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Based in Flint, Michigan, USA, the four young sons of an electrician welded together their debut album. This album, titled "Elektroworld", is a personal tribute to the well known pioneers of the electro-disco-beat; Kraftwerk. A rarity amongst the electro scene, as well as a masterpiece in DIY electronix, Clone Classic Cuts reissue the illustrious album from 1995 - the only one the band ever completed!

The bar is set high as "Future Tone" opens with skilled sound design as well as a solid grasp of the aesthetic. "Perpetual Motion" sets off the Drexciya alarms straight away as fizzing oscillators drift in and out of time and tune with a rigid, mechanized beat. "Japanese Electronix" sees the first forays into more electro-pop sensibilities, nodding to their German pioneers as they vocoder a tasty hook alongside the gliding electofunk backing. "Check Mate" combines more classic degraded synthesizers with inventive drum programming that hints at were footwork and juke would take these blueprints in coming years....

Look we're not even half way through yet at it's pure power 100%. One of the high watermarks of the electro genre and an absolutely imperative LP for hardware heads. You'll only get one chance at this one folks! Don't miss out.... 


Various Artists

Popcorn Lung: A Polytechnic Youth Collection

    Barring any last minute curveballs like Christmas Day released lathe cut 45s, the last release for 2018 on Polytechnic Youth is an absolute beauty. The long planned “Popcorn Lung” compilation brings together a richly assembled cast of exclusives and a previously released lathe cut only, gem.

    Rare are the free flowing, fluid compilations that flow effortlessly as opposed to some hastily cobbled together assorted odds n’ sods full length. This -much like it’s predecessor label collection “They Make No Say” that sold out 2 pressings in 2017- does exactly that. A heady mix of full on synth pop, darker more industrial electronic textures through kosmische / kraut grooves to whacked out electronic pop then back; ie styles may alter but it enhances the seamless feel, the free flowing vibe in no small part and quality remains incredibly high throughout.

    Highlights include exclusives from Australian Testing Labs Inc who follow their ‘underground hit’ full length “Music for Air-Cooled Motoring” with their first new music in 2 years, (the majestic motorik of “Alpenstrasse”) to smash 6music ‘hit’ “Tisch Tennis” from Matt Hookworms’ side project Xam Duo (Gideon Coe’s single of 2017 no less, and a £70 discogs 7” A side made available again), East London’s mysterious Karen Novotny X with a previously unreleased gem straight outta’ Mute / Blackwing studios 1980 territory, teasers to future PY full lengths from Canada based Gabe Knox with ace LP opener “Look and Listen”, and Bernard Grancher, Stephen Buckley’s fab Polypores project, PY old hands Detox Twins with another Germanic nugget of minimal synth- alongside many more treasures culminating in the -wait for it, as you’d never guess- trombone freakout of closer by Kendo Nagasaki (all be it heavily treated, synth aficionados rest easy!)

    A fabulous album, which on one hand acts as a perfect intro to the label for newcomers, it also more than pleases older hands in equal measure; and comes in a sleeve designed by label head Dom with tasty Nick Taylor designed insert. One time Pressing of 500 copies on vinyl only.


    Various Artists

    Italo Funk

      Italo and Funk! A long standing relationship that goes back to American R&B artists connecting with the Italian audience in the 60's. At that time the Italian music market was still influential on a global scale and you could find an artist like Wilson Pickett singing in Italian (with a quite puzzling accent!) at the Sanremo Festival in 1968. The song he performed, "Un'Avventura", was written by Ludo Battisti the biggest Italian pop star of all time, a lover of all black American music, who has recently been re-discovered by global diggers, for his psychedelic, latin, funky period of the mid to late 70's. But the market was ready for that real funk: in 1971 James Brown performed "Sex Machine" live on national TV.

      Then Umbria Jazz festival opened for business in 1973 bringing the likes of Weather Report and Horace Silverto the more intellectual side of listeners. While the mainstream crowd was grooving in cinema theaters to the orchestral funk of masters like Piero Umiliani, Piero Piccioni and Armando Trovajoli and their soundtracks of the 'Poliziotteschi' B-Movies. With the 70's giving us the Mediterranean soul-funk of Napoli Centrale, directly influenced by the nearby NATO American base dwellers, the picture was complete: it was time for the Disco revolution! From Moroder to Mauro Boncaldi the list of Italian pioneers that molded dance music into a new hybrid of electronic basslines and over the top melodies is endless. The enormous international success of Italo Disco created a market of independent labels and distributions that were the basis of the next mutation of funky dance music: House. Italo Disco influenced the birth of House in America and then House came back to Italy and gave a new generation of producers the kick in the ass to start their own thing. 

      Sobrenadar

      Rymixes

        Limited edition 12” EP collecting together four remixes of songs from Buenos Aires-based singer/producer Sobrenadar’s acclaimed international debut album, ‘y’, which was released in September 2018. Former Hookworms man XAM adds some modular moods to the stately synthpop of ‘Inhabil’; furthering the historical cultural links between Wales and Argentina, Gwenno turns ‘Noordzee’ into six minutes of mellifluous marimba with a dreampop sheen; shoegaze legends Slowdive reimagine ‘Del Tiempo’ as a delightfully distorted heartbeat; Sonic Cathedral labelmate Mark Peters relocates ‘Cruce’ to the innerlands of Wigan, and converts it into gale-force guitar-pop

        FORMAT INFORMATION

        12" Info: Just 200 copies pressed on clear vinyl with orange and aquamarine splatters and housed in a see-through PVC sleeve.

        Lee Fields & The Expressions

        It Rains Love / Will I Get Off Easy

          Big Crown Records is proud to present the debut single from the forthcoming Lee Fields & The Expressions album, “It Rains Love”. The one and only Mr. Lee Fields is back with another instant classic sure to wrap the world up in love and soul. The A side, “It Rains Love”, is the amuse-bouche in the listening experience for Lee’s 5th studio album backed by The Expressions. With a rhythm track that sounds like it could belong to any of the lasts 4 decades, Lee floats on top with his raw yet honeyed vocals and imparts simple but thoughtful wisdom the way only Lee can. The B side, “Will I Get Off Easy”, is a mid tempo ballad that stays true to the music that has made Lee a household name in the soul community. Hard-hitting drums, pretty chords, sweet group backgrounds, and Lee’s tough as nails vocals create a perfect storm that will satisfy any soul junkie looking for a fix. The full length is produced entirely by Leon Michels and due out in April of 2019. 

          Th’ Losin Streaks

          This Band Will Self-Destruct In T-Minus

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

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

            The Go-Betweens

            Right Here

              The death of singer/songwriter Grant McLennan in May 2006 brought an end to one of Australia's greatest musical partnerships. McLennan and Robert Forster, the founding members of seminal Brisbane band The Go-Betweens, had been close friends and collaborators since their late teens some thirty years before. Their body of work across both group and their solo albums has seen them recognised as Australia's own Lennon and McCartney and the legacy they and their fellow band members forged through the late 70's, 80's and into the 00's has become the stuff of legend.

              'The Go-Betweens: Right Here' is a feature length documentary about the people behind this seminal band. It is a heartfelt story of discovery, uncovering the intensely passionate, creative and fraught relationships at the heart of this much loved and influential group. It is also the universal story of a great creative adventure that spanned three decades, through countless successes, failures, romances, break-ups, betrayals, triumphs and tragedies. It is a compelling investigation into the exhilarating, unpredictable, and precarious lives of musicians, that reveals the true price paid by them to pursue their art.

              As it unfolds, we discover how relationships - both creative and romantic - are continually tested, challenged, remoulded and, in some cases, destroyed. In Forster we reveal a man who finally learns how to survive and reconcile himself with the ephemeral nature of fame and success, whilst in McLennan we discover a man with a ferocious talent, who struggles with inner demons and emotions that eventually begin to consume him. And in Lindy Morrison (drums) and Amanda Brown (violin, oboe, guitar) - who were also in romantic relationships with Forster and McLennan respectively - we get a profoundly moving insight into their, as yet never told, side of the story and of their fight to be recognised as musicians in their own right.

              'The Go-Betweens: Right Here' doesn't assume knowledge of the group or its music. It offers an evolving revelation of them that truthfully exposes all the highs, lows, joy, pain, sorrow and beauty of being in a cult band and of trying to survive the harsh, brutal realities of an at times exploitative music industry. Unflinching, insightful and at times painfully honest, the film tells the story of The Go-Betweens from the inside out, from the people who lived it and from those whose lives were transformed by it.

              Bruno Bavota

              Re_Cordis

                RIYL: Ludovico Einaudi, Max Richter, Eluvium, Nils Frahm, Goldmund.

                Bruno Bavota is a young Italian composer and multi-instrumentalist with seemingly boundless potential, and an extraordinary gift for marrying the intellectual and emotional into earnest and profoundly effective songs. Though favorably compared in his early career to another Italian composer, the legendary Ludovico Einaudi, Bavota has found himself increasingly pursuing ways to distort and disturb traditional arrangements and melodies in pursuit of a more distinct resonance. Armed with a plethora of outboard effects pedals and processors, Bavota manually manipulates his songs in real time as he performs - often with his bare hands engaged in a seesaw battle of construction against obstruction. It infuses a genuine sense of tension and forward momentum that makes his work extraordinarily poignant. Recorded live in one afternoon at a friend's studio in Bavota's hometown of Naples, Italy, RE_CORDIS documents many of Bavota's most recognizable and accomplished works as they stand and at this moment in time - ever-evolving musical life-forms that change shape while maintaining their distinctive skeletons. It also introduces his newest work, "The night of," a tense, escalating race of loops punctuated by a series of dramatic chord strikes. The recording is charmingly informal, leaving the sounds of Bavota's physical movements - the shuffling of feet, the triggering of effects pedals, the creaking of stools - present in the mix to mingle with the music. As an exhibition of Bavota's skills as a composer and performer, it's impressive; as a glimpse of what's to come, it's an epiphany. 

                Julianna Hatfield

                Weird

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

                  Nazar

                  Enclave

                    ‘Enclave’ is the first Hyperdub EP by Angolan producer Nazar, whose musical world centres around the extreme violence, injustice and omnipresence of a repressive state during and after the 27-year Angolan civil war, simultaneously exploring the hope, resilience and pride in a country torn apart by conflict. His own unique take on Angolan Kudoro music inverts the form, weaving the sounds of warfare among cold synths, cascading percussion and swells of noise, which he calls Rough Kuduro. On ‘Enclave’, Nazar transports the listener to a bygone dystopia fed by the oral histories of those who lived through the conflict, including his father, a politician and reformed army general. ‘South Border’ establishes the EP, then leads directly into the frantic ‘Warning Shots’, a broken 130bpm Kuduro beat. On ‘Airstrike’, the pace drops back down with a slow burning Batida rhythm recounting the stories of numerous airstrikes endured by his mother, aunties and older sisters.

                    The track concludes with the repeated “it just takes a sec and it’s done, you’re outside the bunker you’re gone”. Title track ‘Enclave’ references the thousands of unnamed dead lost in the conflict, with Nazar’s distorted vocals referencing the divide between the South and the North caused by colonialism and colourism. ‘Konvoy’ is a unique club heater best suited to forward thinking DJs, which also features on Burial & Kode9’s forthcoming ‘Fabriclive 100’ mix. The EP concludes with the beautifully hopeful ‘Ceasefire’, an ambient track featuring Nazar’s father reading from a journal he kept during his guerrilla years, recounting a treacherous journey from South to North Angola

                    Black Rain

                    Computer Soul EP

                      Black Rain returns with Computer Soul: the final part of a sequence of Blackest Ever Black releases that began with 2011's Now I’m Just A Number: Soundtracks 1994-95, and a first glimpse of the project’s richly imagined future. For this outing Stuart Argabright (Ike Yard, Dominatrix, Death Comet Crew) is joined by BR founder member Shinichi Shimokawa as well as more recent recruit Soren Roi and Zanias (vocalist on 2015’s Dark Pool) - making for the most most group-oriented iteration of Black Rain since its earliest days. Sonically too, there is a sense of evolution but also of coming full circle: the cyberpunk techno of Argabright’s celebrated William Gibson soundtracks (compiled on Now I’m Just A Number) and extrapolations of Dark Pool’s neuromantic yearning cut with glimpses of the thrash and industrial rock energies that animated Black Rain’s incendiary live shows - and sought-after tapes for Kombinat and TPOS - in the early 90s. More than ever, Black Rain is propelled by a powerful science fiction impulse, whether responding to the themes and characters of Gibson’s Sprawl or the Blade Runner universe (particularly K.W. Jeter’s spin-off/continuation novels which extended its mythology, and timeline, further).

