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Bullion

We Had A Good Time

    In early 2018, Nathan Jenkins (Bullion) returned from the coast of Arrábida to his new home studio, in a cottage tucked behind the grand hotel setting of Wim Wenders’ Lisbon Story. Breaking for lunches under a Datura tree in the garden and a far cry from the Finsbury Park basement flat he rented the previous year, a set of recordings followed that galvanised into an E.P. - We Had A Good Time, music informed by out-of-town trips in a 1987 Renault 9 Super, impromptu car park hulas and solo cinema bliss.

    The new E.P. manufactures a modern chamber music from pitch-shifted keys, bent, tremolo`d notes and twisted toms. Sets rueful reflections to disco pops and claps. Pizzicato patterns. Harmonies honed from a microtone maze. We Had A Good Time follows Nathan’s 2016 album, Loop The Loop and other solo efforts gracing labels, R&S, Young Turks, Whities and The Trilogy Tapes.

    Smoove returns with one of the most exciting and ambitious multi layered cut and paste mixes that Wack Records have ever released.
    Over a year in the making, Smoove has meticulously sifted through hundreds of original samples spanning over 6 albums.
    Behold a tribute to one of the greatest rap groups of all time!

    Ahmed Ben Ali was born in 1971 in Benghazi. He went to boarding to school in Canada for 8 years, and returned to Libya. For a couple of years he also worked in the UK. Music was never his main job but his "main hobby" as Ahmed says. Hhe recorded maybe 40 tracks and released two more albums. He also started playing gigs in Libya with his own band. In 2008 a friend of his decided to set up a youtube account for him by starting with two uploaded tracks. The account remained untouched since 11 years. At some points two of the tracks from this account started gaining traction. "Sibhana", the infectious Libyan reggae, which you can also hear on this release and "Damek Majeb", the second track on this 12 inch which is leaning more towards a clubby Arabic pop feel.

    Ahmed Ben Ali works as a technical engineer and records music in his own home studio. There he operates as his own sound technician and his own producer recording the music plus writing the lyrics. A one man musical army. Contextualizing his own style Ben Ali pointed out that "The Libyan folkloric rhythm is very similar to the reggae rhythm. So if Libyan people listen to reggae it's easy for them to relate because it sounds familiar. This is the main reason why reggae became so popular here. [...]We played the reggae Libyan style, it's not the same as in Jamaica. We added our oriental notes to it and if you mix both it becomes something great." With a bit of laughter he added: "And to me it's still original reggae, it's Libyan style, not some bullshit."The revolution and overthrow of the Gaddafi regime certainly affected the musical scene. Ahmed Ben Ali said the events didn't really change his music or the approach he had to it but it also didn't change the Libyan's people affection for their own version of reggae music.

    What changed in the aftermath of the revolution was the influx of islamic fundamentalists, political instability and security issues which made the life of Libyans generally complicated but even more so for musicians as they were one of the prime targets for the islamists. On top the security situation minimized concert opportunities, which previously existed. For Ahmed Ben Ali it meant putting more focus on his day job again yet another big musical opportunity was going to arise for him.

    John Carroll Kirby

    My Garden

      My Garden is the Stones Throw debut of pianist, producer and composer John Carroll Kirby. An album written, recorded and produced entirely by Kirby, My Garden is a pure distillation of his sound — soulful, spiritual, and evocative. Demonstrating perfectly why Kirby is the go-to collaborator for artists ranging from experimental auteurs Bat for Lashes and Connan Mockasin to pop megastars Harry Styles and Kali Uchis, and R&B innovators Solange and Frank Ocean, My Garden is also a testament to the clarity and singularity of Kirby's vision.

      DJs, producers and unrivaled selectors, Danny McLewin and Tom Coveney have shared the next taste of their debut album ‘I Feel How This Night Should Look’ via their stunning next track, ‘Ghost Particle’.

      Recorded at Canterbury’s Cosmic Forest Studios, ‘Ghost Particle’ features English psychedelic-rock Syd Arthur frontman Liam Magill. A gorgeously emotive and glistening space prog infused moment track for the album, Ghost Particle glides along at cruising altitude.

      Released last year on their own imprint Psychemagik Recordings. ‘I Feel How This Night Should Look’ is an album with a phenomenal backstory spanning back over a decade. ‘I Feel How This Night Should Look’ is testament to the duo’s deep understanding and love of their craft, an LP which hones a layered intelligence that only long-term dedication to the art and craft of the DJ can deliver.

      African Head Charge

      Drumming Is A Language 1990 - 2011

        A companion set to the acclaimed Environmental Holes & Drastic Tracks set issued in 2016 that anthologised the early years of African Head Charge, this picks up the story in 1990 with what many fans regard as the band’s masterpiece, Songs Of Praise, plus 3 more studio albums, a ton of bonus tracks (including an entire disc of early 90s outtakes) and 36 page booklet. Each disc in an individual reverse board card wallet housed in a high quality outer slipcase. 

