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Cover of 358 Men by DJ Fett Burger / Stiletti Ana.

DJ Fett Burger / Stiletti Ana

358 Men

Freakout Cult

DJ Fett Burger and Finish mastermind producer Stiletti Ana have been making their first album together, titled 358 MEN. After their first successful 12" Seriously Goodbye released on Sex Tags UFO four years ago, they continued the work in progress. And did a series of studio collaborations in Stilleti Ana's amazing Helsinki based Haista II studio, and it led to this double vinyl underground smash album. Containing nine atmospheric under the radar cuts, touching base in slow disco, electronic leftfield house, underground hip hop beats meets krautrock and dub, and some live sound experiments.

This will be DJ Fett Burger's debut album, and self released on his own and Jayda G's Frekout Cult label. Rumoured to be the last Freakout Cult release.

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Cover of Logos - Inc. Bartellow Remix by Ground.

Ground

Logos - Inc. Bartellow Remix

ESP Institute

Ground is an Osaka native, but his soul is truly that of a nomad, traversing the planet, befriending kindred spirits found in humans, animals and plants. He is exceptionally receptive to the beauty in everything that surrounds him—the incidental music of a city street, the orchestral chaos of a scrambling radio, the syncopated grace of migrating birds, the simplicity of an isolated hand clap—and as his roadmap continuously unfolds, he accumulates a vast catalogue of visceral tools to musically recount his experiences. Sunizm is a cross section of the artist’s process—an array of complex microcosms overlapping to comprise a thematic whole—gathering field recordings, found instruments, jagged electronics, synthesized chanting, and weaving all into a dense narrative that appears obsessively constructed yet divinely improvised. Logos is the first of two singles surrounding the album and is complimented with a monster remix by Bartellow (a fellow ESP artist, collaborator and good friend of Ground) as well as a secret weapon b-side entitled Discopazzle, which is exclusive to this single release. Attention all humans, animals and plants, Ground and the ESP Institute present, Sunizm.

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Cover of NP004 by Northern Powerhouse.

Northern Powerhouse

NP004

Northern Powerhouse

What should have been a quick process has taken a bit longer than we hoped, but that's the way of handcrafted products, be they ginger beer or sourdough bread, and like the bread, the vinyl is currently cooling down to ensure an undisturbed, top quality product.

NP004 contains two tracks, cunningly devised in Yorkshire, reflecting the area's no nonsense attitude and warmth. The final touches of mastering, have been added once again by the highly trained ears of Moog expert Dr Spaventi. This continues to give us a very important international dimension to what is still a local artisanal product.

Specially formulated to make you dance and give you something a little extra, we've switched to stealth black paper sleeves for this release, and where cutting engineer failed with inscriptions, as can be their wont, we've lovingly re-designed the label to incorporate details of the free gift we're providing

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Cover of XME / One Night Stand by Pional.

Pional

XME / One Night Stand

Phonica Records

Phonica Records welcomes Spanish producer extraordinaire Pional to it’s main label with the ‘XME / One Night Stand’ 12”.

Pional is Miguel Barros and the Madrid based musician has been producing for over a decade. With a string of well received solo releases on Hivern Discs, Permanent Vacation, Young Turks and Counter, remixing the likes of The xx, Chairlift, The Rapture, Prins Thomas and John Talabot (who he also co-wrote the incredible ‘Fin’ album ender ‘So Will Be Now...’ with) as well as DJing around the world, Pional has been keeping very busy indeed.

For his Phonica release he has produced two versions of two very special tracks. On the A-side, ‘XME’ is a melancholic and uplifting electronic excursion with delicate flourishes of it’s synthesised melody becoming a real ear-worm throughout its six and a half minutes. The slower and more foreboding ‘Quiet Ceremony’ reinterpretation takes the same melody in a darker direction.

On the other side, ‘One Night Stand’ is a bumping, stripped back and moody club track with ghostly vocals floating above metallic pads rising to a release of energy and emotion. The ‘Slow Drumapella’ lowers the tempo and alters the feel of the track, reducing its elements to a bare-bones drum track with the vocal, fx and pads eventually coming to the fore.

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Cover of Forest Floor by LT.

LT

Forest Floor

Rhythm Section

After a debut outing on International Black last year with his best friend Mallard, LT graduates onto Rhythm Section INTL with a stunning debut solo effort: FOREST FLOOR.

Aged just 20 years old, Lewis Taylor aka LT is another prodigal talent from the north of England, whose association with Rhythm Section goes back to his school days. A fan of the label from an early age, Lewis regularly made pilgrimages to the pool hall as soon as he was old enough to do so. It was these visits with his old school friend Mallard (who had recently moved down to London from Derbyshire to study music) which proved to be a formative influence, prompting him to try his hand at production...It turned out he was quite the natural, with his second ever effort as an 18 year old making it onto this very EP.

Sitting somewhere between electro, house and techno with a healthy dose of breaks - LT constructs complex arrangements with as much of a nod to the retro summer of love stylings of Lone as to the new age bounce of the Pender Street Steppers. The piano house stabs of ‘Untitled (Chesney)’ reverberate around chopped breaks and screaming samples, anchored down by bouncy organ bass and FM lead synth which really begs the question: ‘How did LT develop such a rich lexicon of club culture references in such a short time?’ We’d be tempted to believe it was just pure luck, if this mastery of rave aesthetics wasn’t repeated throughout the EP...

Mesosphere fizzes with arpeggiated energy before giving way to a magnificent yet subtle drop that will serve festival main stages as well as it will back room clubs. Before the EP is over, LT has one more trick up his sleeve in Forest Floor - the titular track which is the musical equivalent of watching the sun rise through a misty glade after a night spent alone in the wilderness. With this gentle touch, LT proves he’s more than another kid on Ableton making bangers - he has breadth, incredible musicality and a rare ability to transcript sceneries into sounds. Finishing with ‘North Circular’ possibly a reference to the free Parties on the London Orbital or merely just a coincidence… you decide.

We couldn’t be happier to welcome LT onto the RS INTL roster in what feels like a fulfilment of destiny. It’s such a great honour to have nurtured and now introduce the next generation via the Rhythm Section platform.

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Cover of RAD-LUDD2 by General Ludd.

General Ludd

RAD-LUDD2

Rubadub

Gen Ludd are Glasgow-based Rich McMaster (Golden Teacher, Modern Institute) and Tom Marshallsay, both of whom are a big part of the extended Rubadub family. Their music perfectly embodies the Rubadub ethos of music for heads and feet.

After months of negotiations with our minister of finance Hillington West Snr, TAFKNAGL (That artists formerly known as General Ludd) return with four precise cuts of pure rhythm and motion.

These tracks are a message to the Ramona-toting, gymnasium-powered international dance deejay. Please be bold enough to play them... you’ll make the world a better place. We’ll give you free WAVS too.

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Cover of The Shape Of RemixXxes To Come by Lorenzo Senni.

Lorenzo Senni

The Shape Of RemixXxes To Come

Warp

    Italian electronic artist and sound composer Lorenzo Senni releases a two track remix 12” for his essential trance-indebted classic ‘XAllegroX’, via Warp.

    Having founded the respected experimental label Presto!? and crafted some of the most unique dance music of the last decade, Lorenzo’s latest release showcases his sound reworked by Presto!? labelmates and friends; masked Detroit mainstay DJ Stingray and acclaimed German sound experimentalist Hecker.

    Originally released on Warp in September 2017, ‘XAllegroX / The Shape Of Trance To Come’ saw Lorenzo serve up two of his most distinctive deconstructions and augmentations of ‘90s trance archetypes, championed by Aphex Twin, Dixon, Pete Tong and Pitchfork.

    With each remixer revered in their own lane, the new 12” sees DJ Stingray (Tresor, Clone, Diagonal Records), turn in an ominous offering built to scald the biggest rooms and the sweatiest basements - stripping back the original with a blown out bassline darkening and disrupting the bright-lit synths that reach endlessly upwards. Whilst Florian Hecker (Editions Mego, PAN, Rephlex) subverts the euphoria by driving it to its inevitable melancholic endpoint, relentless repetition without resolve transfigures the sound into a skeletal remnant of its original state.

    ‘The Shape Of RemiXXXes To Come’ follows the release of Lorenzo and Francesco Fantini’s original score for Yuri Ancarani’s film ‘The Challenge’ about the lifestyles of the Qatari super-rich, released on Warp in March. The new club-ready edits also arrive in the middle of another busy period for Lorenzo - last month he headlined a sold out London show and he’ll be performing live at Sonar in Barcelona for their 25th anniversary.

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    Cover of Gladwemet by Knxwledge.

    Knxwledge

    Gladwemet

    Stones Throw

      New EP of hypnotic lo-fi hip hop tracks from LA beatmaker Knxwledge, including ‘Relapse’ featuring up and coming rapper Traffic as well as five instrumental tracks.

      Knxwledge is a producer with over 90 productions and counting to his name.

      Most notably, Knx partnered with Anderson .Paak for the duo NxWorries, releasing their first album Yes Lawd! in 2017.

      Knxwledge has also produced beats for rappers, including Kendrick Lamar (‘Momma’, from the Grammy Award-winning album ‘To Pimp A Butterfly’), Earl Sweatshirt and Joey Bada$$.

      For fans of J Dilla, Flying Lotus, Anderson .Paak.

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      Cover of Dream Voyager (Inc. Slowdive Remix) by Cuts.

      Cuts

      Dream Voyager (Inc. Slowdive Remix)

      Village Green

        Following the recent release of the ‘EXIST’ EPs, CUTS - composer and filmmaker Anthony Tombling Jr - releases the ‘Dream Voyager’ EP, with remixes from shoegaze legends Slowdive and Village Green labelmate Ben Chatwin.

        The original’s electric hum, pounding drums and indistinct vocals are reassembled by shoegaze heavyweights Slowdive and Village Green labelmate Ben Chatwin. The former remould the tune in their image by adding a pulsating heartbeat and swathes of atmospheric guitar while on the flip Chatwin transforms the tune almost beyond recognition, into a rumbling monster decked with cascading analogue synths and distorted percussion.

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        Cover of Fabriclive 99: DJ Q by Various Artists.

        Various Artists

        Fabriclive 99: DJ Q

        Fabric

          A prolific artist, DJ Q and his speedy, bassline sound first gained notoriety via his 2007 smash hit ‘U Wot’. This secured him a six year stint as a DJ on BBC Radio 1Xtra. He has over one hundred productions and remixes under his belt. Album releases include his solo work - ‘Ineffable’, his collaborative ‘UKG’ which dropped in 2017 as one third of outfit TQD, followed by ‘All Night’ out this year.

          Bar one track, ‘FABRICLIVE 99’ contains all previously unreleased music and features 15 of his own productions alongside cuts from Todd Edwards, TQD, Royal-T, Flava D, Jack Junior, Swindle and others.

          Moving between bassline, UK garage, bumping house and beyond, Q’s mix captures the next-generation soundtrack from the Huddersfield-born DJ and producer.

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          Cover of 1/1: Original Soundtrack To The Film by Liars.

          Liars

          1/1: Original Soundtrack To The Film

          Mute

            Liars announce the release of their first original soundtrack - ‘1/1’.

            ‘1/1’ is the soundtrack to Jeremy Phillips’ directorial debut, due to be released in July 2018. Starring Lindsey Shaw (‘Pretty Little Liars’), Judd Nelson (‘Breakfast Club’, ‘St Elmo’s Fire’) and Dendrie Taylor (‘Star Trek Generations’, ‘Twins’), the film submerges the viewer into the mind of Lissa, a 20-year-old girl in rural Pennsylvania and her struggles with sex, drugs, love and loss. Liars have created an electronic soundtrack that reflects the film’s use of mixed media abstractions and multi-film formats, which undoubtedly stands up as an album in its own right.

            Created soon after Liars’ 2014 album ‘Mess’, these are the last recordings by Angus Andrew and Aaron Hemphill before Hemphill amicably left the band. In 2017 Angus Andrew released ‘TFCF’, Liars’ eighth studio album and Aaron Hemphill recently released Nonpareils’ ‘Scented Pictures’, his debut solo album. (Both albums are out on Mute, Andrew and Hemphill’s label since Liars’ debut, ‘They Threw Us All In A Trench And Stuck A Monument On Top’.)

            Angus Andrew and Aaron Hemphill were given the script for ‘1/1’ and, after reading it on a flight from LA to NY, immediately decided to take it on. “It was very heavy, it was very intense and by the time we got to New York, we’d read it. At that point, we hadn’t seen anything but we were on board just from reading the script,” explains Angus.

            Soon after, Liars rented a space in Copenhagen and started work on the film’s soundtrack. The director, who up until that point had been using temp music to mark out where the score would go, gave the band descriptions for each of the cues. Instead of giving musical direction, he gave them emotional and descriptive language to describe what he wanted, such as “imagine you have a 100 piece puzzle, but you have 1000 pieces - what would that sound like” or “the character is submerged in water at 4am” or “an alarm clock won’t stop ringing.” Liars were delighted, “This was the perfect thing for us to hear, that allowed us to explore that feeling. At this point we still haven’t seen the film, we were going off the script and a few sample scenes. These descriptions were really helpful for us, and even though they were abstract, they allowed a lot of interpretation.”

            Hemphill goes on to say, “We tried to find ways to take it off the grid. We would watch it, read the script and try to get a feel for the plot development and then base the music off of our memory.”

            The result is a fractured, emotional response to characters within the film. Without using visual cues that might allow the music to simply mirror emotion, Liars have delved deeper into the reality of some of the more complicated themes of ‘1/1’. Director and writer Jeremy Phillips has explained that the film was originally created in response to watching the films of John Hughes for the first time - after the director’s death in 2009 - and wondering what a Molly Ringwald film would look like now. Highly personal, he explains that it “started to connect me with the past, and dealing with depression and anxiety.”

            Phillips has described the film as very much a joint production between all of the artists involved (he himself found specific inspiration in Liars’ single ‘No. 1 Against The Rush’) and some of the film was edited to work with the music, an unusual technique. The director explains, “I view this movie as ours, and that goes for everyone involved in the production. I wanted there to be give and take between everyone working on it.” This is particularly evident as the film was actually changed in some sections to adapt to the music.

            Phillips goes on to say that “The music, how it functions in the film, is really the access point to the main character’s thoughts/feelings. It's a coming-of-age story, she’s very distant and the music guides you through the emotions, as both she and the visual language of the film keep maturing.”

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            Cover of Bitter Blood: A Collection Of Archival Recordings by Black Lodge.

            Black Lodge

            Bitter Blood: A Collection Of Archival Recordings

            Disciples

              Who is Black Lodge? Rumours: records on Mo’Wax and The Trilogy Tapes, part of an occult Northern Soul collective, is a member of the shadowy Gescom, Manchester pirate radio DJ, graffiti artist, Autechre sleeve designer, gong player.

              Hot on the heels of a 12” (via Warp Records’ recently relaunched dance imprint Arcola) containing a lost slice of leftfield electro, comes this collection on a very different tip, collated from the extensive Lodgewars tape archive. Spectral sound sketches that smudge the edges of ambient, post-punk and industrial, harsh tape hiss buffered by spooling coils of melody, recorded in the upstairs room of a Manchester pub.

              Sonic futurism from the council estate. Genuinely British invention. Fuzz of white noise. Weekend over. Ushering the fall of house. The rarest of sounds, the best of times guaranteed. Compulsory membership: given in recognition to the cause.

              Housed in an enigmatic all black sleeve with all black labels. Sticker on overwrap with tracklist and credits.

              Exclusive release available to independent retailers.

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              Cover of Opal by Vinyl Williams.