                      It’s not news that many of these works’ most powerful predictions and prophesies have come to pass - the replicants are already living among us - so Computer Soul projects further into several possible unforeseen futures, its events “set” in the second half of the current century, fifty or so years after those of Dark Pool. The hyperpopulated metropolises of Dark Pool are no more; the apartments are empty, haunted by ghosts of AC current, devices and machines running lonely without their owners...a melancholy internet of things. Where has everyone got to? Gone but perhaps not gone. Oblivion beckons - always does - but on the other side of that, something else... another time, another place, a river….and a new way of living. 

                      Hama

                      Houmeissa

                        Nigerian composer Hama presents a groundbreaking album of traditional electronic desert folk songs, hovering somewhere between early 90s techno and synthwave. Nomadic herding ballads, ancient caravan songs, and ceremonial wedding chants are all re-imagined into pieces seemingly lifted from a Saharan 1980s sci-fi soundtrack or score to a Tuareg video game. With a deep love and respect, Hama effortlessly takes back and re-appropriates fourth-world ethnoambient music. One of only a handful of electronic musicians in West Africa, Hama a.k.a. Hama Techno follows in the footsteps of avant-garde electronic pioneers like Mamman Sani Abdoulaye, Francis Bebey, and Luka Productions. His debut release was a huge success on the underground mp3 networks of West Africa and was featured in The Wire, Pitchfork, and Rolling Stone. Hama continues with his signature digital folk with an expansion into computer based compositions.

                        Painstaking crafted on the spotty electric grid in Niamey with earbuds and a hacked copy of FruityLoops, Houmeissa is the result of remarkable passion. Inspired by diverse sounds spanning Tuareg folk guitar to second wave Detroit Techno, Saharan folk songs are transformed into atemporal works that defy categorization. Hama builds patterns of varied time signatures and distinct polyrhythms, deconstructing and rebuilding ancient traditions on drag and drop virtual keyboards. Airy sweeping pads evoke the open desert while rumbling dark undertones warn of a coming dust storm. Instrumentals layer looping pentatonic melodies into a blissed out trance, while soft synths and fake electric guitars cry out a call and response. The effect is charmingly unexpected, as the plastic sounds of early PC music are imbued with a new life. A singularly unique production, Hama’s Houmeissa stands to be a future classic and an embodiment of the digital Sahara to come. 

                        Sourakata Koite

                        En Hollande

                          Deep, entrancing solo kora music. Senegalese traditional harp by a hereditary master. Audiophile sonics, recorded in a former chicken coop studio in 1984, originally mastered at EMI. Koité has European tour dates this fall and winter. Sourakata Koité is born in 1955 in Malème, Senegal. As Sourakata says, "All the Koité are musicians!" His musical life began early: at age three he began to play kora (a 21-string harp) with his uncle and brother; at 11 he performed with four members of his family as Les Griots (two koras, one bala, one djembé and one singer) in a piano-bar named Thiosan. In 1977, a six-month engagement at a restaurant in Fréchencourt, France brought him to Europe, leaving Dakar where he had lived since 1975, having experienced the auspicious launch of mbalax music. He moved to Paris in 1978 to visit his brother. In Paris he began to play in different bands, including Les Lézards, Les Ballets Kodia, La Kola, Le Griot de Paris, among others, and for different musicians like Manu Dibango, Jacques Higelin, Touré Kounda, Manfeï Obin, Mangala, Luther Allison, Mah Damba and more. He also performed alone and in a duo with a bala (traditional xylophone) player. Koité, newly situated in Paris, soaked up the new sounds he heard there and expanded his musical repertory.

                          He began to compose his own songs and build koras, allowing him to play and experiment with different tunings. Koité is a true innovator in that regard: he conceived of two 37-string koras (including a double handle one), and another with 22 strings (some of which are metallic guitar strings, and that enhance that characteristic buzzy sound). Additional strings expands the possibilities, he says, and also the sound of his instrument. “Kora usually has very little bass: it seems that there's a kora, but also a piano in there; they are two, four... or even five!” Koité links this idea to his use of overdubs on some tracks during the recording of en Hollande. During a festival in the Netherlands, music producer and record shop owner Martin Kollaart form Plexus Records heard him and asked to make a recording. In 1984 in an old chicken coop near Delft, Koité recorded the entire album in a single day, all first takes, including overdubs. The rich sonics and deep sound beautifully presents Koité’s virtuosic and entrancing renditions of traditional and original tunes. Very curious and eclectic in his tastes, Sourakata listens and plays a wide range of styles—jazz, rock, reggae, funk, blues, classical. Relaxing in his apartment close to la porte des lilas in Paris’ 20th arrondissement, he listens to Bob Marley, James Brown and the online Malian music station Radio Wassoulo, excited by his recent return to international performances. “People should participate during the show!,” he says. “They won't be able to hide, and it will give me courage!” 

                          Machinefabriek

                          With Voices

                            With Voices is the newest recording by Dutch composer Rutger Zuydervelt under the moniker Machinefabriek. True to its title, the album’s eight pieces exhibit Zuydervelt’s use of tone generators, radios, synths, and other hi-fi curio to construct bewildering aural architecture around vocal contributions from Marissa Nadler, Peter Broderick, Richard Youngs, and others. The track “III” (the tracks are simply titled with Roman numerals) slowly winds like ivy through staccato phrases spoken by Peter Broderick, whose micro-incantations skip along mechanically only to telescope into monastic grandeur at the track’s midpoint. On “VIII” Marissa Nadler leads the suite to its lullabic endpoint with overlapping wisps of harmony devoid of accompaniment concluding the album on an angelic note. Throughout much of With Voices, warm-blooded arteries seem to have grown around bits of well-designed artifice to form something warmly alien, soberly futuristic, and inherently satisfying. More than simply an album of collaborative features, With Voices is a mutating collage of modern minimalism that challenges as often as it comforts. There is an alchemical, metallurgical quality that arises from Zuydervelt’s unique way of merging humanness with abstraction, harshness with beauty, and unintelligibility with familiarity on what may be the most affecting Machinefabriek release to date. 

                            HIA & Biosphere

                            Polar Sequences (Remastered)


                            In October 1995, as part of the annual Polar Music Festival, Geir Jenssen of Biosphere and Bobby Bird of The Higher Intelligence Agency, were commissioned by Nor Concerts to collaborate together on a musical project to take place in Geir's home town of Tromsø, Norway. The brief was for them to perform three concerts, using sounds sourced from the area as the basis of the music - the machinery of the local mountain cable lift, the snow, the ice etc…

                            The performances from which this recording is taken, took place on top of a mountain above Tromsø, in a cabin reached by the cable car, in which the audience were transported up the mountain in turn.

                            Various Artists

                            Spiritual Jazz 9: Blue Notes, Part 2


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

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

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

                            Various Artists

                            Spiritual Jazz 9: Blue Notes, Part 1


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

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

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

                            Various Artists

                            Spiritual Jazz 9: Blue Notes Parts 1 & 2


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

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

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

                            Progressive dub reggae from the heart of Pālolo Valley, O‘ahu, Hawai‘i.

                            What happens when a young kid from Pālolo Valley collects and trades hip hop tapes at age five, discovers Gregory Isaacs at age 12 (then buys every release Isaacs ever made), learns to play almost every instrument, forms a punk band with his friends at 15 (soon morphing into legendary roots group Ooklah The Moc), amasses a vinyl collection of thousands of reggae rarities (rivaling only that of his father’s massive jazz collection), studies music theory under unsung hero and fellow Pālolo resident, guitarist Jimmy Funai, opens his own recording studio at the turn of the millenium to produce hundreds upon hundreds of original riddims?

                            Surprisingly, as one of Hawaii’s deepest diggers and most progressive musicians, Jah Gumby has yet to press a vinyl record comprised solely of his own musical works.

                            Also known as Ryan Murakami, the multi-instrumentalist and producer has worked extensively with artists of all walks, from low-key soulful roots singer Mr. 83 to world-renowed ukulele virtuoso Jake Shimbukuro, the in-demand Ichiban Horns powerhouse trio and longtime partner-in-vibe Kali Navales, who helped launched Father Psalms Studio in Gumby’s own home in 2003.

                            "Humility: The Vibes of Jah G" is both a premier and a primer of Jah Gumby’s original creations: 16 carefully selected tracks that showcase the artist’s ability to synthesize everything he embodies — the awareness of a true crate-digger, the immediacy of body surfing at Sandy’s, the intensity of punk, the sensibility of jazz, and the discipline of a studio engineer.

                            But enough said; we must let the music speak for itself.


                            STAFF COMMENTS

                            Matt says: Blown my beak apart this pop pickers! Who'd have thought Hawaii would give birth to a multi-faceted global reggae phenomenon... but it has!

                            The Ruts

                            The Crack

                              40th anniversary reissue to tie in with the band’s ‘40 Years of The Crack’ tour – 2019.

                              The band’s debut album, released in 1979, The Crack contains the UK hit singles: Babylon’s Burning and Something That I Said.

                              Very much fitting the era’s protest atmosphere – the white-reggae of Jah War, which was written in the aftermath of the Southall unrest and the over-use of force by the Metropolitan Police’s Special Patrol Group in the ‘70s, was also released as a single. Hard-hitting song S.U.S also deals with similar issues – a withering comment on the notorious stop and search laws.

                              The album is both anthemic, with simmering roots reggae and dub, but seared by classic rock guitar leads, totally redefining the genre and combining to create an ominous atmosphere of paranoia and dread reflective of the times in which it was made.

                              Re-mastered by Tim Turan at Turan Audio.
                              Cut to vinyl at Abbey Road Studios.

                              Michael Chapman

                              True North

                                The masterful follow-up to his universally celebrated 2017 album 50, Michael Chapman’s True North finds the elder statesman of British song writing and guitar plumbing an even deeper deep and honing an ever keener edge to his iconic writing. This authoritative set of predominantly new, and utterly devastating, songs hews to a more intimate sonic signature—more atmospheric, textural, and minimalist than 50, stately and melancholy in equal measure. Recorded in rural West Wales, True North unflinchingly surveys home and horizon, traveling from the Bahamas to Texas to the Leeds of Chapman’s childhood, haunted by the mirages of memory and intimations of mortality. Joining him on this introspective journey is a cast of old friends and new disciples: once again Steve Gunn produces and plays guitar, and fellow UK song writing hero Bridget St John sings, collaborating with cellist Sarah Smout and legendary pedal steel player BJ Cole, who has accompanied everyone from John Cale to Scott Walker, Elton John to Terry Allen, Felt to Björk.

                                The album begins with the gnawing regret of “It’s Too Late,” and every song Chapman sings thereafter directly references the passing of time—its blind ruthlessness, its sweet hazy delights in noirish language almost mystical in its terseness and precision. (The two transportive, gorgeous instrumentals, one per side,

                                both have appropriately evocative—though decidedly not Northern—pastoral place names for titles: Eleuthera is an island in the Bahamas where Chapman habitually holidays every winter, and Caddo Lake straddles the border between Texas and Louisiana.) This is Chapman at his darkest and most nocturnal, yes, but also his most elegant and subtle, squinting into the black hours with an unseen smile. By the time True North is out in the world, Chapman will be seventy-eight years old and will have released nearly as many records, a staggering achievement. True North represents the most nakedly personal album of his career, his most authoritative, unguarded, and emotionally devastating statement. His universally celebrated full-band 2017 album 50 flirted with much-deserved triumphalism, offering a retrospective of his illustrious career, revisited in the company of the fellow UK song writing hero Bridget St John and a rowdy gang of younger acolytes including Steve Gunn, James Elkington, and Nathan Bowles. The production hearkens back to Chapman’s classic Millstone Grit (1973), as well as recalling Bob Dylan’s Time Out of Mind (1997); True North shares something of that album’s spectral gloaming, midnight heartache, and sly, self-knowing winks. Compared to 50, these recordings feel narrower in range, less overtly narrative and dynamic and more impressionistic and restrained, but they are correspondingly more piercing and arrow-like in their rending impact, more concerned with an archer’s deadeye aim than pyrotechnics. Whereas 50 featured two new songs among radical reinterpretations of material from Chapman’s deep catalogue, True North includes twice as many new numbers among its quiver of eleven arrows—“It’s Too Late,” “Eleuthera,” the fiery “Bluesman,” and slow-rolling album centre piece “Truck Song”—confirming the exultant return of Chapman the songwriter. The other songs were selected from various obscure corners of Chapman’s vast catalogue (“Youth Is Wasted on the Young” was previously recorded with Thurston Moore and Jim O’Rourke for a compilation, for example.) In these renderings they receive their definitive treatments, utterly transformed.

