The Scientists

A Place Called Bad

    With a sound that was swampy, primal and modern-urban all at once—as much in the tradition of rock n’roll and punk rock as it was a rejection of those things, the Scientists’ formula was as universal as it was specific to their own experience. The themes of getting wasted, driving around in hotted-up cars, being trapped in crap jobs, and paranoia were their subject matter. Machine throb bass and drums with jagged car-wreck guitars were their modus operandi. Fitting into no place or time they spurned all but the most rudimentary and elemental of rock structures to create a sound all their own.

    “The Scientists proved to me that rock ‘n’ roll could be played by gentlemen in fine silk shirts half unbuttoned and still be dirty, cool and real.”—Thurston Moore

    “They wrote fantastic singles and looked like they just crawled out of the ooze. What more could you ask for?”—Warren Ellis.

    “The Scientists turned my head around and made a man out of me! They grew hair on my palms and made my socks stink!”—Jon Spencer


    2xLtd LP Info: 2LP version boils the box down to 22 essentials, plus unpublished photographs, discography, and fold out Perth Punk family tree.

    4xCD Box Set Info: 4CD includes complete studio recordings, live recordings, and a previously unissued set from Adelaide UniBar, plus dozens of previously unpublished photographs, discography, and fold out Perth Punk family tree.

    Cold Pumas

    The Hanging Valley

      The long-awaited follow-up to 2012’s best-in-show 'Persistent Malaise' offers at least 33.3% of its buffet to shimmering, inward, mulch-heavy ballads — ‘A Change of Course’, ‘The Shaping of the Dream’, ‘Murmur of the Heart’ — showing a sensitivity that inevitably does nothing for the craft beer revolution. If truth be told, the remaining 66.6% threatens to look equally indifferent when served on a wooden board or beside a miniature stainless steel plant pot of hand-cut triple-cooked fries, but such is life.

      These songs are mostly about discouragement and the black dog, the tepid whines of self-inflicted unemployment, the repetition of life’s repetitions, the creative dormancies of romantic contentment. Disappointingly there lies no outward mention of pop-up launches, sides of ‘slaw, chakra schools, the urban woodsman or an allusion to an artisan approach.

      Across its 38 minutes, the 'The Hanging Valley' instead covers such further peripheral subjects as the imperceptible bow towards the thirty-something honours list, the vacuous, rising diphthong of the inner-city commute and the suppressed rush of blood towards vainglorious internet smear.

      ‘Now a quartet of fraternal pedants’ whimper the band’s dusty social media accounts in reference to the twilight addition of Lindsay Corstorphine on the bass guitar, ‘cascading down the woodwork, slapping the pegs’ as he goes, dear reader. In truth The Hanging Valley owes us much to Corstorphine’s ample stringmanship as his encouragement toward loosening the conservative shackles of olde. Certainly a weakening of the old guard has taken place somewhere, the gamut of emotion ridden more obliquely and less shamefully now. Ballads stare teary-eyed out of windows towards rain-swept rivieras, vocals and guitars have pulled themselves gamely out of the reverb-soaked hollow and those ‘for the rockers’ — ‘Slippery Slopes’, ‘Severed Estates’, ‘Fugue States’ et al — no longer grasp for the safety of the halfway house but aim for the stars. ‘More sherberta tambourine’ they cried in the studio, and more sherberta there was.

      Between late 2012 and early 2013, both Fisher brothers, Patrick and Oliver, relocated to independent lodgings in the predictable London borough of Hackney whilst Dan Reeves remained in the coastal enclave of Brighton & Hove, West Sussex. Sporadic melody-making sessions between Fisher, O and Reeves had already cemented the nucleus that would become The Hanging Valleyby the time ‘live music fans’ hailing from the East of England were sent o’er the moon upon the announcement at a press conference at Leyton Orient’s Brisbane Road stadium that LAC (nee Lindsay Alexander Corstorphine) had joined the band in a full-time four-string capacity. Legend says his controversial initiation had taken the form of a gruelling 5 (five) day tour throughout some of the Benelux’s most scenic highways and byways.

      During a long weekend in Barcelona in February 2014, the new quartet spent Valentine’s Day together and cycled along the seafront as far as the Nova Mar Bella before playing a passable show the following afternoon. The paparazzi hubbub covering the mini-break was soon to be eclipsed by the announcement that Reeves was to become a father for the first time. Fittingly, Dan was only ever one letter away from Dad, and so it proved, when, following the ‘locking down’ of each of The Hanging Valley’s nine precious numbers at Mark ‘Mug’ Jasper’s Sound Savers studio in predictable Homerton in early October 2014, Reeves abandoned the limelight in order to assist upon seeing young Elliot into the world. At his son’s launch event at Brighton’s Churchill Square shopping centre Reeves was heard to exclaim that his would be ‘a lifetime of experience, bleeding from the speakers’.

      Atticus Rose, Leopold Ross And Bobby Krlic

      Almost Holy - Original Motion Picture Soundtrack

        After the collapse of the Soviet Union, a number of Ukraine’s youth wound up homeless and addicted to a lethal cocktail of injected cold medicine and alcohol. Steve Hoover’s documentary Almost Holy follows a pastor named Gennadiy Mokhnenko, who saves street kids, at times by forcible abduction, and brings them to his Pilgrim Republic rehabilitation center. The film’s depiction of a country in the grip of poverty, addiction, and warfare is made even more powerful by its captivating electronic score by award-winning composer Atticus Ross, his brother Leopold Ross, and Bobby Krlic (The Haxan Cloak).

        “Occasionally a project comes along where one feels compelled to contribute,” Atticus said of seeing the early footage that convinced him to work on the film. “It’s a different world over there – of course we have dire poverty in the U.S. – but to see an army of drug-addicted children living in those conditions, children the same age as my own, under ten years old but covered in track marks and sleeping on sewers to stay warm, and someone is asking you to write a little music to help the cause. It would be hard to find a reason not to.”

        His collaborators felt the same way, and the trio soon began work on the score — the Ross brothers in the U.S. and Krlic in the U.K. The distance meant the composers initially worked separately, but in the end, the soundtrack feels remarkably coherent.

        The message and content of film kept the trio inspired, and once Krlic had emigrated to the U.S., they met at Atticus’ studio and continued to work on the album as a free-standing piece. The film remained the anchor and the catalyst for their creativity, but several of the tracks on the record don’t appear in the picture at all. Almost Holy is thus not simply a soundtrack album, but a soundtrack and an album, one that both enriches its film and stands apart from it.

        New Pepe! The master of disclocated house and awkward sound design returns with the lost Atavisme catalogue number. This will be released in a Limited SERIALISED ( Number Stamped 1/3500, 2/3500, etc) Edition of 3500, with Full Beautifil Cover Art made by Pepe and will be Sealed / Shrinkwrapped.

        Japanese Breakfast


          On ‘Psychopomp’, the debut full length for Japanese Breakfast, Michelle Zauner romanticizes need, knowing precisely how futile it can be, as she howls on the record’s final song, to “cling to your sleeves ‘til they’re like lacerated sails.”

          ‘Psychopomp’ unspools with an otherworldly rush - it’s skysized dream-pop with substance, moving from the gorgeous euphoric rush of ‘In Heaven’ through the pinwheeling ‘Rugged Country’ and ‘Everybody Wants To Love You’ into the painful longing of ‘Jane Cum’ and ‘Heft’ and the relief of ‘Triple 7’.

          Imagine Bat For Lashes or ‘Tango In The Night’-era Christine McVie working in the New York indie-pop scene populated by the likes of Frankie Cosmos and Porches.

          ‘Psychopomp’ has become one of the year’s most beloved indie-pop records, receiving plaudits from the likes of Pitchfork and NPR.


          Indies Exclusive LP Info: Opaque violet vinyl available to independent retailers.

          Marielle V Jakobsons

          Star Core

            On new record ‘Star Core’, multi-instrumentalist Marielle V Jakobsons uses her voice for the first time, while expanding on ideas she explored in her previous solo records and as one half of the group Date Palms.

            ‘Star Core’ revolves around minimalist synthesizer layers with melodic violin, ute and vocals over elongated bass grooves. The songs on the album are Jakobsons’ version of devotional hymns and they create a cosmic yet personal environment to slow down with and to get lost in.

            ‘Star Core’ was recorded at Jakobsons’ home studio and at Mills College in Oakland, California and mixed at Chuck Johnson’s Cirrus Oxide studio.

            Jakobsons has previously performed solo as Darwinsbitch and in the group Myrmyr with Agnes Szelag.

            “… like Earth sans metal, a dusty Morricone-on-codeine tortoise plod through dubby deserts” - Spin

            “A meditative amalgam of grounding strings and miragelike shimmers” - The Fader

            “What Marielle has replicated ... is the exuberance of nature, the subtle, superabundance of the given thing itself” - Tiny Mix Tapes


            LP Info: LP version pressed on virgin vinyl with free download coupon.

            CD Info: CD version packaged in a 4 panel mini-LP style gatefold package.

            Thalia Zedek Band


              Thalia Zedek has one of the most enduring and distinctive voices in modern rock music - a voice like no other - that can be heard in her work with some of the most groundbreaking underground bands, from Uzi and Live Skull to Come.

              Since 2001, Zedek has been making music under her own name, releasing a string of critically acclaimed albums. Her latest, Eve, is her most accomplished album to date, building upon the foundations of her previous releases. Again the album features her bluesy, gritty guitar work and her distinctive vocals that, when juxtaposed with graceful viola and piano, give the songs a compelling tension.

              ‘Eve’ was recorded and mixed by Andy Hong at Kimchee Studio.

              For this record, Zedek’s band is made up of talented and trusted musicians David Michael Curry (viola) and Mel Lederman (piano), who have worked with Zedek since 2001’s ‘Been Here And Gone’, Winston Braman (bass) played on 2008’s ‘Liars And Prayers’ and newest member Jonathan Ulman is back on drums for his second recording with the band.

              Thirty years in, Zedek is as active as she has ever been. She started the new rock band E with Jason Sidney Sanford (Neptune) and Gavin McCarthy (Karate). She continues to tour with the Thalia Zedek Band and has done more than a few Come reunion shows.

              On ‘Eve’ we find the results of a creative thinker whose life experiences are laid bare and whose mesmeric voice and startlingly honest songwriting deliver a singular emotional punch. Eve should cement Zedek’s place among alternative rock’s greatest practitioners.

              “One of alt-rock’s great voices.” - Q Magazine

              “Evokes Patti Smith’s recent mournful mood.” - Mojo

              “Another haunted masterpiece of bruised blues from Boston-based rocker.” - Uncut

              “She’s as capable of conveying melancholy through her parched guitar work as through the haunted house of her voice.” - The Wire

              “As ever, Zedek specializes in thorny songs that unflinchingly address adult topics and full-grown problems, with the malleable backing of her guitar and band providing either momentary refuge or sympathetic cries of exasperation.” - Pitchfork

              “Her wayward growl of a voice as crucial an instrument as the viola’s wailing lament or the bloodied strum of guitar.” - Rock-A-Rolla


              Includes MP3 Download Code.

              CD Info: CD version packaged in 4 panel mini-LP style gatefold package.

              Billy Woods / The Decisions

              Let Me Make You Happy / I Can't Forget About You

                INFERNO are back with two hot tracks back to back on one 7” single, both originally released by the Sussex label.

                “Let Me Make You Happy” is a Van McCoy song/production for BILLY WOODS much loved by northern soul fans with original copies worth upwards of £2,000 after becoming a major spin at clubs including The Wigan Casino and Blackpool Mecca.

                “I Can’t Forget About You” was a B-side to “You Look Like An Angel” for THE DECISIONS, but the most in-demand side and previously released in the UK by A&M Records. It was another big spin at Wigan Casino on the northern soul scene, original copies on Sussex extremely rare and worth considerable amounts of money. 


                Phantom Of Liberty

                  The beat hammers like the pulse of a pair of lovers on the run from a gang of racist thugs - the sound is manic, but from it speaks a seemingly insurmountable inner strength. This arch of tension is home to Camera. The Berlin band is rightly compared with icons of seventies Krautrock such as Neu! and La Düsseldorf, with a tight and driving sound, yet they are still somehow unpredictable. Hardly any other band understands how to mutate tiny musical nuances into volcanic eruptions like they do. Camera is a motor running at full throttle, where an explosion could occur at any second. Once you have embarked on this crazy journey, you will be fascinated by the alternating current somewhere between a flash flood and roller coaster running off the rails. The cascades of sound convey a blurry image of a boundless desire to revolt, with each blink of an eye threatening to end in purgatory, yet it is damned near indestructible.

                  Michael Drummer is the ethereal Indian paleface who pummels his drums at every show as if we're in the midst of a 17th Century incarnational ritual. In Steffen Kahles, who hails from the world of film music, he has found the musical partner he needed to enrich the tribal kraut beat with diverse motifs and bold sounds. On the third Camera album "Phantom of Liberty", we hear the clever use of playful sounds such as synths that beam us back into the Commodore 64 computer games of 1984; or slightly cranky keyboard pads, as if created by deliberately manipulating the speed of an old tape machine. With "Phantom of Liberty" Camera show that they have become more mature and complex without losing any of their tremendous energy.

                  FORMAT INFORMATION

                  Coloured LP Info: Indies exclusive blue vinyl edition.

                  Indies Exclusive LP Info: Indies exclusive yellow vinyl edition.

                  Vinyl comes with CD version of the album enclosed.

                  Bruce Trail

                  Ravine Dream

                    Beginning in the south, the Bruce Trail hugs the ancient shoreline of Lake Iroquoia as it follows the edge of the Niagara Escarpment. The Path, over its lengthy journey, winds its way through a landscape of natural beauty as it moves up to central Ontario.

                    As the Trail leads further into the depths of the woodland and Ravine, sunlight falls through layers of evergreen branches stamping intricate patterns on the forest floor. Continuing north, the Trail passes an array of plants and wildlife native to the historic forest. Vivid colours saturate the forest canopy, complimented by the sounds of the cascading waterfall echoing through the Ravine.

                    In the distance a carpet of gently waving fern cover the rolling hills dotted with slow-growing centuries-old coniferous trees that reach towards the sun.
                    At the home stretch of the escarpment you will be offered stunning views of the Peninsula, with the calm blue water of the western end of Lake Ontario reaching out to the lush greens of the temperate rainforest. 

                    Various Artists

                    Running The Voodoo Down - Explorations In Psych Rock Funk Soul Jazz 1967-80

                      ‘Running The Voodoo Down’ looks at a time when African-American music was exploring myriad new directions against a backdrop of incredible and explosive social change and features the likes of FUNKADELIC, JAMES BROWN, MILES DAVIS, LIGHTNING ROD & JIMI HENDRIX, KEITH JARRETT, BUDDY MILES, THE METERS, THE CHAMBERS BROTHERS, SWAMP DOGG, JAMES ‘BLOOD’ ULMER and SLY & THE FAMILY STONE. Whilst not a lot of this music was commercially successful at the time, its importance and its influence on subsequent generations of artists – both black and white – has continued to grow over the years.

                      To quote Harlow’s extensive liner notes:“This is the sound of Musical Revolution. Social Revolution was in the air and musicians jumped with the times. Working around the funky ground built by Mr Brown, The Big Four – Miles, Clinton, Jimi and Sly – set about recreating a new psychrockfunksouljazz explosion. As they played a new generation of explorers was set in motion and as sure as fireballs off the sun they splintered in many directions.”

                      Following a year that saw the 50th entry in the long-running series released to wide acclaim, DJ-Kicks returns in 2016 another landmark edition. Iconic Detroit DJ and producer Moodymann is at the helm for his first ever multi-artist DJ mix compilation. Born Kenny Dixon Jr., Moodymann is a one-of-a-kind electronic music icon, hailing from, and wholly synonymous with the Motor City. He is an outspoken, impossibly charismatic artist who has been putting a distinctive and soulful stamp on house and techno since the early 90s. Melting together jazz, funk, soul, blues and rock in captivating ways, he is responsible for some of electronic music’s most definitive tracks, EPs and LPs on labels like Planet E, Peacefrog and his own KDJ and Mahogani Music imprints. As able to serve up the sweetest and most sensual sounds as he is the darkest and most depraved grooves, his own unique voice and stream of conscious musings infuse expertly sought-out samples for music that is decisively alive and authentic.

