions to America’s existential crisis ranged in subject matter from divorce (Frank Sinatra’s ‘The Train’) and the break-up of the nuclear family (The Four Seasons’ ‘Saturday’s Father’), to eulogies for fallen heroes (Dion’s ‘Abraham Martin and John’), sympathy for Vietnam vets (Johnny Tillotson’s ‘Welfare Hero’), the church’s institutional racism (Eartha Kitt’s intense ‘Paint Me Black Angels’), and even questioning the ethics of the space programme (Bing Crosby’s terrific ‘What Do We Do With The World’).

                                                                                                                                                              Compiled by Bob Stanley and Pete Wiggs, State Of The Union follows on from their highly acclaimed English Weather and Paris In The Spring compilations. With clear parallels between today's fractured country and the USA fifty years ago, this is a fascinating condensation of what Americans were thinking when they turned on the TV, or the radio, or simply walked down Main Street in 1968.

                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                              Coloured LP Info: 180g blue vinyl double LP.

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                                                                                                                                                              Cover of Luxury Hits by Free Love.

                                                                                                                                                              Free Love

                                                                                                                                                              Luxury Hits

                                                                                                                                                              Luxury Hits

                                                                                                                                                              Luxury Hits is an open-hearted love letter to possible futures. Trans-temporal projection through pop music for dancefloors. The music is about breaking through the limitations of our surroundings, not through escapism but defining a new reality on our own terms and breathing it into existence.

                                                                                                                                                              The record is a tropal soup of sonic utopias - balearic, acid, italo, synthpop, psychedelia - served in the mercurial bowl of HERE AND NOW.

                                                                                                                                                              Free Love is the latest manifestation of Scottish duo Suzanne Rodden and Lewis Cook (FKA Happy Meals) - a continuation and progression of their utopian dance pop experiments released on Night School Records and Optimo which have seen them shortlist nominated for Scottish Album of the Year and performing across the globe. Touring across Europe supporting Liars and The Flaming Lips, and with festival shows as far as Austin, Moscow and Bangalore, the band have become notorious for their sensual live ceremonies. Using a table of all-hardware electronics, Free Love harness a charismatic chaos and unpredictable energy that sets them apart as one of the most exciting artists of 2018.

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                                                                                                                                                              Cover of Vinkelvolten II by Bauri.

                                                                                                                                                              Bauri

                                                                                                                                                              Vinkelvolten II

                                                                                                                                                              FireScope Records

                                                                                                                                                              FireScope welcomes back Sweden’s Bauri (Martin Abrahamsson) for his follow-up EP titled Vinkelvolten II.

                                                                                                                                                              With the seasons turning, these 5 tracks from Bauri match the oncoming cooler climates perfectly. Delicate crystalline notes and ethereal melodies waft past on an autumn or winter’s day, with the stepping crunch and idiosyncratic shuffle of gravel underfoot the only indication of the passing of time in the tracks. Imbued throughout are a sense of calmness, beauty and ease.

                                                                                                                                                              A slow autumn hike, the crisp and cold ‘Hertsi’ is well-paced and subtle in its storytelling, revealing a forest clearing here, or a hint of the surrounds beyond there, never with any rush or unnecessary drama.

                                                                                                                                                              From its glitchy predecessor, ‘Vinkelvolten II’ continues the plot where the first left off, offering richer tones and depth in maturity and emotional expression, pairing a soul-drenched electroish bassline with crunchy, grainy beats and a sprinkling of light toms.

                                                                                                                                                              The 90s throwback ’Cocoon’ is a capsule of a different era gone past, a slower paced groove and sustained synths painting a mysticized, fantasy world inhabited by imaginary creatures.

                                                                                                                                                              The gently cascading vibrato and ringing arpeggiated notes of ‘Wobbly Rhodes’ brings the EP to its mountainous high — a breathtaking panorama for the eyes and ears.

                                                                                                                                                              The lucid ’Tuesdaydreaming’ floats around like a lo-fi afternoon daydream, layer upon layer of a mental hallucination looping in and out, drifting between different worlds.

                                                                                                                                                              Finished in glorious green and black splatter vinyl with exclusive full colour artwork by Catherine Prendergast AKA Cellar Door.


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                                                                                                                                                              Cover of Flight & Pursuit by Indifferent Dance Centre.

                                                                                                                                                              Indifferent Dance Centre

                                                                                                                                                              Flight & Pursuit

                                                                                                                                                              Outer Reaches

                                                                                                                                                              More stunning archival UK post punk from Ransom Note sub-label Outer Reaches
                                                                                                                                                              The b-side track is definitely for those of you who felt the recent Lifetones, This Heat reissues. 