                                FORMAT INFORMATION

                                Coloured LP Info: Limited Red wine coloured vinyl.

                                Coloured LP includes MP3 Download Code.

                                Fjaak graces Seilscheibenpfeiler Schallplatten with a trifecta of hits from their expanding catalogue.

                                "Drugs" has the brilliant insanity of early hardcore hits that'd openly advocate explicit drug taking. Over a militant techno beat Fjaak places the vocal loop 'drugs' and lets it repeat over and over again. Genius.

                                "Quilmes" buzzes with a kind of uncontrollable voltage as circuits fry under excessive force and strain. An almost gabba-like kick drum underpinning the chaos as a whole manner of synth lines fizz and burst around the stereo field.

                                "3XL" sees a nassteee ass palette of sounds attempt to tear us a new one under growling sawtooths, hyped up rave vox and a demolished breakbeat. Mega!


                                After pledging a long term commitment to cutting edge electronics through the second volume of their "Danzas Electricas" compilation, Macadam Mambo offer more razor-sharp music from the fringes of clubland, courtesy of Berlin duo As Longitude. The collaborative partnership of Eva Geist and Laura ODL (also known as Ondula), As Longitude made waves with a brilliant debut on Knekelhuis and show-stealing contribution ot the "Eine Welt Vol.1" compilation. Now they plug straight into the mainframe once again to hold some sort of bizarre synth seance for all the freaks on the floor - future primitive in the most ritualistic way, this is slow-mo cyberpunk for the druid class.
                                Setting up their place of power in the middle of the neon swamp, Eva and Laura embrace radioactive gurgles, mechanised cicadas and a fading shortwave signal, enhancing the otherworldly effect with an eerie lead line and churning bass while the tribal rhythm lollops on. Berlin frontman and songwriter Paul Arambula's twisted vocal contribution reveals the duo’s wavy tendency in an unexpected song-form, translating the track into an opiated nonsense poem for all the eyeball lickers. Heading deeper into the heart of the ceremony, "Na Numbers" sees the duo summon Simone's haunting saxophone, open a portal to the black ark and lose themselves in a bizarre Bermuda Triangle between dub, no wave and psychedelic synth-funk. Sway through "I Thought It Was Summer" and your transformation will be complete. The buzzing bassline, delay-riddled synth ragas and hypnotic beat pinning you down, spinning you out and turning you into your animal persona.


                                STAFF COMMENTS

                                Patrick says: Since Macadam Mambo turned their back on the edit industry (arguably a shame given their track record), the quality, consistency and insanity of their release has increased tenfold. This latest 12" sees Eva Geist and Laura ODL hold a synth seance in the neon swamp, laying out the slow and low weirdshit for the eyeball licking acolytes.

                                Instant House Presents

                                Awade

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

                                  Donny Hathaway

                                  I Love You More Than You'll Ever Know (Timmy Regisford & Joaquin Joe Claussell Unofficial Edits & Overdubs)

                                    Originally Produced by Timmy Regisford, Donny Hathaway’s I love You more than you’ll ever know. Timmy produces another Shelter classic. Here he creates a back drop of electronic house music that seemly fits with Donny Hathaway’s emotional vocals. The flip side houses an Edits and Overdubs version produced by Joaquin Joe Claussell.

                                    Joaquin’s version is an instrumental that can be labeled as soulful electronic dance music and features Joaquin’s signature outwordly keyboard solo- overlaid over his re-aranegment of Timmy’s original version.
                                    The end results are a powerfully produced twelve-inch record that can be played and enjoyed by Deep House and Electronic DJ’s alike.

                                    Enjoy the Journey.

                                    Sexteto Miramar

                                    ¡Salsa! Mi Hermana

                                      By the time Sexteto Miramar's groundbreaking "¡Salsa! Mi hermana" LP was released in 1968 they had been performing for over a decade and had gone through changes in both personnel and instrumentation. Formed in Medellín as a children's "murguita" (little holiday party band) that used to annoy the neighbors, they quickly grew into a hot teen combo specializing in Cuban and Colombian music with accordion and sax arrangements in a conjunto (small group) format, eventually recording for local labels including Zeida. During this time the group had several hits that became standards (later covered by domestic and foreign artists) including 'Carruseles' and 'Cumbia del sol'. By the mid-1960s the old band had dissolved and original founding member and bandleader/arranger Hernán Builes had formed a new outfit, signing with Zeida rival Discos Fuentes. Miramar then recorded an obscure album of tropical music called "Cumbias con El Miramar", sounding much like their earlier records.

                                      However, inspired by New York's Joe Cuba Sextet and La Playa Sextet (as well as the savvy record label head Don Antonio Fuentes), several years later Builes decided to swap the folkloric accordion for the more contemporary sounding electric guitar, piano and vibes and signed a new contract with Fuentes under the name Sexteto Miramar. During this period Miramar featured several vocalists who would later go on to greater fame, including Humberto Muriel, Johnny Moré and Rodolfo Aicardi. The newly minted Sexteto Miramar were perhaps the first Colombian group to use the term "salsa" as a musical genre when they recorded "¡Salsa! Mi hermana". The record was also their first album as a sextet under their new name, instrumentation and membership. Humberto Muriel has said that back in the late 1960s Colombians became instant fans of the sextet and their records "because nobody here dared to [play or] record this music", what later would become known as Nuyorican salsa. He has also said that Builes led the band with a firm hand, being responsible for the tight musicianship and interesting arrangements, unusual for such young musicians.

                                      The album features several originals as well as cover versions of New York Latin and Cuban tunes first popularized by Orquesta América del '55, Tito Rodríguez, Celia Cruz, Sabú Martínez, La Playa Sextet, Joe Cuba Sextet and the Peruvian group Pepe Moreno y su All-Star Band. As to how Builes came up with the album's signature tune, 'Salsa Boogaloo' (which explicitly references The Bronx and Manhattan as well as Maracaibo and Lima), he had most likely been listening to Venezuelan radio broadcasts of the new Latin records by artists such as Pete Rodriguez, Ricardo Ray and Johnny Colón coming out of New York, which had been described as "salsa" since 1966 by bohemian disc-jockey Phidias Danilo Escalona. With this fresh approach and the aid of Discos Fuentes, Miramar's fame quickly spread from Medellín to Cali, Buenaventura, Bogotá and beyond. According to Muriel, the fact that "¡Salsa! Mi hermana" did not have any overtly Colombian genres like cumbia and instead concentrated on foreign sounds such as guajira, mambo, charanga, bolero, guaguancó, guaracha, boogaloo and salsa meant that the band was consciously trying to update Colombian tastes. "We were in that story, we were living what was happening with Antillean music [at the time], for instance bringing salsa and boogaloo to Colombia," explains Muriel. This was the first of many bands and recordings to come out of Discos Fuentes in the salsa genre, and as such it deserves special consideration, though it is certainly the incredible music contained within the record's grooves that will insure its popularity in this lovingly restored reissue.

                                      FORMAT INFORMATION

                                      Ltd LP Info: Presented in facsimile artwork and pressed on 180g vinyl.

                                      Mattin

                                      Songbook #7

                                        The Wire "office ambience" - Dec 2018

                                        New volume of Mattin's "Songbook" series, one of the most interesting works in the current experimental, improv and noise field. Layers of avant-garde tradition culminate into a set of songs that go beyond themselves. In times of increasing desperation here emerges a strange record: a disintegrated manifesto exploring the truth of disagreement.

                                        "Songbook #7" digs into some of the most important issues today: dissolution and disappointment of the social fabric, the rise of fascism, lack of coherence in a collective vision for the future and the shortcomings of democracy in a capitalist system. These times feel like being stuck in a gif, and here the response is to look for different understandings of time and history. If you want some musical references you can imagine one of those collaborations between Red Crayola and Art and Language if it was produced by Roberta Settels.

                                        Carl Matthews

                                        Call For World Saviours

                                          Mesmerizing D-I-Y electronic music from Cumbria, UK. Influenced by the Berlin School but, even more, by Tim Blake. Released 1984 on cassette only. This is the first time vinyl!

                                          Carl Matthews is by no means immune to the maelstrom of geo-caching notebooks. Krautrock (tick), guerrilla D-I-Y cassette-era artist (tick), under-rated UK electronic composer (tick). Man with a beard, surrounded by synths. (tick). Best of all, he was once described as the Edgar Froese of Cumbria.

                                          Is there a suspension bridge which connects Carl Matthews to the mainland European tradition of Harmonia, Cluster and Tangerine Dream? 

                                          Erell Ranson

                                          Hand In Hand - Inc. DJ Normal 4, Pariah, SW Remixes

                                          Kalahari Oyster Cult have been thumbing through their back catalogue and return to a past gem for some renewed attention. 2017 saw the release of Erell Ranson’s Hand in Hand, a quintet of beautifully crafted machine music. Two tracks have been chosen from the EP and remixed with stunning results.

                                          First up is Dj Normal 4’s “Sealife Safari MixX” of “If We Never Try.” The sweet, shimmering melody of the original, the bubbling bass and subtle notes, are transformed in this remake. Silvery chords morph into bold and daring new forms under the tutelage of Tim Schumacher, neon streaked patterns coalescing with broken and cracked percussion for a superbly uplifting piece.

                                          Pariah follows with his rework of “Hand in Hand.” A deep dreamscape intricately woven with heady notes, birdsong and endless possibilities.

                                          The final odyssey comes care of SW (Stefan Wust) of SUED fame. The Berlin based musician delivers his reimagined idea of “If We Never Try” with Ranson’s version being washed over by lapping lines and gentle currents to create a smooth rounded finale. A trio of unique perspectives from three true talents of electronic music.

                                          The Byrds

                                          Dr. Byrds & Mr. Hyde

                                            After the departure of three band members that played on Sweetheart Of The Rodeo, Roger McGuinn had to assemble a new line-up for The Byrds. Especially their new guitarist Clarence White really shines on Dr. Byrds & Mr. Hyde and would continue to do so in subsequent Byrds albums. The pedal steel guitar work is particularly fantastic, the arrangements are inventive and Roger’s distinctive nasal-pitched vocals are confident and inspired. Dr. Byrds and Mr. Hyde may lack the instant commercial appeal of the group’s past releases, but remains an interesting and intriguing artefact of the era.

                                            The Byrds were one of the earliest groups who successfully combined the best of two worlds; they caught on to the energy of the British Invasion and fused it with the lyricism & musical elements of the contemporary Folk movement. Along the way they pioneered Psychedelic and Country Rock, always keeping things recognizable with their vocal harmonies accompanied by their jangly guitars.

                                            Dr. Byrds & Mr. Hyde is a limited 50th anniversary edition of 1.500 numbered copies coloured (clear & black swirled) vinyl.

                                            Cranes

                                            Self-Non-Self

                                              After releasing their first EP Fuse, Cranes expanded to a four-piece band and recorded Self-Non-Self. The increased textures and drum slams showing their improvements. The dark sounds are a combination of industrial and post-punk music. “One From The Slum” is an instrumental piece and one of the highlights of this versatile record. Alison Shaw’s lonely voice is setting the tone on this breathtaking album. She’s singing with deeper tones on a track like the industrial “Focus Breathe”. The re-release bonus tracks include the live song “Reach” and the rough and doomy “Nothing In The Middle, Nothing At The End”.

                                              Siblings Alison and Jim Shaw formed the band Cranes back in 1989. They recorded several successful albums, including 1991s Wings of Joy and 1994s Loved.