                      Across 75 minutes and 30 tracks, Moodymann does not disappoint: despite being a notorious vinyl fetishist, Dixon’s aim is to present music of quality, not to one-up fellow collectors. Rather than serving up ridiculously rare or hard-to-find records, he instead focuses on creating a libidinous, blues-drenched mood that takes in heart-breaking soul, gorgeous hip-hop and love-fuelled house. In addition to cuts from his own creative circle, the mix features 11 exclusive Moodymann edits. Like everything Kenny Dixon Jr. touches, DJ-Kicks showcases the taste, skill, and soul of a dance music original.

                      As featured in the Piccadilly Records End Of Year Review 2015 Top 20, this comes with a free Piccadilly End Of Year CD sampler. Click HERE for more info.

                      For the past 10 years, all roads Shepherd has followed have been slowly leading to 'Elaenia' - an album with roots deep in his formative years, and one that draws upon everything Shepherd has done so far. An album that provides context to the music that Shepherd has been making to date. Every DJ set he’s performed, every talent he has produced, every composition he has written are thought of as precursors to 'Elaenia' - a dazzling score which puts Shepherd in the spotlight as a composer who has produced an album that bridges the gap between his rapturous dance music and formative classical roots. Drawing inspiration from classical, jazz, electronic music, soul and even Brazilian popular music, 'Elaenia' - named after the bird of the same name - is the epitome of the forward-thinking Floating Points vision in 2015.

                      STAFF COMMENTS

                      Barry says: A big hit in the shop this one, and rightfully so. I remember first hearing the soaring arpeggios and jazzy twists, and being thoroughly hooked. Known to use a Buchla 227 and an Arp Odyssey, Sam Shepherd has really shown that there is no need to shy away from melody whilst utilising patchable synths, and Elaenia is all the better for it.

                      FORMAT INFORMATION

                      LP Info: Includes a free EOY 2015 CD sampler.
                      LP includes four page A4 insert.

                      Includes MP3 Download Code.

                      CD Info: Includes a free EOY 2015 CD sampler.

                      The Bug

                      Box / Iceman

                        Havin' crossed paths many times over the years, in clubs and at festivals, and mutually admired each other's destructive potential in the dance, D Double E, and The Bug had spoken for time, about a killer collab, and "Box" is truly that.

                        Written specifically for Double, by the Bugman, to amplify the mc's warp factor flow, the producer propels his trademark weight with an off kilter swing. Result is an unusually catchy dancefloor banger, that heads resolutely back to the club, after the moody narrative detours of Angels & Devils.

                        Meanwhile, "Iceman" has already been heralded as the new "Skeng", by the many djs who have already dropped it on dubplate. From Mala, to Mary Ann Hobbs, via Rodigan, Logan Sama and Kode 9, its already left massive floor craters prior to release. Its the sound of yardie badman Riko gettin low down and dirty on a seriously nasty Bug riddim. A monster. Having finally hooked up with two of the most singular voices in grime, this EP marks the beginning of more lethal collabs to follow, with the finest filthmasters, the UK has to offer on the mic. "Box/Iceman" signifies The Bug's intent to indelibly mash up the dance again and again.

                        Jane And Barton

                        Jane And Barton

                          Originally released in 1983 this album is probably best known for the inclusion of the track “It’s A Fine Day” A poem written by Edward Barton that was originally sung unaccompanied by, and credited to, Jane - that is, Jane Lancaster.

                          Recorded and released independently, it was played by ,amongst others, Radio 1 DJ John Peel. It was heard by Iain McNay of Cherry Red Records, who released it in 1983. Reaching number 5 on the UK Indie Chart, becoming the highest ever chart placing of an unaccompanied poem in U.K. history.

                          Later appearing credited to Jane and Barton, on this, their eponymous mini-album. It has been covered and sampled many times since. Becoming major Worldwide dance hits for both OPUS III and Miss Jane (No relation)

                          The album itself is almost impossible to categorize. all tracks (bar one) feature Jane’s hauntingly beautiful voice singing accapella or with minimal accompaniment .Musicians incude Martin Moscrop and Andrew Connell of A Certain Ratio.

                          10 things you need to know about Edward Barton
                          1. Edward invented and patented a knitted woollen radiator cover that is designed to stop radiators looking cold.
                          2. Edward wrote “It’s a Fine Day” (which long before it charted at number 4 for Opus 3 and subsequentlhatched a hundred versions) was an indie hit in 1983 Incidentally it still holds the record for the highest ever chart placing of an unaccompanied poem. The last line “we will have salad” is the only unsampled line left.
                          3. Edward co-wrote Kylie Minogues “Confide in Me”.
                          4. Edward has a room containing over 300 teddy bears: non of them worth anything, other than love. They were rescued from kerbs, skips and back alleys in the 1980’s when it seems the whole of Manchester chucked out it’s childhood. He also has a large collection of childrens shoes, babies dummies and over a thousand mugs which he re-arranges instead of being a Buddhist.
                          5. Edward appeared twice on “The Tube”. If you say the words “I’ve Got No Chickens but I’ve Got Five Wooden Chairs” to a boy over 40 there is a strong chance of a big smile. Despite the lack of swearing or sexy stuff his performances attracted more complaints from the public than any other act. He refused to appear a third time after being asked to emerge from a cake with Samantha Fox.
                          6.Edward was arrested for displaying his installation “Stolen”, a large cage containing household objects shop-lifted from various supermarkets. As a result he is probably the only person to appear ( topless or otherwise) on page 3 of “The Sun”, and “The Star” and page 5 of “The Mirror”.The Sun described him amusingly as ‘Manchesters very own Leonardo Da Pinchi.’ Sadly his “Oblong Art Gallery” on the top floor of “Afflecks Palace” in Manchester was, also at the police’s request, shut down.
                          7.In the 90’s Edward was the unofficial “trance laureate” he wrote 6 top 30 tracks and many dance chart hits with among others Norman Cook as “Pizza Man”, Paul Oakenfold, ATB, LOST WITNESS, Justin Robertson, Way Out West and Orbital.
                          8.Edward played guitar on “Sowing the Seeds of Love” for Tears for Fears on the Wogan Show. It’s on you -Tube
                          9. Probably because he was cheap, polite and didn’t mind sleeping the night in the back of a van parked on a hill, Edward was the tour support for many bands in the 80’s.He particularly enjoyed the company of Stump, Microdisney and James. Less fun were the The Proclaimers who refused to share a dressing room
                          10.Edward was strangely prominent during Manchester’s early rave years. He wrote “Born in the North” by a Guy Called Gerald which was one of the Hacienda’s biggest floor undulators.

                          FORMAT INFORMATION

                          Coloured LP Info: 10” LP pressed on white vinyl with CD of complete album containing 2 non LP bonus tracks, comes with 8 page colour booklet. Includes the singles “It’s A Fine Day” and “I Want To Be With You”.

                          Shit And Shine


                            Since the release of the first Shit And Shine album ‘You're Lucky To Have Friends Like Us’ in 2004 (on Riot Season) Shit and Shine have released approximately fifteen more albums (this being the sixth for Riot Season), at least the same amount of EP’s and played fuck knows how many amazing shows across the world.

                            Throughout this, Shit And Shine continue to shift genres with ease, never wanting to become predictable, Craig Clouse (for he is Shit And Shine) rarely opts for the safe option, in fact he never does. Recent times have seen him receive glowing praise for his more electronic work on labels such as Editions Mego, Rocket Recordings & Diagonal. So what does Clouse do next? He knocks out a GRINDCORE album of course.

                            ‘Teardrops’ kills any notion of you knowing what he’ll do next stone dead. It’s a battle scarred middle digit to the world, a full force fuck you guitar overload (did you see the song titles?) and it’ll ruin your weekend.

                            FORMAT INFORMATION

                            LP Info: Limited edition 500 only white vinyl LP. Housed in 350 gsm printed card sleeve with black inner.

                            William S. Burroughs

                            Curse Go Back

                              William Burroughs was in and out of London from the mid-50s through to 1974 and for several years quite settled in a flat near Piccadilly. During this latter time he developed and refined the techniques he used for creating cut-ups on tape. Working closely with Ian Sommerville, who helped acquire, and no doubt maintain, the various tape recorders that Burroughs used and abused in these experimental works. The work here is in 2 sections, which in their original form lasted for over an hour and first appeared in 1998 under the name Electronic Revolution as a free CD with Issue One of the French magazine Crash. The CD was quickly withdrawn with maybe only 100 copies finding their way into circulation.

                              This edition is edited down to 46 minutes and comprises the core of the original recording. It employs the now familiar techniques of random drop-ins and cut-ups of readings. The readings themselves also being cut-ups of words on the page. The first section of the tape uses further processing by means of a 2nd tape recorder. Recorded in Duke Street c1968, the tape was then passed on to Brion Gysin in Paris where it remained in his archive until 1998. This is the first readily available edition of a hypnotic and meditative recording that examines the hidden power of words. Closer to a work of sound poetry than anything literary.

                              The album includes a 12”x12” insert with an essay by Ben Harper and several previously unseen portrait photos of Burroughs, taken by Harriet Crowder in her Hammersmith flat during a drug experiment. The back cover uses another Crowder image - the very next frame after the famous shot that appeared on the cover of the English Bookshop/ESP “Call Me Burroughs” LP.

                              FORMAT INFORMATION

                              Coloured LP Info: Pressed at Optimal on transparent vinyl in a numbered edition of 500.

                              Jorge Ben

                              Jorge Ben

                                Jorge Ben (now known as Jorge Ben Jor) pioneered the funky samba-rock (or samba-soul) style, and represented the Rio wing of Brazil's tropicalia movement. Born to an African mother, Ben embraced African and African-American music -- especially funk and soul -- far more successfully than other tropicalia stars.

                                An excellent album, with some of his catchiest songs, many of which often make it onto best-of compilations. Wildly inventive, syncretic, experimental pop music, ranging from San Francisco-sound psychedelia to spaghetti western schmaltz, and deep, heavy samba-soul. The album is both soulful and playful, as when he sings the last half of "Pais Tropical" in a nasal voice, with his nose pinched shut, or when the string section veers into bent-note atonality. (The album is also one of the best-realized efforts of tropicalia arranger Rogerio Duprat, whose influence here includes both compositional elements and fascinating experimental production techniques, such as isolating unexpected elements in the sound mix -- bringing percussion to the fore, while burying the guitars. In general, this is a lushly multi-layered, challenging and delightful record, one which has a deserved and enduring appeal, generations after it was made.) The album art shows Ben with the emblem of the Flamengo futbol team on his guitar, and broken manacles on his wrists -- the latter presumably a statement both about the history of slavery in Brazil, and about the military dictatorship which was running the country at the time, and actively trying to repress the tropicalia movement. One of his best records... definitely worth tracking down!

                                A samba soul masterpiece from Jorge Ben – one of the most brilliant records to come out the fertile late 60s Brazilian scene – and an incredible album that works with the psychedelic flourishes of Ben's contemporaries and a deeper undercurrent of soul & funk! This is one of the most amazing early Jorge Ben LPs, recorded at the end of the 60s, when Jorge was singing with a stone-cold soul sound. The sharp, tight arrangements by Rogerio Duprat & Jose Briamonte made tracks like "Pais Tropical", "Take It Easy My Brother Charles", and "Que Pena" immediate classics – while the percussion and rhythms of Trio Mocoto provide a good part of the unique backdrop. The album is a mix of funky samba, soaring Brazilian soul, and sweeping orchestrations that give the whole thing a jazzy finish – and it's some of the best work that Jorge Ben ever recorded! Other tracks include "Criola", Cade Tereza", "Domingas", "Barbarella", "Quem Foi Que Roubou A Sopeira" and more.

                                Urusei Yatsura

                                You Are My Urusei Yatsura

                                  So it's coming up for the 20th anniversary of the “We Are Urusei Yatsura” album, so what better time to look back at the broken Woolworths guitars, damaged eardrums and bleeding knuckles of Glasgow's lo-fi, Tokyo dreaming geek rock quartet?

                                  You could say it all began at the Glasgow Sound City event, when legendary BBC DJ John Peel came along to check out Urusei Yatsura at the 13th Note at the invitation of future Franz Ferdinand front-man Alex Kapranos. Liking the chaos that he saw, Peel invited the band to record a session for his show, asking live on air while guitarist and singer Graham Kemp was visiting the studio to talk about his “Kitten Frenzy” fanzine the next day.

                                  “Peel arranged for us to record the session in Glasgow” says Kemp, “We didn't have any amps or any money to get to London.” Producer Stewart Cruickshank told the band that it was the first Peel Session recorded outside of Maida Vale since the Undertones. So no pressure there then.

                                  This began a long association with John Peel and the BBC, which saw the band record 5 Peel Sessions, 3 Evening Sessions for Steve Lamacq, play live to air for Mark Radcliffe, and appear regularly on Radio Scotland for John Cavanagh and Mark Percival. Digging through old C-90's that had been partly taped over with that week's charts, the band have pieced together a compilation of the best tunes for you, the discerning 90's indie rock aficionado.

                                  “..they sounded a bit like the Saints” - Thurston Moore, SELECT

                                  “Some of the recordings we did for the BBC, I think, are better than what eventually made it onto vinyl. We did “Kewpies Like Watermelon” live in the control room for Radio Scotland and we had just learned it so it sounds really fresh and exciting. The version of “Siamese” is the best we ever captured, and I love the “Dice/Nae Dice” tune we wrote especially for Peel”. - Kemp

                                  The challenge of recording and mixing four songs in a single day brought out the best in the band, and suited their impulsive, DIY rock n' roll spirit. The album, available on CD and vinyl, features 11 songs, including session versions of 6 singles, choice album tracks and live favourites from the only band who have been threatened by both the Yakuza and the Mafia (the latter incident generating the hilarious headline “Nerds Threatened With Death” in the Sun “newspaper”). The band have decided to call this hand-picked selection of the highlights of an eight year “career”; You Are My Urusei Yatsura, BBC Radio Sessions.

                                  Other highlights of said career include; a number one indie single with a video shot in a Star Trek themed bar (Phasers On Stun), a Peel Festive Fifty placing (Kewpies Like Watermelon) an actual top 40 hit (Hello Tiger), numerous chaotic tours of Europe, UK and USA ,narrowly surviving a collapsing stage at Benecassim and a tent fire at Phoenix Festival, releasing three studio albums and 13 singles (including splits with Mogwai, the Delgados and the Blisters), taking Mogwai, Eska and Pink Kross on their first UK tours, supporting Super Furry Animals, Pavement and Teenage Fanclub, playing at Roskilde, Reading and T In The Park festivals, The CMJ festival in New York and MIDEM in Cannes.

                                  The band consisted of the writers Fergus Lawrie (guitar and vocals) and Graham Kemp (guitar and vocals), with brother and sister rhythm section Elaine and Ian Graham on bass and drums respectively.

                                  Magic Trick

                                  Other Man's Blues

                                    Empty Cellar is proud to release the newest album by Magic Trick, Other Man’s Blues—written and recorded while songwriter Tim Cohen split his time between two lives and two worlds, a horse ranch with his newborn daughter, and on tour or at Phil Manley’s Lucky Cat Studios in San Francisco.

                                    A book of songs Cohen had written while bouncing to and fro sufficed in lieu of rehearsal time with the thirteen other musicians who appear on the tracks: James Kim and James Barone (Beach House) on drums; Alicia Van Heuvel (Aislers Set) and Paul Garcia on bass; Joel Robinow (Once and Future Band / Danny James) on keys; Emmett Kelly (The Cairo Gang / The Muggers) on guitar; and omnipresent vocal harmonies from Alicia, Noelle Cahill and Anna Hillburg. The album is a loose, largely improvised affair, with many guest appearances and stop-ins. Allegedly tequila was centrally involved. It’s the principle that gave this project a name five years ago. Especially in this case, the players on the album define what shapes these songs take.

                                    A ghostly choir of female voices opens the album like a séance, with the spirit they conjure flitting about the ensuing ten tracks, from the baroque pop of “Forest of Kates” to the icy post-punk of “I Held the Ring.” There’s the air-tight R&B groove of “Startling Chimes,” the krauty “Purest Thing,” a jammy side-to-side trot that moves “First Thought” along, taking a detour into country before culminating in a glorious Grateful Dead-indebted coda. Throughout, it’s Cohen’s lyrics that are pushed to the front of the mix—collectively fleshed out, from his composition book.


                                    A Taste Of DNA

                                      New York’s DNA had a massive effect on alternative / indie rock around the world, despite the trio never releasing a full-length studio album during their four year tenure (1978-82). Various groups citing them as an influence have included Sonic Youth, Boredoms, Big Black and Blonde Redhead (the latter taking their name from DNA’s most-famous song). While the band’s explosive live performances captivated audiences, extant recordings capture DNA’s dynamic sound and savage economy in songwriting.