              Vinyl Williams

              Opal

              Requiem For A Twister

                After three albums released on No Pain In Pop (Lemniscate, 2012) and Chaz Bundick’s Company (Into, 2015, Brunei, 2016), Vinyl Williams has joined French label Requiem Pour Un Twister for his fourth album: Opal. Throughout his art, both musical and visual, Lionel Williams is always exploring the syncretistic territory between reality and dreams, between earth and space. For him “music is a chance to transmute qualitative opposites into the center, to dissolve all illusions of duality”. As “chaos and disorder is an illusion”, with Opal, Vinyl Williams is trying to reach a new state of celestial harmony. The result of which is an album fuelled with mysticism and space age utopia, ten kaleidoscopic lush pop songs that takes you into a transcendental journey.

                For fans of: Unknown Mortal Orchestra, Toro Y Moi, Todd Rundgren, Morgan Delt, Mild High Club, Triptides, Homeshake and Connan Mockasin

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                Cover of With His Hot & Blue Guitar by Johnny Cash.

                Johnny Cash

                With His Hot & Blue Guitar

                Charly Records

                  Comprehensive remastering and repackaging upgrade of the Man In Black’s legendary Sun catalogue continues with this release of Johnny Cash’s first LP from 1957.

                  ‘Johnny Cash With His Hot and Blue Guitar’ was the first-ever Sun album to be released on the label in October 1957. It included one side of Cash’s debut hit single, ‘Cry! Cry! Cry!’, the classic follow-up ‘Folsom Prison Blues’ and the iconic ‘I Walk the Line’ which reached no. 1 in the US country charts and crossed over to the pop charts peaking at no. 17.

                  Complete with sleeve notes by noted Sun Records authority Adam Komorowski and president of Sun Entertainment Corporation John Singleton, the LP has been remastered from the original Sun master tapes by Nick Robbins at Soundmastering Studios and cut to lacquers at half-speed for unrivalled sound quality by Barry Grint at Alchemy Mastering in London.

                  The reissue series has been personally overseen by Singleton in Nashville and Charly Records founder Jean-Luc Young, continuing the long relationship between the companies begun by Shelby Singleton and Young over 40 years ago.

                  FORMAT INFORMATION

                  Coloured LP Info: Blue vinyl (limited to 1,000 copies)

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                  Cover of A Certain Girl / Here Comes The Girls by Ernie K-Doe.

                  Ernie K-Doe

                  A Certain Girl / Here Comes The Girls

                  Charly Records

                    Ernie K-Doe, born Ernest Kador Jr, in New Orleans, 1933, will be forever remembered for his Billboard #1 hit single “Mother-in-Law”, which knocked Del Shannon’s “Runaway” off the top spot in May 1961. Our featured side, “A Certain Girl”, remastered here from the original tape for the first time, followed later that year. It has been covered several times, most notably by The Yardbirds in 1964 for their debut single. UK Mod group First Gear, featuring Jimmy Page, also had a go in ‘64.

                    “Here Come The Girls” is another Toussaint song taken from K-Doe’s eponymous album recorded for Janus Records a decade late in 1972. It failed to gain any attention at the time but charted in the UK in December 2007 when it was adopted by ‘Boots’ for their Christmas TV campaign. UK R&B band, the Sugababes, covered the song the following year taking it to #3 on the official UK pop charts. K-Doe reinvented himself as an eccentric radio celebrity in the 80s and 90s billing himself as the “Emperor Of The Universe” with the catch phrase “Burn, K-Doe, Burn”!

                    FORMAT INFORMATION

                    7" Info: Indies exclusive

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                    Cover of Viva Disco by Tunde Mabadu.

                    Tunde Mabadu

                    Viva Disco

                    Mr Bongo

                      Official Mr Bongo reissue of the ultra-rare Nigerian disco-boogie, ‘Viva Disco’, album from 1980. Originally released on the Afrodisia label, this one is unknown to even the most knowledgable collectors out there.

                      Tunde Mabadu recorded two albums in the 70’s - ‘Viva Disco’ and ‘Bisu’ as Tunde Mabadu & His Sunrise. Perfect examples of golden-era Nigerian disco & boogie that still hold their own today.

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                      Cover of Immersions by Deepchord.

                      Deepchord

                      Immersions

                      Astral Industries

                      Rod Modell returns as Deepchord for his first solo release on Astral Industries since inaugurating the label with his sought-after ‘Lanterns’ EP. Consisting of two stunning long-form pieces split on one side each, `Immersions¿ captures the emotive, halcyon sound that Rod has long become synonymous with. Opening with glistening ambient textures, ‘Immersion I’ grows into an 18-minute piece of deep rolling dub techno. On the other side ‘Immersion II’ paints pristine soundscapes of soft, lapping waves, underpinned by submerged pulsations that rise to the surface to continue its deep space explorations. Two highly refined and inspiring tracks that sit on the apogee of this sound.

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                      Cover of Bra/The Message by Cymande.

                      Cymande

                      Bra/The Message

                      Mr Bongo

                        Classic funk-soul material of the highest order from the brilliant Cymande. ‘Bra’ and ‘The Message’ are two classic, essential Cymande tracks, mastered from original tapes to create the best possible reproduction and cut loud on 7” vinyl. Licensed from John Schroeder Enterprises.

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                        Cover of Fug/Brothers On The Slide by Cymande.

                        Cymande

                        Fug/Brothers On The Slide

                        Mr Bongo

                          Classic funk-soul material of the highest order from the brilliant Cymande. ‘Fug’ and ‘Brothers On The Slide’ are two classic, essential Cymande tracks, taken from their ‘Second Time Round’ and ‘Promised Heights’ LP’s, respectively. Mastered from original tapes to create the best possible reproduction, cut loud on 7” vinyl. Licensed from John Schroeder Enterprises.

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                          Cover of The Long Walk by Uniform.

                          Uniform

                          The Long Walk

                          Sacred Bones

                            Following the release of critically acclaimed LP Wake in Fright, which had two songs featured in the new season of David Lynch’s Twin Peaks, it was time for Uniform vocalist Michael Berdan and instrumentalist Ben Greenberg to return to the studio. The duo decided to up the ante and add a third member to help perfect their vicious post-industrial dystopian cyber-punk. After some deliberation, Greenberg called upon drummer Greg Fox (Liturgy, Zs) to help round out the sound they were looking for. Using a mix of triggered samples and real drums along with layered synths and good old electric guitar, the trio arrived at what would become The Long Walk after only a few short days in the studio.

                            From the opening whirr of the title track, it’s clear that the band is onto something special. Recorded in Strange Weather studios in the first part of 2018, The Long Walk is eight new tracks by the duo of Greenberg and Berdan, incorporating Fox’s skills behind the drum kit to add an entirely new dimension to the signature Uniform sound. Ditching sequenced tracks, Greenberg opted for single takes to highlight the Frankenstein-like guitar-bass-synth hybrid that oozes throughout the recording. Meanwhile, crushing guitar thunder is punched up by Fox’s masterful drumming while Berdan’s cries from the nether feel more desperate and morose than ever. This is Uniform at its most bleak, emotional, and powerful.

                            Lyrically, The Long Walk deals with paradoxes in spirituality and organized religion. Berdan went to Catholic school for most of his primary education. Fear of Biblical hell and damnation felt tangible. As Berdan grew and matured emotionally, he began to reject Catholicism bit by bit. In the recent past, Berdan found himself slowly reconnecting with his background, observing how the faith that he found so repressive served as a great source of comfort and strength for so many. Yet therein lay the contradiction that drove him from religion in the first place — many of the human traditions of the church also dealt in repression, intolerance, and bigotry. Could one observe the rituals and practice of a faith while acknowledging and rejecting its ugliest elements?


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                            Cover of Hyper Super Mega by Holydrug Couple.

                            Holydrug Couple

                            Hyper Super Mega

                            Sacred Bones

                              It was 10 years ago, in a house on the outskirts of Santiago, Chile, that Ives Sepúlveda Minho and Manuel Parra started playing music together, and The Holydrug Couple was effectively born. A decade later, they’ve made ‘Hyper Super Mega’, an album that represents the culmination of everything they’ve learned in their years as a band.

                              Following the release and surrounding tours of their second album, 2015’s ‘Moonlust’ (Sacred Bones), the duo found themselves back at home, feeling directionless and listless. “The over-riding feeling was one of exhaustion,” Sepúlveda recalls, “exhaustion of the planet and of culture, the overuse of references and information that you see everywhere, in fashion, literature, tourism, music, technology and so on.”

                              So, the duo immersed themselves in these feelings and started to build the foundations of their new record. Amidst eleven tracks of perfectly-formed, heady psych-pop, ‘Hyper Super Mega’ speaks of immediacy, internet and social media, consumption, love and a comfortable despair at the state of the planet. It tells of a world over-connected through cell phones and information, whilst hinting at the place of occult language and imagery in an attempt to convene different and unknown places, or places that are open to interpretation.

                              Sonically, if ‘Hyper Super Mega’ feels, in places, like a classic pop record, that’s because Sepúlveda and Parra spent much of the recording process thinking, too, about the classic pop records of the ’60s and ’70s. Masterpieces by bands like The Beatles, The Beach Boys, and Fleetwood Mac were all reference points, not always explicitly in sound, but certainly in spirit. The duo approached the mythos of the “classic album” from their own inimitable perspective, hoping to make a record that felt authentically like The Holydrug Couple that might fit into the same canon.



                              FORMAT INFORMATION

                              Coloured LP Info: Limited red vinyl version!

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                              Cover of Sings The Songs That Made Him Famous by Johnny Cash.

                              Johnny Cash

                              Sings The Songs That Made Him Famous

                              Charly Records

                                The comprehensive remastering and repackaging upgrade of the Man In Black’s legendary Sun catalogue continues with the release of Johnny Cash’s second LP. Released in November 1958, ‘Johnny Cash’s Sings the Songs that Made him Famous’ was a superb collection of many his Sun hits and featured ‘Ballad Of A Teenage Queen’, a No.1 country smash which also crossed over to no. 14 in the pop charts, There You Go’, ‘Train Of Love’, ‘Don’t Make Me Go’ ‘Next In Line’, ‘Home Of The Blues’, ‘The Ways Of A Woman In Love’ and ‘Guess Things Happen That Way’, his biggest national pop hit on Sun. 1958 was one of Johnny Cash’s most prolific years in the Top 100 charts and helped make him the Sun label’s most consistently successful artist.

                                Complete with sleeve notes by noted Sun Records authority Adam Komorowski and president of Sun Entertainment Corporation John Singleton, this LP has been remastered from the original Sun master tapes by Nick Robbins at Soundmastering Studios and cut to lacquers at half-speed for unrivalled sound quality by Barry Grint at Alchemy Mastering in London.

                                The Johnny Cash reissue series has been personally overseen by Singleton in Nashville and Charly Records founder Jean-Luc Young, continuing the long relationship between the companies begun by Shelby Singleton and Young over 40 years ago.

                                FORMAT INFORMATION

                                Coloured LP Info: Gold coloured vinyl (limited to 1,000 copies)

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                                Cover of I've Tortured You Enough by Mass Gothic.

                                Mass Gothic

                                I've Tortured You Enough

                                Sub Pop

                                  I've Tortured You Long Enough is the tongue-in-cheek title of Mass Gothic's second album. Husband/wife duo Noel Heroux and Jessica Zambri have always dipped in and out of each other's creative spaces, advising on their respective outputs and supporting one another. But, until this record, they had never completely committed to doing an entire album as a duo, sharing an equal load. The result is a record packed with the tension, chaos and beauty of a fluid and cathartic two-way conversation. In a universe that increasingly threatens our abilities to communicate and coexist, their creative union isn't just inspired but important.

                                  When Heroux put out Mass Gothic’s 2016 debut, following the end of his prior band, Hooray for Earth, he did so as a solo entity. Plagued by insecurities and anxieties, Heroux wasn't ready to deal with putting his trust and confidence into another shared project. So what changed? He can't exactly pinpoint when the phrase “I've tortured you long enough” came to him, but it became a mantra, almost a premonition. He had tortured his own psyche long enough, and was particularly in need of forcing himself out of his comfort zone and letting go of that prior stubbornness. And the phrase has a broader application, too. “It covers so many bases but it's taken on extra meaning in the past couple of years when everybody is at each other's throats, frustrated and confused all the time,” Heroux explains.

                                  Heroux and Zambri wrote I’ve Tortured You Long Enough while bouncing around the country without a place to call home. From working in a rented cabin in upstate New York, to living out of a car with a duffel bag of clothes, to crashing with their co-producer Josh Ascalon in LA, to ditching a mixed version of the album and rerecording the whole thing, the band worked tirelessly while their lives were totally in flux. “Maybe we wouldn't have been able to do it if we were anchored at home. We were forced into it. Jess was trying to open me up and if we could have just sat on a couch and thrown on the TV it probably wouldn't have worked.” The album was ultimately recorded in Brooklyn with Rick Kwan, and Chris Coady mixed the record and Heba Kadry mastered it.

                                  The final product recalls the frantic energy of Animal Collective and the celestial torch-bearing of Bat for Lashes, and reveals a remarkable arc. It begins from a place of uncertainty, disquiet, and self-doubt, and concludes with the comfort in knowing that you can be both independent and successful in a relationship.

                                  FORMAT INFORMATION

                                  Coloured LP Info: Mint coloured Loser edition Vinyl!!

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                                  Cover of NTS Sessions (Session 3) by Autechre.

                                  Autechre

                                  NTS Sessions (Session 3)

                                  Warp

                                    Remaining quantities of Autechre NTS Sessions LP, NTS Sessions was originally aired as part of a month-long residency at NTS Radio through the month of April and featured eight hours of new music across four shows.

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                                    Cover of NTS Sessions (Session 4) by Autechre.

                                    Autechre

                                    NTS Sessions (Session 4)

                                    Warp

                                      Remaining quantities of Autechre NTS Sessions LP, NTS Sessions was originally aired as part of a month-long residency at NTS Radio through the month of April and featured eight hours of new music across four shows.

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                                      Cover of NTS Sessions (Session 2) by Autechre.

                                      Autechre

                                      NTS Sessions (Session 2)

                                      Warp

                                        Remaining quantities of Autechre NTS Sessions LP, NTS Sessions was originally aired as part of a month-long residency at NTS Radio through the month of April and featured eight hours of new music across four shows.

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                                        Cover of NTS Sessions (Session 1) by Autechre.

                                        Autechre

                                        NTS Sessions (Session 1)

                                        Warp

                                          Remaining quantities of Autechre NTS Sessions LP, NTS Sessions was originally aired as part of a month-long residency at NTS Radio through the month of April and featured eight hours of new music across four shows.

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                                          Cover of Clubsoul - The Twisted Wheel by Various Artists.

                                          Various Artists

                                          Clubsoul - The Twisted Wheel

                                          Charly Records

                                            The Twisted Wheel in Manchester is one of the legendary names in British clubbing history. Originally launched in a coffee bar in 1963 it quickly developed a reputation as one of the country’s finest venues for hearing obscure, imported soul, R&B and ska records. Music fans would flock from all around the country to the weekly all-nighters to hear these records along with live sets from some of the finest soul artists of the time. The term ‘Northern Soul’ was in fact first coined by the journalist Dave Godin following a visit to the Twisted Wheel to describe the distinctive brand of music played there.

                                            Catapult yourself back to the mid-60’s with the biggest classics that were once spun at the Twisted Wheel. Featuring a host of legendary R&B artists including Bobby “Blue” Bland, Joe Haywood, The Sharpees, Benny Spellman, Alvin Robinson, Solomon Burke, Ernie K-Doe, The Rubaiyats, The Ad Libs, Bo Diddley, Fats Domino and more, all newly restored from the original analogue tapes.