                                              Self-Non-Self limited 30th anniversary edition of 1.000 individually numbered copies is pressed on coloured (black & pink mixed) vinyl.

                                              I Am Kloot

                                              I Am Kloot - Coloured Vinyl Reissue

                                                I am Kloot is the second album of the band by the same name. Their music is haunting, melodic and smooth. This second piece yielded five singles, including the hits “Life in a Day” and “3 Feet Tall”. It’s much more than just a standard rock album as it’s expanse their dark and fractured sound. Songs like “From Your Favourite Sky” and “Proof” are just brilliant and shows how they developed after their first release from two years earlier. It’s all a bit more streamlined than before but that’s the strength of the band. John Bramwell is a fine songwriter who created this beautiful marvel.

                                                I am Kloot was as one of the most interesting bands of its time. Formed from the ashes of The Mouth they stood up and released some very successful releases

                                                FORMAT INFORMATION

                                                Coloured LP Info: 180 gram audiophile vinyl.
                                                Gatefold sleeve including insert.
                                                Limited edition of 1000 individually numbered copies
                                                on transparent vinyl.

                                                Levon Vincent

                                                The Synthesizer Cake EP

                                                I'm not quite sure where Levon calls home at the moment - whether its Berlin or New Jersey - but I do know he's at once the most artically creative moments in his already enduring career. His labour of love, Novel Sound, has always been home to his highly engineered dancefloor specialities, and the 24th release doesn't fuck with program just yet...

                                                A1 is punishing Vincention techno. Thick with electrostatic crackle and a forebodding air of tension; big, speaker busting bass growls rise to the surface under suspended strings and helicopter blade. Non linear, cranium spliiting ingenuity by one of the masters!

                                                B2 should be familiar to fans of his repetoire. Heady dub-techno shards echoing through a vacuum packed mix that nods to Chain Reaction and Deepchord but stands out as Levon's own patented brand of high grade dub-techno.

                                                B3 concludes with enchanted 'chime' keyboard presets painting a celestial and redolent sonic picture over repeating hat patterns and gated electro bass. Thoroughly magical, thoroughly Levon. As usual, absolutely mega stuff from this darling of electronic music. Limited copies - move quick!  

                                                Buke & Gase

                                                Scholars

                                                  “No other bands sound quite like the duo of Buke & Gase.” - NPR Music

                                                  ‘Scholars’ is Buke & Gase’s third album and their first in six years. The New York duo have reinvented themselves, emerging with a more concise, electronic and emotional sound, in sync with our most forward-thinking contemporary artists.

                                                  Since 2013 the band have served as hand-picked opening act for The National, Battles, Lou Reed, Shellac, Deerhoof, Owen Pallett and Mike Patton’s metal supergroup Tomahawk.

                                                  For fans of Dirty Projectors, Animal Collective, James Blake.

                                                  Go Dark

                                                  Neon Young

                                                    Go Dark are out there on the fringes, two lone figures working in the twilight to illuminate the world. 21st Century cyberpunk that touches on the sickness of modern life, Ashley ‘Crash’ Gallegos and Adam ‘Doseone’ Drucker are bound by an incommunicable sense of purpose, the two merging completely on scorched debut album ‘Neon Young’.

                                                    “Go Dark is music for women of my kind, the striving maniac animal,” says Crash. “bitches that wear skirts and knives who can go into the woods and track things.”

                                                    Dose adds: “A lot of music is meant to take you to a place you’d rather be, but this is meant to be a score for the way it is.”

                                                    Go Dark emerge from digital ghettos, torn up synths and blunt, punk-edged Brutalism that conjures John Carpenter-style visions of futuristic dystopia - except it’s happening right here, right now.

                                                    FORMAT INFORMATION

                                                    LP Info: LP format includes digital download code.

                                                    Guy Skornik

                                                    Tusk

                                                      From Guy Skornik, the composer and arranger behind Popera Cosmic and Pour Pauwels, comes the enigmatic instrumental cues that provided fellow existentialist and notorious auteur director Alejandro Jodorowsky (‘The Holy Mountain’) with the soundtrack music to what is now considered his rarest and most overlooked feature film, ‘Tusk’.

                                                      As part of Finders Keepers’ ongoing dedicated Jodorowsky soundtrack series the label presents the original film edits from the 1979 studio sessions featuring Steve Hillage (Gong) and members of Cossi Anatz.

                                                      Following his mind melting masterpieces ‘Fando & Lis’, ‘El Topo’ and ‘The Holy Mountain’, Jodorowsky’s ‘disowned’ attempt at a family film retains the director’s ongoing demand for intense, experimental film music, resulting in what is undeniably one the best kept sonic secrets from the darker corners of this coveted filmography.

                                                      Cherrypicked from pre-recorded synthesiser-fuelled cosmic pop sessions by Skornik, these compositions provided ‘Tusk’ with arabesque new age synthesis alongside fullblown ambitious electro rock, as well as classic French Fender Rhodes-driven romanticism during some of this lesser-spotted movie’s most memorable moments.

                                                      Presented here in isolation, Guy Skornik’s multifarious futurist-pop evokes worthy comparisons to Ash Ra Tempel, Eno’s Bowie and Suzanne Ciani, mapping an unlikely journey between Magma and 10cc in the process. Don’t ignore Jodorowsky’s ‘elephant in the room’ - you never know what’s hidden in the trunk.

                                                      The Twilight Sad

                                                      It Won't Be Like This All The Time

                                                        From their unassuming origins as a group of school friends drawn together by a shared passion for music to the global touring force (supporting The Cure and Editors at arenas and stadiums), they have quietly become, The Twilight Sad’s ascent has been forged the old way with grit, graft and four exceptional studio albums. Now signed to Mogwai’s Rock Action Records, the bands fifth album does not disappoint and will certainly not disappoint fans of their previous works. It will also appeal to fans of The Cure, Frighten Rabbits, The National, Interpol and Editors.

                                                        FORMAT INFORMATION

                                                        2xColoured LP Info: Indies exclusive heavyweight blue vinyl.

                                                        2xColoured LP includes MP3 Download Code.

                                                        2xLP includes MP3 Download Code.

                                                        Lone

                                                        Reality Testing - Reissue

                                                          The hyper-chromatic music of Matt Cutler marks him out as a true impressionist; as Lone, he drizzles brightly coloured melody through his tracks with all the reflexive skill of a master painter daubing inks and pigment across paper. On Cutler's fifth Lone album, Reality Testing, released on R&S, he sends notes and chords rippling delicately into space before allowing them to disperse, each oozing beautifully away into the background fabric of the music. Combined with rhythms that ebb and flow, shifting from propulsive club constructions to beatific coastal hip-hop, it's a sensuous, immersive, heady experience, and easily his most accomplished and self-contained work to date.

                                                          "I was listening to a lot of Detroit techno and old Chicago house that had the same grain and dirtiness to it as a lot of the hip hop I was listening to," says Cutler of the genesis for Reality Testing. "That was the real spark - I wanted to make an album that had both hip hop and house beats, but that weren't completely different from each other, that shared the same sort of vibe. I love the idea of two things sat side by side, but instead of it seeming like they're complete opposites, [it's more that] those two things could almost be the same thing."


                                                          FORMAT INFORMATION

                                                          Coloured LP Info: Indies exclusive clear vinyl.

                                                          Various Artists

                                                          Inasound: Retour Aux Sources De L'électro Avec L'INA GRM

                                                            Pioneer of electro-acoustic and experimental music, the French Groupe de Recherches Musicales (Musical Research Group) created by Pierre Schaeffer right after World War II still influences current electronic music. This selection of tracks from 1949 to 2004 invites its listener to discover the various directions taken by the most influential musicians of the Groupe.

                                                            Hague & White

                                                            The Eleventh Hour

                                                              Hague & White are Sheffield musicians Chris Hague (guitars, pianos and backing vocals) and Joel White (lead vocals, Hammond organ, Wurlitzer and Rhodes pianos – who also happens to be the cousin of the bard of Sheffield, Richard Hawley) who, between them, have worked with artists including Pulp, Moloko and Finlay Quaye. The band is completed by legendary drummer and percussionist, former Weller sticksman, Steve White. These three very talented musicians have created a self-assured, sophisticated and breathtaking debut album.

                                                              The Eleventh Hour was recorded at Sheffield’s Tesla Studio, produced by Chris and David Glover (with co-production from Joel), and mastered at Abbey Road. It encompasses various styles and moods, touching on the band’s love of soul, jazz, funk, psych and garage. With a sound hard to define, the eclecticism of Hague & White has been compared to anything from the sounds of Acid Jazz, to bands such as Elbow and The Last Shadow Puppets.

                                                              Album opener Distant Relative tackles the issue of mental health within a family, soundtracked by an atmospheric arrangement and breezy harmonies. Elsewhere songs such as Stranger To Your Love and first single Just Be True are upbeat pop numbers filled with instantly memorable hooks and melodies.

                                                              Over a slice of ‘60s garage, What Ya Gonna Do Now drives home the message to keep on keepin’ on in the face of adversity, whilst I Thought I continues this sentiment over a soulful romp. The groove continues apace on Put Me Where You Want Me, an anti-hero song, recognising that we sometimes need other people and we can’t do it all by ourselves.

                                                              The penultimate track on the album is the exquisite Don’t Hurt, a positive song about rescuing someone from a past abusive relationship. The album culminates with title track The Eleventh Hour, which asks philosophical questions of the time we have here on earth, full of social and political comment. It’s a song that showcases the band’s deep love of the type of ‘message music’ so common in the work of artists such as Marvin Gaye, Stevie Wonder and Curtis Mayfield.

                                                              Andre Bratten

                                                              Lim / Recreation 26B

                                                                We are happy to announce Andre Bratten’s 12” trilogy! Each 12” edition of 300, no re-press. First out is Un and Pax Americana.

                                                                Deerhunter

                                                                Why Hasn't Everything Already Disappeared?

                                                                  As thrilling and unpredictable as anything in Deerhunter’s near 15-year career, Why Hasn’t Everything Already Disappeared? was recorded in several strategic geographic points across North America, and produced by the band, Cate LeBon, Ben H. Allen III, and Ben Etter. Forgetting the questions and making up unrelated answers, Deerhunter’s eighth LP is a science fiction album about the present. Exhausted with the toxic concept of nostalgia, they reinvent their approach to microphones, the drum kit, the harpsichord, the electromechanical and synthetic sounds of keyboards. Whatever guitars are left are pure chrome, plugged straight into the mixing desk with no amplifier or vintage warmth.

                                                                  FORMAT INFORMATION

                                                                  Coloured LP Info: Grey coloured vinyl.

                                                                  Coloured LP includes MP3 Download Code.

                                                                  The Decemberists

                                                                  Traveling On

                                                                    The EP “Traveling On” is the next iteration of The Decemberists B-sides series, a tradition that began in 2005 and serves as a follow up to “Florasongs” and “Long Live the King”. It’s comprised of five B-sides related to their last album ‘I’ll Be Your Girl’ (4 tracks that were exclusive to the Exploded Edition box set + a full band version of “Traveling On”).

                                                                    The Phantom Band

                                                                    Checkmate Savage - 10th Anniversary Deluxe Vinyl Edition

                                                                      Vault back to the dawn of 2009. Signed the previous year to Glasgow independent label Chemikal Underground are The Phantom Band, a six-piece group that melds folk, Krautrock, the blues, art-rock and anything else that comes to hand, lacing their idiosyncratic, intricate tapestries with effortless pop melodies delivered by the mahoganied baritone of singer Rick Anthony.

                                                                      The group’s debut album, Checkmate Savage, immediately attracts widespread acclaim from critics in the national music press and newspapers.

                                                                      “A record as auspicious and accomplished as it is unforeseen” – Keith Cameron, Mojo. 4/5 stars

                                                                      “This kraut-folk groove-fest could have been bashed out by The Beta Band’s little brothers” – Camille Pia, NME. 8/10

                                                                      “Were they from Brooklyn rather than Glasgow, Checkmate Savage would have been acclaimed as a benchmark album of 2009” – Michael Hann, The Guardian. 4/5 stars

                                                                      “This debut is fearlessly ambitious and unexpectedly commercial” – Steve Jelbert, The Times. 4/5


                                                                      Fans of the group’s heady brew swiftly snap up all vinyl copies of the album, the result being stratospheric prices for those searching for it on the secondhand vinyl market.