                                      Originally released in 1981, A Taste Of DNA remains a primary source for No Wave archaeologists. Singer/guitarist Arto Lindsay and drummer Ikue Mori are joined by bassist and Pere Ubu founding-member Tim Wright. Across the EP’s six anti-epic tracks, the band charges forward with jagged guitars and dislocated grooves, while Lindsay’s guttural screams create a thoroughly personal semantics. As Marc Masters writes in the liner notes, “A Taste Of DNA has a kind of sum-of-parts insanity, wherein every musical element sounds conventionally off, like puzzle pieces purposefully jammed together at the wrong ends.” This first-time vinyl reissue is recommended for fans of The Contortions’ Buy and Red Crayola’s The Parable Of Arable Land.

                                      The Detroit Cobras

                                      Life, Love And Leaving

                                        Originally released in 2001, the Detroit Cobras Life, Love and Leaving is the group’s best-known effort, coming at a time when bands like the White Stripes and Dirtbombs were also releasing seminal albums that started picking up recognition outside of their collective hometown of Detroit. Hitting hard with songs by soul heavyweights like Solomon Burke (“Stupidity”), Mary Wells (“Bye Bye Baby”), Otis Redding (“Shout Bamalama”), the inimitable vocals of Rachel Nagy would no-doubt be a template from which folks like Amy Winehouse would work from years later. A landmark collection of covers.

                                        • Hometown: Detroit
                                        • Features the previously unreleased “This Old Heart” (originally by James Brown) an outtake from the Life, Love and Leaving sessions, unheard for over 15 years.
                                        • “Hey Sah-Lo-Ney” (originally listed under the incorrect title “Hey Sailor”) was featuring on the seminal Rough Trade Shops Rock and Roll compilation in 2002.
                                        • Features Eddie Hawrsh (the Black Crowes) on bass.

                                        The Detroit Cobras

                                        Mink, Rat Or Rabbit

                                          Continuing their commitment to celebrating and shining a light on classic and influential music from Detroit, Third Man Records is honored to be able to re-introduce the world to the undeniable importance of the Detroit Cobras. As one of the earliest salvos in the great Detroit garage explosion of the turn of the century, the Detroit Cobras Mink, Rat or Rabbit is a landmark album. Comprised solely of cover songs (as has always been the band’s MO) the Cobra’s spirited takes on Motown classics (“I’ll Keep Holding On” originally by the Marvellettes), garage punk laments (“Bad Girl” originally known as “Bad Man” by the Oblivians) girl group Tear-Jerkers (“Easier to Cry” originally by the Shangri-Las) and New Orleans soul standards (“Break-a-way” originally by Irma Thomas) and the end result is nothing short of a staple that any record collection is empty without.



                                            Hazel is the fifth record from Æthenor, the group of eclectic travelers that includes Stephen O’Malley (SunnO))), KTL), Daniel O’Sullivan (Ulver, This is Not This Heat, Grumbling Fur, etc), Kristoffer Rygg (Ulver), and Steve Noble (Brötzmann Trio, N.E.W.). Together they bring their considerable pedigrees into play with unexpected and original results. Contradicting expectations of a massive blow-out of sound, everyone plays with remarkable, effective restraint. Atmospheric and layered, this latest release features bits and pieces of identifiable rock-moves peeking out from under a thick blanket of hard-to-identify drift.

                                            Based on live recordings made on a lengthy tour of Italy in 2010, Hazel has been extensively edited and supplemented, but without losing the elemental sound of a group playing live together. Though there’s plenty of weird ambient sound to be heard, this isn’t a soundeffects / “pedalboard” record. Like the previous En Form for Bla, Noble’s drums anchor the music with spare and considered playing, sometimes lashing out with abstract punctuation, and other times laying out a Can-like groove. O’Malley’s guitar is also restrained, providing a bed for O’Sullivan’s constantly morphing Rhodes, synths and electronic effects. Kristoffer Rygg contributes a rousing vocal incantation to “Ermanna” and peppers the mix with ghostly modular details. Æthenor’s catalog continues to be not like anything else out there right now. Sleeve designed by Stephen O’Malley.

                                            William Tyler

                                            Live At Third Man Records

                                              Recorded on July 18th, 2014, as the opening set for Peter Walker’s psychedelic guitar experience, William Tyler’s Live at Third Man Records LP was buried for far too long in our backlog of masters. To release it too soon would have been to unleash the secrets of the transcendent and acclaimed new record Modern Country (Merge, 2016) before they had a chance to incubate further. Too wait any longer would have been torture for us. Originally planned to be a live single, the full, 5-song performance was too truthy, too seamless, and too perfectly whole to be whittled down to two tracks. So, surprise! A live LP is born.

                                              For those unfamiliar with William Tyler, his story is Nashville legend... born into a songwriting family, Tyler was tapped by Kurt Wagner to become a member of Lambchop at age 19 (two decades younger than the other members), and quickly became the “architect of the band’s sound.” From there, Tyler went on to back up the Silver Jews, Bonnie “Prince” Billy, Charlie Louvin, and others... all the while writing songs for his configuration of choice: fingerpicking solo guitar. The daring simplicity and winsome melodies of his first two albums remains in his most recent effort (which he describes as “a love letter to what we’re losing in America. To what we’ve already lost”), and on this live LP, but Tyler is bringing more depth and more experimentation to his compositions of late. “Gone Clear,” which appears on both records, is a melting pot of ideas: a drone reminiscent of Hindustani classical music, a central melody that sounds distinctly Appalachian, a devolution into a kaleidoscope of colors and ideas that it’s hard to believe is being produced by a single musician. This layering of textures is Tyler’s trademark, and even more awe-inspiring live.

                                              We like to think that with the purposeful lack of smart phones, bars to saddle up to, and, of course, corners, concert-goers in the Blue Room tend to be more in-the-moment than in most performance venues. But it’s a rare artist who can take the already focused atmosphere in the room and quiet every last busy mind — Tyler did just that. This immortalization of the performance in all its transmundane glory will entrance you from first note.

                                              The Jeanies


                                                We are proud to present yet another incredible pop band that seems to have eluded the masses but is a strong contender for the crown of that genre without even being challenged. The Jeanies are a NYC anomaly, yet even with such good company such as Games and 1-800 Band they are still very much under the radar for most pop fans, so it’s with great pleasure to welcome this bunch of young upstarts into the fold, as once their sound soaks in, you won’t be pulling yourself out of it’s clenches any time soon. As a band that could easily confuse you upon first listen as to it’s year of origin, The Jeanies burst out last year with a self-titled LP & tape release that took most folks by surprise, an unrestrained, powerful and familiar tone stretched perfectly across a collection of songs that were instantly addictive, incredibly intricate, and possessed devastatingly perfect details, linking these songs to the echoes of the past they encapsulate so well. As a band with little connection to the veteran cognoscenti of the underground pop consortium, The Jeanies are a refreshing blast of pop purity, combining the greatest nuances of the old wave into a rock-solid foundation of what’s next.

                                                Unlike with most bands falling within this genre, The Jeanies still haven’t released a proper 7” single, so this debut is luckily filling that void, and once your ears get wrapped around these inescapable grooves, it won’t be long until your submission is all but rendered complete. “Amilee” is nothing short of a modern classic single, just brimming with shining riffs and explosive vocal hooks, like a modern day band raised on Everly Brothers, plugged into a cooler older sister’s 70s power pop collection, yet unexposed and unjaded by the world. It’s as refreshing as a watermelon to the face, and such a solid pop song with so many interworking parts, it’s almost intimidating. But don’t worry, that will wear off soon and then…yeah, you already better track down that debut LP while you still can.

                                                Recommended if You Like: Dwight Twilley Band, Tom Petty & the Heartbreakers, Shoes, Milk ’n Cookies, Gentleman Jesse, Fevers, First Base, Games, 1-800-Band, Rainbow Gun Show

                                                FORMAT INFORMATION

                                                7" Info: 1st press Black vinyl edition of 300.

                                                Includes MP3 Download Code.

                                                Soft Candy

                                                Bixarre Luv Pyramids

                                                  A truly sophisticated pop band that knows it’s way around the Byrds / Beatles / Zombies / Love territory quite well, Soft Candy recently came out of dormancy after being out of commission for a couple years when one of the original band members left town. The band reconfigured and bounced back and just in time for a debut single rich with flourishes that eerily echo those riveting ‘Fading Yellow’ vibes and hazy UK dream pop that always delivered on such labels at Parlophone, Hansa, Deram, and Harvest, of course. Their command of their instruments is impeccable, their bizarre stage presence always provocative, and this double A-side of impenetrable songs are just too torturous for you to pass up. Angelic baroque pop entranced with hypnotic rhythms, delivered with genuine style, there really just isn’t much on this level.

                                                  It’s a shame how many mediocre bands gravitate around the ‘pop/psych’ genre these days, as there really are a few brilliant examples of the form done right. Most of the best examples are usually overshadowed by the goofy baseball cap and tie-dye shirt ‘garage/psych’ crowd, and if you’re sick of that, then consider this the real deal. Far-out guys with serious classical influences and true kaleidoscope eyes, not stoney bros in jean vests with man-buns and IPA-stained cut-off shorts. Soft Candy may not be for everyone and that’s ok, it’s delicate, it’s intricate, and it’s flat out-mesmerizing, causing that ‘frission’ to kick in during the first ten seconds of each side of this immaculate debut single. -

                                                  RIYL: Love, The Byrds, Billy Nichols, White Fence, The Zombies, The Leaves, Left Banke, Idle Race, The Marmalade, Fading Yellow comps.

                                                  FORMAT INFORMATION

                                                  7" Info: 1st press Black vinyl edition of 300.

                                                  Includes MP3 Download Code.

                                                  Peter Broderick


                                                    Veteran Erased Tapes recording artist Peter Broderick set to release new studio album Partners on 19th August 2016.

                                                    For close to a decade, Portland’s Peter Broderick has cut his own unpredictable path through the world of contemporary music. So far, his wanderings have led him from solo works into the realms of film, dance and documentary scores, as well as art installations.

                                                    Now Peter takes that unpredictability one step further. For his latest album, a series of voice and piano recordings, he experiments with chance, surrendering an entire song’s composition to the roll of dice.

                                                    As he explains below in an email to Erased Tapes founder Robert Raths, it was John Cage’s tendency to remove himself from his music, to somehow automate his own process, which inspired the strange mechanics with which this record was created.

                                                    In the words of Cage himself, ‘the world is teeming; anything can happen.’

                                                    Macula Dog

                                                    Why Do You Look Like Your Dog?

                                                      Macula Dog is a 4 person electronic duo from NYC, making music that is just as much pop as the performers are human; its unclear. Mechanical instrumentation played with an inebriated-mule-like precision. While becoming known for their theatrical live shows across the Northeast US, they've made numerous TV & radio appearances, with live sets on WNYU's New Afternoon Show, Know-Wave radio, & The Special Without Brett Davis, & additionally with themes for Adult Swim's Live Crossword Puzzle show, & NYC public access programming.

                                                      "They create the kind of music you imagine the Devo-loving shift manager at a cryogenics warehouse would play late at night." - NOISEY/VICE.

                                                      Essential Tremors

                                                      The Visitor EP

                                                        Essential Tremors is something of an anomaly in a city steeped in twang, bathed in sunshine and besieged with hootenannies. Code Knr, Miller, Read Only Memory, Tan, and Eerie Neighbor make up the group voted most likely to trigger a cold sweat, and we love them for it. In the past year, the band has made the charge away from guitar music with a quiet strategy of sporadic shows of crawly, four-track downer violence. During this metamorphosis, the band cut tracks with former Terrible Two and current Serration Pulse synth-lord and tone-boss Daniel Tomczak, crafting a crisp record that is globally exasperated and groovy against all odds: a nosedive into a cesspool of circuit-bent pollution with all the precision intact, notoriously tense, rife with white-knuckle paranoia and fog. Throw in well-placed pangs of electroclash, swirling synth, waterlogged bass lines, and dark-sided shit, and you have an important reminder that good times are not forever, which we are honored to bring to your turntable. This is music for strays. Do you have a home?


                                                        The Blue Room Sessions

                                                          Back in January 2015, we had the pleasure of hosting Coupler in our Blue Room. The event came to life when these local acousticians and purveyors of deliberate ambience took the stage. It was twenty minutes of captivating and unhurried techno that sounded bucolic at first, then violent, then crumbling, but always with a deft momentum. You could feel it in your gut and in your skull. Coupler’s set was a twenty-minutes mega-moment of song, and we decided the live album needed an accompanying piece.

                                                          We invited them back to record Side B in October with a full orchestra of nine friends and musicians, and it turned out to be a very special piece exploring the nether-regions where the organic collides with the electronic. However, this wasn’t our typical TMR show. We kept it a relatively intimate affair and only sold a handful of tickets to those interested in seeing a recording process become a performance making this our first installment in The Blue Room Sessions series.

                                                          Spacemen 3

                                                          Recurring - Reissue

                                                            Space Age Recordings are pleased to announce an official limited edition release of the fourth and final Spacemen 3 studio album "Recurring"; the follow up to their seminal “Playing with Fire” album. By the time the album was recorded, relations between the band had soured to the extent that the record is essentially in two parts; the first seven tracks written and performed by Sonic Boom a.ka. Peter Kember (Spectrum / E.A.R.), and the last seven tracks written and performed by Jason Pierce (Spiritualized) punctuated by the cover version of Mudhoney’s ‘When Tomorrow Hits’ the only track on which both Kember and Pierce appear together. The lead track from the album “Big City" recently featured on the season 27 premiere of ‘The Simpsons being the sound track to Homer Simpson’s wild night out on the town, mixing alcohol with prescription drugs.

                                                            FORMAT INFORMATION

                                                            CD Info: Presented in a shrink-wrapped 6 panel fold out card wallet featuring the original vibrant cover artwork used on the original US release of this album.


                                                            The Shape Of Drums To Come

                                                              In addition to touring Europe numerous times with his instrumental power trio STEARICA, sharing the stage with bands such as Girls Against Boys, Acid Mothers Temple, NoMeansNo, Dälek, Damo Suzuki and Coliseum, Davide Compagnoni has been hard at work developing his electrifying new solo project KHOMPA: an adventurous mix of drumming, electronics and cutting edge drum triggering technology. KHOMPA is a unique audiovisual live act whose main elements are: a drummer, a conventional drum kit, 4 drum triggers, a laptop and a stepsequencer. Each drum controls a virtual musical instrument (synthesizers, samplers, etc.) within Ableton Live music software that, in combination with a custom stepsequencer (developed with MaxforLive app), allows Davide to perform real melodies/electronic orchestration without the use of any backing track, loops or click track. 100% live.

                                                              Musically, ‘The Shape Of Drums To Come’ is a multifarious amalgamation of styles and genres. Whilst it is predominantly an electronic record, in keeping with the title (a tribute to the seminal ‘The Shape Of Punk To Come’ by Refused), the album is laced with a brilliantly challenging punk attitude whilst flirting with the avant-garde, using experimental rhythms and atmospherics. Tracks such as opener, ‘Nettle Empire’, combine complex rhythms with mellifluous and harmonious synth based melodies. It’s a clear display of technical prowess, without losing its intricate and well-formed composition and song structuring. Other tracks such as ‘The Shape’ and ‘Louder’ lean more towards the heavier side of the spectrum, sonically sitting somewhere in between the harsh electronic noise of early-HEALTH and Fuck Buttons and Davide’s previous experimental/avant-rock output with STEARICA. Elsewhere, the record continues to develop and evolve with tracks such as ‘Upside-Down World’ moving into an altogether more progressive sound combining ambient and melancholic instrumentation with idiosyncratic Japanese guest vocals from Taigen Kawabe of Bo Ningen. ‘Wrong Time Wrong Place’ also features guest production and electronics by Davide Tomat from the experimental electronic pop band Niagara. This is the first album to ever be recorded live in this way, which is a monumental achievement in itself, however KHOMPA has managed to find the perfect balance between style and substance.

                                                              ‘The Shape Of Drums To Come’ is a consummated and diverse release with a title that embraces the punk-meets-electronic attitude of the record, as well as the innovative side of the project itself.

                                                              FORMAT INFORMATION

                                                              Ltd LP Info: Vinyl is limited to 500 180 g vinyl LPs with die-cut sleeve (300 copies clear red with black splatter; 200 copies black vinyl, these will be randomly picked both includes a free album CD inside).

                                                              The Hecks

                                                              The Hecks

                                                                RIYL: This Heat, PIL, Spray Paint, Wire, Human Eye, A-Frames, Sonic Youth.