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                                            Cover of NTS Sessions (Box Sets) by Autechre.

                                            Autechre

                                            NTS Sessions (Box Sets)

                                            Warp

                                              Remaining quantities of Autechre NTS Sessions LP, NTS Sessions was originally aired as part of a month-long residency at NTS Radio through the month of April and featured eight hours of new music across four shows.

                                              FORMAT INFORMATION

                                              LP Box Set Info: Mammoth 12LP Box Set!

                                              FREE SHIPPING This item has FREE UK shipping!

                                              CD Box Set Info: 8CD Box Set!

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                                              Cover of Neptune Atmosphere (You Didn't Feel My Love) by Rob Scott.

                                              Rob Scott

                                              Neptune Atmosphere (You Didn't Feel My Love)

                                              Expansion Records

                                                From the incredible Robb Scott album “Siren” comes a new single “Neptune Atmosphere (You Didn’t Feel My Love)”. Robb Scott is a UK musician, singer, songwriter, composer and producer who on this single features Gina Foster on lead vocals. With the album version already established as a soul gem, this new single takes the song further into the dance sphere with new mixes by Phil Asher/Mighty Zaf and 2000 Black. Phil, from Restless Soul, is one of the most prolific DJ/remixers over the last 25 years; Mighty Zaf has become renowned for his DJ edits and take on Disco & Boogie as a DJ, remixer, compiler (Deep Disco & Boogie, Private Wax etc). The 2000 Black mix is by Dego who has been on the broken beat scene since the 90s with 4 Hero and continues to be one of the most exciting remixer/producers in that genre.

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                                                Cover of Furr by Blitzen Trapper.

                                                Blitzen Trapper

                                                Furr

                                                Sub Pop

                                                  Blitzen Trapper is the Portland, Oregon-based experimental country and folk rock band, who in 2008 released Furr, its breakthrough album and label debut for Sub Pop. The record was met with universal acclaim, earning praise from the likes of The Guardian, Pitchfork, Paste, AV Club, and Rolling Stone, who in its four-star review called the album “an engaging album full of rootsy beauty.” The album would earn the no. 13 spot on Rolling Stone’s 50 Best Albums of 2008 later that year.

                                                  For the newly remastered and expanded deluxe edition of Furr, Blitzen Trapper have compiled over two LPs worth of material: the original album and twelve rare and previously unreleased tunes. The added songs are from the same recordings that become Furr, with the exception of the “Live at KCRW” tracks, which were recorded during the Furr tour. The songs “War is Placebo,” “Booksmart Baby,” and “Maybe Baby” appeared as limited-edition singles for Record Store Day in 2009 and 2011. This reissue also features new liner notes from Eric Earley reflecting on the album, as well as a track-by-track description of the bonus songs, and a Q&A with the stage and screen actor Rainn Wilson (of The Office fame).

                                                  “It's difficult to remember exactly where my head was in those days, recording Furr in a leaky, dilapidated, pre-boom Portland building, all but condemned, where the migrant workers congregated at the curb outside hoping to get picked up by desperate contractors, the dealers working the opposite corner, two blocks up the Burnside bridge running with pitched tents and sleeping bags all the way to the West Side Mission, the black river sliding by beneath. For those in the know enough at the time to have heard it when Sub Pop first released Furr in 2008, listeners had to have been underwhelmed by the hit and miss production, the furry overdriven vocals and perilous sounding dubs, all industry-standard production fare now. But the songs must have shone through the noise even then. The stand-out title track recorded on a nearly defunct cassette four-track in one take and mixed on a couple-hundred-dollar PC was almost an afterthought at the time, but its message was real enough: that life consists of change and growth, love and transformation.

                                                  FORMAT INFORMATION

                                                  2xColoured LP Info: Loser edition Clear vinyl and gold swirl!

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                                                  Cover of Époques by Emilie Levienaise-Farrouch.

                                                  Emilie Levienaise-Farrouch

                                                  Époques

                                                  FatCat Records

                                                    Following a break of almost three years since the release of her debut album, French pianist / composer Emilie Levienaise-Farrouch returns with the stunning 'Époques', her sophomore album for FatCat's pioneering 130701 imprint. Witnessing an increased assurance and dynamism in both Emilie's playing and composing, 'Epoques' marks a big step forward for the London-based artist. A bold and adventurous album that alternates between passages of emotive, sinuous solo piano; stirring compositions for viola and cello and some beautifully sprawling electronics, it has been masterfully pieced together to further reveal a unique and intelligent sense of artistry, and a composer who really does deserve your full attention. 'Époques' is a deep, forceful, at times difficult, listen - a true shifting through the various registers of emotion, from dark to light. Whilst fans of artists like Max Richter, Dustin O'Halloran and Jóhann's Jóhannsson ought to surely find much to love in this album, and parallels may be found to a progressive new breed of female peers like Claire M Singer, Lucy Railton and labelmate Resina, it is a record that genuinely sees its maker finding her own space, fully formed and conclusively set aside from peers and influences. 

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                                                    Cover of Breathe Panel by Breathe Panel.

                                                    Breathe Panel

                                                    Breathe Panel

                                                    FatCat Records

                                                      Breathe Panel are a Brighton quartet who combine their shared love of West Coast Americana, krautrock and drone music. The result is a lush yet dynamic indie rock, with strident guitars providing a counterpoint to soaring vocals and has led to a release on esteemed south coast label Fat Cat Records.


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                                                      Cover of Qualm by Helena Hauff.

                                                      Helena Hauff

                                                      Qualm

                                                      Ninja Tune

                                                        “Qualm” is the new album by Helena Hauff, released on 3 August 2018 via Ninja Tune. The title has a duality that Hauff enjoys - the German word “Qualm” ( kvalm) translates as fumes or smoke, whilst the English meaning refers to an uneasy feeling of doubt, worry, or fear, especially about one's own conduct. True to form, the record is unapologetically raw and finds her returning to her original modus operandi - jamming on her machines - “trying to create something powerful without using too many instruments and layers”.

                                                        A former resident of the Golden Pudel club in her hometown Hamburg, Helena’s profile and global standing has grown exponentially since the release of “Discreet Desires” in 2015, purely on the strength of her authenticity and her expertly curated DJ sets spanning acid, electro, EBM, techno and post punk. Gigging incessantly (and still lugging a box of records across the world) Helena’s reputation earned her an invitation to join the BBC Radio 1 Residency, she was the subject of cover features for Crack Magazine and DJ Mag, she played headline sets at Sonar (b2b with Ben UFO) and Dekmantel, and at the end of 2017 Crack Magazine declared Helena “The Most Exciting DJ In The World (Right Now)” and her ballistic BBC Essential Mix was voted the best of 2017.

                                                        Born and raised in Hamburg, a self-confessed child of the 90s, Helena was obsessed with the music she discovered via the television on channels such as MTV and VIVA. She recalls her grandmother buying Technotronic's 'Pump Up The Jam’ at the flea market for her and watching coverage of iconic electronic music festival Loveparade in Berlin on TV. She has fond memories of borrowing CDs from the local library and making her own mixtapes - these days an archaic practice but from a curatorial standpoint these were her earliest outings as a DJ. Helena picks out Miss Kittin & The Hacker and Toktok vs. Soffy O as inspirations but it was the self-titled album from 2001 by electro icon Radioactive Man that was "a real eye-opener" providing the stimulus for her to dive in and immerse herself in the music and culture.

                                                        At university Helena studied first for a Fine Art degree, but whilst she enjoyed the emphasis on experimentation and artistic freedom, she realised that she didn’t have an innate need to make visual art, the prerequisite for a career in that oeuvre according to her lecturer. However, she did have exactly that compulsion in regards to DJing: “I was obsessed with DJing, there was no question that I had to do it. It wasn’t about the money, I just wanted to DJ somewhere,” she explains. Next Helena enrolled on a degree in Systematic Music Science and Physics. Heading in almost the polar opposite direction to her Fine Art background, it was a highly technical syllabus incorporating maths, physics and acoustics but perhaps on some level this juxtaposition of science and art has shaped her approach to coaxing music from her machines?

                                                        FORMAT INFORMATION

                                                        2xLP Info: 2LP black vinyl housed in a 5mm spined outer sleeve. Includes artworked 12” poster insert

                                                        2xLP includes MP3 Download Code.

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                                                        Cover of Across The Meridian by Pram.

                                                        Pram

                                                        Across The Meridian

                                                        Domino

                                                          As with their previous albums, Across the Meridian mixes instrumentals and songs, weaving a gleeful path through the musical territory of film scores, 30s jazz, sun-drenched pop, electronica, and post-punk experimentation. Haunting and wistful vocals are set to a variety of soundscapes, sometimes appearing as a snatched fragment of the subconscious and dreamlike, at others crafting a story of longing or regret, drawing the listener into Pram’s uncanny world through the mirror. Newcomers to Pram will find a richly detailed collage of influences ranging from exotica, Krautrock and the forgotten film soundtracks that went on to inspire contemporaries Stereolab & Broadcast.

                                                          The band convened at the remote Foel studios in Wales to improvise on ideas and record some bases for tracks, before finishing them in their studio in Birmingham. Pram have a working process that has developed over many years and reflects shifts in band personnel and technological advancements. Across The Meridian is a testament to the band embracing these new approaches without losing any of their original allure.

                                                          FORMAT INFORMATION

                                                          Coloured LP Info: Indies Only silver vinyl.

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                                                          Cover of Salsoul Sounds Familiar by Various Artists.

                                                          Various Artists

                                                          Salsoul Sounds Familiar

                                                          Salsoul

                                                            Salsoul Records have always stayed one step ahead of the game. Since the labels inception in the early 1970's the imprint's focus has been firmly fixed on presenting the most cutting edge dance music sounds and in the process the label has been instrumental in creating legends and shaping the landscape of contemporary club culture throughout the original Disco era and beyond. It comes as no surprise that many of todays labels and artists cite Salsoul as a fundamental influence on them and their output. The labels music has been endlessly rediscovered, sampled, re-edited and appreciated over and over again, your favourite DJ's and selectors undoubtedly reach for tracks from the catalogue each time they play. This is why Salsoul continue to collaborate with the best labels and artists out there today.

                                                            This is where Italy's Sounds Familiar crew come into the picture, for them Salsoul was always inclusive and for the people. The label’s music was — and still is — food for the soul. Sounds Familiar has been about bringing a different flavour to club culture since its inception. Their artists may or may not be known to the masses but their collective and individual influence on global music trends and club culture is inherent and indelible. Salsoul and Sounds Familiar coming together is like a Sunday lunch where generations of friends and family cook together. The food of our grandmothers and forefathers getting a fresh new spin as their children come of age and return to the family home.

                                                            Featuring a stellar array of internationally renowned underground diggers, DJ's, producers and remixers including DJ Spinna, Mark Grusane, GE-OLOGY, Twice & Volcov, Kai Alce and Specter, this special collaborative release shines a light on the deep corners of the Salsoul catalogue, lovingly reworked for 2018's discotheques by those who know, feel and understand the label, the dancefloor and respecting traditions while adding something a little bit different and a little bit new.

                                                            Even when it’s a little bit different, it still Sounds Familiar.


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                                                            Cover of The Art Of Pretending To Swim by Villagers.

                                                            Villagers

                                                            The Art Of Pretending To Swim

                                                            Domino

                                                              Always restless and inventive while always true to the power and glory of song-writing and melody, Conor O’Brien has made another great leap forward with Villagers’ fourth studio album, The Art Of Pretending To Swim, released by Domino on Friday 21st September.

                                                              Following the exquisitely sparse, intimate aura of 2015’s Darling Arithmetic, O’Brien’s new record reconnects with the multi-faceted approach of Villagers’ 2010 album debut Becoming A Jackal and 2013’s {Awayland} while adding a new-found soulfulness, rhythmic nous and dazzling panoply of sonic detail, both analogue and digital, creating feverish moods while writing effortlessly accessible tunes. Balanced with subtle aspects and lyrical themes that embrace existential fears and hopes in this desperate, technologically-centred dystopian age, The Art Of Pretending To Swim is the most brilliantly realised Villagers album to date.

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                                                              Cover of Getting Next To You by Randolph Baker.

                                                              Randolph Baker

                                                              Getting Next To You

                                                              Kalita Records

                                                                Kalita Records are proud and honoured to release the first ever official reissue of the four choice tracks from Randolph Baker's privately pressed elusive 1982 disco album 'Reaching For The Stars', plus an unreleased instrumental take of 'Party Life' sourced from the original 24-track analogue master tapes.

                                                                Originally recorded at Jim Morris and Rick Miller's Tampa-based Morrisound Studios, 'Getting Next To You' features a mixture of both local Florida talent plus jazz superstar Nat Adderley and bassist John Lamb at their finest. Originally pressed in a run of just one-thousand copies, with limited distribution, original copies have long been sought-after by both collectors and DJs alike, acknowledged as a true disco masterpiece and deservedly demanding extortionate figures to those lucky enough to find their own.

                                                                Here, in collaboration with Randolph, Kalita Records offer the four in-demand tracks from the album: ‘Getting Next To You’, ‘Jazzman’, ‘Callin’ Me’ and ‘Party Life’. The former is an in-demand horn and chant-filled disco masterpiece, which, as Randolph explains, concerns unity and “everyone on the same level… in other words, everyone just loving life”. It is arguably the song that Randolph is most well-known for in the disco and funk scene and perfect for the modern discerning dance floor. ‘Jazzman’ is an instrumental track with prominent trumpet and saxophone solos working with funky basslines to produce a truly great jazz-funk groove. ‘Callin’ Me’ is a soulful disco number featuring the lead vocals of Laurie Erickson and is “about being on the road and ensuring loved ones that you will always come back home no matter what. It was like a promise to ensure loved ones they didn't have to worry”. Lastly, ‘Party Life’ is a joyous disco track with a strong funk bassline and horns. Here, with access to the 24-track master tapes we have been able to include the original version plus an unreleased instrumental take, allowing us to focus on the infectious bassline and make it even more ready for the modern dance floor.


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                                                                Cover of Three Demos by Julee Cruise.

                                                                Julee Cruise

                                                                Three Demos

                                                                Sacred Bones

                                                                  Three Demos is a very unique release, featuring the very first demo recordings for songs from Julee Cruise’s initial lp with David Lynch and Angelo Badalamenti, Floating Into the Night.

                                                                  In 1985, Lynch’s obsession with This Mortal Coil’s “Song to the Siren” was at a fever pitch. Wanting to feature the song in Blue Velvet, the rights to the Tim Buckley cover proved problematic and prohibitively expensive. Lynch had famously just began working with Angelo Badalamenti, who had been suggested by producer Fred Caruso to coach Isabella Rossellini with singing “Blue Velvet” for the film. Faced with the “Song to the Siren” dilemma, Caruso again suggested his friend Badalamenti as a possible solution, encouraging Lynch himself to pen lyrics in order to come up with an original alternative for the film. “David reluctantly agreed to write a lyric, but he thought writing a new song was absolutely preposterous because ‘Song to the Siren’ was his favorite song of all time,” Badalamenti says. The result – “Mysteries of Love,” sung by Cruise – ended up forging a rich blueprint for not just one song, but two full-length albums.