                                                                                                                                                              No mystique, no manifesto...’

                                                                                                                                                              ‘Chichester’s first homemade single...’

                                                                                                                                                              ‘It’s a Sunday there’s a cricket match outside on the village green, it’s sunny. Everyone is happy or totally confused’

                                                                                                                                                              Hot on the tattered heels of ‘Terminal Tokyo’ - the reissued cult UK DIY single by Garage Class and the inaugural release on Outer Reaches - arrives ‘Flight & Pursuit’, another overlooked revelation of provincial post-punk, this time by Indifferent Dance Centre. A four-piece from Chichester, a quiet Cathedral city in West Sussex, the group consisted of Lizzy Dowling (vocals / lyrics), Christopher Binns (guitar), Ashley Barrett (bass) and Douglas Barrett (drums / guitar & bass when required)

                                                                                                                                                              Without, as Dowling declared, ‘Martin Hannett, Paul Morley, Postcard or Factory’ to lend credibility to their venture and without the means to splash out on studio time this was a line-up that came together on one Sunday in August 1981 at their local Lavant Village Hall to capture ‘Flight & Pursuit’ and ‘Release’, two recordings of beguiling, impeccably restrained, reclusive music that possess a discretely epiphanic and timeless quality.

                                                                                                                                                              In their expression of a self-contained world they reveal a group that rests within the same self-made, economical and rarefied continuum as the Marine Girls, Young Marble Giants, AC Marias, Anna Domino and The Raincoats. Indeed, it’s not hard to imagine both ‘Flight & Pursuit’ and ‘Release’ holding their own on something like the epochal Cherry Red compilation ‘Pillows & Prayers’ released a year or so later. In many ways they could’ve improved it. However, beyond points of comparison and in speaking of greater significances they stake their own claim.

                                                                                                                                                              Although both songs are drawn with the same plain and pure freehand as many of their DIY-inclined contemporaries, IDC were an ephemeral force unto themselves. On ‘Flight & Pursuit’ a lowercase impetus of softly insistent, regulatory drum machines and alternately agitative / poised runs of guitar and bass revolve around one another, combining to form something elegiac and introverted yet strangely driven and ridden with angst. Dowling’s vocals have an air of grace and assurance that betrays traces of small-town ennui and jaded nihilism (‘We’re neither here, we’re neither there, following a path that’s leading us nowhere...’) yet they’re as stoic and beautiful as any of the more florid luminaries found on 4AD et al.

                                                                                                                                                              The sense of space that lies between everything is striking too, a mark of expanse that comes to the fore on the fierce and funereal skulk of ‘Release’, where a monochrome, haunted permutation of dub is accentuated by sounds of wind, noir-ish eviscerations of guitar and thumped percussion. Passages of melodica – played by Dowling - resound in the thickets of it all too, invoking Augustus Pablo if, instead of ‘East of The River Nile’, he were caught between reinforced concrete and overcast skies. All the signs then, of a record made on its own terms, are here. Both ‘Flight & Pursuit’ & ‘Release’ were made in the midst of a ‘happy chaos’, on a day which IDC recount as one where demands for ‘more echo!’, the sound of whirring black effects boxes – courtesy of their producer Alan Williams - and of offhand laughter all ran across one another. Recorded live in only a few takes they both indicate a level of modesty, candour, independence and intuition that proved to be the defining traits of both the music IDC made and the outlook they adopted. With only ‘Flight & Pursuit’ compiled on the Hyped To Death CD compilation ‘Messthetics #108: South Coast D.I.Y. '77-81’ back in 2011 the original 7” vinyl has begun to command inflated prices in the usual places. With this reissue on Outer Reaches that state of play is thankfully redressed. As it goes the ‘Flight & Pursuit’ 7” was the only physical release they put out into the world on their own appropriately named Recluse label. Nevertheless as a solitary piece of output, it’s a stunning accomplishment that has only improved with time. One record is all they needed.

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                                                                                                                                                              Cover of Flotus Movements by Kurt Wagner & Gregor Schwellenbach.

                                                                                                                                                              Kurt Wagner & Gregor Schwellenbach

                                                                                                                                                              Flotus Movements

                                                                                                                                                              Galerie

                                                                                                                                                                In 2016 Week-End Festival invited Lambchop’s Kurt Wagner to perform songs from his album FLOTUS in new version with musicians from Cologne. Here are two songs he did with Gregor Schwellenbach recorded live at Stadthalle Köln-Mülheim Maybe that is something unique to Cologne, a good balance between the human and the machine. (…) This was an idea to find people particulary from Cologne, I think that there is a scene here. Just parachuting me in and seeing what will happen, you know. It's all about finding people who think alike.“

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