                                                                Chicago trio The Hecks have been skulking around Chicago's DIY scene for some time now honing their unique twin-guitar sound, weaving tense and beautiful sonic passages of dissonance and harmony into weird and infectious pop songs. “The Hecks” begins with what sounds like a guitar being plugged into an amplifier, and a lone guitar strum begins the first song, “Sugar”. It’s an unassuming, casual beginning to a captivating debut, an album full of bewitching twists and turns. The Hecks have moved beyond their humble beginnings as a duo and transformed themselves into a raging, cacophonous trio. No better evidence is found than in tunes like “The Thaw” or “Trust and Order ” which both find different ways to remake/remodel pop songs through an art-rock lens. The descriptor “post punk” applies, but isn’t quite accurate. The Hecks manage to cram knowledge gleaned from years of absorbing sounds and tones both ugly and beautiful, hitting all the wrong notes in all the wrongs ways to deconstruct sound into their own vessel. Noise drones like “Landscape Photography” and “Tea” sit comfortably amidst the more ‘traditionally structured’ tunes as well as the apocalyptic mid-album belter “Favor” which sound like something akin to the heavens falling. The mood is perfectly represented by the cover photograph by Chicago architectural photographer Richard Nickel of a scaffolded building bathed in an otherworldly light, giving the image a surreal semblance, skewing the perspective & giving the impression of the image tumbing toward the viewer. Recorded by the band at guitarist Dave Vettraino’s Public House Recording Studio. 

                                                                FORMAT INFORMATION

                                                                Coloured LP Info: Very limited coloured vinyl.

                                                                Chook Race

                                                                Around The House

                                                                  "Melbourne, Australia band Chook Race formed in 2010, starting out as a scrappy, garage/surf band, but soon developed a greater pop sensibility, born of their love of the Flying Nun bands and other bedroom favorites. After a string of of tapes and 7"s Chook Race return with new album 'Around The House', due for release on September 2nd through Chicago's Trouble in Mind Records.

                                                                  The ten songs on "Around The House" are oddly withdrawn yet highly personal tunes, but performed by the band with a desperate urgency. Songs like the immediate & catchy "Hard To Clean" & "Sometimes" clang & clatter like chrome-plated pop earworms, while others like the somber "Pink & Grey" and album-closer "Start Anew" hum pensively, quietly insinuating themselves into your subconscious.

                                                                  Captured in a single day by Tom Hardisty (NUN, Woollen Kits) and mastered by Mikey Young (Total Control, Eddy Current Suppression Ring) the album has a compelling sound defined by jangly guitars, boy-girl harmonies and lyrical observations of the everyday. 

                                                                  FORMAT INFORMATION

                                                                  Includes MP3 Download Code.


                                                                  False Readings On

                                                                    Cognitive dissonance is, at this point, an everyday part of modern society. The difference between belief and reality is blurrier than ever, and there is often sufficient manipulation to both so as to make the distinction intentionally unclear. The source of those manipulations can either be external, or deceptively internal. False Readings On is the new album from renowned experimental composer, Eluvium. Its creation was originally inspired by themes of cognitive dissonance in modern society. By its conclusion it had become a mirror rather than a magnifying glass, evolving into an hour-long meditation on self-doubt, anxiety, and separation from one's self.

                                                                    There is an emotional lucidity and melodic ingenuity to Eluvium's music that has made him increasingly stand out from the sea of ambient artists that his earlier albums no doubt helped inspire. Sounding like an orchestra ceaselessly performing even as it sinks beneath an ocean of distortions and tape noise – with the occasional operatic voice piercing the surface – False Readings On is assuredly the most daring, dynamic, and distinct album of his luminous career.

                                                                    The Wedding Present

                                                                    Going, Going...

                                                                      ‘Going, Going…’ is the title of the widely anticipated ninth studio album from UK indie darlings, The Wedding Present, but, in typical Wedding Present fashion... it’s not a conventional release! the album tells the story of a road trip across the USA, revealed across a collection of twenty ‘linked’ songs, each with an accompanying short film.

                                                                      Always challenging and experimental, the idea to release the new project in a multi-media format is something that has been marinating with bandleader David Gedge for some time. As he points out, work began soon after the unveiling of The Wedding Present’s 2012 critically acclaimed album ‘Valentina’. “I’d already decided by then that I didn’t want to make the next release just ‘another album’ and so I came up with the idea of twenty ‘interconnected’ pieces of music. Then, in the summer of 2014 I travelled across the USA with photographer Jessica McMillan and we made some atmospheric short films to accompany the tracks. Since then it’s been a case of progressing through the music, trying all sorts of ideas, seeing how they work set against the visuals.”

                                                                      Recorded at Studios La Fabrique in the south of France and Parr Street Studios in Liverpool with multiple Grammy award winning producer Andrew Scheps (Red Hot Chili Peppers, Black Sabbath, Adele) the resulting twenty tracks represent arguably The Wedding Present’s finest work to date, with Gedge, as always, showing himself to be the unrivalled master at observing human relationships from an everyman perspective but with the touch and artistry of a poet.

                                                                      Uncharacteristically, the album opens with four hauntingly beautiful instrumental songs, including the cinematic ‘Sprague’ and the absolutely captivating ‘Marblehead’. ‘Going, Going...’ then takes a headlong dash through tracks such as ‘Two Bridges’, ‘Birdsnest’, ‘Kill Devil Hills’ and ‘Broken Bow’... all perfectly executed in classic Wedding Present fashion; a jangle of clanging guitars, a squeal of feedback and a rush of adrenaline. Few come as close to articulating the trials and pitfalls of a relationship in ways so instantly recognisable to the listener as David Gedge; his lyrics' naturalism and truthfulness accentuated by his earthy accent. With ‘Little Silver’, ‘Bear’, ‘Lead’ and ‘Rachel’ he proves yet again that he is a virtuoso when it comes to the bittersweet love song; his knack for a simple turn of phrase perfectly articulating the banalities and ecstasies of a relationship.

                                                                      Whilst they are the undoubted masters of frenetic indie-pop, The Wedding Present re-route momentarily on ‘Emporia’ and ‘Wales’ before ultimately immersing us in an epic album finale with ‘Santa Monica’. Throughout this enchanting album ambient soundscapes and orchestral pop arrangements jostle for position with layers of feedback drenched guitars, pummelling drums and a truly massive bass sound as we hear some of the heaviest material that the band have ever recorded. The films that accompany each track are a mesmerising collection of moving photographs. The rippling water in ‘Marblehead’ delicately draws us into the melody while ‘Two Bridges’ takes us onto a Manhattan street corner and exudes New York City in the summertime. The feeling of a road trip is present throughout as we see the rivers and lakes of the Mid-West and the deserts of the South-West before the album ends in a beautifully fitting way with the sun setting over the Santa Monica mountains.

                                                                      To celebrate the release, The Wedding Present will perform the album in its entirety with projections of the accompanying films at five specially selected venues across the UK. All the venues will be seated in order to enhance the audience’s enjoyment of this unique series of very intimate concerts. With a long history of unusual projects, The Wedding Present have never been shy of leaping into the unknown and ‘Going, Going…’ is another perfect example of this.

                                                                      FORMAT INFORMATION

                                                                      2xDeluxe LP Info: 2LP+CD+DVD+7”.

                                                                      Silver Apples

                                                                      Clinging To A Dream

                                                                        Brand new album, the first in 19 years, features 11 new songs and was recorded at the ChickenCoop studios in Fairhope, Alabama, USA and was produced by Graham Sutton in London, UK. These new songs carry on the tradition begun in 1967 by Silver Apples of merging pure, raw electronic sounds with melodic poetic content and represents 40 years of polishing and refining this experiment. The result, as usual, is surprisingly original. ChickenCoop Recordings is Silver Apples own imprint, the same name given to the backyard studio in Alabama by Simeon Coxe, founder and surviving member of Silver Apples.

                                                                        The new album release on ChickenCoop, is part of a larger worldwide deal with Cargo Records, which sees back catalogue titles, 'The Garden', 'Beacon' and 'Decatur' re-issued on all formats, with Beacon and Decatur for the first time ever available on vinyl and digital download. The Garden was the once legendary, ‘lost’, third album that luckily turned up in 1998 during the reunion of Simeon and Danny Taylor, who at the time hadn’t seen each other for 27 years! The story appears on the sleeve artwork. First released on the now defunct, ‘Whirlybird’, label in ’98 (CD only) then on now defunct Canadian label, ‘Bully Records’, in 2006. Beacon was, the come back album in 1997 and was recorded with Steve Albini. It’s what Simeon now refers to as the ‘trio days’, as Simeon initially recruited Xian Hawkins (keyboards) and Michael Lerner (drums) for the reactivation of Silver Apples. Decatur was also released in 1998 on the back of Beacon and is, as the sleeve notes say, ‘A voyage of pure exploration beyond the broad established horizons of electronic music. It is an adventure into the perceptions of an unparallel universe all it’s own’. 

                                                                        Goblin Cock


                                                                          Goblin Cock is a band from beyond time, beyond space, beyond your naive concept of dimension in METAL. Since before your pathetic "god" had supposedly "created" you and your kind, Lord Phallus was hunkered in a cybertimeship/fun dungeon skating the layers of what was considered "true metal" in all societies and in all generations. Eventually His Majesty realized that he really didnt care and launched a full-scale war against bland metal with and emphasis on ACTUALLY HAVING A GOOD TIME! "Bagged and Boarded" was the first assualt on your laughable 5 senses (Lord Phallus and his kind have 32), followed by the sonically intense "Come With Me if You Want to Live". 

                                                                          FORMAT INFORMATION

                                                                          Coloured LP Info: Very limited coloured vinyl.


                                                                          Strangers Bring Me No Light

                                                                            “Jinnwoo is the most singular new folk talent I’ve heard in some time.” - The Independent “A rising talent in the folk world.” – The Line of Best Fit “Jinnwoo is a true original.”- Clash The release follows Jinnwoo’s critically-acclaimed debut ‘Your Baby’ E.P. and a series of singles - the E.P.’s title track, ‘Solo Man’, ‘You Should Be Feeling This Elliott’ and ‘I Am, I Am, The World’s Oldest Man’ - all released in 2014, collectively garnering coverage across The Guardian Guide, The Line of Best Fit, Clash, 405, For Folk’s Sake – among many others –and accumulating in Jinnwoo being named one of The Independent’s ‘Faces to Watch 2015’. 2015 saw perfectionist Jinnwoo lay the finishing touches to ‘Strangers Bring Me No Light’, an album which has been years in the making and began with Jinnwoo hand-picking collaborators to work with, as he explains: “I wanted to make an album that was interesting tome so I included musicians that I appreciated and admired on the record.”

                                                                            As a totally unknown artist Jinnwoo found most of collaborators online - such as Malcolm Middleton and Alasdair Roberts - and emailed them demos with all of them agreeing immediately to work with this strange and exceptional new talent. Others were met on the live circuit such as Kyla La Grange, “she invited me to sing on her record (‘Cut Your Teeth’, 2014, Sony) so we swapped and did a vocal for each other”. A few were met through Jinnwoo’s work as a photographer, he shot the artwork for Kami Thompson’s (The Rails) solo album ‘Love Lies’ (2011, Warner Music UK) and they remained firm friends and collaborators. Working with established musicians on the record gave Jinnwoo a needed distance from the lyrics and meaning of the songs, “when you hear someone else sing about your life in your words, it sort of distances you - that's quite nice for a while.”

                                                                            Jinnwoo’s work has been described aptly as “confessional folk” (The Guardian) and he himself has described ‘Strangers Bring Me No Light’ as ‘autobiographical’, with the artwork a self-portrait and the lyrics an outpouring of personal experiences and lingering emotions from his 20’s. Jinnwoo’s confessional reel is one sung in a voice so distinctive no adequate comparisons can be made, but the story-telling style of Bob Dylan and the fragile delivery of troubadour Michael Stipe have been raised as a starting point. His sparse atmospheric folk-soundscapes, laced with ghostly string arrangements and his exceptional acoustic guitar work, offer a kind of ‘spooked’ ‘gothic’ folk that sounds like no other. ‘Strangers Bring Me No Light’ is nothing short of a seminal record and Jinnwoo a true original. 

                                                                            Nathan Bowles

                                                                            Whole & Cloven

                                                                              RIYL: Steve Gunn, Black Twig Pickers, Pelt, Jack Rose, Michael Chapman, Daniel Bachman, Hiss Golden Messenger, Henry Flynt & Terry Riley.

                                                                              Since his last album Nansemond (2014), Bowles has sustained and strengthened his fruitful relationships as a ensemble player with Steve Gunn (drums, piano and organ, banjo); the Black Twig Pickers (banjo, percussion); and Pelt (struck and bowed percussion), while undertaking projects with new accomplice Jake Xerxes Fussell and old friend and mentor Michael Chapman, all of which inform this record. But he has also continued to refine his solo practice, carrying it far beyond the confines of any reductive and rote solo banjo designations. On this third solo album, his most exquisite, immersive, and ambitious to date, he again augments his mesmeric clawhammer banjo pieces with piano, percussion, and vocals (mostly wordless, some wordy).

                                                                              The result showcases the full range of Bowles’ compositional and performative versatility. Instead of the programmatic place-based narratives of Nansemond, the seven songs on Whole & Cloven offer a stoic meditation on absence, loss, and fragmentation, populating those experiential gaps—the weighty interstices and places in-between—with stillness and wonder. Whereas its predecessor was directly inspired by the mutating environment, and his mutating memories, of his childhood home on the fringes of the Great Dismal Swamp in Virginia, the new album turns inward, exploring inscapes rather than landscapes. Since Nansemond, Bowles has moved from the mountains of Blacksburg, Virginia—his longtime home—to the Piedmont city of Durham, North Carolina, an uprooting and displacement that perhaps precipitated the divergent iterations and forking paths on display here. Album centerpiece “I Miss My Dog” contains teeming multitudes of memory and regret in its eleven vaporous minutes, crawling from stately, deep-water soundings to torrents of hiccupping, densely woven banjo and piano latticework redolent of anxious longing. It sounds like storm-blown rain. As a whole (ahem), Whole & Cloven repeatedly swaps lenses, wide angle for macro, demonstrating a new comfort with long shots and close-ups alike. Straddling Appalachian string band music and avant-garde composition but beholden to neither idiom, Nathan proves himself heir to deconstructivist tradition-bearers like Henry Flynt and Jack Rose. 

                                                                              FORMAT INFORMATION

                                                                              LP Info: 140g virgin vinyl LP with heavy-duty 24-point reverse board matte jacket (featuring artwork by John Henry Toney), printed inner sleeve & DL.

                                                                              Various Artists

                                                                              Kingston Allstars Meet Downtown At King Tubbys 1972-1975

                                                                                1973-1976 was a period in Reggae’s history when the music coming from Kingston, Jamaica was at its peak.

                                                                                So many talented singers,who sang soulful / righteous songs found their way onto tape. Maybe it was the competition between the studios like Randys, Channel 1 and Harry J’s and the quality of the singers available to sing these tunes. But whatever caused the explosion the mighty voices of Horace Andy, Cornell Campbell, Johnny Clarke and Ronnie Davis never sounded better.

                                                                                The tracks as you can see here were culled together from sessions recorded at the fore mentioned legendary studios. Then taken to King Tubby’s home style studio at 18 Drummlie Ave in the Waterhouse district of Kingston. This is where the great Dubmaster himself would record the vocal tracks. A method in which he preferred to work and then mix the tracks Tubby style. We have travelled to Jamaica and listened to hours of master tapes to bring this set to you. So please sit back and enjoy what we believe to be a wicked set by Kingston’s finest.

                                                                                Medium Medium

                                                                                The Glitterhouse - Deluxe Vinyl Edition

                                                                                  Medium Medium’s debut album, The Glitterhouse, was originally released on Cherry Red in October 1981. This reissue also features the “Hungry, So Angry,” single version which was produced by Adrian Sherwood at Berry Street Studio in London.

                                                                                  In Sound International magazine Dave Henderson wrote prophetically, “It could be one of the most important records of the type to emerge this year and will doubtlessly be revered as a classic after the group have long since departed.”

                                                                                  Also included is a selection of tracks from Cherry Red’s 2001 Hungry, So Angry retrospective compilation album, the B-side of the band’s debut single on Apt and a previously unreleased demo version of a song from the 1982 Sound-Products EP. It includes a bonus EP featuring previously unreleased tracks from the 2008 Village recording session. All of the various lineups of Medium Medium are represented.