                                                                      A decade on, Chemikal Underground is proud to announce the imminent rebirth of an album that remains as spectacularly imaginative as it was the first time round, presented in a package that does 100% justice to the original songs, which were deftly produced by Paul Savage – whose credits include Mogwai, Franz Ferdinand, King Creosote, Deacon Blue and many more – at the label’s affiliated recording studio Chem 19 in Lanarkshire and Franz Ferdinand’s studio in Glasgow.

                                                                      Deserving of a place in every record collection worth its salt, the stylistically wide-open, moonstruck delights of Checkmate Savage are, for the first time, spread over four sides of heavyweight vinyl housed in a gatefold sleeve, with a download code for MP3 versions of the album’s nine songs. The record will be available exactly 10 years on from the release date of the original album.

                                                                      This new edition – cut from the original masters – is an essential acquisition for those with an appetite for wildly creative, mischievous and aurally captivating music. A no-brainer, in other words.

                                                                      The Phantom Band went on to release three more albums on Chemikal Underground – The Wants (2010), Strange Friend (2014) and Fears Trending (2015) – while Anthony, under the name Rick Redbeard, has released two solo records on the label, No Selfish Heart (2013) and Awake Unto (2016). The group has been on hiatus since the theft of their equipment while touring in Europe in October 2015.

                                                                      STAFF COMMENTS

                                                                      Laura says: Given the volume of records released these days, it's easy for things to disappear into your record collection after a few months, never to be unearthed again, but this is still one of my go-to albums, years after it's release.
                                                                      The synthetic, metallic chill of the motorik rhythms and wooshing synths is balanced perfectly with heavy percussion and Rick's rich vocals adding more organic tones. It's just an amazing, inventive album that while hinting at a multitude of reference point, sounds like nothing else.

                                                                      There’s a new species on Planet Euphorique… Deep dweller from down under, Reptant lands bringing with him a brand new range of Lizard Tech over 4 tracks. Touching on break-beat, texture-step, bleep techno and electro Reptant attempts to keep it unique and fresh while retaining that old school flavour.

                                                                      The Dead C

                                                                      Ravers

                                                                        Disguised as the meandering outpourings of vacant thought and activity dialed simultaneously from zero and ten. Formed in the cauldron of a fevered mistake resolute. Surrounded by ignorance, dis-interest, and the attention of the carefully self-selected. Recorded and burned through a thousand galaxies of dust and doubt and endless infinite wonder, transforming both time and space. Forever exiled to the very bottom of the world to reflect on the struggling desperate pile above. Recognizing any contribution as miniscule and insignificant when placed within the greatness of the other, the dominant insolent preening satisfied, continually shouting the pre-eminence of the first world order.

                                                                        Snakes Don't Belong In Alaska

                                                                        Snakes Don't Belong In Alaska

                                                                          Strap yourself in and get ready for Snakes Don't Belong In Alaska. Somewhere between The Cosmic Dead flying and The Myrrors High Evolutionary Transcendance - Snakes Don't belong In Alaska have it in fucking spades my friends and as an introduction to them Cardinal Fuzz have packed 2 of their releases pressed onto vinyl and packed as a double LP - Mountain Rituals and Ancient Alien Temple Ritual.

                                                                          Newcastle collective Snakes Don't Belong In Alaska have been slowly but steadily making a name for themselves on the UK psych circuit, hosting numerous international touring acts and putting out some radical self-released (and highly limited) recordings under their own Infinity Mirror imprint. This however is the band's first widely available release - an absolutely monumental tome of heavy, droning kosmische freakout that blows away all preconceived ideas of what this group is capable of. Drawing on an aural temple map leading straight from Ash Ra to Acid Mothers, "Mountain Rituals" climbs from a deep earth drone into the sort of mind-warping guitar bliss that will leave you scrambling for the repeat button over and over again.

                                                                          Old Mexico

                                                                          Old Mexico

                                                                            In 2016 Dead Meadow’s Jason Simon ventured north to San Francisco to take part in the Family Folk Explosion: a Last Waltz-style concert series hosted by Trans Van Santos and what the SF Weekly has called "his band of Merry Pranksters." Simon picked a handful of songs to perform with the Trans Van Santos band, leaning heavily on unrecorded material and selections from his last solo album. When he arrived in San Francisco for rehearsals he was immediately taken with the band’s much jazzier interpretations of his songs; a particular revelation coming from the loose and idiosyncratic swing of San Francisco drummer and Spirit Jazz elder Dave Mihaly (known for his work with Jolie Holland and his own group; Dave Mihaly & The Shimmering Leaves Ensemble).

                                                                            Of all the songs that Jason Simon brought to the table that evening, none were more important to the future NorCal/SoCal collaboration between these two sonic tribes than “Past the Western Wall;" a song Simon felt necessitated a Free Jazz approach that had proven difficult to capture. Not so in San Francisco, where the song became the lengthy and searching centerpiece of the set. Behind Dave Mihaly’s inspired work on the trap kit, Jason Simon’s exploration of Indian motifs on lead guitar, and the Bob Weir-like rhythmic accompaniment of Trans Van Santos, the song found its wings, stretching freely in the open landscape of the songs middle section. Clocking in at nearly fifteen minutes, “Past the Western Wall" was the clear highlight of a show that featured more than a few bright moments. The next morning Jason Simon drove back to Los Angeles with a copy of Dave Mihaly’s most recent album and an invitation to join Trans Van Santos at the TVS2 sessions in Joshua Tree, California the next month.

                                                                            Jason Simon listened to the Dave Mihaly album on the drive back to Los Angeles and then he listened to it again, and again. The next month in Joshua Tree he presented Trans Van Santos with a proposition to record an album featuring material from the three songwriters. They pow-wowed and smoked the peace pipe and formulated a plan: the album was to be recorded in both San Francisco and Los Angeles, in the northern reaches of Old Mexico, and feature contributions from members of their respective solo projects. Songs would be recorded live over a couple of sessions with very few overdubs. “Western Wall" would be the foundation that the album would be built upon. Jason Simon would produce and steer the ship through the process and toward completion. This album is the fruit of that cross genre and multigenerational collaboration out on the edges of West. Welcome to Old Mexico.

                                                                            Angelic Milk

                                                                            Divine Biker Love

                                                                              Angelic milk, the Saint Petersburg based project from Sarah Persephona, is back with their long-awaited debut album Divine Biker Love. After a few Bandcamp-only releases angelic milk signed with PNKSLM Recordings in 2015 for the release of the IDK How single, which immediately brought them the attention of the likes of Stereogum, SPIN, KEXP, BrooklynVegan and many more. Their first studio recordings, the Teenage Movie Soundtrack EP, arrived the following summer to continued acclaim, before the band retreated to the studio to work on the debut album. Two years later the band emerged with Divine Biker Love, a distinct collection of songs where Persephona’s grunge pop sensibilities meets influences from shoegaze and dream pop, as well as hard rock - a collection of songs that couldn’t have been made by any other band.

                                                                              Bivouac

                                                                              Peel Sessions + Tuber

                                                                                Bivouac did everything a 3-piece alternative rock band from Derby, who grew up on a steady diet of Husker Du, Sonic Youth and The Pixies, could dream of doing in the nineties. They released a string of records on cool indie label Elemental, recorded sessions for John Peel, played with Fugazi and Jesus Lizard, danced onstage with Nirvana, signed to a major label and split up. They’d began in 1992 and were over by 1996, but in that brief period, Bivouac crafted some essential, skewed and fuzzy tuneage that has endured and lingered on the cult fringes of alternative rock, remember fondly by those that were there as the band got on with the rest of their lives.

                                                                                Then in 2016 they returned. It’s all Stewart Lee’s fault. Sometime that year the stand-up comedian, writer and director wrote a Guardian column that mentioned Bivouac. This brief mention was read by the good people who organise Gigantic, the popular nostalgia festival in Manchester who were fans of the band, who promptly asked the band to play that year.

                                                                                “What shall we wear?”, that’s the first thing that drummer Antony Hodkinson said in response to the question of ‘shall we do some gigs after not playing for 20 odd years?’,” explains singer and guitarist Paul Yeadon. “And that was pretty much the spirit of the few shows we played together thereafter! We made a racket (with earplugs this time), celebrated the folly of youth, grown men cried, people travelled from Scandinavia, Europe and America. It was very humbling…we planned a few more.”

                                                                                All of which leads us to 2018, where the band have indeed planned a few more. This year marks the 25th anniversary of ‘Tuber’, their debut album, and to celebrate such an event, this September 7th sees the release of a beautifully presented double vinyl reissue. Remastered by Paul Yeadon himself, the album is coupled with the first official release of the two sessions recorded for John Peel in ’92 and ’94 and issued through the band’s own label Thanks Capitalism in a limited run of 500 copies.

                                                                                “Tuber was recorded on a farm in Warwickshire, we played a lot of golf on the then cutting-edge Sega Megadrive,” remembers Paul. “At this point we had played a lot of shows and still liked one another, we were match fit and well-rehearsed. I think the combination of being confident at what we were doing but still not being really aware of why or what we were doing, (the needless pouring and scab picking would come later) made for a heartfelt and naïve record. Simplistic and uncontrived.”

                                                                                And of the Peel sessions Paul remembers… “We all grew up listening to Peel. It’s a cliché I know but I listened under the bedclothes on an AM radio to his show in the early 80’s. The music he played me then still defines a large percentage of my musical taste. To be part of that legacy is still really humbling, we are very proud to release the Peel sessions. I remember him playing us as I walked across the Reading show grounds, puffing my chest out! He kindly supplied us and our labelmates AC Acoustics with beer from the VIP tent cos we were skint, we did awful radio interviews with him and he had us do three sessions. It really was a dream come true.”

                                                                                35007

                                                                                35007

                                                                                  Dutch sonic experimentalists 35007's eponymous sophomore album (later referred to, more often than not, as Into the Void We Travelled) did much to fine-tune and expand the breadth of the group's style: a clever mix of analog and electronic effects and psych, stoner, and Krautrock influences. Opening statement "Herd" cleverly dissects society's disdain for individuality atop a hypnotic motorik framework spiced with electronics, while subsequent standouts like "Soul Machine," "Big Bore" (which is anything but), and the supremely danceable "Powertruth" bolster guitar riffing to stoner rock thresholds. All of these benefit from Eeuwout Baart's gritty, soulful vocals, which often bring Dave Wyndorf to mind and thus make "Monster Magnet tripping at a rave" a very apt description for the proceedings. ….Instead, the album's remaining highlights include the organ-laden "66" and the semi-epic "Undo," which, along with the closing ten-minute instrumental "Locker," bask in swirling, spacy synth effects for an ambient landscaping effect that would duly come to fruition on 35007's best-known opus, Liquid, some years later. ….

                                                                                  35007

                                                                                  Liquid

                                                                                    35007's third full-length release, 2002's Liquid, is a fully instrumental, conceptual effort consisting of just four songs that, one presumes, are meant to illustrate the fluid state in musical form. Not only do they succeed in this endeavor, 35007 also churns out some truly inspiring and out-and-out cinematic sonic vistas that in the end coalesce into a single, awesome musical wave (pun intended). Rising from the ocean depths on the cusp of slowly building synthesizers, 11-minute opener "Tsunami" eventually crashes like a million gallons on a beach of ultraheavy, stoner rock guitar riffs. Appearing to rock and sway with the ebb and flow of tides, ensuing numbers "Crystalline" and "Evaporate" take the shorter route to shore by locking into rhythmically rotating bass guitar figures that spray psychedelic accents in the surf. And in 14-minute closer "Voyage Automatique," 35007 attains a hypnotic trance-groove perfection, at once blissful and utterly seductive. Do away with all of these watery metaphors and Liquidstill stands as a major accomplishment in the ambient rock field, and a recommended introduction to both 35007 and the genre at large...

                                                                                    FORMAT INFORMATION

                                                                                    Coloured LP Info: Blue and white vinyl.