                                                                  Two years after Blue Velvet was released, the notion of a full album of material took shape and three crucial demos were recorded to gain the confidence and financial support of a label. Early versions of “Floating,” “Falling,” and “The World Spins” were all roughed out in economic elegance, rendering distinctive snapshots of what could be if the formula of “Mysteries of Love” was spun into a larger body of work. They’re fascinating glimpses into the genesis of what became Floating Into the Night and the minimal key ingredients that made the material alchemize. An early version of the album opener “Floating” originally began with a stunning spoken-word intro later dropped entirely from the album version. A revelation in its overarching simplicity, the three-song collection is devoid of the lp’s additional arrangement flourishes, and yet still manages to present the same emotional depth charge with only voice, synthesizer, and lyric.

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                                                                  Cover of (OST) by Lloyd Miller & The Heliocentrics.

                                                                  Lloyd Miller & The Heliocentrics

                                                                  (OST)

                                                                  Strut

                                                                    Recorded following their award-winning collaboration with Ethio jazz pioneer, Mulatu Astatke (Mojo magazine Top 50 of the year 2009, Sunday Times World Music Album of the year), pioneering UK collective The Heliocentrics resurfaced with another fascinating jazz enigma, ethno-musicologist, jazz maestro and multi-instrumentalist, Lloyd Miller.

                                                                    Learning various instruments and immersing himself in New Orleans jazz through his father, a professional clarinet player, Lloyd Miller first trained himself in the styles of George Lewis and Jimmy Giuffre and cut his first Dixieland jazz 78 rpm record in 1950. During the late ‘50s, his father landed a job in Iran and Miller began to develop a lifelong interest in Persian and Eastern music forms, learning to play a vast array of traditional ethnic instruments from across Asia and the Middle East.

                                                                    He toured Europe heavily, basing himself in Switzerland, Belgium, Sweden, Germany (where he played with Eddie Harris and Don Ellis) and, most famously, in Paris where he worked with leftfield bandleader Jef Gilson, a phenomenon in French jazz during the early ‘60s. Miller returned to the Middle East during the ‘70s, landing his own TV show on NIRTV in Tehran under the name Kurosh Ali Khan. His show became a national fixture and ran for seven years. More recently, his mid-‘60s album ‘Oriental Jazz’ has become a collector’s favourite.

                                                                    Emerging from an acoustic jazz session in 2007 set up by Jazzman, the Heliocentrics collaboration was recorded at the band’s Quatermass Studios in East London during January and February 2010, a fresh, freeform mix of Eastern arrangements, jazz and angular psychedelics. The recordings involved a number of ethnic instruments that Miller played and studied throughout his career including the oud, Phonofiddle, Indian santur, Chinese shawm and wooden flute.


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                                                                    Cover of Yesterday Was Forever by Kate Nash.

                                                                    Kate Nash

                                                                    Yesterday Was Forever

                                                                    Girl Gang Records

                                                                      Nash's history involves a helluva lot of highs and lows, as the youngest, loudest, sharpest new British ingenue back in 2007, she was launched as a major label product. A BRIT school graduate, she started writing pop aged 14. Those songs went on to inform her #1 record and Brit-Award gleaning debut 'Made Of Bricks'. She sold-out huge gigs. It was a whirlwind; not one that always felt comfortable. At 20, she rebelled, changing tack on album two. Channeling Kathleen Hanna and riot grrrl punk, she made the far less commercial album 'My Best Friend Is You' (2010), while also having her high-profile relationship be subjected to intense media scrutiny, it was ultimately a career shifting time.

                                                                      Now aged 30, Nash finds herself in a great place, she's rediscovered her love for pop, launched a stellar acting career, (currently starring in the female wrestling series 'GLOW') and found communities of intersectional activists and progressive new voices to get involved in.

                                                                      For her, 'Yesterday Was Forever' is a phrase straight out of a teenage diary and it contains smatterings of '90s pop-rock (Meredith Brooks, but also The Cranberries, Annie Lennox, Alanis Morissette and similarly forthright yet positive femme rock), alternative dance numbers, and spoken-word confessionals.

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                                                                      Cover of DJ Kicks - DJ Seinfeld by Various Artists.

                                                                      Various Artists

                                                                      DJ Kicks - DJ Seinfeld

                                                                      !K7

                                                                        The first chapter of Armand Jakobsson’s musical career has been nothing short of remarkable. After establishing himself with rough but emotive house as Rimbaudian and jungle as Birds of Sweden, he unveiled his DJ Seinfeld alias to the world, first with underground hit single ‘U’, then with his Time Spent Away From U album on Lobster Fury in November 2017. It was a post break-up love letter to the dance floor with heart-on-sleeve emotions colouring the dusty and analogue house grooves. Acclaim came in from far and wide, with everyone from Rolling Stone to Pitchfork fawning over its heart swelling nostalgia and melancholic immediacy.

                                                                        Jakobsson approached his DJ-Kicks with the intention of representing all the things that made him fall in love with dance music more than a decade ago, as well as showing some of the progression that has occurred in that time and “reflecting the simultaneous fear of leaving something safe behind as well as the excitement of venturing into unknown territories, musically and emotionally.” In order to make it as personal as possible, he called upon the many talented people around him making music. They returned with an enthusiasm that reminded Jakobsson of his own early passion, and in turn invigorated him and the whole process of assembling the mix. It was finally recorded at Inkonst club in Malmo because, recently back from years in Barcelona, he has not yet set up a studio in his hometown.

                                                                        DJ Seinfeld’s DJ-Kicks is not only a testament of his characterful DJ skills, but also a complete artistic statement that showcases his unique vision of dance music.


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                                                                        Cover of Death Lust by Chastity.

                                                                        Chastity

                                                                        Death Lust

                                                                        Captured Tracks

                                                                          Chastity is a world of its own from the mind of Brandon Williams. Reflecting the working class background of Whitby, Ontario, Chastity’s songs are charged with the ethos of archetypal youth on the fringe. A project more aptly characterized by its intentions than specific sound or medium, Chastity stands to confront the struggles of those existing in the unseen, often silenced periphery. It is an artifact of youth culture constantly working to form community, bridging isolation with collectivity.

                                                                          It was clear from the release of Chastity’s first demos that this was not “another punk band that can operate at only one speed .”Always concerned with the trending lack of accessibility and inclusivity in public spaces for the arts, the first Chastity show was held in Williams’ own bedroom where, packed wall-to-wall, the police were quickly called. But after the project’s second show supporting DC punk band Priests, Chastity was off to the races, sharing stages with the likes of Metz, Chelsea Wolfe and Fucked Up. All without a full length recording out.

                                                                          Since signing with Brooklyn label Captured Tracks, Chastity has re-released those initial demos, along with 2 new singles and an EP, stoking the anticipation of Chastity’s debut full length record, Death Lust.

                                                                          Death Lust follows the plot of suffering to survival. The album begins on a tortured note with ‘Come’ and builds toward the plummeting finale of ‘Chains’, evolving from start to finish in a crescendo of severity. Chastity explains, “Death Lust is about growing up death obsessed. It’s about the pain that it takes but the capacity that we have to overcome.”


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                                                                          Cover of Birds (Prins Thomas Remixes) by Kelly Lee Owens.

                                                                          Kelly Lee Owens

                                                                          Birds (Prins Thomas Remixes)

                                                                          Smalltown Supersound

                                                                            Norwegian cosmic disco pioneer Prins Thomas delivers a 17-minute remix of "Bird" on the first and only remix 12" from Kelly Lee Owens' 2017 debut LP.


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                                                                            Cover of Bugge Wesseltoft & Prins Thomas by Bugge Wesseltoft & Prins Thomas.

                                                                            Bugge Wesseltoft & Prins Thomas

                                                                            Bugge Wesseltoft & Prins Thomas

                                                                            Smalltown Supersound

                                                                              The Rainbow Studio in Oslo is a familiar name to anyone who follows the ECM label – many of its classic 1970s jazz albums were recorded there under the eye of resident producer Jan Erik Kongshaug. Bugge and Thomas booked a couple of sessions at the legendary space with Kongshaug at the controls, and improvised some tunes in the style and spirit of some of their favourite ECM moments, like the fresh, open sounds of Codona, Egberto Gismonti, Oregon and Kenny Wheeler. Bugge had previously done a remix of Thomas’s ‘Bobletekno’ in 2015 but this is the first time they have worked together as active musicians. The results – also partly taped at Thomas’s home studio – fuse programmed rhythms, live synths and percussion, all captured in a sumptuously spacious acoustic.

                                                                              For an even more authentic touch they called up one of their all time local heroes and one of Norway’s most famous jazz drummers, Jon Christensen, who’s been the go-to guy for Jan Garbarek, Terje Rypdal, Keith Jarrett and many more. At 75 years he’s still pretty spry behind the kit, as you’ll hear on several tracks here.

                                                                              Make no mistake, though, this is not retro pastiche but contemporary music, coasting on gently insistent programmed grooves and bubbling basslines. The whole thing feels not so much like a consciously hip fusion of DJ and jazz musician, more like two great musicians totally enjoying themselves. Which is exactly what it is.

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                                                                              Cover of Magus by Thou.

                                                                              Thou

                                                                              Magus

                                                                              Sacred Bones

                                                                                Sacred Bones Records is proud to present the new album, Magus, Thou’s first full-length since 2014’s Heathen. In the months leading into the new album, Thou will be releasing three drastically different EPs: The House Primordial on Raw Sugar, Inconsolable on Community Records, and Rhea Sylvia on Deathwish, Inc. Each record will focus on a particular sound—noisy drone, quiet acoustic, and melodic grunge—all of which is incorporated into the new LP, subsumed in the band’s more standard doom metal.

                                                                                While sonically, Magus may be a continuation of Heathen, thematically it stands as a stark rebuttal, a journey beyond the principles of pleasure and pain. It is more the culmination of these distinct EPs, which all orbit some internal black hole. FFO alienation, absurdity, boredom, futility, decay, the tyranny of history, the vulgarities of change, awareness as agony, reason as disease.

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                                                                                Cover of Afro Latin Souls Vol. 1 by Mulatu Astatke.

                                                                                Mulatu Astatke

                                                                                Afro Latin Souls Vol. 1

                                                                                Strut

                                                                                  Strut continue their essential work with the “Godfather OfEthio Jazz”, MulatuAstatke, with the first official reissues of his early classics ‘Afro Latin Soul’ Volumes 1 and 2 from 1966, recorded as The Ethiopian Quintet.

                                                                                  Arriving after Astatke’s life-changing years studying at Berklee College in Boston, the albums were the first experiments in his pioneering sound, fusing Ethiopian cultural music with Afro Latin and jazz forms. “I have always felt a deep connection between Latin and African music,” he explains. “I travelled to Cuba and listened to their musicians; the tempo, rhythm and feeling was very similar to different African forms. In the mid-‘60s, I formed a band called The Ethiopian Quintet in New York comprising Ethiopian, Latin and Afro-American musicians - the band included trumpeter and pianist Rudy Houston who later played with Yambu and Felix Torres who played with La Sonora Poncena.”

                                                                                  Supported by Worthy Records’ Gil Snapper who offered to record the quintet, Astatke began to experiment during two separate sessions: “We created a different feel and different arrangements. On the first recording, I played an adaptation of an ancient Ethiopian warrior song, ‘I FaramGami I Faram’ - the lyrics were translated so that the singer could sing it in Spanish. Some compositions were important steps for me: ‘MascaramSetaba’ (‘Summer Is Coming’) ‘Shagu’ and ‘Almaz’. With the second album, a personal favourite is ‘Girl From Addis Ababa’ which worked very nicely as a fusion of Ethiopian modes and R&B rhythms.”

                                                                                  Astatke would start to perfect his Ethio jazz sound on his later album for Worthy in 1972, ‘Mulatu Of Ethiopia’ (STRUT129) but the two volumes of ‘Afro Latin Soul’ stand as important recordings documenting his early career. “It was a very interesting time to be in New York during the mid-‘60s. I was there at the same time as Hugh Masekela, Miriam Makeba and FelaKuti and we each tried to play our part in putting Africa on the map of contemporary jazz.”

                                                                                  ‘Afro Latin Soul’ Volumes 1 and 2 come in their full original artwork and are painstakingly remastered by The Carvery. All formats feature personal liner notes by MulatuAstatke.


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                                                                                  Cover of Afro Latin Souls Vol. 2 by Mulatu Astatke.

                                                                                  Mulatu Astatke

                                                                                  Afro Latin Souls Vol. 2

                                                                                  Strut

                                                                                    Strut continue their essential work with the “Godfather OfEthio Jazz”, MulatuAstatke, with the first official reissues of his early classics ‘Afro Latin Soul’ Volumes 1 and 2 from 1966, recorded as The Ethiopian Quintet.

                                                                                    Arriving after Astatke’s life-changing years studying at Berklee College in Boston, the albums were the first experiments in his pioneering sound, fusing Ethiopian cultural music with Afro Latin and jazz forms. “I have always felt a deep connection between Latin and African music,” he explains. “I travelled to Cuba and listened to their musicians; the tempo, rhythm and feeling was very similar to different African forms. In the mid-‘60s, I formed a band called The Ethiopian Quintet in New York comprising Ethiopian, Latin and Afro-American musicians - the band included trumpeter and pianist Rudy Houston who later played with Yambu and Felix Torres who played with La Sonora Poncena.”

                                                                                    Supported by Worthy Records’ Gil Snapper who offered to record the quintet, Astatke began to experiment during two separate sessions: “We created a different feel and different arrangements. On the first recording, I played an adaptation of an ancient Ethiopian warrior song, ‘I FaramGami I Faram’ - the lyrics were translated so that the singer could sing it in Spanish. Some compositions were important steps for me: ‘MascaramSetaba’ (‘Summer Is Coming’) ‘Shagu’ and ‘Almaz’. With the second album, a personal favourite is ‘Girl From Addis Ababa’ which worked very nicely as a fusion of Ethiopian modes and R&B rhythms.”

                                                                                    Astatke would start to perfect his Ethio jazz sound on his later album for Worthy in 1972, ‘Mulatu Of Ethiopia’ (STRUT129) but the two volumes of ‘Afro Latin Soul’ stand as important recordings documenting his early career. “It was a very interesting time to be in New York during the mid-‘60s. I was there at the same time as Hugh Masekela, Miriam Makeba and FelaKuti and we each tried to play our part in putting Africa on the map of contemporary jazz.”

                                                                                    ‘Afro Latin Soul’ Volumes 1 and 2 come in their full original artwork and are painstakingly remastered by The Carvery. All formats feature personal liner notes by MulatuAstatke.

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                                                                                    Cover of Afro Latin Soul Vols. 1 & 2 by Mulatu Astatke.

                                                                                    Mulatu Astatke

                                                                                    Afro Latin Soul Vols. 1 & 2

                                                                                    Strut

                                                                                      Strut continue their essential work with the “Godfather Of Ethio Jazz”, Mulatu Astatke, with the first official reissues of his early classics ‘Afro Latin Soul’ Volumes 1 and 2 from 1966, recorded as The Ethiopian Quintet.

                                                                                      Arriving after Astatke’s life-changing years studying at Berklee College in Boston, the albums were the first experiments in his pioneering sound, fusing Ethiopian cultural music with Afro Latin and jazz forms. “I have always felt a deep connection between Latin and African music,” he explains. “I travelled to Cuba and listened to their musicians; the tempo, rhythm and feeling was very similar to different African forms. In the mid-‘60s, I formed a band called The Ethiopian Quintet in New York comprising Ethiopian, Latin and Afro-American musicians - the band included trumpeter and pianist Rudy Houston who later played with Yambu and Felix Torres who played with La Sonora Poncena.”