                                                                                  Formed at the end of 1978 Medium Medium’s self-described “extreme dance music” had reviewers scrambling to draw comparisons with the band’s contemporaries and find a label for its post punk sound.

                                                                                  Medium Medium’s solid dance rhythms and chaotic, chiming guitar were superficially reminiscent of the Gang of Four and Talking Heads, but Rees’s tangential sax playing and Graham’s tape and keyboard interjections from the front-of-house mixing desk took Medium Medium in another direction.

                                                                                  “Free-blown dubbed-up white funk” was how Max Bell described the sound in England’s New Musical Express (NME). “At the forefront of the post punk funk movement,” raved Cashbox in the U.S. Billboard magazine opined that this was “post punk and post disco dance music.”

                                                                                  FORMAT INFORMATION

                                                                                  2xDeluxe LP Info: Deluxe triple vinyl (2xLP + 12") gatefold edition pressed on colour vinyl with printed inners.

                                                                                  Dorothy Ashby

                                                                                  Dorothy Ashby

                                                                                    A jazz harpist is a rare thing. First of all the harp is a rather unlikely instrument to swing. It’s an awfully difficult instrument to play really well and it demands technique that is incongruous with swinging. Perhaps as important is the thinking that the harp, by the very nature of the instrument, is likely to attract musicians who, in themselves, are improbable swingers. Dorothy Ashby is, then, a rare thing. She is indeed a jazz harpist and she does swing (...) This is not hard jazz. This is an album that says jazz can, after all, be melodic, that a thing can be gentle without being weak and can be sweet without being saccrine. What is done here is done well, the improvisation is creative, and in typical Dorothy Ashby thinking - it’s done in beautiful taste.

                                                                                    Jim Rockwell Station WKMH, Detroit (from original liner notes)

                                                                                    Kiki Hitomi

                                                                                    Karma No Kusari

                                                                                      Belt up for a mind-altering journey through time and space stopping by Japanese enka, 8-bit psychedelica and mutated digi dub on this genre-defying long player from King Midas Sound’s Kiki Hitomi and Jahtari bossman disrupt. Set against an intergalactic backdrop of riddims and soundscapes "Karma No Kusari" ("Chain Of Karma") unfolds piece by piece, with Kiki's otherworldly tone of voice providing a ghostly atmosphere that is at times unsettling but always achingly beautiful. This gritty disc of cosmic vintage pop - entirely done without a computer - includes compositions by Maffi, the mysterious Tapes plus a transmission from the immortal Space Ape. With stunning artwork by Kiki herself "Karma No Kusari" is indispensible for any true space cadet. Strictly limited pressing - only 500 blue marbled vinyl copies for the galaxy!

                                                                                      World's Experience Orchestra

                                                                                      The Beginning Of A New Birth / As Time Flows On

                                                                                        The essence of Underground, Spiritual Jazz, figuratively and literally: their first album was recorded in a Boston, Mass. church’s basement. Both World’s Experience Orchestras albums were recorded in and around Boston, Massachusetts in the mid to late 1970s and committed to vinyl in miniscule press runs by a visionary, bassist / composer / arranger John Jamyll Jones. Jones is a magical type, who communicates with his instrument, his ensembles, and jazz’s ancient lineage in a manner so profound that his late-‘70s album are out of time with jazz’s trajectory, but timeless when presented today. By the late ’90s the music of World’s Experience Orchestra was circulating throughout the collections of esoteric jazz fans, the likes of Gerald “Jazzman” Short and Gilles Peterson, who played “The Prayer” for those, the Coltrane-enthralled searching for something new, something different. Something spiritual and honest. Peterson first offered to reissue “The Prayer,” as part of an anthology he was putting together with Los Angeles reissue label Ubiquity Records and that, to date, is the only official issue of any of Jones’ music. This set is the definitive catalog of Jones’ ensembles’ released work. “I knew it was going to happen, but I didn’t know when,” says Jones of the road to seeing his music re-issued. “It’s 35 years or more now, and I’ve been waiting for this, and I’m quite sure I’m not the only one.”

                                                                                        FORMAT INFORMATION

                                                                                        2xDeluxe LP Info: Custom made LP thick-cardboard, tip-on Now-Again Reserve Edition gatefold jacket. Hand numbered edition of 1000. 160 gram vinyl from Quality Record Production.

                                                                                        Includes MP3 Download Code.

                                                                                        FREE SHIPPING This item has FREE UK shipping!

                                                                                        2xCD Info: CD is custom made, “mini-LP,” tip-on CD packaged with perfect-bound booklet packaged in O card.

                                                                                        Bacao Rhythm & Steel Band

                                                                                        Scorpio / 8th Wonder

                                                                                          Big Crown Records is proud to present Bacao Rhythm & Steel Band’s new 45, “Scorpio” b/w “8th Wonder”. Coming after the smashing success of their debut full length “55” they drop 2 B-Boy classics back to back on this tough two sider that comes in a beautifully illustrated picture sleeve. The A side “Scorpio” is a killer cover of the Dennis Coffey breakbeat staple. BRSB turn up the tempo a touch on the original doing the tune justice with crushing drums they have become known for. This is sure to be in every breakbeat enthusiasts box. The B side features the non album cut, BRSB’s cover of The Sugarhill Gang’s 8th Wonder, a tune that lends itself to pans like it was written for them. Another dance floor winner sure to be in DJs sets the world over shortly.

                                                                                          Poison Girls

                                                                                          Where's The Pleasure?

                                                                                            Limited To 1000 Copies First released in September 1982 on their own Xntrix Records label, 'Where's The Pleasure' was described by Johnny Waller in Sounds as "The last great punk record". The record came out of a period of change for Poison Girls. A new house, a new bass player, a completely new set, and, with it, a determination to challenge the expectations of their audience. What resulted is an outstanding collection of songs. Vi Subversa’s lyrics seamlessly make the personal political, and the political relevant to everyday life. The music bristles with inventiveness. What we hear is a band at the top of their game, exploring different styles and enjoying themselves in the process. It is Poison Girls flexing their musical muscles, rediscovering their roots, and connecting with the true spirit of punk, which is of course, unbridled, messy and adventurous creativity. ‘Where’s The Pleasure’ is a truly wonderful achievement by a truly unique band.



                                                                                              Zomby's new album is his most focussed to date. His ultra-modern music has a unique character, and 'Ultra' really displays his ability to create varied and detailed mutations. On 'Ultra' he warps discordant Eski grime (‘Burst’, ‘Freeze’, ’Yeti’), creates dreamlike blooms on ’Her’ and ‘Thaw’, and builds crystalline music box takes on house and 2step on ‘Glass’ and ‘I’. Zomby also collaborates on the album with Darkstar, Rezzett, Banshee, Burial and HKE. These all throw up unpredictable fusions and immaculate fissions. Housed in red metallic mirriboard with debossed graphics, while the vinyl is additionally enclosed in spot-varnished hi-gloss card inner bags., designed by Ben Drury, reflecting the glow of Zomby's music.

                                                                                              Shane MacGowan And The Popes

                                                                                              The Snake - Green Vinyl Edition

                                                                                                The Snake is the first solo album by Shane MacGowan with backing band The Popes. Originally released in 1994, the album is a bracing set of songs that draw heavily on traditional Irish folk music while pinning your ears back with a raucous, full-frontal rock sound. Guests on the album include Johnny Depp, members of The Dubliners, Thin Lizzy, and The Pogues.

                                                                                                Like a number of songs recorded by MacGowan’s previous band, The Pogues, traditional tunes are sometimes used as a base for a new song. For example, the melody for “The Song With No Name” is based on “The Homes of Donegal”.

                                                                                                FORMAT INFORMATION

                                                                                                Coloured LP Info: 180 gram audiophile vinyl. First pressing of 1000 numbered copies on transparent green vinyl.

                                                                                                Sheefy Mcfly

                                                                                                Edward Elecktro

                                                                                                  LTD 500 PRESSING WITH FULL PIC SLEEVE - This is the debut release by Detroit native Sheefy McFly. Since his first mixtape, McFly has released no fewer than 20 self-produced albums, spanning different genres. Sheefy McFly is mostly known for his rap game, but he dabbles in house music, electronic, and he was even in a punk rock band (Sheefy McFly and The Delorean) that recorded three albums.

                                                                                                  John Williams

                                                                                                  Star Wars OST: Episode VI- Return Of The Jedi

                                                                                                    Following on from the June release of 'Star Wars Episode IV: A New Hope', Sony Classical release 'Episode VI-Return of The Jedi' on a limited gold coloured, audiophile quality 180 gram LP set.

                                                                                                    The original artwork is perfectly replicated right down to the LP label and track listing insert.

                                                                                                    This edition also comes with a digital download card and the music has been transferred using the highest resolution restoration from the original master tapes (up to 127khz/24bit).

                                                                                                    FORMAT INFORMATION

                                                                                                    Coloured LP Info: Limited gold coloured, audiophile quality 180 gram LP set.

                                                                                                    Includes MP3 Download Code.

                                                                                                    Primal Scream

                                                                                                    100% Or Nothing

                                                                                                      Primal Scream released their 11th studio album, ‘Chaosmosis’, recently, on the band’s own First International label through Ignition Records. Recorded in London, New York and Stockholm and written and produced by Bobby Gillespie and Andrew Innes, ‘Chaosmosis’ is the freshest sounding album the band have ever made.

                                                                                                      Taken from the critically acclaimed ‘Chaosmosis’ and featuring Haim, ‘100% Or Nothing’ was produced by Bobby Gillespie and Andrew Innes and follows the huge radio hit ‘Where The Light Gets in’.

                                                                                                      Fresh off the back of six incendiary, sold out dates in April Primal Scream have a packed summer full of festival dates ahead.

                                                                                                      Also includes a nine minute psychedelic dub remix of the track by Anton Newcombe of Brian Jonestown Massacre.

                                                                                                      Bobby Gillespie says of the remix, “Anton’s mix brings out all the slow motion, claustrophobic, endlessly crushing, paranoid dread of ‘living together, alone, apart’… we love it, thank you Anton.”

                                                                                                      FORMAT INFORMATION

                                                                                                      Ltd 12" Info: Limited edition clear vinyl.

                                                                                                      Ezra Furman

                                                                                                      Big Fugitive Life

                                                                                                        Speaking about ‘Big Fugitive Life’, Ezra Furman says: “‘Big Fugitive Life’ is a group of our favourite orphaned songs that have banded together to form a unit. They are focused on the theme of the mind unmoored - those of us who have been left to drift unsupervised through the modern world.

                                                                                                        “The first three songs are our vision of rock and roll. A madness that overtakes your mind and body. It’s wanting to go somewhere you’ve never been, knowing you’re on your way. The second side is acoustic guitar as open wound, a troubled mind on display. Emotional in a different way, tender like a bruise.

                                                                                                        “We dedicate this record to refugees of all kinds, all over the world. May all the wanderers find the homes they seek, and may those with power welcome them as fellow citizens of humanity.”

                                                                                                        Xiu Xiu

                                                                                                        Plays The Music Of Twin Peaks

                                                                                                          Xiu Xiu present ‘Plays The Music Of Twin Peaks’, their album of reinterpretations of the original music from the classic David Lynch / Mark Frost TV show.

                                                                                                          Last year Australia’s Gallery Of Modern Art commissioned a special presentation of the music from Twin Peaks from Xiu Xiu for their David Lynch: Between Two Worlds exhibition. Following that debut the band have performed the material during select concerts all over the globe, including the Hollywood Forever Cemetery in LA and London’s Saint John-at-Hackney church. It is hard to imagine a group better fitted to enter the simultaneously playful and horrifying world of cherry pie, murder and demonic possession that David Lynch and Mark Frost brought to life.

                                                                                                          After the success of these shows and overwhelming support for the project, Xiu Xiu recorded their interpretation of the Twin Peaks soundtrack, resulting in ‘Plays The Music Of Twin Peaks’.

                                                                                                          FORMAT INFORMATION

                                                                                                          2xColoured LP Info: Double LP features one red disc and one
                                                                                                          transparent. Also includes digital download code.



                                                                                                            Originally recorded over three sessions with producer Jack Endino at Seattle’s Reciprocal Recording Studios in December 1988 and January 1989, ‘Bleach’ was released in June 1989 and remains unequivocally / unsurprisingly Sub Pop’s very favourite Nirvana full length. The album initially sold 40,000 copies but was brought into the international spotlight following the release and worldwide success of their 1991 sophomore effort, ‘Nevermind’. Subsequently ‘Bleach’ went on to sell 1.7 million copies in the US alone.

                                                                                                            Thom Sonny Green

                                                                                                            High Anxiety

                                                                                                              PICCADILLY EXCLUSIVE: PRE-ORDER THE ALBUM AND ENTER A DRAW TO WIN A 100cmx100cm PROMOTIONAL FABRIC DISPLAY BANNER – ONLY 1 IN THE WORLD!!!

                                                                                                              In a sharp left-field turn from his day job as drummer for the world conquering alt-J, on ‘High Anxiety’, Thom Sonny Green unveils his longabiding interest in cerebral, idiosyncratic electronica with an album that is warm yet experimental, superficially accessible yet simultaneously deep, with Green demonstrating his complete artistry as songwriter, producer and visual artist.

                                                                                                              FORMAT INFORMATION

                                                                                                              Includes MP3 Download Code.

                                                                                                              John Williams

                                                                                                              Star Wars OST: Episode V- The Empire Strikes Back

                                                                                                                Following on from the June release of 'Star Wars Episode IV: A New Hope', Sony Classical release 'Episode V- The Empire Strikes Back' on a limited gold coloured, audiophile quality 180 gram double LP in a deluxe gatefold sleeve.

                                                                                                                FORMAT INFORMATION

                                                                                                                2xColoured LP Info: Limited, gold coloured, audiophile quality, 180 gram LP

                                                                                                                Includes MP3 Download Code.

                                                                                                                Daryl Hall & John Oates

                                                                                                                The Very Best Of

                                                                                                                  Legacy Vinyl release (first time on LP) the VBO of Daryl Hall & John Oates on a limited edition (1000 units) 150gm grey and blue coloured 2LP set. Originally released on CD in 2001 this compilation features many of their greatest hits including 'Maneater', 'Family Man', 'Say It Isn't So' and more. 

                                                                                                                  Sam Coomes

                                                                                                                  Bugger Me

                                                                                                                    ‘Bugger Me’ is Sam Coomes’ first ever solo album. Coomes is probably best known as half of the long-running underground pop duo Quasi, the other half being Janet Weiss, herself better known as the drummer for Sleater-Kinney.

                                                                                                                    ‘Bugger Me’ is, in Coome’s own words, “Suicide meets The Beach Boys. Not the sophisticated ‘Pet Sounds’ Beach Boys, but more like ‘Surfer Girl’ stuff. More conscious reference points were Chris Montez or Timmy Thomas.”

                                                                                                                    All formats include a 16-page black and white booklet.

                                                                                                                    FORMAT INFORMATION

                                                                                                                    Indies Exclusive LP Info: Exclusive black and white coloured vinyl LP available to independent retailers.

                                                                                                                    Includes MP3 Download Code.

                                                                                                                    Ryley Walker

                                                                                                                    Golden Sings That Have Been Sung

                                                                                                                      In November 2015, at the end of a ten month period which saw him play over 200 shows, Ryley Walker decided that he should probably head home. The preceding months had been extraordinary. In March, his second album ‘Primrose Green’, emerged to critical hosannas from the likes of NPR, Village Voice, Uncut and Mojo and in the process earning admiration of musicians who had chalked up no shortage of turntable miles in Walker’s life. Robert Plant declared himself a fan, as did double-bass legend Danny Thompson, with whom Ryley would later embark on a British tour. A sprawling tour of the USA around ‘Primrose Green’ presented a perfect chance to workshop ideas for what would eventually become this, his third studio album, ‘Golden Sings That Have Been Sung’.

                                                                                                                      ‘The Roundabout’ represents a symbolic return to Chicago, while other songs are directly wedded to Ryley’s actual return there. Perhaps more than any other song on the record, the somnambulant sun-dappled intimacies of opening track ‘The Halfwit In Me’ most audibly bear the imprint of Ryley’s improvisational sessions with Wilco multi-instrumentalist, Chicagoan and producer Leroy Bach, while ‘Funny Thing She Said’ is an unflinching study of separation set to a shimmeringly supple ensemble performance.