                                                                                    Cosmic Eye

                                                                                    Dream Sequence

                                                                                      Recorded in 1972 at the legendary Landsdowne Studios in London, Cosmic Eye is an extraordinary piece of recorded music. Led by Indian born guitarist Amancio D’Silva, Cosmic Eye was a highly innovative studio experiment in which ‘Jazz Meets World’. Following in the footsteps of other pioneering Landsdowne jazz recordings such as Joe Harriott & John Mayer’s Indo Jazz sessions, Cosmic Eye is modal, but is also under-pinned with traditional Indian instrumentation and structure, resulting in a hypnotic, psychedelic jazz excursion.

                                                                                      Constructed into two conceptual pieces (Dream Sequences), two side-long jazz ragas showcasing D’Silva’s soulful guitar playing reminiscent of his earlier 60s sessions, Hum Dono and Integrations, as well as his session work for the Bollywood film industry under the musical directors Laxmikant-Pyarelal. Featuring a host of UK and Indian musicians, Cosmic Eye is a Singular recording from a fervently rich period of British modern jazz. Finally this phenomenal jazz recording sees a legitimate reissue.


                                                                                      FORMAT INFORMATION

                                                                                      LP Info: 180g Vinyl with replica artwork.

                                                                                      Ragnar Grippe

                                                                                      Symphonic Songs

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

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

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

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


                                                                                        FORMAT INFORMATION

                                                                                        Coloured LP Info: Clear vinyl.

                                                                                        Julia Kent

                                                                                        Temporal

                                                                                          Temporal is the elegantly restrained new album by Canadian cellist/composer Julia Kent. Following the dissonance and tension of her previous album for Leaf, 2015’s Asperities, Temporal is a meditation on the transitory and fragile nature of existence.

                                                                                          Much of the music that comprises Temporal was originally written to accompany theatre and dance productions. “The initial inspiration was more external than internal, in that many of these pieces began as a response to a text or a choreographic concept,” Julia explains, “but they all seemed to be coming from the same emotional world and it made sense to weave them together into a record.”

                                                                                          After the threat of violent release on Asperities, Temporal’s relationship to the physical world manifests itself in a more organic, human sound. The electronic manipulations are subtler, with Julia sampling voices from a theatre production and processing them into unrecognisable textures: ghosts of the source material. “I included the processed voices to acknowledge the genesis of the music and also because I wanted to incorporate vocals in a way that turned voice into texture, and blurred the lines between sonic elements.”



                                                                                          FORMAT INFORMATION

                                                                                          Vinyl comes with CD version of the album enclosed.

                                                                                          Alex Chilton

                                                                                          Songs From Robin Hood Lane

                                                                                            Alex Chilton, front man for the Boxtops and Big Star was always known to surprise his fans with different directions he took over the years. Songs From Robin Hood Lane finds Chilton tackling a variety of numbers from the great American songbook. These songs are the first Alex ever heard as a kid in the 1950s growing up in a Memphis suburban streat called Robin Hood Lane. Recorded in 1990.

                                                                                            Many of the songs he learned from his father Sidney Chilton, a jazz trumpeter and pianist when Alex was a kid growing up in the Memphis suburbs in the 1950s. It features some of his most expressive singing from his time as a solo artist. This set includes previously un-released recordings and others that are quite rare. All have been out of print for some time. This is a great lazy Sunday afternoon record to listen to and curl up with someone you love.


                                                                                            Alex Chilton

                                                                                            Memphis To New Orleans

                                                                                              These recordings from Alex Chilton have been out of print for over a decade. Hugely influence to and lauded by the likes of Wilco, REM, The Replacements among many others....these are the best of his recordings from the 1980's.

                                                                                              Some know him as the lead singer of the Boxtops who had a number one hit in 1967 with “The Letter,” others know him from the majestic Beatlesque pop of Big Star or as the name in a song by the Replacements (“Children by the millions sing of Alex Chilton…”) Others know him as the songwriter of the theme song for That 70s Show.

                                                                                              He was at the height of his cult star fame in the mid 1980s when he made these recordings and it is some of his best most honest work oddly neglected for some time but delivered here for enthusiasts and neophites alike. 


                                                                                              Sleeper

                                                                                              The Modern Age

                                                                                                On 22nd March 2019, Sleeper release their first album in 21 years, The Modern Age. It wasn’t meant to happen. In fact, the band had promised each other it never would. “We had no plan to get back together. Sometimes life throws you a massive curve ball. You end up jumping off the cliff, just to see what it feels like.”, says singer, Louise Wener

                                                                                                The band spent summer 2018 recording The Modern Age with their long-time producer, Stephen Street - a relationship that clicked into place again right away. They tracked live at Metway studios in their adopted city of Brighton, before decamping to Street’s studio in West London to add the finishing touches. The Modern Age is the outward looking sound of a band revitalized and refreshed. Covering subjects from motherhood and social media to personal loss and, inevitably, relationships. The Modern Age retains Sleeper’s classic pop sensibilities with a shiny, new, contemporary feel.

                                                                                                The first single to be taken from the album is Look at You Now – released on Dec 5th and available on all digital platforms. Initially it appears to be referencing Sleeper’s comeback, but it’s a protest song at heart: a howl for the politically homeless in a landscape where reasoned debate has given way to vitriol.

                                                                                                Sleeper enjoyed huge critical and commercial success in the mid-90s: achieving 8 Top 40 singles across 3 Top 10 albums with well over 1,000,000 sales. Their music was characterized by astute, observational lyrics and big, hook driven melodies. Wener was an iconic front-person, heading up a movement that brought women center stage in guitar music. Sleeper split In 1998 and walked purposely away from the limelight. Wener carved out a career as a successful novelist. Drummer Andy Maclure and John Stewart - Sleeper’s guitarist - both became lecturers in music studies. Sleeper’s current line-up are joined by former Prodigy bassist Kieron Pepper.

                                                                                                Michael Rother

                                                                                                Solo



                                                                                                  FORMAT INFORMATION

                                                                                                  FREE SHIPPING This item has FREE UK shipping!

                                                                                                  Nate Young

                                                                                                  Volume One: Dilemmas Of Identity



                                                                                                    FORMAT INFORMATION

                                                                                                    LP Info: Comes with two-sided A2 fold-out poster insert.

                                                                                                    LP includes MP3 Download Code.

                                                                                                    Swindle

                                                                                                    No More Normal

                                                                                                      Bridging distinct but closely connected music scenes can open new possibilities. On ‘No More Normal’, Swindle confidently grasps the different sides to the UK music scene. Boasting roots in the boundary-pushing world of Grime & Dubstep, this album marks the next step in the London-raised producer’s expanded vision for his music. It fuses different disciplines together in new and electrifying ways. He connects a group of peers sharing creative common ground, one that centres around the fertile space between UK Jazz, Grime and Hip Hop. The results span from lush, strings-laden soul to voicebox-heavy p-funk – often in the course of one song. “It’s a class photo of 2018,” he says. “I need everyone in this picture.” It incorporates an all-star cast of MC’s in Kojey Radical, Ghetts, D Double E and P Money, to instrumentalists Yussef Dayes, Nubya Garcia, Riot Jazz, and singers such as Etta Bond, Eva Lazarus, Daley and Kiko Bun.

                                                                                                      The album was built over a three year period. The opening track “‘What We Do’ became the track that set the scene for each studio session, a way of Swindle explaining what he was setting out to achieve. Featuring an (on paper) unusual combination of R&B singer Daley, Grime legends P Money & D Double E, and an opening speech from Bristol-based spoken word artist, Rider Shafique - “It describes the narrative of the record overall and helped set the agenda for what followed - I made a lot of tracks that were really good that at the end of the day didn’t fit this project”. The resulting work has a pervading sense of triumph against the odds, and a celebration of togetherness at this moment of fragmentation that manages to feel both optimistic and nostalgic. A record that could have only been made in today’s multicultural Britain. “No More Normal is the idea of us doing our thing, our way, with no rules or limitations. It is jazz influenced as much as it is grime influenced. It’s London influenced as much as it is LA influenced. I can work with D Double E and Nubya Garcia, these records are my imagination brought to life in musical form”.

                                                                                                      “No More Normal” follows a spate of projects where Swindle’s taken on the role of producer for other artists. That’s included Kojey Radical, for his single ‘Water’; Joel Culpepper, whose ‘Woman’ live session for Colors has clocked up 4M Youtube streams and counting, D Double E with three tracks on his debut album ‘Jackum’ and Mahalia’s EP ‘Seasons’. It follows years of graft spent staking roots in the underground, from early output on Butterz, to the Trilogy of Funk triple EP released last year. The debut singles "Reach The Stars" & "Coming Home" saw support from all the heavy hitters - Target, Jamz Supernova, Annie Mac, Julie Adenuga, and Gilles Peterson.

                                                                                                      An appreciation of jazz and funk has coursed through Swindle’s music since the very start. ‘No More Normal’ continues that love affair. Growing up in south London, he built his first studio in his bedroom when he was 14. Excluded from school for having “way too much energy” his early steps into music were aided by his blues guitarist father, who gave him lessons on the guitar and whose record collection – made up of soul and jazz touchstones - provided vital inspiration for his debut LP "Long Live The Jazz", released on Mala’s Deep Medi label in 2013. The follow up in 2015, “Peace, Love & Music”, was created in studio sessions all over the world, and, accompanied by an explosive live show, was further testament to the ambition and scope of this singular artist.


                                                                                                      En Dag

                                                                                                      En Dag

                                                                                                        Recorded one day at Konst & Ramar studio, Stockholm, while touring the Voice of the Seven Woods album in January 2007, En Dag is the previously unreleased collaboration between Rick Tomlinson, Chris Walmsley and Pete Hedley.

                                                                                                        FORMAT INFORMATION

                                                                                                        Ltd LP Info: Limited to 300 vinyl LPs. Sleeve by Rick Myers.

                                                                                                        Underground Dublin sounds on Pear from the legend as known as DJ Moonbeam.

                                                                                                        Dublin’s Pear label return with the new EP Soma from Donabate legend Bryan Mooney (aka DJ
                                                                                                        Moonbeam) under his New Members alias. 3 spaced out & illimitable club cuts make up this
                                                                                                        latest dancefloor offering on the 6th release from the year-old imprint.

                                                                                                        The title track has been a sought after, certified Pear party anthem; timeless dancefloor alchemy
                                                                                                        rolled into 9 minutes of dub tech(no) club magic. Yep, ‘tis a big one.

                                                                                                        B Side swerves left and then some. Good Morning drifts along effortlessly, buoyant with minimal
                                                                                                        garage swing and touched ever so slightly by late 90’s french deep house-isms (surely destined
                                                                                                        to soundtrack many sunrise sets for the next while). Eclipse then consummates this extended
                                                                                                        affair with a nod to the hardcore continuum through a ruff’n’rugged jungle number, dashed with
                                                                                                        Mooney’s signature dreamscapes.

                                                                                                        Chris Carter

                                                                                                        Chris Carter’s Chemistry Lessons Volume One.1: Coursework

                                                                                                          Chris Carter’s Chemistry Lessons Volume One.1: Coursework’ was created using a newly-formed piece called ‘Bongo Glow’ and reworkings of three tracks from the original album.

                                                                                                          ‘Bongo Glow’, a work in progress at the time, was finished using the same processes as ‘CCCLV1’ so that it could appear on the Japanese release of the album.

                                                                                                          The additional three reworkings were created without direct instruction as an experiment to see how they changed with input from external sources.

                                                                                                          Daniel Avery’s remix of ‘Usyring’ is a slow building majestic tome that comes full circle.

                                                                                                          The Radiophonic Workshop took ‘Blissters’ and created a more experimental reworking in their unique style.  Chris Liebing gave ‘Tones Map’ a brooding anthemic feel, adding his Slow Burn remix technique.