        African Head Charge

        Churchical Chant Of The Lyabinghi

          A unique album of outtakes from the classic Songs Of Praise and In Pursuit Of Shashamane Land albums, compiled by On-U archivist Patrick Dokter from the original tapes and expertly sequenced to work as an immersive listening experience. A companion piece to the acclaimed Return Of The Crocodile set from 2016 that took the listener on a version excursion through the early years of the group. These are the dubbier and more out-there experiments mixed down whilst Adrian Sherwood was shaping the sound of the albums. Bubbling percussion lines skitter across the stereo spectrum, ghostly voices echo inside the machine and mangled guitar riffs beam down from Mars, whilst staying rooted in the tough tribal rhythms that form the bedrock of the AHC sound, this is music for the head and feet, take heed!  Mastered by King Kevin Metcalfe, comes with download card for full contents plus double-sided poster insert containing an extensive new interview with African Head Charge mainman Bonjo Iyabinghi Noah telling the story of his early life. 


          Our first Belters record of the year is our third outing by our man from Ausburg, Dominik Marz, and this could well be his best yet - with 4 rock solid big room hitters. These have been doing the damage with Dixon, Ame and Solomun for the past few months and recently been given some airtime by the bold Pete Tong.

          African Head Charge

          Voodoo Of The Godsent

            2011 album available on vinyl for the first time. Master percussionist Bonjo Iyabinghi Noah joins forces once again with dubmaster Adrian Sherwood at the controls and a whole host of guest musicians, including contributions from dancehall pioneer Jazzwad and electronics from Adamski. All the elements of a classic African Head Charge album are present: spaced out dub, tribal chants, ecstatic trance, but updated with a rugged sound system undercarriage. Arguably some of the hardest hitting AHC rhythms laid down in the studio to date. Cut as a double LP for maximum dynamics by King Kevin Metcalfe. Includes download card for full contents and double-sided poster insert containing new interview with Bonjo on the making of the record.


            African Head Charge

            Vision Of A Psychedelic Africa

              The first album African Head Charge made for On-U since 1993, this 2005 set was a triumphant return that saw longtime collaborators Bonjo Iyabinghi Noah and Adrian Sherwood reunited in the studio once more, the album title referring to the project’s original mission statement (nicked from Brian Eno!). This album is African Head Charge at their very best, rich in varied percussion and spiritual chants, set over hypnotic and transcendent layers of African rhythms, trippy and bubbling dubbed-out effects, and trademark pounding bass. This is the first time the album has been released on vinyl. Cut over 4 sides for maximum dynamics by King Kevin Metcalfe. Includes double-sided poster insert featuring a new interview with Bonjo, download card for full contents and two bonus tracks.


              African Head Charge

              In Pursuit Of Shashamane Land

                Originally issued in 1993 and the last African Head Charge album on On-U Sound for 12 years, released at the height of the band’s popularity as a staple of live music festivals. Continuing the skillful fusion of styles they had explored on Songs Of Praise, this album added elements of trance and electronica to their trademark percussion-heavy sound. This expanded reissue adds 8 bonus tracks to the original vinyl edition, including 2 that have never been released before. Includes a download card for the full audio plus a double-sided poster insert with excerpts from a new interview with band leader Bonjo Iyabinghi Noah.


                African Head Charge

                Songs Of Praise

                  Originally issued in 1990 and considered by most fans to be AHC’s masterpiece. Religious chants set to an African dub backdrop of layered hand percussion, with a mighty sonic and great musicianship places the record in a unique place. An outernational classic. For this reissue the album has been expanded to a double LP with all the tracks from the original vinyl release plus bonus tracks previously only available on CD. Includes a download card for the full audio plus double-sided poster insert with excerpts from a new interview with band leader Bonjo Iyabinghi Noah.


                  Fiorious

                  I'm Not Defeated (Cassius Remix)

                  Following the tragic passing of Philippe Zdar last summer, Ed Banger and Glitterbox Recordings have come together to release the final collaborative Cassius production, with the blessing of Hubert Boombass and Philippe’s family. This special vinyl only release features their remix of Fiorious’ powerful call-to-resistance anthem ‘I’m Not Defeated’, a record that captures the energy of historical protest songs, and inspired remixes from Honey Dijon and Catz ‘N Dogz with critical acclaim. The B-side has been specially etched, and the release will be limited to just 2000 pressings, making this a true collector’s item. Described by Fiorious as “an inspiring eight-minute tour de force and the most bittersweet gift to all of us,” all profits from the 12” will be donated to Rainbow Railroad, a Canadian charity working to help the LGBTQ+ community escape persecution and violence.

                  Speaking of the record, Ed Banger founder Pedro Winter said “Zdar played me the remix while we were heading to the last gig we would ever played together. He knew he and Boombass had delivered a banging remix. The original song was already one of the strongest of the year and adding Cassius’ powerful groove, hypnotic drums and these unifying chords would make this remix an instant classic.”