                                                                                                                      Soft, slo-mo explosions of melody intermittently burst through the distant thunder of the verses on ‘A Choir Apart’. Intriguing, surreal images are meted out by ‘I Will Ask You Twice’, like a malfunctioning slide projector and, perhaps best of all, the stunning finale, ‘Age Old Tale’, which spiders out from an Alice Coltrane-inspired reverie into a sustained rapture that very few artists have managed to achieve.

                                                                                                                      This deluxe edition of this classic is available again!

                                                                                                                      Marking the 20th anniversary of its release, Nirvana's "Bleach" gets a deluxe reissue: remastered and including a never-before-released live performance.
                                                                                                                      Originally recorded over three sessions with producer Jack Endino at Seattle's Reciprocal Recording Studios in December 1988 and January 1989, Bleach was released in June89 and remains unequivocally/unsurprisingly Sub Pop's very favourite Nirvana full-length. This 20th Anniversary Edition has been re-mastered from the original tapes at Sterling Sound in a session overseen by producer Jack Endino.

                                                                                                                      This edition will include an unreleased live recording of a complete February 9th, 1990 show at the Pine Street Theatre in Portland, Oregon. The show features performances of "Love Buzz," "About a Girl" and a cover of The Vaselines' song "Molly's Lips" and has been re-mixed from the original tapes by Endino.

                                                                                                                      FORMAT INFORMATION

                                                                                                                      2xCD Info: The CD version also includes a 48 page booklet which includes candid photos of the band not previously released to the public.

                                                                                                                      Faith No More

                                                                                                                      We Car A Lot: Deluxe Band Edition

                                                                                                                        Out of print for 20 years, the debut album of Faith No More gets the deluxe treatment, having the original album fully remastered from original tapes, plus nine bonus tracks, including demos and never before heard live tracks.

                                                                                                                        FORMAT INFORMATION

                                                                                                                        2xLtd LP Info: Double LP in a gatefold sleeve with printed inners
                                                                                                                        plus a copy of the album on CD.

                                                                                                                        Arc Iris

                                                                                                                        Moon Saloon

                                                                                                                          Having announced themselves to the world with their acclaimed self-titled debut in 2014, Arc Iris return with their second album, ‘Moon Saloon’, released on Bella Union.

                                                                                                                          ‘Moon Saloon’ constitutes a natural progression from the first album’s whimsical explorations. Produced by the group and mixed by electronic producer David Wrench of FKA Twigs and Caribou fame, the album showcases beat-heavy melodies and textural, grooveriding rhythms. It developed from the band’s distillations of musical influences, combining traditional elements with percussive structures and dense, beguiling harmonies.

                                                                                                                          In many ways this second album captures Arc Iris’ musical odyssey as a band. “It has a heavier sound, more intense,” says Arc Iris keyboardist Zach Tenorio- Miller, who makes liberal use of sampling in many of the songs. The group matches an unusual array of organic acoustic instruments with layered electronic sounds.

                                                                                                                          “Though they are only a three-piece, they have a large arsenal of sounds and sensibilities to work with, and they use every bit of it to make beautifully textured soundscapes difficult to box into any genre.” - Stereogum

                                                                                                                          FORMAT INFORMATION

                                                                                                                          Includes MP3 Download Code.

                                                                                                                          Lisa Hannigan

                                                                                                                          At Swim

                                                                                                                            Produced by Aaron Dessner, Lisa Hannigan's third – and arguably most bewitching – record follows the double-platinum, Mercury-nominated debut ‘Sea Sew’, and 2011’s ‘Passenger’ (which charted at number 1 in Ireland, and earned Lisa another Choice Music Prize nomination). An intimate 16-date Irish tour commences this month, with an extensive worldwide run of shows and the album’s first single to follow shortly.

                                                                                                                            Airing today, new track 'Prayer for the Dying' was inspired by the passing of a friend's parent after an extended illness. 'They'd had a very long and happy marriage and the loss was devastating,' Lisa recalls. 'I wanted to try and express that grief but also pay tribute to their marriage.' Building from its Patsy Cline-esque lament to a starlit, shimmering chorus ('Your heart, my heart'), ‘Prayer for the Dying’ is perhaps the darkest and most vulnerable recording of Hannigan’s career – which began of course with her seminal, shadowy turn on Damien Rice’s ‘O’, ‘9’, and has since seen her strengthen her own unique artistic voice.

                                                                                                                            The breakthrough came when Hannigan got an email out of the blue from Aaron Dessner, guitarist with The National and producer for the likes of Sharon Van Etten and Local Natives. Taking up Dessner’s suggestion to work together and rediscovering the collaborative spirit she'd missed in Dublin enabled Lisa to see her time in London in a different light. So while ‘At Swim’ is in part about homesickness and isolation, it's also – profoundly and very movingly – about love.

                                                                                                                            Having first exchanged ideas over email and iPhones, ‘At Swim’ surfaced when Lisa and Aaron finally met up in Denmark: recording then took place in a church in Hudson, New York, during a furiously-creative seven-day stint. Despite openly being written lost-at-sea, you sense that at this point in her career, Lisa Hannigan is now a strong enough swimmer to go as far out as she wants; to darker depths than before, where the treasure lies, and bring it back to us.

                                                                                                                            After a string of well received releases on the likes of 22a and Alexander Nut’s Ho_tep, Henry Wu steps forth with his most bold statement to date with "Good Morning Peckham" on the acclaimed Rhythm Section International Imprint. Arguably one of the most hotly-tipped producers in the UK right now, Wu’s broken compositions and deep jazzy keys have earned him plaudits from scene veterans as well as peers, all keen to see what Henry will do next. With a refreshing take on rhythm and a virtuosic musicality born out of years of recording and touring as a session player, Henry Wu represents a brightly shining light in the already glowing London community. Equally adept on the keyboard as he is on the MPC, on "Good Morning Peckham", we are also given a further insight into the mind of Wu as he takes to the mic - toasting along to the soon-to-be-classic "Croydon Depot" and spitting on the intro to the broken beat inspired "Neezy". "Dubplate" displays his love of squelchy, sunshine grooves wonderfully while "Yellow Brick" touches on a brand of warm, organic house which is up there with anything on Mahogany or Sound Signature. A South East Londoner born and bred, Henry’s debut on Rhythm Section has been a long time coming and it seems that it was worth the wait as Henry presents 6 tracks of white hot intention. 

                                                                                                                            Michael Nau


                                                                                                                              Full Time Hobby are pleased to announce the signing of the Appalachian singer-songwriter Michael Nau for his debut album ‘Mowing’.

                                                                                                                              Released in the US earlier this year to critical acclaim, the album will now be made available in the UK & Europe for the first time complete with new artwork, its 12 tracks augmented by a brand new single, ‘Love Survive’. The sumptuous, Lee Hazlewood-esque ‘Love Survive’ features backing-vocals from Michael’s wife and bandmate Whitney McGraw.

                                                                                                                              ‘Mowing’ was written whilst on the road, with tracks penned from Burlington, Vermont to Connecticut, to a back porch in Nashville, and others back in the tiny Appalachian city of Cumberland, Maryland, USA, which Michael Nau currently calls home.

                                                                                                                              "His masterful instinct for arrangement, along with his reedy voice, earns Nau a place in the rock’n’roll underdogs’ Hall of Fame” - Pitchfork

                                                                                                                              Nick Waterhouse

                                                                                                                              Never Twice

                                                                                                                                Nick Waterhouse, the rhythm & blues fanatic who combines an uncanny old-school sensibility with a charged, contemporary style, is set to release his third album ‘Never Twice’ on Innovative Leisure. As ever he is inspired by the over-modulated sound of vintage R&B, invoking the back-alley thrills of New Orleans, Detroit, and Memphis in their heyday, using old school values to hone a new sound.

                                                                                                                                Having earned his stripes producing garage-rocker Ty Segall and the Allah-Las as well as releasing the critically acclaimed albums ‘Time’s All Gone’ and ‘Holly’, Nick Waterhouse’s latest album ‘Never Twice’ is a culmination, intensification, and realization of everything he’s been developing throughout his career. Catchier and loaded with more hits than its predecessors,

                                                                                                                                 Nick’s new LP is at the same time harder hitting, more rhythmic, more harmonic, more diverse, and more adventurous than both those albums. A cool and elegant post-post-modern cocktail of 1950s r&b and club jazz, mixed with 1960s soul and boogaloo, and shaken with a minimal contemporary sensibility, ‘Never Twice’ finds the artist taking his time, refining his vision, and speaking with new authority.

                                                                                                                                Nick Waterhouse has come a long way and it looks like he may have just painted his masterpiece.

                                                                                                                                Dusty Springfield

                                                                                                                                Faithfull - Orange Vinyl Edition

                                                                                                                                  In 1971, Atlantic Records released a pair of Dusty Springfield singles produced by the legendary songwriter/producer Jeff Barry (one-time songwriting and romantic partner of Ellie Greenwich, and author of too many hits to name): "Haunted"/"Nothing Is Forever" and "I Believe In You"/"Someone Who Cares." A restless Dusty, freshly relocating to America from her native England, then departed the label and left an additional 9 songs recorded with Barry in the can, where they stayed until Rhino issued one track, "Faithful" (in mono), as a bonus track on the 1990s CD release of Dusty's 1970 Atlantic album A Brand New Me. The other tracks didn’t surface until a subsequent deluxe reissue of Dusty’s landmark 1969 album Dusty in Memphis included them as bonus cuts. Now, reissue producer Jim Pierson—who tracked down the missing masters after being lost for over two decades —has assembled all of Dusty’s Barry-produced masters and put them together in a single package for the first time to create the third Dusty Springfield Atlantic Records album as planned in 1971. Real Gone Music’s release of Faithful presents these historic Barry-Springfield collaborations exactly as they were originally intended to be heard, with the 12 tracks intended for the album release and one intended for single-only release. All tracks are in stereo, while the liner notes, penned by The Second Disc's Joe Marchese, feature a number of rarely-seen photos of the legendary singer. These stunning pop, soul and gospel flavored selections showcase the iconic singer at the height of her vocal magic. A missing / jumbled part of Dusty’s august recorded legacy, finally set right!

                                                                                                                                  Kevin Saunderson Prsents E-Dancer

                                                                                                                                  One Nation / Foundation - Inc. Nihil Young Remix

                                                                                                                                    Kevin Saunderson, a driving force behind Detroit’s rich musical heritage and lauded innovator of techno, returns to his own KMS Records to deliver another unstoppable club weapon under his E-Dancer moniker - One Nation.

                                                                                                                                    One Nation begins its 6 minute journey with signature Saunderson percussion and a pounding 4/4 flow that oozes peak-time energy. An eerie and funk tinged synth fills the space with an intoxicating refrain to keep feet stomping, which later trades centre-stage for a heavy and evolving bass line as the track continues on its path of ebbs and flows.

                                                                                                                                    This heater aptly demonstrates why Kevin Saunderson it still one of the hottest names in dance music. As suited for sweaty basements as it is festival main stages, One Nation will surely feature in the bags of techno heavyweights for months to come.

                                                                                                                                    Soul Jazz Records

                                                                                                                                    12" Record Bag - Black & Yellow

                                                                                                                                      Fantastic new season colours in Soul Jazz Records’ classic 12” record bag. Holds approx 30 LPs.

                                                                                                                                      Fantastic for DJing, impressing your stylish friends or just carrying stuff.

                                                                                                                                      As well as the classic blue bag with white strap and stripes the bags are now available in special edition red, green, cyan and more with matching straps.



                                                                                                                                        ABRA is an outlier. Moving around with her missionary parents, she was born in New York and raised in South London, before eventually landing in Atlanta. Like her upbringing, ABRA’s music isn’t specific to a place, a time, or a sound. Instead, it’s a blend of influences, informed — but not defined — by its surroundings. Utilizing different components of Miami Freestyle and electro-funk 808’s topped with her own airy R&B-tinged vocals, ABRA’s voice and sounds are familiar, but uniquely contemporary.

                                                                                                                                        Every note on the Princess EP, out July 15th on True Panther Sounds, is written, produced, and performed by ABRA – often in the solitude of her bedroom closet. As an introverted youth, she dug into the internet to find community and inspiration. Then, as now, she found inspiration in unique juxtapositions, as seen in her early acoustic covers of Gucci Mane, Waka Flocka Flame and 2 Chainz that she posted on Youtube. Those videos eventually led her to a new community, Awful Records. The Awful crew — a collective of friends, artists and collaborators creating their own hypercolor, DIY version of Atlanta’s burgeoning weirdo-rap movement — embraced her fully. Even within the rap-oriented Awful crew she is an iconoclast: for her own productions, she avoids the conventional sounds of Atlanta trap in favor of drums and synthesizers reminiscent of 1980’s pop.

                                                                                                                                        While still featuring on various Awful Records artists’ music, her own music and image is sacrosanct. She conceives her own videos and acts as art director for all packaging and photo shoots. Princess is a portal into her self-contained universe and it shines with a profound confidence. After a year spent alternating between the mania of worldwide touring and self-imposed recording isolation, Princess is a bold new step for an artist who is growing more accomplished day by day. Never compromising on her vision or artistic process, she has molded her surroundings into her strict aesthetic and vision. No longer a lone outlier, she is a leader and lightning rod for a world of fellow outsiders. ABRA is a true PRINCESS in a monarchy of her own creation.

                                                                                                                                        Various Artists

                                                                                                                                        Fabric 89 - Gerd Janson

                                                                                                                                          Frankfurt’s Gerd Janson is one of electronic music’s most genuine and humble characters. It was on a Boy Scout trip, of all places, where he caught dance music fever upon hearing a Sven Väth mixtape, and Janson’s career in music has the air of an innocent adventure, fuelled by an ardent curiosity. In order to get closer to the music he loved, he became a “fanboy music journalist”, writing for magazines such as Groove, Spex and Ouk, and not long after buying a pair of decks and a mixer with his brother, found himself DJing at parties and local clubs. But in the early 00s, a residency at the renowned Robert Johnson club allowed him to really flourish as a DJ, and his profile has risen steadily ever since. Running Back, the label he co-founded with Thorsten Scheu, has charted Janson’s impeccable yet unpredictable taste over this period. Taking in everything from Mark E’s low-slung disco cut-ups, through to KiNK’s high-octane tech workouts, the imprint’s discography reads as a who’s-who of underground house music, paying testament to his unrivalled ear and the esteem in which he is held amongst his artistic peers.

                                                                                                                                          “Recording mixes is always very painful for me – especially if I know that someone is going to spend money on it. My self-confidence as a DJ is at gutter level, and doing one for fabric, as part of a series amongst the best of the best, is quite intimidating. Plus, it's a club, so I shied away from my tried and tested mixtape method of boring people for the first 74 minutes. I ended up choosing some records that I played and enjoyed a lot over the last few months in a party context, mingled them with some exclusives and up-and-coming ones and tried to eternise the valleys and the mountains of a 12 hour long epic journey onto one silver disc.” – Gerd Janson

                                                                                                                                          Gerd Janson’s superlative talent as a DJ, evident to all but perhaps himself, is perfectly encapsulated on fabric 89. In 2016, sixteen tracks are relatively few across 76 minutes, but Janson has the experience and respect to allow each one exactly the right amount of time to express itself. Opening the mix with Luke Abbott’s sparkling rework of Todd Terje’s ‘Snooze 4 Love’, Janson next opens up his address book to solicit a brand new, and typically sumptuous, track from John Talabot. Another pair of unreleased tracks step up the energy, the old-school analogue bassline of Shan’s ‘The City Never Sleeps’ riding under Boddika & Joy Orbison’s acidic ‘Severed Seven’ for what seems like an eternity. But before the mix is swallowed in darkness, the lights come back on, and via another exclusive, this time an edit of Geeeman’s ‘Wanna Go Bang’ by Catz ‘N Dogz, we’re suddenly back in the 90s - literally, with a Glenn Underground remix, and in spirit, with a highly-sought-after Inner Sense cut. But Janson won’t settle, making a deft ‘Return To Acid’ as things get tougher again, mixing seamlessly between contemporary cuts and forgotten gems. He knows how to work a drum tool, too, as the skittering bongos of Joe Claussell’s ‘Rhythm’ build an implausibly effective bridge between HMC’s pumping ‘Marauder’ and the uplifting chords of Roger van Lunteren’s ‘Hills, I Want You’. Yet there is still one more ace to play - a previously unheard Prins Thomas mix of Caribou’s classic ‘Sun’. On fabric 89, Gerd Janson explores a space between cosmic disco and acid house - never too hard, nor too soft, it makes for the perfect soundtrack to a sunrise or a sunset alike.