                                                                                                          The Specials

                                                                                                          The Best Of The Specials

                                                                                                            The Specials are one of the defining bands of the late 70’s/early 80’s along with Jerry Dammers iconic label Two Tone Records. Originally formed in 1977, as The Coventry Automatics, The Specials combined Jamaican ska and Rocksteady, mixed with the energy of punk they launched a whole Ska Revival. They also helped fellow likeminded bands such as Madness, The Beat, The Selecter to release their first singles. The Specials released ‘Gangsters’ as their first single in the summer of ’79, quickly releasing the classic singles A Message To You Rudy, Do Nothing and Rat Race. They released their debut album ‘Specials’ in 1979, followed by ‘More Specials’ in 1980. During this time, the band has two UK Number One singles, a live version of ‘Too Much Too Young’ from ‘The Special AKA Live EP’ and the unforgettable ‘Ghost Town’ in the summer of 1981. Jerry Dammers continued as The Special AKA following the departure of band members in late 1981, releasing their third album ‘In The Studio’ which included the iconic single ‘Nelson Mandela’. 

                                                                                                            Gram Parsons

                                                                                                            GP (45th Anniversary Edition)

                                                                                                              Gram Parsons debut solo album, originally released in 1973.

                                                                                                              Contains the additional 7" vinyl with the tracks:
                                                                                                              a) She
                                                                                                              b) That's all it took.

                                                                                                              FORMAT INFORMATION

                                                                                                              Ltd LP Info: 180 gram Black Vinyl +7".

                                                                                                              The Monkees

                                                                                                              Greatest Hits

                                                                                                                The 1976 Greatest Hits compilation, featuring The Monkees Theme song, Last Train To Clarksville, I’m A Believer and Daydream Believer. 

                                                                                                                FORMAT INFORMATION

                                                                                                                Coloured LP Info: 140 gram Orange Vinyl.

                                                                                                                Television

                                                                                                                Adventure - Coloured Vinyl Edition

                                                                                                                  Television’s 1978 follow-up to Marquee Moon in Red vinyl.



                                                                                                                  Big Star

                                                                                                                  Live On WLIR

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

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

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


                                                                                                                    Monks Road Social Feat. Pat Dam Smyth, Shona Carmen & Zooey

                                                                                                                    Head Down To Love / Rivers Of Gold

                                                                                                                      Head Down To Love (Feat Shona Carmen) “ A Bossa Soul groove somewhere between Sly Stone and Air. Add the exquisite acoustic picking and songwriting nous of Matt Deighton to the soulful tones of Shona and youre in the presence of something very special and undeniably funky “

                                                                                                                      Rivers Of Gold. (Feat Pat Dam Smyth) “A heartbreaking break-up tune written and performed by the ‘ real deal’ Mr Pat Dam Smyth. He walks in the valley of giants. Of Cohen and Cave and Hazelwood with his head held high ‘cos he knows he belongs. This casts a spell and keeps you there until you just have to hear it again..and again”

                                                                                                                      E.B. The Younger

                                                                                                                      To Each His Own

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


                                                                                                                        An instantly recognisable intro that Daft Punk turned into one of their most well-known anthems, ‘Harder Better Faster Stronger’ - Edwin Birdsong’s ‘Cola Bottle Baby’ is straight up insatiable, late ‘70s funk fire.

                                                                                                                        To think this was made nearly 40 years ago – it sounds as delicious as the day it was released and one of those classics that was way ahead of the game. It’d be hard to find anyone that doesn’t feel some level of nostalgia in those opening 15 seconds, but not many would be able to name the original behind the sample.

                                                                                                                        A futuristic leaning jazz funk sound, in part created by the quacked-out bass synth and ringing ride cymbal but grounded in the grooving funk bass, twanging guitar and electrifying keys. An amalgamation of sounds from pop, disco and funk to jazz and electro, there’s no denying Birdsong’s talents - a flair that would lead him to collaborate with the mighty Roy Ayers.

                                                                                                                        On the B side, ‘Freaky Deaky Sities’ ramps up the tempo but carries on that mix of the futuristic and the funk – an ode to all the disco dancers out there. Talkbox business married with Birdsong and his backing’s call and response, bongos and cowbells side by side with rock styled guitars, it’s a pure power play for the dancefloor.

                                                                                                                        An underrated talent given a new lease of the life - officially, remastered and reissued for the first time on 12-inch vinyl for a fuller, louder pressing.

                                                                                                                        innamon’s ’83 NYC boogie scorcher ‘I Need You Now’ gets the official remastered, reissue treatment - complete with the ‘Fierce Reprise’ dub mix alongside the accapella, providing essential sampling material.

                                                                                                                        Marrying the old with the new, ‘I Need You Now’ is drenched in funk bass slickness and colourful chords, yet embraces a wealth of synthesized sounds from electro sequencers to synth-based strings, giving it that early ‘80s post disco, boogie feel. Bernard Fowler of Peech Boys fame steps up on guest vocals bringing a deep, R&B tone to proceedings, complimented by the all-female vocal prowess of Sinnamon adding their trademark feminine touch to the track.

                                                                                                                        First up on the flip side, the six minute ‘Fierce Reprise’ mix. Reversed rides that suck back into the skull, tape delayed vocals and spacey synth echoes blend together, as elements are overlaid and dubbed out for maximum, heavyweight, proto house vibrations.

                                                                                                                        Last up, a favourite and much used vocal accapella that’s been sampled by a whole host of early house, hardcore and garage producers from 808 State and Criminal House to Ray Keith and Paul Johnson.

                                                                                                                        An essential bit of kit for anyone with a penchant for that early ‘80s boogie flavour.

                                                                                                                        Richard Youngs

                                                                                                                        Memory Ain't No Decay

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

                                                                                                                          Lorelle Meets The Obsolete

                                                                                                                          De Facto

                                                                                                                            Mexican duo Lorelle Meets The Obsolete release their new album De Facto on January 11, 2019. The album, their fifth, was recorded at their home studio in Ensenada, Baja California, mixed by Cooper Crain (of Cave and Bitchin Bajas) and mastered by Mikey Young (of Eddy Current Suppression Ring and Total Control). It’s easily their best and most coherent album to date, and also the one that fully explores the outer limits of their sound. “There was a conscious desire to push further with what we were doing,” says The Obsolete, aka Alberto González. “One of our rules for this album was to go all in without middle grounds in terms of what we wanted the songs to be. We were committed to developing ideas that made our heads go ‘POW!’ from the beginning.” The end result is somewhere between the brave experimentation of the new Low album, Double Negative, and Tender Buttons-era Broadcast put through a heavy psych filter. There are pure pop songs that come across like lost ’60s nuggets (‘Linéas En Hojas’), blistering white noise jams (‘Unificado’) and meditative incantations (‘La Maga’) – all of which will, indeed, make heads go ‘POW!’

                                                                                                                            Nicolas Jaar

                                                                                                                            Nymphs

                                                                                                                              The Nymphs series was written between 2011-2015 and this is the first time it’s been compiled on one vinyl release.

                                                                                                                              Red Pig Flower & Thought Crime

                                                                                                                              Thought Crime (Incl. Wareika Remix)

                                                                                                                              This Project Is Conceptually Based Around George Orwell’s Classic Novel, 1984, Backed With A Remix From Perlon Trio Wareika.
                                                                                                                              .
                                                                                                                              The Original Mix Of 'Thought Crime' Opens The Package With Murky Atmospheric Textures, Skippy Hat Patterns And Shuffled Organic Drums Grooves Driving The Composition Before The Focal Stages See The Introduction Of Eerie Piano Chords, Spoken Word Vocal Samples And Acid Tinged Bass Which Ebbs And Flows Within The Depths. 'No Fear’ Follows Next, Laying Focus On A Bumpy Drum Groove, Modulating Synth Swells, Ethereal Tension Building Pads And A Snaking Sub Bass Groove To Create A Dynamically Unfolding, Hypnotic Cut.

                                                                                                                              Perlon’s Wareika Step Up To Rework 'Thought Crime' Opens The Flip-side, As Always From This Trio Shining Light On Chuggy Bass Grooves And Jazz Tinged Ever-unfolding Drums Whilst Stirring In The Original’s Eerie Voices And Choppy Pianos To Create A Frenzied, Dynamic Feel Throughout. 'Since 1984’ Next To Round Out The Release, An Interlude Of Sorts Featuring A Bubbling Arpeggio, Dreamy Piano Melodies And An Amalgamation Of Swirling, Dubbed Out Echoes Spiralling Amongst Muted Kicks.

                                                                                                                              Dekmantel are proud to announce the re-issue of some of the most era-defining trans-Atlantic, techno cuts from the early nineties, thanks to cult label Djax-Up-Beats.
                                                                                                                              .
                                                                                                                              The Dutch label was responsible for releasing some of underground’s most archetypal underground dance music, mixing together Chicago and European artists alike, and acting as the launch pad for some of today’s biggest producers. This timeless music is being re-issued on vinyl for the very first time. Founded in Eindhoven at the turn of the 90s, Djax-Up-Beats quickly earned an international reputation for being a reputable source of Chicago house, acid techno, and floor-filling, heavy hitting straight up, underground 12”s. This first re-issue volume sublimely blends esoteric, ambient sounds, with staunchly fierce, and energetic electronic rhythms. Throughout the eight-tracks you can hear the sounds of sequencers, drum machines, and motor-city basslines. It defined the beginning of an era that never went away. Whether you’re a collector, or DJ looking to add to the your left field techno collection, the re-issue of Djax-Up-Beats best records is not one to pass up.

                                                                                                                              More archival techno and deep electronics from Australian producer Tim Jackiw via Offworld Records. Unearthed from DAT tape sessions recorded in Adelaide between July-October 1996 and including two tracks previously released on a very limited 12" on Furthur Electronix, 'Endless Cycles' completes the trilogy of previous Offworld releases 'Science of Sound' and 'Still Tomorrow', reprising Tim's unique musical take on classic detroit-inspired techno and science fiction soundscapes.

                                                                                                                              FORMAT INFORMATION

                                                                                                                              12" Info: Orange translucent vinyl.

                                                                                                                              After their first release on Deeplak in 2017, Lars Bartkuhn and Aybee return as The Astral Walkers with a brand new 12", this time on the incomparable NEEDS (not wants) imprint. The two friends continue to break boundaries of nowadays often narrow minded dance music by using the broadest palette of musical ingredients they could possibly put together for their special studio session.

                                                                                                                              While Astral Stroll is a spaced out groover featuring some of Aybee's trademark rhythms and mysterious pads, Full Expansion
                                                                                                                              explores in nearly 15 minutes what dance music is ideally about for the duo. A fearless journey that begins with esoteric waves of sound blending into futuristic jazzfunk worlds where the dancer can get
                                                                                                                              truly lost. Elevating choirs, virtuous bass lines, sparkling guitars and lush pads altogether flow into a grand finale that can only be described as a true anthem and epic journey.

                                                                                                                              In times where one can repeatedly hear that music doesn't really matter anymore, Aybee and Lars made a record to prove the opposite is true. Don't Fear The Sound is a sincere and bold statement by two pioneering producers and an invitation for the dancer to get lost in every note and moment of the music. 

                                                                                                                              ‘Blue Grass Ep’ contains four super rare recordings of a phantom Greek musical-duo called ‘Free Level’ which was formed in Athens, Greece between 1983 and 1984. The musicians behind this project were composer and keyboardist George Theodorakis and ex-Sharp Ties’ guitarist and founding member Petros Skoutaris - both young veterans of the Athens music scene in the late 70’s/late 80’s. TIP!
                                                                                                                              .
                                                                                                                              Into the light proudly picks four utterly spellbinding highlights of this totally unheard material. More specifically, the ep offers two long instrumental tales and two somewhat personal songs that all together share the same syncretic blend of European and Southeastern nuance. Swaying rhythms, obscure but hilarious lyrics, pitched up Jean-Luc Ponty influenced bass-lines and proto-dreampop experiments by one of Athens' most promising but short collaborations from the early 80's. Immerse yourself! 

                                                                                                                              Upcoming, very talented Amsterdam DJ /producer debuts on Rush Hour with a loud 12-inch two-tracker, New Dance. After his remix for Bassekou Kouyate on Joe Claussell's label and the strong "Testify" track co-produced with Jamie 3:26, he now goes solo with these two Italo infused dance floor igniters .

                                                                                                                              The King Rooster

                                                                                                                              Mudslinger / Ain’t Sellin’ Chicken

                                                                                                                              Heavy Hammond Funk quartet The King Rooster return with 2 brand new tracks following their successful self titled debut LP. Side A features the fast paced “Mudslinger” and the mud definitely sticks with this one – the break will mos def get the B-Boys/Girls up on the floor! Flip the script to find the seductive Ain’t Sellin’ Chicken – a mid tempo jam which certainly gets you licking your lips!