                                                                                      Supported by Worthy Records’ Gil Snapper who offered to record the quintet, Astatke began to experiment during two separate sessions: “We created a different feel and different arrangements. On the first recording, I played an adaptation of an ancient Ethiopian warrior song, ‘I Faram Gami I Faram’ - the lyrics were translated so that the singer could sing it in Spanish. Some compositions were important steps for me: ‘Mascaram Setaba’ (‘Summer Is Coming’) ‘Shagu’ and ‘Almaz’. With the second album, a personal favourite is ‘Girl From Addis Ababa’ which worked very nicely as a fusion of Ethiopian modes and R&B rhythms.”

                                                                                      Astatke would start to perfect his Ethio jazz sound on his later album for Worthy in 1972, ‘Mulatu Of Ethiopia’ (STRUT129) but the two volumes of ‘Afro Latin Soul’ stand as important recordings documenting his early career. “It was a very interesting time to be in New York during the mid-‘60s. I was there at the same time as Hugh Masekela, Miriam Makeba and Fela Kuti and we each tried to play our part in putting Africa on the map of contemporary jazz.”

                                                                                      ‘Afro Latin Soul’ Volumes 1 and 2 come in their full original artwork and are painstakingly remastered by The Carvery. All formats feature personal liner notes by Mulatu Astatke.

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                                                                                      Cover of Piano & A Microphone by Prince.

                                                                                      Prince

                                                                                      Piano & A Microphone

                                                                                      Warners

                                                                                        This raw, intimate recording, which took place at the start of Prince’s career right before he achieved international stardom, is similar in format to the Piano & A Microphone Tour that he ended his career with in 2016. The nine track, 35-minute album features a previously unreleased home studio cassette recording of Prince at his piano captured in 1983.

                                                                                        The private rehearsal provides a rare, intimate glimpse into Prince’s creative process as he worked through songs which include “17 Days” and “Purple Rain” (neither of which would be released until 1984), a cover of Joni Mitchell’s “A Case Of You”, “Strange Relationship” (not released until 1987 on his critically acclaimed Sign O’ The Times album), and “International Lover”.

                                                                                        The album also includes a rare recording of the 19th Century spiritual “Mary Don’t You Weep” which will be featured during the end credits of Spike Lee’s BlacKkKlansman in theatres August 2018.


                                                                                        FORMAT INFORMATION

                                                                                        Deluxe LP Info: The Deluxe CD+LP format includea a 12” booklet featuring brand new liner notes written by Prince’s then engineer Don Batts, as well as candid shots of Prince including never before seen photos.

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                                                                                        Cover of Old Rockhounds Never Die by Odetta Hartman.

                                                                                        Odetta Hartman

                                                                                        Old Rockhounds Never Die

                                                                                        Memphis Industries

                                                                                          Raised by pioneering parents on the Lower East Side of Manhattan, NYC, Odetta’s milieu was a “colorful culture of artistry,” that included early exposure to community activism, renegade film screenings, poetry readings and trips to CBGB's. Inchoate punk and hip hop were aural wallpaper, as were the 45s spinning in the household jukebox featuring her dad’s extensive collection of soul and afrobeat records, as well as her Appalachian mother’s classic country selections. A classically trained violinist with a penchant for back-porch banjo, Odetta combines these variegated sounds of her childhood with her personal passion for folk music and the musicological legacy of Alan Lomax.

                                                                                          Lomax is writ large on Old Rockhounds... at least in spirit anyway. Odetta plays all the instruments on this and her debut 222, which made problematic the changeovers between songs when playing live. Field recordings the singer had collected on her travels were utilized to make such transitions seamless, and so successful was that intermingling of songs and soundscapes that they’ve transitioned into the recording process. It makes for a strangely intimate listen: tingly and a little tipsy: an album for twilight, sitting within the nocturnal hinterland between dusk and somnambulance - candlelit and confidential - a time for stories and secrets.

                                                                                          So far, so old skool. And yet, Old Rockhounds Never Die also embraces modernity without ever sounding incongruous. The mix of manipulated 21st century beats and the musical traditions of centuries meet at a crossroads and consummate their curiosity without inhibition. It’ll probably not surprise anyone listening to the album then that its a co-production. Odetta writes and performs all the songs while her partner Jack Inslee is in the background bringing the digital dark arts. Experimenting with found sounds & foley, the two have developed a sonic vernacular built around playing around with a-typical instruments. Hartman explains: “Many of the beats on the album were recorded in the kitchen: the snare sound is actually a running faucet, or if you hear these glockenspiel bells that's actually a set of kitchen bowls. Other percussive elements include scissors, a pepper grinder and keys on the radiator.”


                                                                                          FORMAT INFORMATION

                                                                                          Coloured LP Info: Limited Edition Transparent red LP.

                                                                                          Coloured LP includes MP3 Download Code.

                                                                                          LP includes MP3 Download Code.

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                                                                                          Cover of Family Portrait by Ross From Friends.

                                                                                          Ross From Friends

                                                                                          Family Portrait

                                                                                          Brainfeeder

                                                                                            The culmination of almost two years of intense studio time, working 20 hour days, and often spending months perfecting just one aspect of a track. "I tried to be careful with every single sound” he explains, “Trying new things, making a bit more of an explosive sound”. The album also finds Felix recording his own voice for the first time, with the resulting tracks acting as snapshots of his personal life while recording. “Every time I went to make music the things which would really grab me are the emotional things, and while I’m in that place I felt I could really focus on the track. That was a massive part of this album, tapping into my emotions… into my emotional instability”.

                                                                                            The album title - “Family Portrait” - also nods to a very specific personal aspect of the record: the influence of his parents. Dance music has always been a feature in Felix's life, with early memories of his dad producing music on his analogue set-up, or pumping out hi-NRG tracks on the turntable, he grew up discussing, sharing and learning about music from his dad. “My dad has been hugely influential to the whole thing,” he explains. However it was with the emergence of some old family VHS tapes, and the story of how Felix’s parents came to meet, that the true significance became clear.

                                                                                            As integral to the Ross From Friends identity as the recorded music is the live show, the two having always existed in tandem. Enlisting the skills of two friends, John Dunk on sax and keys, and Jed Hampson on electric guitar, to build out his arrangements into a show which works as well on a festival stage as in a club. The band head out on a headline tour in September, with upcoming live shows at Primavera Sound, Field Day and Kala Festival this summer to name a few.


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                                                                                            Cover of The Wood by Paul Haig.

                                                                                            Paul Haig

                                                                                            The Wood

                                                                                            Les Disques Du Crepuscule

                                                                                              Les Disques du Crepuscule presents The Wood, a brand new studio album by Scottish singer and songwriter Paul Haig, previously frontman with cult Postcard post punk legends Josef K.

                                                                                              Paul’s fourth solo album for Crepuscule since 1983 was written and recorded over a three year period between 2015 and 2018, and explores glitchy, twisty sonic territories in the vein of Four Tet, Floating Points and Love Over Entropy.

                                                                                              ‘We can think of the wood or forest as a metaphor for the mystery of the human psyche,’ says Paul. ‘Like the human soul, it can be a place of hidden meanings and unrevealed secrets. I wanted to try and evoke this through the music and worked hard on finding the right balance of electronic and organic sound samples across a broad range of musical genres.’

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                                                                                              Cover of Hunter by Anna Calvi.

                                                                                              Anna Calvi

                                                                                              Hunter

                                                                                              Domino

                                                                                                Hunter, the third album from Anna Calvi, is the embodiment of the feeling of truly letting go. For the art-rock singer-songwriter it was a catharsis, and an opportunity to be more truthful than she ever had been been before. Revered in the British music industry since she emerged in 2011 (BRIT Award and twice Mercury Prize nominated), she has teamed up with esteemed producer Nick Launay (Nick Cave, Grinderman), Adrian Utley (Portishead) and Martyn Casey (The Bad Seeds) to bring this galvanising record to life.

                                                                                                Hunter is an album of visceral guitars and vocals, exploring sexualityand breaking the laws of gender conformity. Passionate subject matter calls for passionate delivery, and on Hunter, Calvi pushes the limits of her guitar and her voice beyond anything she’s recorded before. It was important to Calvi that the record was as vulnerable as it is strong; as beautiful as it is ugly. To be the hunter and the hunted.


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                                                                                                Cover of Black Noise 2084 by Khalab.

                                                                                                Khalab

                                                                                                Black Noise 2084

                                                                                                On The Corner

                                                                                                  Khalab has summoned a futuristic afro-centric soundscape by weaving a poly-phonic tapestry of future bass, jazz and field recordings. The LP’s title track tells hard truths from the mind of spoken word artist Tenesha The Wordsmith. Along with her words the LP’s title has been augmented with a date marking the arrival of an emancipated future. ‘Black Noise 2084’ casts aside the worn and surface level cliché of black music being soul music. Khalab guides us to the beginning of a journey, the journey of rhythms and he takes us within earshot of the voices and spirits that carried them. Soul gained over aeons of terror and forced transportation, soul driving survival against systematic oppression, wholesale against a people. Khalab looks to the noise, the messages, the spirits, and evokes the light of ‘Black Noise 2084’ out of darkness.

                                                                                                  From dystopian roots, the beat marabout Khalab has led his assembly of messengers to invoke this myth of cathartic liberation. ‘Black Noise 2084’ features the voices of musical voyagers seeking new pathways: Shabaka Hutchings, Moses Boyd, Tamar "The Collocutor" Osborn, the master GabinDabire, Tenesha The Wordsmith, Tommaso Cappellato, Prince Buju and Clap! Clap! Within the tapestry of Khalab’s ‘Black Noise 2084’ the myth moves through its cycle of life, initiations and ceremonies with a cast of unnamed messengers. Khalab was invited to work with field recordings from the archives of the Royal Museum for Central Africa of Bruxelles. The museum’s recordings made for a post-colonial World, hold ethnographic and historical insights into the cultures of the region over the last 500 years. The Museum is far from the horrors that Belgian King, Leopold II unleashed during his colonial reign, however it is a dark legacy that is far from absolved.

                                                                                                  ‘Black Noise 2084’ opens a portal where displaced rhythms, chants, screams and dreams collide with quaking bass, a vortex of shattering synths, jazz rains and emotion all amalgamate. Empires for millennia thrived across the African continent and Empires are being willed to rise. As Khalab draws the LP to a close he brings light with ‘Dawn’ ft Moses Boyd. A dawn firmly squared-up by its past, hard truths of a barbaric history embarking on the beginning of reconciliation. Drum beats usher in the arrival home for a new glory. 2084 a time when rhythms have shed the cargo of their haunted odyssey. The myth of ‘Black Noise 2084’ is a new dawn where the ghosts of Leopold and all his kind are finally excised. Atonement in hearing the truths carried across the ages, carried in noise, Black Noise.


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                                                                                                  Cover of From When I Wake The Want Is by Kathryn Joseph.

                                                                                                  Kathryn Joseph

                                                                                                  From When I Wake The Want Is

                                                                                                  Rock Action

                                                                                                    Kathryn Joseph releases her new album From When I Wake The Want Is, via Glasgow’s Rock Action Records. The follow up to 2015’s acclaimed debut Bones You Have Thrown Me And Blood I’ve Spilled, which was named the Scottish Album of the Year, this album is a captivating set that documents both life’s traumas and their resolutions. Produced by Marcus Mackay, who also worked on her debut album, From When I Wake… mixes new songs with material gathered over the past ten years to create an intimate and often devastating portrait of Joseph’s world.

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                                                                                                    Cover of M24J (Anthology) by Durutti Column.

                                                                                                    Durutti Column

                                                                                                    M24J (Anthology)

                                                                                                    Factory Benelux

                                                                                                      M24J (Anthology) is a collection of valuable passages recorded by The Durutti Column between 1979 and 2011 for various iterations of Factory Records, including poignant tributes to manager/mentor Anthony H. Wilson.

                                                                                                      Available as a double vinyl set (and also a double CD), M24J (Anthology) includes selections from The Return of the Durutti Column, LC, Another Setting, Short Stories for Pauline, Without Mercy, Circuses and Bread, The Guitar and Other Machines, Vini Reilly, Obey the Time, Treatise on the Steppenwolf and A Paean to Wilson.

                                                                                                      “The Durutti Column was Tony’s baby,” says Durutti mainman Vini Reilly. “We were the first act signed up to his Factory club night, and the first band signed to Factory Records. Tony became my mentor, somebody to look up to. He was a very tough character, yet he was very gentle. He had many sides. The biggest arguments with Tony were that he wanted to stop me singing with my schoolboy lyrics and my dreadful voice.”

                                                                                                      Reilly’s music remains resolutely unclassifiable, and sounds better and better with each passing year. “Don’t listen to the form,” he insists, “listen to the content. Don't listen to the style, the tradition, the technique, just the content of the music. Then judge. People say The Durutti Column is this or that. I don’t care so long as we make good music. There's so much good music around. Don't bother with form. Just enjoy.”
                                                                                                      The bonus 7” included with the vinyl package features two previously unreleased live recordings. One is a cover of Albatross by Peter Green, recorded in 2004; the other is Spooky Tune, recorded with Poppy Morgan at the Bridgewater Hall in Manchester in 2011, Vini’s last major concert to date.


                                                                                                      FORMAT INFORMATION

                                                                                                      2xDeluxe LP Info: 2 Limited LP plus bonus 7"

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                                                                                                      Cover of Without Mercy by Durutti Column.

                                                                                                      Durutti Column

                                                                                                      Without Mercy

                                                                                                      Factory Benelux

                                                                                                        Factory Benelux presents a deluxe 4xCD edition of Without Mercy, the fourth studio album by cult Manchester group The Durutti Column, originally issued in 1984 and widely regarded as Vini Reilly’s most ambitious album.

                                                                                                        In 1983 Durutti Column mentor/manager Tony Wilson asked Vini Reilly to abandon fleeting guitar miniatures in favour of a long-form modern classical piece. The result was an ambitious 20 minute instrumental suite, Without Mercy, performed by core Durutti duo Vini Reilly and Bruce Mitchell along with Blaine L. Reininger and John Metcalfe (violas), Caroline Lavelle (cello), Tim Kellett (trumpet) and Maunagh Fleming (cor anglais).

                                                                                                        Explains Vini: “Tony had just come in for a conversation one day and said, ‘Look, you keep making these albums that you want to make, and I’m quite happy with you doing that, but just give me this one album and do it my way.’ He wanted it to have a narrative determined by a Keats poem, La Belle Dame Sans Merci, which he said was the poet’s version of a pop song: boy meets girl, falls in love with girl, loses girl, blah blah blah. It was a very, very Tony way of looking at it. He had aspirations that I should be taken seriously.”

                                                                                                        Produced by Reilly and Wilson at Strawberry Studio and Britannia Row, Without Mercy was originally split into 19 separate stanzas, some of which have now been restored using digital cue points on the CD. Bonus tracks include the original recordings of Duet, Estoril a Noite and Favourite Descending Intervals (all re-worked for inclusion on Without Mercy), as well as companion EP Say What You Mean, Mean What You Say, collaborations with John Metcalfe, Steven Brown and Benjamin Lew, and two previously unreleased live sets across Discs 3 and 4, recorded at London School of Economics in December 1984 and Oslo in December 1986.


                                                                                                        FORMAT INFORMATION

                                                                                                        4xCD Info: The remastered 4xCD set is housed in a clamshell card box, with inner wallets and liner notes by Reilly, Wilson, Mitchell, Reininger and Metcalfe.

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                                                                                                        Cover of Karimba by Novalima.