                                                                                                                                          Roots Manuva

                                                                                                                                          Bleeds (Deluxe Edition)

                                                                                                                                            The mighty Roots Manuva’s sixth studio album was lauded as a stunning return to form. But then, every one of his albums has been, because he’s one of Great Britain’s very greatest. A man who makes hip-hop at its deepest, rawest and most thrillingly original.

                                                                                                                                            Bleeds, which featured production from intergenerational studio geniuses Switch, Adrian Sherwood and Rodney Smith himself, is now being re-packaged in a splendiferous deluxe edition, with 10 brand new and exclusive tracks and remixes, including ‘On A High’ , dreamixes from Kode 9, Pinch, Champion and rLr (XL’s Richard Russell) and studio off-cut gold.

                                                                                                                                            The album’s art has been lovingly designed by Leif Podhajsky, the zeitgeist-adjusting visual artist behind covers for Grimes, Bonobo and Foals amongst others. It is a thing to behold, and an even better thing to buy and take home.

                                                                                                                                            With Roots playing sets at Field Day, Latitude, Sonar and more over the summer, ’tis Manuva season once again. Savour him whilst you can.



                                                                                                                                              Written, recorded and produced by Marius Lauber over two years, Roosevelt’s long-awaited album is a dazzling debut of sun-drenched songwriting with one foot on the dancefloor.



                                                                                                                                                ‘Callus’ is Gonjasufi’s third album for Warp Records, the most challenging and raw recording of his career. Across nineteen tracks, created during the last five years and in three studios across two US states, Gonjasufi exposes the scars of a lifetime, digging beneath the surface coat of a callus to strike nerves and expose his reality.

                                                                                                                                                If the earliest Gonjasufi records suggested obstacles to overcome, the scowling violin drone and electronically mangled vocals of ‘Poltergeist’ and colossal riff and crushing rhythm of ‘The Kill’ make it clear that he’s now facing them, without fear or hesitation.

                                                                                                                                                During ‘Maniac Depressant’ he lashes out like some industrial warrior, his screams charging against gnarled guitar. Over the big, head-rattling beat of ‘The Conspiracy’ he rejects the complacence of unquestioned belief systems.

                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                2xLP Info: 2xLP with black paper inners in gatefold sleeve with download card.

                                                                                                                                                Includes MP3 Download Code.

                                                                                                                                                CD Info: CD presented in 6 panel digipack.

                                                                                                                                                Blood Orange

                                                                                                                                                Freetown Sound

                                                                                                                                                  Written and produced by Devonté Hynes, Blood Orange’s highly anticipated new album, ‘Freetown Sound’ features musical contributions from Nelly Furtado, Carly Rae Jepsen, BEA1991, Debbie Harry, Adam Bainbridge (AKA Kindness), Empress Of, Ian Isiah, Kelsey Lu, Jason Arce, Ava Raiin, Aaron Maine (AKA Porches), Bryndon Cook (AKA Starchild) and Patrick Wimberly.

                                                                                                                                                  ‘Freetown Sound’ is a tour de force, a confluence of Hynes’ past, present and future that melds his influences with his own established musical voice.

                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                  2xIndies Exclusive LP Info: 2xLP + 10 Exclusive LP edition available to independent retailers. Includes the double vinyl album housed in a wide spine jacket, a bonus 10” with two additional nonalbum tracks - ‘Do You See My Skin Through The Flames’ and ‘Sandra’s Smile’ - and a double-sided 24” x 36” poster.

                                                                                                                                                  Includes MP3 Download Code.

                                                                                                                                                  Includes MP3 Download Code.

                                                                                                                                                  Is It Balearic celebrate their 10th birthday this year and this new release sees them continue the series of Coyote ep's that started the label. EP 7 is an uptempo 4 tracker that opens with deep Italian, a deep nu-med house groove reminiscent of a trip to Rimini dancefloors of the early 90's. Fresh Hope delves into the mellow house vibration too. Long Board is soft detroit inspired shuffler with touches of acid. Take Me Back carries on the theme of uptempo sunshine shufflers. gentle melodies over classic 808 drums. All 4 tracks headed straight out on the floor.

                                                                                                                                                  Tim Presley

                                                                                                                                                  The Wink

                                                                                                                                                    On the cover, a bare chest and bits of bodies sketched in ragged lines of black and white. Inside, in full calor, we find Tim Presley. The dark force behind White Fence steps into the solo light with The WiNK.

                                                                                                                                                    Lit up within the shades and the folding conflex of his many musical outfits are the musical sparks that make Tim Presley come alive — but The WiNK lives beyond all previous incarnations found in Drinks, Hair, White Fence and Darker My Love. Here, there’s fewer filters than ever between you and Tim. Thus, his name up front; a wink towards ostensible (and ominous?) solosity, making light as it whistles through the layers that cage Tim’s life.

                                                                                                                                                    Tim’s a man in a glass booth, grabbing at scraps of paper blown at his windscreen as if they were of the greatest value. They’re actually of the ONLY value. And we grin in delight in his twist and tumult; in this process, he’s assembling his tunes in essential fashion, rolling around in the dust of his Id-bowl, then reordering the scrambled head-events into a barrage of phrases and stages, flickering through disembodied and re-embodied moments, held together by Tim’s inviolable belief in the song progression underneath. The tension is unbreakable, a thin plastic slip, as he intones upon a maze of high wild mercury stings.

                                                                                                                                                    When you tune in to The WiNK, it takes a couple minutes for you to hear a word. But then it takes only one line until “and then you die,” uttered in a voice of mottled, throaty horror, as if ghosts that haven’t yet shown themselves are advancing through walls. Working with the creative team of producer Cate Le Bon, drummer Stella Mozgawa, and engineer Samur Khouja, Tim’s located the corners of a perfect square, with their creativity and truth crafting unique parts to function as songs within songs, giving the tunes double-jointed features that extend their original intentions. The Presley guitar hand has a powerful, yet quicksilver touch, with metallic brilliance ALWAYS, esp. in rhythm figurations, where it wrings chords out like panic signals, highlighting “Can You Blame,” “Long Bow,” “Underwater Rain,” and “Clue” (to name a few), and a cover version of Willie “Loco” Alexander’s “Kerouac” (nod and a wink!), where a smooth and steadfast lyric melody is supplanted by a throw of broken guitar and shards of keys. Throughout The WiNK, Tim’s tone is thin and princely, connecting the dots sideways and backwards to align and make the image emerge.

                                                                                                                                                    The WiNK is produced by Cate Le Bon, who does the impregnable work of bringing a Tim Presley solo statement into focus somehow from without, by leading Tim the long away around to make a portrait of him. Cate fully embodied the producer role, picking the songs for the album from a deep pile of demos, making arrangements for the chosen songs and steadfastly suggesting that the trusted team go off the beaten path in their execution. Alert to the scribble from which Tim’s songs emerge in best home-recorded intimacy, Cate’s studio production teases such details out without losing any of the cerebral splatter — deconstructing and rebuilding the songs with a tight-knit crew whose shared language lifts Tim’s sound from the deep blue to create a different, stranger, authentic result.

                                                                                                                                                    The pop pusher of our teenage century has slipped from behind the Fence to claim his name. It’s about Tim!

                                                                                                                                                    On Halloween 2014, the director and composer John Carpenter introduced the world to the next phase of his career with “Vortex,” the first single from Lost Themes, his first-ever solo record. In the months that followed, Lost Themes rightfully returned Carpenter to the forefront of the discussion of music and film’s crucial intersection. Carpenter’s foundational primacy and lasting influence on genre score work was both rediscovered and reaffirmed. So widespread was the acclaim for Lost Themes, that the composer was moved to embark on something he had never before entertained – playing his music live in front of an audience.

                                                                                                                                                    2016 will host the first ever John Carpenter tour and in true Carpenter spirit, a sequel to Lost Themes: Lost Themes II. The follow-up brings quite a few noticeable changes to the process, which result in an even more cohesive record. Lost Themes’ cowriters Cody Carpenter (John’s son) and Daniel Davies (John’s godson) both returned. Cody was recently also heard as a composer for Showtime’s Masters of Horror series (Cigarette Burns and Pro-Life), and NBC’s Zoo. Davies was a composer for NBC’s Zoo, as well as the motion picture Condemned.

                                                                                                                                                    All three brought in sketches and worked together in the same city, a luxury they weren’t afforded on the first Lost Themes. The result was a more focused effort, one that was completed on a compressed schedule — not unlike Carpenter’s classic, notoriously low-budget early films. The musical world of Lost Themes II is also a wider one than that of its predecessor. More electric and acoustic guitar help flesh out the songs, still driven by Carpenter’s trademark minimal synth.

                                                                                                                                                    Keep your eyes peeled for John and his co-writers to hit the road next year performing both lost and newly found themes, in addition to retrospective work from Mr. Carpenter’s multi-generational career. Long live the Horror Master.

                                                                                                                                                    STAFF COMMENTS

                                                                                                                                                    Barry says: Master of Kosmische synth-workouts and general synth-based sountracking legend John Carpenter returns here with the second instalment of his surprising 'not a soundtrack' offering from last year. More twinkling synths, motorik pulses and cavern-soaked reverbed drums. Though soundtracks have always been Carpenters raison d'etre, this outstanding expansion on his lost themes selections just goes to show that Carpenter is indeed the king of the cosmic.

                                                                                                                                                    FORMAT INFORMATION

                                                                                                                                                    Ltd LP Info: Super limited purple & white swirl vinyl! Includes a download code which also includes a bonus track.

                                                                                                                                                    Led Zeppelin

                                                                                                                                                    The Complete BBC Sessions - Super Deluxe Edition

                                                                                                                                                      BBC Sessions was originally released in 1997 and has been certified double platinum by the RIAA. THE Complete BBC Sessions builds on that collection with a third disc that boasts eight unreleased performances, plus “White Summer,” a recording that first surfaced in 1990 on the Led Zeppelin Boxed Set. In addition, the set includes extensive session-by-session liner notes written by Dave Lewis. For the first time ever, it provides accurate details and notes about all of the band’s BBC sessions.

                                                                                                                                                      Musical highlights on this new collection include the debut of a long-lost radio session that has achieved near-mythic status among fans. Originally broadcast in April 1969, the session included three songs: “I Can’t Quit You Baby,” “You Shook Me,” and the only recorded performance of “Sunshine Woman.”

                                                                                                                                                      Also included are two unreleased versions of both “Communication Breakdown” and “What Is And What Should Never Be.” Separated by two years, the performances vividly demonstrate the young band’s rapid evolution over a short period of time.

                                                                                                                                                      As with the previous reissues the audio has been newly remastered under supervision from Jimmy Page.

                                                                                                                                                      Product Breakdown:

                                                                                                                                                      • Remastered album. 2 CDs, each in a replica sleeve
                                                                                                                                                      • Unreleased audio on CD in a separate card sleeve
                                                                                                                                                      • Remastered album on 180-gram vinyl
                                                                                                                                                      • Unreleased audio on 180-gram vinyl
                                                                                                                                                      • High-def audio download card of all content at 96kHz/24 bit
                                                                                                                                                      • 48-page book filled with photos of the band, the recording locations, BBC memorabilia, and session information
                                                                                                                                                      • High-quality print of the original album cover, the first 30,000 of which will be individually numbered.

                                                                                                                                                      FORMAT INFORMATION

                                                                                                                                                      FREE SHIPPING This item has FREE UK shipping!

                                                                                                                                                      Led Zeppelin

                                                                                                                                                      The Complete BBC Sessions - Deluxe Edition

                                                                                                                                                        BBC Sessions was originally released in 1997 and has been certified double platinum by the RIAA. The Complete BBC Sessions builds on that collection with a third disc that boasts eight unreleased performances, plus “White Summer,” a recording that first surfaced in 1990 on the Led Zeppelin Boxed Set. In addition, the set includes extensive session-by-session liner notes written by Dave Lewis. For the first time ever, it provides accurate details and notes about all of the band’s BBC sessions.

                                                                                                                                                        Musical highlights on this new collection include the debut of a long-lost radio session that has achieved near-mythic status among fans. Originally broadcast in April 1969, the session included three songs: “I Can’t Quit You Baby,” “You Shook Me,” and the only recorded performance of “Sunshine Woman.”

                                                                                                                                                        Also included are two unreleased versions of both “Communication Breakdown” and “What Is And What Should Never Be.” Separated by two years, the performances vividly demonstrate the young band’s rapid evolution over a short period of time.

                                                                                                                                                        As with the previous reissues the audio has been newly remastered under supervision from Jimmy Page.

                                                                                                                                                        FORMAT INFORMATION

                                                                                                                                                        5xDeluxe LP Info: Unreleased audio on 180-gram vinyl. High-def audio download card of all content at 96kHz/24 bit.

                                                                                                                                                        FREE SHIPPING This item has FREE UK shipping!

                                                                                                                                                        3xDeluxe CD Info: Unreleased audio on CD in a separate card sleeve.


                                                                                                                                                        Polar Star EP

                                                                                                                                                          The first notes on the opening track ”Polar star” could have been taken from a playful Pink Floyd session circa 1969 and music then develops into exactly what you should expect from Swedens number one neo-psych band; polyrhythmic patterns á’la Philip Glass executed with confident guitars, break beat disco drums plus organ and song harmonies so sacred that they could wake Jack Nitzsche from the dead.The record continues with ”Machines” where the nordic melancholy goes on a world tour through the stratosphere, with stopovers in California, Bohuslän and mountains of Bhutan. The trip then takes off for the outer orbit!”Sen sen, no sen” is a term used in Karate and it means that you hold the ability to foresee the opponents strike and strike her/him with that same blow in beforehand. This action takes your full concentration and you must be capable to disconnect from the world surrounding you and be in the moment. Let the needle flow over the closing track ”Sen sen, no sen” and feel the music fulfil you with confidence and soul and strengthen your spirit to the level that you can foresee anything fearful, and thus beat the living crap out of whatever in your presence that might haunt you.Fontän has poured hundreds of generations’ musical expressions in their filter of Swedish west coast psychedelia to let three tracks drop down on your turntable. The band feel no fear to break musical conventions, but yet they pay true homage to their predecessors. 

                                                                                                                                                          Minami Deutsch

                                                                                                                                                          Tunnel / New Pastoral Life

                                                                                                                                                            Sunrise, Sunset, Wherever. And who are ya!? We are Höga Nord Rekords and we´re busy keepin on. This time with a fresh 7" release from Minami Deutsch. Pure kraut live and direct from Tokyo. The quartet released their debut during 2015 on Chapata Records/Cardinal Fuzz (UK) and Guru Guru Brain in Japan. Of course you can hear their love for kraut-rock legends such as Can and Neu! But more interesting is the bands members definition of themselves as repetition freaks.

                                                                                                                                                            A-Side New Pastoral Life sounds like a repetitive mystic chant that wants to communicate with Klaus Dinger on a ouija board in a distant and deep forrest.

                                                                                                                                                            B-side Tunnel offers a straight forward monokrautriot. Kyotara Miula (guitar, vocals, synthesizer), Taku Rauschenberg (guitar), Keita Ise (bass) and Hikari Sakashita (drums) surely comes from the same strain as Bo Ningen, Cybele no Nichiyobi and Kikagaku Moyo. Act like you know! 

                                                                                                                                                            Hiss Golden Messenger

                                                                                                                                                            Heart Like A Levee - Deluxe Edition

                                                                                                                                                              PICCADILLY EXCLUSIVE: PRE-ORDER THE ALBUM AND ENTER A DRAW TO WIN A 100cmx100cm PROMOTIONAL FABRIC DISPLAY BANNER – ONLY 1 IN THE WORLD!!!

                                                                                                                                                              The writing of the songs that became Heart Like a Levee started in a hotel room in Washington DC in January of 2015 during a powerful storm that darkened the East Coast. At that time I was feeling - more acutely than I had ever felt before - wrenched apart by my responsibilities to my family and to my music. Forgetting, momentarily, that for me, each exists only with the other. How could I forget? Though maybe my lapse was reasonable: I had just quit my job, the most recent and last, in a series of dead-end gigs stretching back 20 years, with the vow that my children would understand their father as a man in love with his world and the inventor of his own days. They would be rare in that regard. And then - driven by monthly bills and pure fear - I left for another tour, carrying a load of guilt that I could just barely lift. But in that snowy hotel room I found the refrain that became my compass: I was a dreamer, babe, when I set out on the road; but did I say I could find my way home? M.C. Taylor.

                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                              2xDeluxe LP Info: Deluxe 2LP is gatefold jacket + poster + single jacket (Vestapol) + obi wrap + download code.