                                                                                                                              FORMAT INFORMATION

                                                                                                                              Ltd 7" Info: Limited to 500 copies.

                                                                                                                              SHELVED RECORDINGS 1

                                                                                                                              Returning to a brief but very fruitful period in electronic music production, Shelved Recordings exists to look back to the golden age of the remix, with a clear view of the future it imagined.

                                                                                                                              Artists who were steered towards maverick producers, with a view to changing the rules, to re-defining the terms of what modern music should and could be.
                                                                                                                              Pioneering techniques, over-dubs and an exploratory period of pop production, resulted in many lost dub versions and mixes. Mixes, which invariably were left on the shelf, deemed too 'out there' by the bosses of the the hedonistic label managers who commissioned them.

                                                                                                                              Shelved will present a series of limited double 12" releases comprised of carefully reconstructed and rebuilt lost classics from someone who was there the first time around !








                                                                                                                              One limited vinyl press only

                                                                                                                              Aroop Roy

                                                                                                                              Valentine's Park / Scuse Me George

                                                                                                                              Stamp welcomes edit maestro Aroop Roy to the fold for its 10th label release!

                                                                                                                              The A-side extends and tweaks a legendary flautist's catchiest hit while the flip tips one of America's most prolific musician's late 70's hits on its head.

                                                                                                                              Long requested, now finally on wax!

                                                                                                                              Bendik Giske

                                                                                                                              Surrender

                                                                                                                                Giske’s mesmerizing debut takes listeners on a true journey through the euphoria and wanderlust of nights spent clubbing — using little more than his voice, his instrument of choice, and more than a few well-placed microphones. An impressively coherent statement that brims with purpose and energy, Surrender heralds Giske’s arrival as an artist unafraid to think outside the confines of his artistry and pursue the furthest-flung ideas with successful aplomb. Born in Oslo and splitting much of his adolescence between his home city and Bali, Giske grew up in an artistic household and took up the saxophone at the age of 12. As the years progressed, so did his comfort with the instrument, which inspired him to push the boundaries of what he could accomplish creatively with it.

                                                                                                                                After spending much of the previous decade racking up contributions to others’ works, including several albums from Norwegian performance artist NilsBech, Giske was inspired to conceive Surrender after a fateful trip to a notorious Berlin club. “I resisted—I felt like everyone was an idiot,” he admits regarding the experience, which he now regards as transformative. “At some point, I started embracing this culture, and I realized that this is where I wanted to be and how I wanted to create in this universe. The space really creates a parallel universe that takes a while to get into—but once I surrendered my self to it, I started experiencing my self in a way that feels more true.” Surrender as a verb is a key concept to Giske’s debut. “…the queer perspective is always there,” he states. “In gay culture, we have the terms ‘top’ and ‘bottom,’ with ‘bottom’ referencing an act of surrender and trust. This act of surrender gives you a different perspective on how you relate to the world—how you apply yourself and experience things.”

                                                                                                                                Recorded at Oslo’s EmanuelVigelandMausoleum, Giske and producer AmundUlvestad conceived of the method in which they placed tiny microphones over the saxophonist’s instrument and body, right down to being able to capture his breathing between notes.  Instrumental music is often at its best when telling a story within the notes it contains, and by that measure Surrender is an absolute triumph — an extremely relatable work of art for anyone who’s ever had a moment in a crowded room and felt themselves changing amidst the chaos of the world surrounding them.

                                                                                                                                Various Artists

                                                                                                                                DJ Kicks - Leon Vynehall

                                                                                                                                  First to take the reins of the DJ-Kicks mix series in 2019 will be ever evolving UK artist, Leon Vynehall. His 26-track mix features new material from the man himself, as well as exclusives by Hessle Audio and Timedance affiliate, Ploy, rising newcomer Peach, and Pavilion, plus a number of gems that will be available digitally for the first time ever.

                                                                                                                                  In a short space of time, Leon Vynehall has established himself as a DJ and producer with real craft. He brings a much wider than usual array of skills and influences to electronic music, and is always as likely to talk about minimalism, post-punk, or hip-hop as he is house and techno. This comprehensive approach to was confirmed by his spellbinding debut album Nothing Is Still on Ninja Tune in June 2018. An imagined soundtrack to his grandparents' emigration from the UK to New York throughout the 1960s, it told a distinctive story that unfolded into a resonant narrative; a richly layered affair filled with curveballs and a wealth of adventurous ideas that Vynehall pulled off with confidence and style.

                                                                                                                                  It’s the same story with his DJs sets, and particularly this DJ-Kicks mix, which goes from 79-169bpm in fluid fashion. Always interesting and distinctly diverse both in genre and tempo, the mix works in a range of settings, as was the artist’s aim.

                                                                                                                                  “I wanted to approach this more like a compilation than a stand-alone ‘mix,’” he says. “To me, compiling a DJ-Kicks is a significant statement of intent and representation, so with that in mind, I thought more about the selection than the mix. Being given the responsibility to select work from artists I admire, some of which have only ever been released on their first vinyl presses many years ago, was a task I didn’t take lightly.”


                                                                                                                                  Bjarki

                                                                                                                                  Happy Earthday

                                                                                                                                    An expressive electronic album filled with sadness, yet one with the sort of positive, stirring resolve that leaves you feeling utterly comforted, Bjarki’s new album ‘Happy Earthday’ is influenced by his home country Iceland as well as environmental issues. “Maybe you can feel the melancholy of my life, the nature overall. Volcanos and the lava flowing down the slopes, the frightening noise of the ocean beating the land, the strong wind in the mountain passes and a glimpse of the first ray of the rising sun over the glacier. Now that is the dawn of a new day.”

                                                                                                                                    Having released bodies of work on Nina Kraviz’s label трип and his own label bbbbbb, Bjarki views ‘Happy Earthday’ as his proper debut album; he feels it’s a more coherent and conceptual body of work that finds him offering up music he never thought he would release. “You can consider this album a window into my head and even my soul,” says Bjarki. “For me it is a bit odd, sharing like this to the world. As a very private person I am not used to opening my door so completely. It’s a little scary for me. ‘What if …’ I wonder, expecting all kinds of everything.”

                                                                                                                                    The album contains very personal material written over the last decade during fragile moments of introspection. And because of that, “releasing this album is also a kind of a farewell to music I made in a certain period in my life. It’s like I’m saying farewell to a grown-up child which is now ready to leave the nest.”

                                                                                                                                    There are skeletal rhythms with sombre chords lingering in the air, downbeat drums with heavy moods, and moments of more uplifting optimism along the way. Throughout the album - made up of comparatively short tracks that help the whole thing move at an engaging pace - Bjarki always manages to make his machines sing with real resonance; they ooze genuine pain and a stunning sense of melancholy that is comforting even when the tempo is raised and drums come to the fore.


                                                                                                                                    Nadine Shah

                                                                                                                                    Love Your Dum And Mad - Reissue

                                                                                                                                      Having set the tone with two critically acclaimed EPs 'Dreary Town' and 'Aching Bones', Love Your Dum and Mad not only continued to mark Nadine as an emerging talent but offered a complete, beautifully formed artistic statement. Of Norwegian and Pakistani ancestry and hailing from the north east town of Whitburn, this young London based artist's compositions lean towards the dramatic, with all eleven tracks finding themselves imbued with an understated unease, a deep personal connection to their author and a real triumphant streak beneath the darker hued material.

                                                                                                                                      The first song Nadine wrote, 'Dreary Town', with its plummeting melodies and anguished vocals, is the most personal of all and the track that convinced Ben Hillier to come on board at a very early stage. It soon became apparent that the two understood each other creatively and wanted to produce a record that wasn't purely about showcasing Nadine's unique vocals but was also completely immersive sonically.

                                                                                                                                      Musically, she is reminiscent of early Bad Seeds material and the bruised honesty of a sheen-less Broken English by Marianne Faithful. Vocally, Nadine counts her inspirations as Nina Simone and Maria Callas by way of Mariah Carey and Whitney Houston, while lyrically her classic tales of love and loss find their roots in personal experiences, filtered through abstracts of William Hogarth, and Frida Kahlo. Nadine has taken these influences and has created a work which blends her rich and husky classic jazz streak with fantastical, organic instrumentation and the twisted industrial sounds of modern life.

                                                                                                                                      Along the way we dip into a brave take on adultery in ‘Runaway’ and the moral ambiguity of ‘Filthy Game’ which is based on a short story by Italo Calvino called ‘Mr Palomar’ and ‘The Devil’, which Nadine rather brilliantly sees as a kind of baton passed on from like-minded artists who recorded a song of the same title. Elsewhere, album highlight ‘All I Want’ has a simple piano motif that nestles next to the supreme vocals and wonderfully romantic sentimental lyrics.

                                                                                                                                      Unafraid of roiling in life’s choppier waters, Nadine's album is word play on “love your mum and dad” and is named after the title of a painting by Nadine's friend Matthew Stephens-Scott who tragically passed away a few years ago. A few of the albums songs are about him and others also suffering from mental health related issues, and it’s the noticeably sparser, more electronically experimental 'Floating' that Nadine says the lyrical theme of the album is best portrayed.

                                                                                                                                      Opening track 'Aching Bones', with its insistent clanging rhythm and sparse tinkering keys, sets an eerie, slightly menacing tone for the album whilst immediate successor 'To Be A Young Man's acoustic guitar hooks seem to offer comfort in borrowed nostalgia. The lyrics coming directly from conversations in her local pub with an old man who would regale her with stories of his glory days, and the freedom he felt in his youth.

                                                                                                                                      The last song on the album ‘Winter Reigns’ sees an acceptance come into play when Nadine explains further about said public house “I wanted this to almost be a song of resolution. It’s where I would go to drink and talk about whatever troubles I was going through. What I love about the place is how warm and welcoming everyone was (and still is), their stories and their wisdom.”


                                                                                                                                      Nils Frahm

                                                                                                                                      Encores 2

                                                                                                                                        Following the release of Encores 1 on June 1st, Nils Frahm releases of Encores 2, the second in a series of EPs following the release of the universally acclaimed album, All Melody, released in January of this year.

                                                                                                                                        While Encores 1 focused on an acoustic pallet of sounds with just a solo piano and harmonium, Encores 2 explores a more ambient landscape from the All Melody sessions, the pinnacle of which is the astral 12 minute showpiece Spells. Recorded through an amplified stone well Frahm found on Mallorca, Encores 2 is at once unique but familiar; orbiting the universe of All Melody while inhabiting its own world.

                                                                                                                                        “The idea behind Encores is one we had from before All Melody; to separate releases each with their own distinct musical style and theme, perhaps even as a triple album. But All Melody became larger than itself and took over any initial concepts. I think the idea of Encores is like musical islands that compliment All Melody”

                                                                                                                                        EX:RE

                                                                                                                                        EX:RE

                                                                                                                                          Elena Tonra, guitarist, vocalist and lyricist of Daughter, has announced details of a solo project. Running parallel to Daughter, she’s assumed the pseudonym Ex:Re (pronounced ex ray) for her eponymously-titled debut solo album, a deeply personal record that was made with both a sense of urgency and a cathartic need. Just finished, it’s being released with equal speed and will be out digitally on 30th November

                                                                                                                                          Tonra’s candid solo songs document the time after a relationship ended and are written like unsent letters to herself and others. Taking on a creative moniker, she chose Ex:Re to mean ‘regarding ex’ and also ‘X-Ray’ as a way to look inside and see what is really there. Writing took a year but the recording process lasted mere months, turning to Fabian Prynn (4AD’s in-house engineer and producer) and composer Josephine Stephenson on cello to help bring Ex:Re to life.

                                                                                                                                          Elena said of the album, “Although the record is written for someone, a lot of the time it’s about the space without that person in it. In every scenario, there's either the person in memory or the noticeable absence of that person in the present moment. I suppose it is a break-up record, however I do not talk about the relationship at all, and he hardly features in the scenes. He is only felt as a ghostly presence.”


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                                                                                                                                          RT @MelodicRecords: Working For A Nuclear Free City feature in this spectacular 10" soundtrack box set for Breaking Bad - grab it from our…
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