                                                                                                        Novalima

                                                                                                        Karimba

                                                                                                        Wonderwheel

                                                                                                        Recorded in Novalima´s home studio in Lima, their album "Karimba" (hot iron used to mark the cattle, as well as the slaves) takes novalima music into new levels, introducing both new sounds and traditional rhythms like the Panalivio, Zamacueca, Ingá and Tondero, while maintaining their distinctive afro and dub sound. Their reputation at home allowed them to work with two of the top traditional musicians in the city in what would be their last recorded performance: vocalists Pepe Vasquez, Rosita Guzman, and Sofia Buitron as well as guitarists Roberto Arguedas and Felix Casaverde (former guitarist of chabuca Granda), in addition to members of the live band. For the worldwide release of Karimba, Novalima partnered with USA-based ESL Records (Thievery Corporation, Nickodemus), an ad-hoc home for their fusion of traditional and future sounds. Karimba (ESL Music) has garnered astounding press accolades from NPR, Giant Step, Nat Geo Music and more, while also topping the iTunes World Music Chart and cracking the top 10 Billboard World Music Chart, since its release on Jan 2012. Since the release, NOVALIMA have embarqued on a world wide promotional tour that have taken them to stages in USA, Canada, New Zeland, Australia and Latinamerica and will continue touring all through 2013.

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                                                                                                        Cover of It's A World Before You by Kaidi Tatham.

                                                                                                        Kaidi Tatham

                                                                                                        It's A World Before You

                                                                                                        First Word

                                                                                                        Following on from two EPs released on First Word last year ('Changing Times' and 'Hard Times'), Kaidi has delivered us thirteen tracks that deftly illustrate his various talents as a multi-instrumentalist.

                                                                                                        Kaidi is probably best known for his work with Bugz In The Attic, though his musical contributions over the years have also included Amy Winehouse, Slum Village, Mulatu Astatke, Soul II Soul, Moonchild, Leroy Burgess, Amp Fiddler, Chris Dave, Macy Gray, King Britt, DJ Spinna, Mr Scruff and IG Culture to name but a few! In recent times, he's worked with DJ Jazzy Jeff on a variety of projects, including his most recent album 'M3', touring Europe for Jeff and Will Smith's reunion shows, and on the PLAYlist album 'Chasing Goosebumps', with Glenn Lewis, Stro Elliot (The Roots), Masego, Maimouna Youssef, Rich Medina, Daniel Crawford and more.

                                                                                                        All this in addition to heating up dances around Europe with his inimitable DJ sets, and working heavily with First Word label-mate, Eric Lau (who also mixed this album) on a variety of projects, and adding releases to his already impressive catalogue on 2000 Black, Eglo and Theo Parrish's Sound Signature, with regular compadre, Dego (who features on the album's title track).

                                                                                                        This album personifies Kaidi's diverse palette of sounds – bar Eric & Dego's features, every piece of music is played by himself. Largely flowing on a broken beat rhythm section, Kaidi effortlessly incorporates washes of afro, latin and funk throughout. From the harmonics of 'Your Dream Don't Mean A Thing', to the breakneck funk of 'Outta Audah', each and every riddim exudes energy. But this isn't simply a bruk record. The album is laced together with downtempo beats and future jazz interludes throughout, and some sweet synth boogie is never very far away, especially on the weighty vibes of 'It's About Who You Know'. To top it all off, there's two delightful nuggets of hip hop soul - Mancunian label-mates, Children of Zeus, feature on the neo-soul vibes of 'Out Here On My Own', and there's a feature from Amir Townes, better known as Uhmeer - an upcoming MC from Philadelphia, and son of one Jazzy Jeff Townes - who rides a sub-heavy, piano-led slice of boom bap, voicing an assortment of characters to tell the tale of 'Cupid'.

                                                                                                        'It's A World Before You' is set to cause serious damage to sound-systems over the Summer, and show and prove once again the skills of one of the UK's best unsung musical talents, Kaidi Tatham.

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                                                                                                        Cover of KIN by Mogwai.

                                                                                                        Mogwai

                                                                                                        KIN

                                                                                                        Rock Action

                                                                                                          Mogwai's first venture into the world of the feature film soundtracks is for the upcoming KIN (directed by the producers that bought you Stranger Things and Arrival, Jonathan and Josh Baker and in cinemas 31st August 2018).

                                                                                                          Mogwai fans won't be disappointed and it will appeal to lovers of sci fi film soundtracks.

                                                                                                          Includes the previously released single 'Donuts'.

                                                                                                          FORMAT INFORMATION

                                                                                                          Coloured LP Info: Limited red vinyl LP

                                                                                                          Coloured LP includes MP3 Download Code.

                                                                                                          CD includes MP3 Download Code.

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                                                                                                          Cover of Voltmeter EP by Kvetch.

                                                                                                          Kvetch

                                                                                                          Voltmeter EP

                                                                                                          III Rivers

                                                                                                          This release features KVETCH X, the unkown electronic wizard hailing from within the reaches of the smog of Manchesters industrial city. The voltmeter ep features 3 machine/synth driven tracks which each take you on a different journey from an underground rave bunker to the reaches of outer space. Only you can be the judge, so climb on board & see where it takes you.

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                                                                                                          Cover of 2TUF4U Vol 1 (Karl Brown, Jeremy Sylvester, Diy, DEM2 Mixes) by Tuff Asylum / Anthill Mob.

                                                                                                          Tuff Asylum / Anthill Mob

                                                                                                          2TUF4U Vol 1 (Karl Brown, Jeremy Sylvester, Diy, DEM2 Mixes)

                                                                                                          Hot Dime

                                                                                                          After an essential hiatus, 12 Inches Deep returns with a brand new project. Introducing Hot Dime Recordings, house and garage based on a different set of metrics, UK Garage. The brainchild of 12ID label founder, Urbanite, and none other than UK Garage legend, Karl "Tuff Enuff" Brown, of Tuff Jam fame, Hot Dime Recordings launches an all new, US based - UK Garage platform, with 2TUF4U Vol. 1, a massive compilation hand selected from Karl's prolific vault of works and collaborations. Turn to the A side for a joint effort between Karl Brown, and fellow ledge, Jeremy Sylvester, as "Tuff Asylum;" with an original, and individual "HOT" mixes. Flip to the opposite side for another pair of special "HOT" mixes, this time of the Anthill Mob's "When I Think of You," followed by a swinging "DONK" mix from the unmistakable, DEM2, to round out the volume. One not to be missed.

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                                                                                                          Cover of Fajrann by Elaine Kibaro.

                                                                                                          Elaine Kibaro

                                                                                                          Fajrann

                                                                                                          Emotional Rescue

                                                                                                          Emotional Rescue returns to the music of Elaine Kibaro with a special 7" single to accompany the Pour L'Amour album collection (ERC066). Here then are two bonus versions of songs from the LP with a unique Arabic recording of her "hit" Aurore and also, the previously unreleased on vinyl instrumental version of her balearic / boogie jam, Ne Doute Pas.

                                                                                                          Having moved from Tunisia to France at the age of 13, Kibaro's duel sensibility has long been apparent in her music and performance. The early success of her debut 7" De L'autre Cote Du Miroir in 1977, was soon followed by her most 'successful' song in Aurore, first released as a 7" in 1978, before appearing again as 9 minute extended version on the 1979 Miroirs LP.

                                                                                                          In the same year she recorded a special 7" single on the little known World Music label. Singing the lyrics in Arabic - renamed here to its true translation - much else remained the same. The music of the original, the spoken intro soon gives way to what is essentially a leftfield disco groove, with building strings, funky bass and some late archetypal 70s Euro drumming. Atop this the vocals are delivered in Kibaro's ubiquitous chanson delivery, her heartfelt singing, the congos breakdown and then chorus, as the songs builds, all lead to head-nodding smiles all round.

                                                                                                          With this is Ne Doute Pas. A stand out from Pour L'Amour, the vocal version appeared in 1989 as a single and on the now sought after, Kiroel album. This instrumental simply let's the music shine. A Linn rise and fall bassline, soft, layered keys and mode horns are run and rerun in a catchy, incessant flow like a PWL demo. The 10 years between the 2 tracks is apparent in the instrumentation but the link between the two - Kibaro herself - is clear and worth enjoying for that

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                                                                                                          Cover of 2 Sim by Timothy Duval.

                                                                                                          Timothy Duval

                                                                                                          2 Sim

                                                                                                          Carrying Colour

                                                                                                          '2 Sim' is a phrase the references mobile phones with two sim cards to describe people of mixed heritage, dual nationality or multiple residence. After being called 2 Sim in conversation with a stranger while on a walk through Freetown (a recording of this moment features on the record) Duval began to explore what the 2 Sim experience is in contemporary West-Africa.

                                                                                                          2 Sim EP was created from 2 months of field recordings and interviews with family, friends and peers in Freetown Sierra Leone. These site specific recordings are collaged with solo piano recordings and production recorded in Sierra Leone and the UK. The EP is accompanied by a short film/ music video of the same name which Duval shot and Directed whilst making the record.

                                                                                                          2 Sim EP is the second release from Carrying Colour which follows on from 2017's 'Sen Am'"

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                                                                                                          Cover of Speechless (Nicholas, Chez, Camille, Jeff K, DG Reel Need 2 Mixes) by Chez Damier.

                                                                                                          Chez Damier

                                                                                                          Speechless (Nicholas, Chez, Camille, Jeff K, DG Reel Need 2 Mixes)

                                                                                                          Adeen US

                                                                                                          Adeen Records is back with it's follow up to Alton Miller's "More Positive Things" with Chez Damier's parisian outfit French Connection. This Chinese only import five song Ep features remixes from Nicholas, Chez's Panarama Bar club banger remix, and Beijing, China's production team Camille. The B-side features "Queen Of The Elephants" remixed by Jeff K, and a scorching edit of "It Ain't right" guaranteed to set the dancefloor ablaze.

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                                                                                                          Cover of Spoki by Ingus Bauskenieks.

                                                                                                          Ingus Bauskenieks

                                                                                                          Spoki

                                                                                                          Stroom

                                                                                                          "Spoki (Ghosts) is the sound of an artist putting their private world to tape. Of exploring and pushing the limits of themselves and technology to realise the music in their head. Recorded in Riga between 1988-2011.
                                                                                                          .
                                                                                                          As Ingus Baušķenieks himself explains: “My own world differs a little from my friends' tastes. And - as my father said - the collective art is not art at all.

                                                                                                          The music of Ingus Baušķenieks is both deeply private and completely alien. Experimental yet happy to celebrate pop influences such as Engelbert Humperdinck, Simon & Garfunkel or Fleetwood Mac. It is shaped by the artist’s engagement with technology and his strive to put to record his ‘own world’.
                                                                                                          As Ingus explains, it is the sound of him: “doing what I like to do.”

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                                                                                                          Crotocosm (Willie Burns & Jordan GCZ)

                                                                                                          Sessting The Scene For An Island Battle

                                                                                                          No Label

                                                                                                          Crotocosm is an occasional collaboration between Jordan GCZ (Lushlyfe, Off Minor) and Willie Burns (Black Deer, WT Records). Tracks were recorded together live in Amsterdam and Brooklyn between 1996 and 2017.. it's a TIP !

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                                                                                                          Cover of Thick Skin / In The Darkness by The Mystery Lights.

                                                                                                          The Mystery Lights

                                                                                                          Thick Skin / In The Darkness

                                                                                                          WICK Records

                                                                                                            It is our distinct pleasure to announce the latest platter from Brooklyn's own Mystery Lights.

                                                                                                            The a-side, Thick Skin, finds the boys moving away from a traditional '60s garage feel towards an angular, late '70s no-wave sound – but with a driving beat and verbal assault that brings groups like MC5 to mind.

                                                                                                            Coupled with scratchy/noisy bits that tip the cap to the more experimental side of The Velvet Underground, The Mystery Lights masterfully blend blues y riffs, dorky farfisa, and tough rhythms to create a sound that's wholy their own.And the lyrics? Simple: Don't be a cry baby.

                                                                                                            On the flip is In the Darkness which shows the more introspective, soulful side of The Mystery Lights.

                                                                                                            With guest vocals by Coley Gold, Mike laments about finding comfort in the darker side ofl ife, while Coley reasures our protagonist that there is light in all things dark. But hey, sometimes it feels good .


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                                                                                                            Cover of Testimony by Various Artists.

                                                                                                            Various Artists

                                                                                                            Testimony

                                                                                                            Knekelhuis

                                                                                                            This 12” is a document of modern contemporary music, containing future artifacts made by a selection of old friends and new faces. All of them deviate from what’s obvious, possessing the ability to be serene and mental at the same time. Their coming together here is a great opportunity to appreciate this kinship, while at the same time acknowledging what distinguishes them from each other in terms of sound and representation.

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                                                                                                            Cover of Bodycall EP by Wilma.

                                                                                                            Wilma

                                                                                                            Bodycall EP

                                                                                                            Multiplex

                                                                                                              The Copenhagen duo wilma (lower case w) aka. Jeppe Willumsen & Dan Madsen formed in 2014 and soon got off to a hectic start. Despite their varied backgrounds the two quickly bonded around their common love of early dance music. The resulting output was picked up by then Panorama Bar resident Prosumer. He used their tune Fabio on his fabric 79 mix CD and released a four track EP with wilma on his new, but unfortunately short lived, Potion imprint. Fast forward a few years and the duo behind the Multiplex reboot have just gotten a distribution deal, when they receive a couple of tracks from wilma – It was love at first listen.

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                                                                                                              Cover of Breaking God's Heart - Vinyl Reissue by Hefner.

                                                                                                              Hefner

                                                                                                              Breaking God's Heart - Vinyl Reissue

                                                                                                              Where It's At Is Where You Are

                                                                                                                20 years ago, on 7th July 1998, the first Hefner LP was released, it garnered some great reviews, ensured the band were to become one of Peel’s favourites (they had 5 entries in 1999’s festive 50!), and cemented their reputation as Britain's largest small band.

                                                                                                                NME - “truly independent, unassuming and painfully honest: the sound of thin, white indie dukes in spectacles.”
                                                                                                                Melody Maker - “heart-skeweringly astute” combination of “grimly sweet lyrics and delicate, tentative tunes.”
                                                                                                                Time Out - “awe-inspiring in their naked honesty”
                                                                                                                More recently, the album was number 25 in Pitchfork’s 50 greatest Britpop albums, above A Northern Soul (Verve), Fuzzy Logic (Super Furry Animals), Vauxhall and I (Morrissey) and Tellin’ Stories (the Charlatans).

                                                                                                                Breaking God’s Heart now gets the essential 20th anniversary vinyl re-issue, accompanied by some shows where Hefner frontman, Darren Hayman, will play the album in full Here’s what Darren has to say about the record now: Breaking God's Heart is an awkward, over confident start to my career. I have yet to get to grips with it again properly in preparation for these anniversary shows. It's so far away in my past that I have some difficulty in relating to the person who made it. Mostly when I hear it I'm just amazed at the confidence, and possibly arrogance, I had then. I insisted on mostly first takes being used, vocals being recorded live in the room with the instruments, a ban on any reverbs or ambience being used. It was like I was trying to sabotage my career at the first hurdle. Many of those decisions were based on half understood, interviews with my idols from the American Lo-Fi scene but I really didn't know what I was doing. It does make a bizarre and caustic record though, and I know there are plenty of people who think this is my best work and I never got back to the blunt energy of these recordings. I do see their point.