                                                                                                                                                              2xDeluxe CD Info: Deluxe 2CD is digipak + softpak + obi wrap +poster style insest



                                                                                                                                                                Wilco’s Schmilco is a mostly acoustic record, but that doesn’t mean it’s a tame one. It bears neither the vicious, fuzz-glam guitars of 2015’s Star Wars, nor the dazzling, baroque-ish arrangements that fans have come to expect. But in their place is a spaciousness and chaos that might feel welcome after twenty-some years of enjoyed but now-familiar Wilco releases. Schmilco is loose, and that’s a good thing.

                                                                                                                                                                Schmilco is Grammy-award winning Wilco’s tenth studio album and its follow up to last year’s Star Wars. The new album was recorded at the band’s Chicago loft and will be released on their own label, dBpm Records.

                                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                                Indies Exclusive LP Info: 180 gram white/pink mixed vinyl + download.

                                                                                                                                                                “Love U 4 Life” is the second installment of the Jeedeci series. It was debuted on the Dirt Tech Reck label profile on BBC with Benji B in October 2012. The internet has been going nuts since. "Love U4 Life Melody" is a strange, stuttered, fluttering dose of luminous lysergic prowess as pummeling drums bounce against a heavily manipulated vocal loop and mangled synth drones. Totally out of this world and future-proof, but retaining enough charm, radiance and head-turning beauty to not only get your younger brother / sister playing it to their mates on the bus to Loreto college, but should find favour in any DJ interested in showcasing the future sounds of the underground. The alternative version swaps some of the instrumentation but keeps the incessant rhythms and pummeling drums and also adds a few new elements into the mix. All in all a completely head-turning, great record.

                                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                                Ltd 7" Info: . 7.5 X 9.5 Original silkscreened print.
                                                                                                                                                                . 7-inch black vinyl in a protected polyvinyl sleeve.
                                                                                                                                                                . Hand numbered and signed.
                                                                                                                                                                . Certificate of Authenticity.
                                                                                                                                                                . Only 225 copies available worldwide.
                                                                                                                                                                . Digital download card.

                                                                                                                                                                Jami Bassols has been a close member of Hivern since its beginnings as one half of Aster. Now, following the release of Noche/ Templo, his two acclaimed edits for NVH, he returns to the label with his solo debut as JMII.

                                                                                                                                                                In Thrills, the Barcelonian producer displays a sound that's equally raw and lively, with a very personal sense of quirkiness. The title track is JMII's most expansive production to date. An uplifting house number built around an elastic bassline and sprinkled with a bubbly arpeggiated melody, echoed vocal snips and ravey pads. Bailar is a sort of lunatic take on chi-house, with a crude bassline, psychotic organ chords and feverish percussion coming together to form an ultra-infectious groove. Tightbrass follows a similar path, but conducted by frenzied synthetic horns that bring to mind a marching band of manic robots. In his remix, Comeme's Christian S. brings the track to a darker territory, reducing it to it's core elements and focusing in a nasty bassline that will for sure cause serious damage in the dancefloors in the upcoming months.
                                                                                                                                                                The 12” comes wrapped in a sleeve designed by Christian Schafer itself. 

                                                                                                                                                                Studio One

                                                                                                                                                                T-shirt - White / Red Print

                                                                                                                                                                  Soul Jazz Records presents for the first time ever these official limited edition Studio One t-Shirts. Funky T-shirt packs available in lots of groovy colours and sizes. 

                                                                                                                                                                  This t-shirt is white with the Studio One logo printed in red on the chest.

                                                                                                                                                                  Studio One

                                                                                                                                                                  T-shirt - Black / Yellow Print

                                                                                                                                                                    Soul Jazz Records presents for the first time ever these official limited edition Studio One t-Shirts. Funky T-shirt packs available in lots of groovy colours and sizes. 

                                                                                                                                                                    This t-shirt is black with the Studio One logo printed in yellow on the chest.

                                                                                                                                                                    Various Artists

                                                                                                                                                                    Discomatin Edits 02

                                                                                                                                                                      After a first release early 2016, the Discomatin crew from Paris returns to their Discomatin Edits series with this second effort, still in the spirit of the afterparty they organize to entertain the early birds, who prefer to dance than catching the worms.

                                                                                                                                                                      The EP is composed by four tracks, finely picked and slightly edited by the DJ’s of the crew. From AOR mellow grooves to French original kitsch and funkyness, they open a wide range of possibilities. It’s fresh, it’s French, so don’t sleep on it!



                                                                                                                                                                        PICCADILLY EXCLUSIVE: PRE-ORDER THE ALBUM AND ENTER A DRAW TO WIN A 100cmx100cm PROMOTIONAL FABRIC DISPLAY BANNER – ONLY 1 IN THE WORLD!!!

                                                                                                                                                                        In a culture obsessed with content, saturation, and continual exposure, it’s rare to find artists who prefer to lurk outside of the public eye. Thomas Pynchon is perhaps the most notable contemporary recluse—a virtually faceless figure who occasionally creeps out of hiding to offer up an elaborate novel steeped in history and warped by imagination—but for crate diggers and guitar mystics, Sweden’s enigmatic GOAT may qualify as the greatest modern pop-culture mystery. Who are these masked musicians? Are they truly members of the Arctic community of Korpilombolo? Are their songs part of their isolated communal heritage? Their third studio album, Requiem, offers more questions than answers, but much like any of Pynchon’s knotty yarns, the reward is not in the untangling but in the journey through the labyrinth.

                                                                                                                                                                        Western exports may have dominated the consciousness of international rock fans for the entirety of the 20th century, but our increasing global awareness has unearthed a treasure trove of transcendental grooves and spellbinding riffage from exotic and remote corners of the planet. GOAT’s previous albums World Music and Commune were perfect testaments to this heightened awareness, with Silk Road psychedelia, desert blues, and Third World pop all serving as governing forces within the band’s sound. But GOAT’s strange amalgam isn’t some cheap game of cultural appropriation—it’s nearly impossible to pinpoint the exact origins of the elusive group’s sound. The fact that they pledge allegiance to a spot on the periphery of our maps bolsters the nomadic quality of their sonic explorations. With Requiem, GOAT continue to rock and writhe to a beat beholden to no nation, no state.

                                                                                                                                                                        GOAT’s only outright declaration for Requiem is that it is their “folk” album, and the album is focused more on their subdued bucolic ritualism than psilocybin freakouts. But GOAT hasn’t completely foregone their fiery charms—tracks like “All-Seeing Eye” and “Goatfuzz” conjure the sultry heathen pulsations that ensnared us on their previous albums.

                                                                                                                                                                        Perhaps the most puzzling aspect of Requiem comes with the closing track “Ubuntu”. The song is little more than a melodic delay-driven electric piano line, until we hear the refrain from “Diarabi”—the first song on their first album—sneak into the mix. It creates a kind of musical ouroboros—an infinite cycle of reflection and rejuvenation, death and rebirth. Much like fellow recluse Pynchon, rather than offering explanations for their strange trajectories, GOAT create a world where the line between truth and fiction is so obscured that all you can do is bask in their cryptic genius.

                                                                                                                                                                        FORMAT INFORMATION

                                                                                                                                                                        Coloured LP Info: Ultra limited "psych" yellow/red coloured vinyl edition.

                                                                                                                                                                        Includes MP3 Download Code.

                                                                                                                                                                        2xIndies Exclusive LP Info: Indie store exclusive orange double vinyl.

                                                                                                                                                                        Includes MP3 Download Code.



                                                                                                                                                                          2016 is Blossoms’ year. Catapulted into the musical subconscious in January, listed fourth in the BBC Soundpoll as well as almost every other ‘ones to watch’ list - Blossoms have been carefully carving out their position in the canon of Great British Rock’n’Roll ever since.

                                                                                                                                                                          The band have earned rave critical comparisons to everyone from Arctic Monkeys to Depeche Mode to The Doors, shapeshifting between psychedelia, synth-pop and powerhouse indie, a mercurial sound at once familiar and unique. 

                                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                                          Ltd LP Info: Full colour gatefold 12” LP with gold foil, double sided 180gsm heavyweight black vinyl in a black disco bag and a full colour vinyl insert booklet.

                                                                                                                                                                          L.u.c.a is back with a superb album via Edizioni Mondo/Running Back strongly pervaded by a mystical naturalism. This is a whole new universe in the making, where rumbling magmatic atmospheres evolve gradually in a journey through an idealist new world, celestial interludes revealing a full take over of nature, with a pervasive library feel that dates back to the great Italian masters, carrying on Edizioni Mondo's legacy.

                                                                                                                                                                          L.u.c.a. is Francesco De Bellis aka Francisco. Years ago he started putting together some selections for a friend of his: Luca. The intention was to pick songs to be played during car rides, and like any other kind of ritual, this too would come with strict rules. You'd have to go throw the whole selection of 100 tracks without skipping, because every single one was important.

                                                                                                                                                                          Be it the sounds, the arrangement or its creativity, each track was there for a very specific reasons. It quickly became a monthly event which for several years evolved in a deep musical research without genre boundaries: Disco and psychedelic, soundtracks, library music, exotica, electronic and dance music, italo, new wave, pop or prog. Tracks of each and any historical period and provenance had been featured in this special compilations.

                                                                                                                                                                          But it wasn't always that easy to come up with the right piece and eventually Francesco started producing a few on his own to fill in the gaps. After six tracks, it was quite clear that there was a project developing, one in which he could finally experiment freely, leaving behind the rules that often come with dance tracks. Of course, no name could have been better than the one of his friend that had inspired everything? And so L.u.c.a was born.


                                                                                                                                                                          Air - Be With Records Edition

                                                                                                                                                                            Long Island's AIR only made one album. As solitary statements go, it's exceptional. Divinely elevated by Googie Coppola's beautiful voice, this transcendent masterpiece of soulful jazz-rock fusion has become increasingly tricky to track down. 45 years on from its initial release, Be With Records finally make it available again on vinyl.

                                                                                                                                                                            The highlights are many and memorable. From the irresistible groove of "Mr. Man" to the heavenly piano vocal of "Jail Cell"; from the funk-fuelled brass breaks in "Man Is Free" to the haunting, unforgettable "Sister Bessie", it is easy to understand why this record has been long revered amongst aficionados.

                                                                                                                                                                            Yet the entire record is without weakness and, therefore, selecting standout tracks seems redundant. If ever there was an album to surrender to in full, this is it. A perfect blend of rock and jazz, the record's greatest asset is surely Googie's uniquely expressive voice - the like of which we'll never hear again.

                                                                                                                                                                            Much like the music contained within, the original jacket was a thing of total beauty, presented as a lavish gatefold with a distinctive die-cut logo on the front flap. Accordingly, in keeping with the quality of all Be With reissues, this has been painstakingly recreated, along with the original liner notes. Sonically, Simon Francis' dextrous mastering adds real clarity and muscle throughout and, as ever, it has been pressed at a reassuringly weighty 180g.

                                                                                                                                                                            Treasured by 'selector' luminaries such as Jeremy Underground, MCDE, Floating Points and Hunee, this startling record is beloved by everyone who has heard it. Buying the original - if you can find it - would set you back a small fortune so Be With's latest archival release is one that is already being warmly welcomed from all corners of the global record-buying community.

                                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                                            David says: Yes! Been waiting for this all year. A jazz rock (erm...) masterpiece that would set you back £100 if you were lucky enough to come across an original.

                                                                                                                                                                            Funk Factory

                                                                                                                                                                            Funk Factory - Be With Records Edition

                                                                                                                                                                              An exquisite slice of psychedelic jazz-funk, Funk Factory was criminally overlooked upon release but became a crate-diggers classic over time. Yes, the LP is most famous for containing the peerless dusty groove of "Rien Ne Va Plus", heavily lifted by the Beastie Boys for their Paul's Boutique standout "Car Thief". Yes, you'd be correct to assume said gem is worthy of the price of admission alone. Yet, to those in the know, Funk Factory represents so much more than a Dust Brothers sample-source. Indeed, the entire album represents a space-aged opus, featuring tripped-out keys, tight drums and baked synths; all laced by Urszula Dudziak's ethereal vocals drifting around the exceptional instrumentation.

                                                                                                                                                                              Funk Factory were boldly led by brilliant Polish violinist and saxophonist Michal Urbaniak and vocalist Dudziak. Two additional, accomplished Polish musicians were involved: virtuoso keyboardist Wlodek Gulgowski and singer Bernard Kafka, founder and leader of great Polish vocal group Novi Singers. To augment this solid foundation, a sensational American rhythm section was assembled, with bassists Anthony Jackson and Tony Levin, drummers Steve Gadd and Gerald Brown and guitarists Barry Finnerty and John Abercrombie.

                                                                                                                                                                              Legend has it that Urbaniak created this seminal record in response to his American colleagues' claims that Eastern European musicians were not "funky". Funk Factory demonstrates that Urbaniak and his cohorts could play funk as well as any American musician. As sophisticated and multi-layered as the best of the genre, it deserves to be as canonical as the greatest works of Herbie Hancock and George Duke. Accomplished and utterly unique, this intoxicating blend of crack musicians created an irresistibly heady dose of transportive funk that sounds every bit as vital today as it would have in 1975.

                                                                                                                                                                              Original copies are prohibitively expensive so this officially licensed 180g version enables a wider audience to now discover its genius. Dovetailing neatly with the recent interest in forgotten Eastern European grooves, this timely release of a true lost treasure is sure to be one of the year's essential vinyl reissues.

                                                                                                                                                                              Dele Sosimi Meets Prince Fatty & Nostalgia 77

                                                                                                                                                                              You No Fit Touch Am In Dub

                                                                                                                                                                                "A dub version could be a stone killer", predicted David Hutchison in his 4 star Mojo review of 'You No Fit Touch Am'. And here it is: Afrobeat icon Dele Sosimi's recent album gloriously re-imagined in dub by two production masters, Prince Fatty and Nostalgia 77.

                                                                                                                                                                                "It was such a rush to have Prince Fatty and Nostalgia 77 work their magic on Dele's album. With Fatty bringing the spirit of 80s On-U Sound, Mikey Dread and Mad Professor, and Ben Nostalgia having mixed Dele's original LP, this was always going to be something very special." Dom Servini (Wah Wah 45s)

                                                                                                                                                                                'You No Fit Touch Am', Dele Sosimi's first full-length album in almost a decade, was released by Wah Wah 45s in May 2015. It represented where Dele is today - something of an untouchable force in the music scene that he has always been such a vital part of. The album provided a musical representation of Dele's strong socio-political opinions, as well as delivering classic song-writing that could have come straight out of 1970s Lagos.

                                                                                                                                                                                Born in Hackney, East London, but soon to return to his parents' native Nigeria at the age of four, Dele Sosimi was schooled and raised in Fela Anikulapo Kuti's shadow at the height of early 70s Afrobeat. Having been chosen by Fela to join his band at somewhat of a tender age, he was still a young man when sharing

                                                                                                                                                                                Fela's Glastonbury stage in 1984, and became both Musical Director for both Fela's Egypt 80 and FemiKuti's Positive Force. After Fela's passing in 1997, Dele went on to concentrate on his own solo career and, with diligent patience, carved out his own Afrobeat crown. In London, where he now resides, his Afrobeat Vibration all-nighters are charged with his passion, labours and his unrelenting spirit.

                                                                                                                                                                                Count Ossie & The Mystic Revelation Of Rastafari


                                                                                                                                                                                  15 track Album from Mystic Revelation Of Rastafari released by Dub Store Records 

                                                                                                                                                                                  next 100

                                                                                                                                                                                  Latest Pre-Sales

                                                                                                                                                                                  183 NEW ITEMS

                                                                                                                                                                                  Hot presale alert! An original of this would set you back £100 but now, thanks to Be With Records, this jazz rock...
                                                                                                                                                                                  Thu 28th - 2:05
                                                                                                                                                                                  JUST IN: DJ Plant Texture - Hi Fi EP / 10 Pills Mate |
                                                                                                                                                                                  Thu 28th - 8:42
                                                                                                                                                                                  PRE-ORDER: Silver Apples - Clinging To A Dream / ChickenCoop |
                                                                                                                                                                                  Thu 28th - 8:19
                                                                                                                                                                                  JUST IN: Smoke Signals - KC05 / Kings Chamber |
                                                                                                                                                                                  Thu 28th - 2:42
                                                                                                                                                                                  PRE-ORDER: Goblin Cock - Necronomidonkeykongimicon / Joyful... |
                                                                                                                                                                                  Thu 28th - 2:19
                                                                                                                                                                                  E-newsletter —
                                                                                                                                                                                  Sign up
                                                                                                                                                                                  Back to top