                                                                                                                Quotes - Hefner's is a bedsit world of spindly guitar and towering passions; of skewwhiff ideals and surprisingly smooth melodic surges; of awkward outbursts and slow-burning lo-fi for lovers… 'Breaking God's Heart' is all about sparkling melodies, twinkly-eyed poetry, intimate confessions, a thrillion knowing references to sex, soul and sadness and the sort of chipper attitude that says: 'This is a record you will relish for years to come'. So save yourself time, start treasuring it now. 8/10 NME 

                                                                                                                Hefner are running on the same rock-not-rock fuel as early Violent Femmes or The Modern Lovers, and like those groups are expert at building emotionally charged arrangements by adding or subtracting at precisely the right time. 8/10 Drowned In Sound.

                                                                                                                FORMAT INFORMATION

                                                                                                                Ltd LP Info: 700 12" black vinyl albums, full colour inners, full colour sleeves + download code.

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                                                                                                                Cover of Initials by Len Leise.

                                                                                                                Len Leise

                                                                                                                Initials

                                                                                                                General Purpose

                                                                                                                  General Purpose brings you Len’s latest offering, Initials. An electronic experimentation in forward-thinking Balearic music.

                                                                                                                  Originally written between 2014 and 2015, these discarded, lost ideas persisted enough to require further investigation. Taking a pause between his dub explorations, Initials is the result of this inquiry.


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                                                                                                                  Cover of Ups & Downs by Anton Klint.

                                                                                                                  Anton Klint

                                                                                                                  Ups & Downs

                                                                                                                  2MR

                                                                                                                    Last spotted tomfooling as Tryck & Ton with Edvin Edvinsson, and prior to that as Tiedye on Mike Simonetti’s Italians Do It Better imprint, subversive Swede Anton Klint makes his debut on Simonetti’s latest label 2MR with two more vitally trippy, heavily dub-informed originals.

                                                                                                                    ‘Mun’ chugs at a stately 107. Rippling in places, squiggling in others, there’s an unabashed FX weirdness bubbling and popping over the insistent shimmering dubwise groove. Tweaking, freaking but running at such a smooth temper there’s space between the chaos, Anton is balancing some heavily hypnotic alchemy here.

                                                                                                                    ‘Strupe’ takes things even lower and slower. A dusty bluesy chugger, unhurried-yet-relentlessly building with a great sense of cosmic drama, listen and marvel as more elements are precision introduced throughout the seven minute trip. A masterclass in modern day honkytonk.

                                                                                                                    Remix-wise we’re thrusted into the later hours with a technoid twist from Andre Laos. Maintaining Anton’s original’s trippy charm and measured pace but re-amping it with grittier foundation, teasing risers and an insurgent synth strike, it’s the perfect complement to one of 2MR’s most singular releases to date. Open wide.


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                                                                                                                    Cover of EP by Fumiya Tanaka & Kuniyuki.

                                                                                                                    Fumiya Tanaka & Kuniyuki

                                                                                                                    EP

                                                                                                                    Sundance

                                                                                                                      Sundance presents three tracks from Fumiya Tanaka and Kuniyuki.

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                                                                                                                      Cover of Shinzo No Tobira Feat Miyako Koda by Studio Mule.

                                                                                                                      Studio Mule

                                                                                                                      Shinzo No Tobira Feat Miyako Koda

                                                                                                                      Studio Mule

                                                                                                                        It’s a 2nd release of Studio Mule’s new project with Miyako Koda aka Dip In The Pool.

                                                                                                                        Following the cover version of Ohnuki Taeko’s carnaval, Studio Mule made the new version of the Japanese new wave classic “Shinzo No Tibia By Mariah” with a new lyrics in Japanese (original is in Armenian) which is written by Miyako Koda. Yasuaki Shimizu kindly gave them the permission to do this.

                                                                                                                        Extended version on a side is full of the respect for the original version and dub version on b side is dark new wave dub version.

                                                                                                                        Kuniyuki said the idea of this version came from Adrian Sherwood’s remix for Depeche Mode.


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                                                                                                                        Cover of Highs, Lows, And Heavenly Blows by Spectrum.

                                                                                                                        Spectrum

                                                                                                                        Highs, Lows, And Heavenly Blows

                                                                                                                        Medical Records

                                                                                                                          First time reissue on any format of the 1994 album by Spectrum. Spectrum is the project of Sonic Boom (ex-Spacemen 3 as well as Experimental Audio Research) and collaborators. Technically his 3rd album but the 2nd under the name Spectrum. Carrying on the signature sound exemplified on “Soul Kiss (Glide Divine)”, “Highs, Lows, And Heavenly Blows” lulls the listener into a deep trance with it’s droning and hypnotic tracks and treated vocals on top of a myriad of analog synths and Sonic’s recognizable guitar treatments. The first track “Undo the Taboo” sets the stage for a meditative ride that doesn’t let up until the last track. Absolutely crucial and long awaited reissue.

                                                                                                                          FORMAT INFORMATION

                                                                                                                          LP Info: Second pressing on black 180 gram Vinyl.

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                                                                                                                          Cover of Midnight In Tokyo Vol. 2 by Various Artists.

                                                                                                                          Various Artists

                                                                                                                          Midnight In Tokyo Vol. 2

                                                                                                                          Studio Mule

                                                                                                                            Midnight In Tokyo 2, the second installment to the compilation series that rounds up hidden gems by Japanese artists that's perfect for listening at night in Tokyo, is here. This time the collection brings together some tasty electric jazz fusion from the '80s , compiled by Dubby, the man behind the online record store Ondas.

                                                                                                                            The compilation begins with "Hikobae," a dark and slow cosmic jazz by saxophonist Genji Sawai, followed by "Danza Lucumi," an odd Caribbean-style jam by Today'sLatin Project, a band fronted by Tadaaki Misago of Tokyo Cuban Boys, with arrangements by Yasuaki Shimizu. "On The Coast" is a soulful and mellow vocal track arranged by Ryuichi Sakamoto, from guitarist Shigeru Suzuki's album White Heat, and fusion boogie cut "In The Hot City" is by Mr. Theodore, which was a one-off project by a mysterious artist.

                                                                                                                            The melancholic soul jazz number "So Long America" is the title track from the album Yasunori Soryo released in '82, following a stint in America with the band Brown Rice. "Twisty" is a tropical reggae tune from the album Samba Kathy, an underrated classic by Jugando which was released on Trash, a sublabel of one of Japan's finest jazz labels, Trio. "Samarkand" is an electric Latin jazz jam that sounds like something Miles Davis and Santana could have played on, performed by a Latin funk band from Fussa. "Imagery" is a primal African fusion track by Katsutoshi Morizono, a member of the prog rock band Yoninbayashi.

                                                                                                                            Windmill" is the most acoustic sounding tune on this compilation, a breezy Brazilian affair with a Hermeto Pascoal feel. "Mystery Of Asian Port" is by the band Parachute, which consisted of Japa-nese fusion giants like Akira Inoue, Tatsuo Hayashi and Masaki Matsubara. The cosmic jazz record sounds like something Daniele Baldelli would play in his sets. "Bay Sky Provincetown 1977" is a classic Japanese fusion tune by guitarist Yuji Toriyama.

                                                                                                                            The set also features the mellow but danceable "Heatwave" by keyboardist Keiichi Oku, featuring a female vocalist (which some have identified as Rie Ida), and last but not least, closing out the 13 track compilation is "Day Dream At The Bob's Beach," a wonderful urban fusion with a beautiful vibraphone melody, from the Japanese fusion classic album that was a one-off project by studio musicians


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                                                                                                                            Cover of Future Me Hates Me by The Beths.

                                                                                                                            The Beths

                                                                                                                            Future Me Hates Me

                                                                                                                            Carpark Records

                                                                                                                              The Beths from New Zealand occupy a warm, energetic sonic space between joyful hooks, sun-soaked harmonies, and acerbic lyrics. Their debut album Future Me Hates Me, forthcoming on Carpark Records, delivers an astonishment of roadtrip-ready pleasures, each song hitting your ears with an exhilarating endorphin rush like the first time you heard The Breeders/Jale/Veruca Salt..

                                                                                                                              Front and center on these ten infectious tracks is lead singer and primary songwriter Elizabeth Stokes. Stokes has previously worked in other genres within Auckland’s rich and varied music scene, recently playing in a folk outfit, but it was in exploring the angst-ridden sounds of her youth that she found her place. “Fronting this kind of band was a new experience for me,” says Stokes. “I never thought I had the right voice for it.”

                                                                                                                              From the irresistible title track to future singles “Happy Unhappy” and “You Wouldn’t Like Me,” Stokes commands a vocal range that spans from the brash confidence of Joan Jett to the disarming vulnerability of Jenny Lewis. Further honeying Future Me Hates Me’s dark lyrics that explore complex topics like being newly alone and the self-defeating anticipation of impending regret, ecstatic vocal harmonies bubble up like in the greatest pop and R+B of the ‘60s, while inverting the trope of the “sad dude singer accompanied by a homogenous girl-sound.”

                                                                                                                              All four members of The Beths studied jazz at university, resulting in a toolkit of deft instrumental chops and tricked-out arrangements that operate on a level rarely found in guitar-pop. Beths guitarist and studio guru Jonathan Pearce (whose other acts as producer include recent Captured Tracks signing Wax Chattels) brings it all home with an approach that’s equal parts seasoned perfectionist and D.I.Y.

                                                                                                                              “There’s a lot of sad sincerity in the lyrics,” she continues, “that relies on the music having a light heart and sense of humor to keep it from being too earnest.” Channeling their stew of personal-canon heroes while drawing inspiration from contemporaries like Alvvays and Courtney Barnett, The Beths serve up deeply emotional lyrics packaged within heavenly sounds that delight in probing the limits of the pop form. “That’s another New Zealand thing,” Stokes concludes with a laugh. “We’re putting our hearts on our sleeves—and then apologizing for it.” The result is nothing less than one of the standout records of 2018.


                                                                                                                              FORMAT INFORMATION

                                                                                                                              Coloured LP Info: Initial run pressed on tangy yellow vinyl. Includes a 12"x12" lyric sheet.

                                                                                                                              Coloured LP includes MP3 Download Code.

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                                                                                                                              Cover of The Order Of Change by Orquestra De Las Nubes.

                                                                                                                              Orquestra De Las Nubes

                                                                                                                              The Order Of Change

                                                                                                                              Music From Memory

                                                                                                                              Following on from a retrospective compilation of solo work and an album of recent work in 2016, Music From Memory continue to explore the work of Spanish ambient and experimental pioneer Suso Saiz. The subject of Music From Memory’s latest compilation focuses on Suso Saiz’s output as part of the group Orquesta De Las Nubes, formed by Suso Saiz and percussionist Pedro Estevan when the two met whilst studying a course on ‘Techniques of Contemporary Composition’ in Madrid.
                                                                                                                              .
                                                                                                                              Sharing a curiosity for American minimalist and Non-Western music, the pair began to share music through many listening sessions, during which the idea slowly evolved to try and make music together. Pedro’s partner at the time, soprano singer María Villa, would later join the two on vocals. With Suso’s sparse use of guitar loops, synthesizers, and drum computers in combination with the hypnotic percussion of Pedro Estevan and the wordless drifting vocals of María Villa, Orquesta De La Nubes would evolve as a group with a truly unique musical language; an ethereal and almost otherworldly musical realm.

                                                                                                                              Developing at first as a live act, through a number of performances in Madrid and beyond, Orquesta De Las Nubes was very much connected with, and inspired by, the avant-garde arts scene in Madrid at the time. Throughout their shows, a close circle of friends, including a number of painters, sculptors and designers, would collaborate with the trio to create unique imagery and elaborate stage sets for the group’s performances.

                                                                                                                              Yet, despite the growing fascination surrounding Orquesta De Las Nubes’ live performances, the trio would however find it extremely difficult to find a label willing to release their music on record. The group’s then manager Silvia Lovosevic therefore decided to set up her own label ‘Linterna Música’ in order to make the work available. The group would release three albums between 1983-1987, two on the Linterna Musica label as well as an album and CD compilation of live tracks on the cult Spanish label ‘Grabacionnes Accidentales’.

                                                                                                                              Between this period the trio would also team up with American percussionist Glen Velez to record as the group ‘Musica Esporadica’; a one-off project in which they recorded a single album of the same name in 1985. ‘Musica Esporadica’ will be released on Music From Memory in 2019.

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                                                                                                                              Cover of Unplugged Vol 1 by Ssaliva.

                                                                                                                              Ssaliva

                                                                                                                              Unplugged Vol 1

                                                                                                                              JJ Funhouse

                                                                                                                              ‘unplugged vol. 1’ is the first in a cd series by ssaliva. The first one contains 11 synthetic vignettes, a very stripped back affair, much more then we are used of this ever so elegant master of layering and kingpin of the lighter kind of electronic lasagna, digesting the latest flavors long before they get stale. Not on this one though. These are more skeletons of pop songs, bare and glassy, played on a fake nylon-stringed koto for an imaginary court of internet angels. 

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                                                                                                                              Cover of S/T by DJ Overdose.

                                                                                                                              DJ Overdose

                                                                                                                              S/T

                                                                                                                              L.I.E.S

                                                                                                                              A longtime staple of the infamous Hague scene, DJ Overdose returns to L.I.E.S. with what may be his heaviest release to date. Razor sharp top notch production is the name of the game on this four tracker which sees Overdose move from relentless broken beat electro on the a-side to the more wave influenced cuts on the b-side's, Dark Spectre Echo and Strompel. Overdose proves once again he is and always has been one of the major forces in the electro world since the early-90s consistently refining his sound and pushing it to new territories. Essential!

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                                                                                                                              Cover of #Lucky #Boy EP by River Yarra.

                                                                                                                              River Yarra

                                                                                                                              #Lucky #Boy EP

                                                                                                                              Antinote

                                                                                                                              In 1978, Brian Eno started what would become his seminal Ambient series with Music for Airports. If he was to add a fifth volume to the series in 2018, he would probably call it “Music for Social Medias”, wouldn’t he? We’re not 100% sure that this is about to happen, so, instead, we take the lead and have Oz’s River Yarra giving his own take on Music for Social Medias (and the result doesn’t sound at all like ambient music).
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                                                                                                                              At least, we might accurately call it “music from social medias”, as it sometimes feel it’s been generated by a possessed creative algorithm. Starting with the opening track, Aorsom Wislhs (whose name must have been given by a deficient Messenger chat bot), one might feel disoriented by the extremely weird and wonky lead melody. The melody of Sli Ggogg (sic) – the slow jam opening the flip side – is equally uneven; add to this the unsettling (slightly) human-sounding voice and you’re in for a trip to the Uncanny Valley.

                                                                                                                              But there’s a sense of non-human randomness infusing all of these four songs. Take the intensely mesmerizing Respiration Alternée with Elen Huynh, for example: there’s a high probability that its lyrics come from some random meditation tutorial found on YouTube, translated into French by an anxious Google Translate bot, eager to bring some (cheap?) spirituality to IRL dancefloors.

                                                                                                                              With this debut EP, the Ozzie producer succeeds in rounding up disparate & dubious elements together in a serious way without departing from a non-serious attitude - the record even rounds off with a very “put your hands in the air” moment with Space Gekko’s ravey sirens. “Music to party on the River Yarra to” (just Google it).

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                                                                                                                              Cover of Emotional Music by R. Girardin.

                                                                                                                              R. Girardin

                                                                                                                              Emotional Music

                                                                                                                              Palto Flats / Zero Glow

                                                                                                                                R. Girardin – Emotional Music is a collaborative release from Palto Flats and Zero Grow, a contemporary rendering of synthetic midi-fusion and DAW experimentalism. Drawing links between Rashad Becker’s textured compositional approach and the multicultural electro-fetishism of Benjamin Lew, Emotional Music uses known palettes in non-traditional methods.
                                                                                                                                .
                                                                                                                                In Emotional Music we are treated to Girardin’s tooling of the synthesizer as a spiritual instrument, one where the typical motifs of musicality and style degrade in favor of poetic modulation matrices and breath controlled hopefuls. Synthesizers occupy a special place in sonic energy, dependent on electricity for physical sound creation, void of voice without human intellect and touch. Emotional Music is a synthesis of both the human and synthesizer’s expressive logics; one of internal architectures capable only through external inlets and outlets.

                                                                                                                                R. Girardin is a Hollywood location scout living in Los Angeles. Recent work includes contributions to the score of Invernomuto’s film "Vers L'Europa Deserta, Terra Incognita", and lectures on the aesthetics of decentered spatiality in Southern California at ECAL in Lausanne, Switzerland and UC Irvine. Girardin has previously released music on Italian label Hundebiss.

                                                                                                                                The artwork features a cover photo by Girardin and blind drawings by artist Roee Rosen. 

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                                                                                                                                Cover of Sirocco by Bruxas.

                                                                                                                                Bruxas

                                                                                                                                Sirocco

                                                                                                                                Dekmantel

                                                                                                                                Sirocco is the second EP by Bruxas, the psychedelic, beat-driven, tropical, house group consisting of Jacco Gardner and Nic Mauskovic, featuring the percussive talents of Jungle By Night’s Tienson Smeets. Sirocco features the combined talents of cult retro artist Gardner, and the percussive fortitude of Mauskovic, delving into the world of exotic, cinematic, Balearic-sunshine, that cruises leisurely throughout, and is layered with phazed-out, tropical synths. It’s a sound for the summer. Good vibes only please.
                                                                                                                                .
                                                                                                                                Following up from last year’s Más Profundo EP, Bruxas return with Sirocco, an EP named after the Mediterranean wind warmed up by the sun drenched Saharan sands. Lead track ’Sirocco’ washes over like a sea current of dreamy, tribal, synth-wave, flowing and ebbing in mixed colours of a psychedelic haze. It teases of something grandiose, which later appears in the form of a club version. Remixed for some secret island hideaway orchestrated by DJ Harvey, 'Sirocco (Club Version)' builds on the resplendent melodies and driving percussion of the original, adding some foot-tapping, devilish keys and retro-progressive synth lines to add subtle, summery tension and flare. 'Hermes’ meanwhile drives along at a casual 100bpm, with a cumbia-styled Casio line, and a jaunty, leisure-like, Latin-groove, and fiesta feel. The final track on the EP, 'Maria’s Holiday' has another up-beat, Casio-styled groove, set alongside a poolside party, with bongo-beat rumblings and a disco rhythm. It’s the soundtrack to a summer cocktail party, to watch the sun slowly set on a tropical fiesta.

                                                                                                                                Bruxas is the collaborative project between Jacco Gardner and Nic Mauskovic who joined forces while playing in the support band for the 70s James Brown-meets-Black Sabbath act, Witch. Gardner — having firmly established himself as a credible force within the psych-rock community with two solo LPs and a psych-rock sound — and Mauskovic — whose catalogue includes acts such as Altin Gün, and The Mauskovic Dance Band — teamed up in Portugal with their shared love for library music, and 70s psychedelia, naming their new creation Bruxas — Portuguese for Witch. With a featured appearance booked in at Dekmantel Festival, also featuring Tienson on percussive duties, be sure to note that this will be a big year for the retro-party boys.

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                                                                                                                                Cover of Disco Hamam 04 by Tokyo Matt & Afacan Soundsystem.

                                                                                                                                Tokyo Matt & Afacan Soundsystem

                                                                                                                                Disco Hamam 04

                                                                                                                                Disco Hamam

                                                                                                                                Time for another adventure down the east... Disco Hamam is back with their 4th presentation of Turkish & oriental killer disco edits.  This time, Tokyo Matt tells you a tale of the oriental with a fist full of dollars, whilst Afacan Soundsystem has a thing or two to tell about the disco...

                                                                                                                                East is east but these are the real deal yeast free dance floor beasts.

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                                                                                                                                Cover of Blow Waves by Low Flung.

                                                                                                                                Low Flung

                                                                                                                                Blow Waves

                                                                                                                                Ken Oath

                                                                                                                                Following on from Angophora's beautiful long player, Ken Oath is back with another full length LP from Low Flung. Friends of the label will note that this is his third release for Ken Oath, and it's a fittingly mature and expansive statement for a debut LP. Perhaps mature is the wrong word here, as all his brilliant ideas are backed up by a sense of whimsy that betrays his playful side. The music strikes a balance between styles and spaces that could perfectly soundtrack moments at home, in the club, and in the liminal spaces between.

                                                                                                                                Danny's efforts at writing dance music still contain the idiosyncratic approaches of his ambient works: The deadly deep subs and endless echo spirals on "Rising Damp" sounds like someone trying to piece together a Drum & Bass track after an off-hand conversation about the genre. He's transmuted the propulsive energy of jungle into something no less dynamic, full of stops and starts and sonic pressure but flush with space. "Tarp Climber" is at heart a rollicking digi-dub.

                                                                                                                                The more ambient moments of the LP are equally captivating - the glassy tones of "Frozen Coat" sound like a space-age ensemble soundtracking a floating lounge on a suite of glass instruments, while "Ocean Grove" blends field recordings and dreamy synthesizer melodies to create an uncanny sense of place that unroots you from wherever you're listening.

                                                                                                                                There's a heavy emphasis on Danny's collaborators as well - the Cold Emotion duo is reprised on the spacey ‘Hills Hoist’. Closer "Bacchus Marsh" is a collaboration with Prophets, a cross-state ensemble that defy any easy categorisation. The music here flirts with jazz and minimalism but with a dubwise production aesthetic to produce something that recalls Khan Jamal's visionary "Drum Dance to the Motherland" in spirit and practice, but this whole album sounds as otherworldly and one-of-a-kind as the aforementioned LP.

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                                                                                                                                Cover of Snod Hill EP by FYI Chris.

                                                                                                                                FYI Chris

                                                                                                                                Snod Hill EP

                                                                                                                                West Friends

                                                                                                                                Look we're five records deep and yes, we aren't sure which tune is on which side…
                                                                                                                                But luckily, this release is as high concept as Speed 2: Cruise Control.

                                                                                                                                On one side you will find 'AD', which samples an inspiring speech given by the heroic Angela Davis at Southbank in 2017. Listen to her wisdom as you play this in your front room at 7am to people who suddenly can't quite look at their hands properly.

                                                                                                                                The other side "PAS" greets you with warnings of atomic explosions over a riotous jam between a Yamaha CS-10 and a sturdy analogue 808 clone. If you have a pressing need for air raid sirens, this is for you.

                                                                                                                                We hope you like this West Friends Release. There will be more..

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                                                                                                                                Cover of Dream House Tropicana Volume 5.5 by Various Artists.

                                                                                                                                Various Artists

                                                                                                                                Dream House Tropicana Volume 5.5

                                                                                                                                Blind Jacks Journey

                                                                                                                                International nippiness from all corners of the globe. Featuring prime time bobbers from:
                                                                                                                                Deep88, Dawn Again, RNR, Mr Fiel and L*J himself.
                                                                                                                                Illustrations from the mighty Rubber Hedgehogs.

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                                                                                                                                Cover of Toy Box Part 2 by Jerome Hill.

                                                                                                                                Jerome Hill

                                                                                                                                Toy Box Part 2

                                                                                                                                Don’t

                                                                                                                                Fresh from outings on Super Rhythm Trax, Killekill and Power Vacuum, and following on from April's 'Toy Box Part One', Jerome Hill is back to complete the series with part two, presenting four raucous Technoid trax in glorious Technicolour, striking out and injecting some humour and rowdiness into the techno landscape. "Donkey Bite" is the one everyone's talking about, borrowing an old vocal sample and updating it into a pleasurably rolling Chicago style banger that will appeal to fans of his track "It's Time For The" .. Next up is Slither, that does what it says on the tin.. A creepy and subliminal sludgey bass roller ! Flip the record for the deranged, banging and distinctly wormy "Mr. Worm" and then the Toy Box saga finishes up as unconventionally as it began, with the lop sided lumber of "Torque Talk" . 

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                                                                                                                                Cover of Toy Box Part 1 by Jerome Hill.

                                                                                                                                Jerome Hill

                                                                                                                                Toy Box Part 1

                                                                                                                                Don’t

                                                                                                                                resh from outings on Super Rhythm Trax, Killekill and Power Vacuum, Jerome Hill is back on his Don't label and presents 4 road tested tracks, each totally different from the last but with the common goal of striking out and injecting colour, fun and a good measure of "Don't" rowdiness into the Techno landscape.

                                                                                                                                "Egg Roll" is a slamming broken beat Techno monster that has been extensively tested out in the field, "Scez princess" combines hardcore breaks with waspish synth riffs while over on the flip, "I Know" hits hard with no messing around and the EP is finished off with the lumbering stunted funk of "Mono Skank". Available on lovely grey marbled Vinyl.

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                                                                                                                                Cover of Windy C Collection by 100 % Pure Poison.

                                                                                                                                100 % Pure Poison

                                                                                                                                Windy C Collection

                                                                                                                                Dynamite Cuts

                                                                                                                                  This holly grail album has been transformed into a 45s collection. Dynamite Cuts releases a high quality limited edition 1000 copies double pack 2x7” release which gives you 4 of those masterpieces from that album. two never before on 7” vinyl all of the most in-demand tracks. 

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                                                                                                                                  Cover of Pretty Lady / Universe by George Semper.

                                                                                                                                  George Semper

                                                                                                                                  Pretty Lady / Universe

                                                                                                                                  Dynamite Cuts

                                                                                                                                  Two gems from the vaults of the Semper camp. Taken from the mega rare “Themes for television, sport and Aerobics” released on the Pixie Records. Dynamite Cuts is releasing these two as a limited edition.


                                                                                                                                  Track A - “Pretty Lady”wonderful synth vibe with a whole lot of soul, no drums or heavy grooves, just a rare touch of smooth sunshine on a 45.

                                                                                                                                  Track B - “Universe(Exterritorial Search Contact Tones)” Its all about this beauty, a magic moment in time. So much soul in such a short track. Has Hudson and Duke vibe, never before on 45 vinyl must have vinyl


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                                                                                                                                  Cover of LENG042 by Earthboogie.

                                                                                                                                  Earthboogie

                                                                                                                                  LENG042

                                                                                                                                  Leng

                                                                                                                                  Earthboogie’s debut album, Human Call, rightly earned praise on its release earlier in the year, with listeners responding positively to its sticky and humid dancefloor fusions of African and South American rhythms, chunky dub disco, retro-futurist house, spacey analogue electronics and sun-kissed Balearica. Hot on the heels of that release, Leng Records has sourced new remixes of two album highlights – “High Minded Man” and “Silken Moon” – from Running Back label boss Gerd Janson and synthesizer-wielding Balearic boogie stalwart Pete Herbert. It’s Janson who steps up first, offering up two total overhauls of “High Minded Man” that re-cast the undulating, Afro-fired original as a dreamy, drum machine-driven chunks of vintage deep house goodness.


                                                                                                                                  Where Earthboogie’s album version bobbed and weaved around horns and live bass, Janson’s Deep House Mix places the duo’s original chanted vocals above a bouncy, polyrhythmic rhythm track, Larry Heard style chords, Kwaito-esque electronic bleeps and a smooth, soul-stroking bassline. Janson’s Deep House Dub, which strips out the vocal for a more sparse and ethereal listening experience, is also included on the EP. The EP’s other remix comes from sometime Reverso 68 member Pete Herbert, who gets his mitts on previous single “Silken Moon”. While he retains some key elements from Earthboogie’s original – specifically the vocals, Afro guitars and house stabs – he naturally adds a little of his own rubbery electronic disco flavour via spacey synthesizer flourishes and a massive electronic bassline that brilliantly tracks the rising and falling movement of the main melody. It has the feel of a terrace anthem in the making

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                                                                                                                                  Cover of Barry's K/Tuesday Club (feat Mushrooms Project Mixes) by Before Christ.

                                                                                                                                  Before Christ

                                                                                                                                  Barry's K/Tuesday Club (feat Mushrooms Project Mixes)

                                                                                                                                  Is It Balearic

                                                                                                                                  Before Christ is a new project from Craig Christon and Bonar Bradberry. Remix maestros Mushrooms Project take on both tracks. First up Barry's K is a moody brooding chuggy basement Jam with ethnic melody and dubby effects. The mighty Italians mellow out the groove and extend adding all there trademarks touches.Uh!. The second track is Tuesday Club is a techy machine funk bomb with shades of New Beat and a nod to Forgemasters. The Mushrooms boys bring the acid and soft melodic pads turning this into a dreamy heads down groover.

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                                                                                                                                  Cover of Psycho Killer (Double Wave Edit) by Politrio.

                                                                                                                                  Politrio

                                                                                                                                  Psycho Killer (Double Wave Edit)

                                                                                                                                  Emotional Rescue

                                                                                                                                  Digging 80s pop obscurities has long been part of Emotional Rescue's mission statement and the unearthing of this cover of the Talking Heads classic by the little known, Italian new wave band Politrio for a limited 7" press is a worthy addition.

                                                                                                                                  Formed by guitarist, songwriter and producer Giorgio Canali alongside Massimo Sbaragli and Roberto Zoli for the short-lived project. With just one album released of new wave, pop rock, it was their contribution to an Amnesty International benefit LP that spawned this excellent version of Byrne, Franz and Weymouth penned classic.

                                                                                                                                  Coming out of the CBGBs scene of post-punk downtown NYC, the song, released on their aptly titled 1977 "77" debut album, has gone on to become one of the defining songs of it's time. Further enhanced with their mesmeric performance in the 1984 Stop Making Sense film and album, it has been ripe for reinterpretation.

                                                                                                                                  Politrio's version keeps and captures much of the original, but with their own swing, rhythm, Italian-English vocal delivery, rock guitar, bells and keys. While remaining instantly recognizable, this is a unique version, with the straightened drumming giving it some added punch and kick.

                                                                                                                                  This is backed by a systematically cool, delicate but additional re-edit by the Berlin based Italian duo Dama and Budino aka Double Wave. Rising names in the Berlin scene they are part of the Oscillator collective, label and parties and can be heard at some of the best parties right now.

                                                                                                                                  Letting the instrumental interplay of funky, slap bass and rock guitar have more time to shine, the edit builds and drops, dubs and builds again to the vocals and lyrics known so well, offering an alternative sing-a-long for the more wonky DJs and dancers out there.

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                                                                                                                                  Cover of The Distance (Ron Basejam Remix) by Smith & Mudd.

                                                                                                                                  Smith & Mudd

                                                                                                                                  The Distance (Ron Basejam Remix)

                                                                                                                                  Adventures In Paradise

                                                                                                                                  Benjamin Smith and Paul "Mudd" Murphy are back with a Balearic gem - The Distance. Featuring a vocal and instrumental on the A-side, and a remix on the flip by legend and consummate production ace - Ron Basejam. Lyrics and vocals are by Quinn Lamont, who's captivating earthy tones playfully tease us with emotional yearning, and it's Quinn who provides a stunning jazzy guitar performance that will have you air guitaring all over the dance floor, and which sits splendidly alongside the beautiful layers of rich electric piano and Balearic disco grooves. The remix by Ron Basejam recasts the track as an instantly affable yacht-rock-esque anthem, that will fill your hearts and have you reaching for the Campari. This is a sumptuous summer groover, with layer upon layer of blissed out disco warmth. A sublime masterclass in musicianship and production that will bring joy to the most discerning of ears.

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