                  One of Detroit’s brightest young house producer is Jaco Matthews, and his vinyl release on Rocksteady Disco is long overdue. “Lesson One” leads off the EP, a peak hour deep afro house track highlighting Jaco’s brilliant drum programming. “Snacks” follows, a bouncy and swinging composition with stuttering vocals and enough jack to make Robert Owens proud. On the flip is Jaco’s massive remix of Peter Croce’s “Revival”, full of moody pads, uplifting piano, driving 909, and a timeless message for our strange times.

                  Mint Condition - A record label focused on excavating the outer fringes of classic House and Techno. Unreleased mixes, classics and overlooked gems mined from the last 20+ of contemporary dance music are the order of the day. From Chicago, Detroit and New York to London and beyond, Mint Condition have got their expert digging hats on to bring you exclusive heat and those rarer than rare jams that have been on your wants list for years! Dig in....

                  Back to 2002, the beginning of the new millennium. Tom Churchill's Headspace Recordings label had already been making an impact on the deeper strains of techno emanating from within the UK. With releases from detroit's Sean Deason, CiM, Hanna, Vince Watson and many more, Headspace was already a 'must check' label within record buying and DJ circles. This stellar split EP with NYC's Dennis DeSantis saw the pair remix each others tracks, both turning in very different, but equally complimentary sonic excursions. Churchill's 'Spaces' is surefire deep-space techno boogie of the highest order, swinging and funky and melodic in equal measure. The DeSantis remix of 'Spaces' is also a total winner, a stripped back exercise in expert minimalism, full of feeling and a perfect partner to the original mix. On the flip is Dennis DeSantis' 'Leisure', a sprawling and laconic broken house jam. Brilliant and teasing melodic synth motifs sit atop nagging acidic basslines and space. Again, the remix follows the original and Tom Churchill dials the track down into chasm deep shuffling drums and basslines and dubbed out FX. It's hard to think of an EP where two artists can remix each others music in such a compelling way, and for it to work so well. This is truly an excellent release and it's a real pleasure to see these tracks back on the streets. Sublime, and essential.

                  'Spaces / Leisure' has been legitimately re-released with the full involvement of Headspace Recordings for 2020 and remastered by London's Curve Pusher from the original sources especially for Mint Condition. 100% legit, licensed and released. Dug, remastered, repackaged and brought to you by the caring folks at your favourite reissue label - Mint Condition!

                  Wrekmeister Harmonies

                  We Love To Look At The Carnage

                    ‘We Love To Look At The Carnage’, the fifth album by Brooklyn’s Wrekmeister Harmonies - J.R. Robinson and Esther Shaw - features frequent collaborator Thor Harris (Swans, Shearwater) on percussion and Jamie Stewart (Xiu Xiu) on electronics. The album was tracked in a cabin in the woods and mixed with Martin Bisi (Sonic Youth, Swans) at his BC Studios. Wrekmeister Harmonies, known for their large ensemble performances and intense recordings, create immense tension with spare arrangements and instrumentation. ‘We Love To Look At The Carnage’ charts a restless journey beginning in the middle of the night and ending in the wee hours of the morning. Robinson’s brooding lyrics grapple with phantoms both real and imagined, apparitions amplified by the feverish anxiety of insomnia. Shaw’s ethereal vocals duelling with Robinson’s baritone create a delicious tension. Her stellar keyboard and violin work are on full display providing moments of calm.

                    For fans of Godspeed, Dirty Three, Chelsea Wolfe, Emma Ruth Rundle, Marissa Nadler.

                    FORMAT INFORMATION

                    Coloured LP Info: Blood orange coloured vinyl.

                    Toby Tobias has been at the coalface of the British leftfield house movement for many years now, releasing, without fuss or fanfare, on an array of fine releases for labels such as ESP Institute, Delusions Of Grandeur, Rekids and many more.

                    Tobias opens up Futureboogie’s 2020 account with ‘Trippy Steve’, a trio of spaced out dance cuts, which come complete with a remix from Fantastic Man. ‘Trippy Steve’ blends energetic and raw disco rhythms with wide eyed and transcendental deepness, a powerful dubwise bassline that really drives the energy here. Australia’s Fantastic Man (Superconcious Records), keep’s the proceedings
                    lively on his remix here, a rasping b-line and rolling beats thrust forward at a pace, dubbing out the vocal samples and opening up the bass for some wiggy acid business.

                    ‘Cosmic Slang’ charmingly chugs with reverb soaked piano chords and ascending synths, whilst ‘Deo Mort’ is loose and carefree, with a myriad of classic samples cropping up amongst fragmented beats and a cap doffed towards the Sheffield bleep sound of old.

                    Sightless Pit

                    Grave Of A Dog

                      Sightless Pit may be a new name in heavy music but its members are some of the most groundbreaking artist of the genre. Lee Buford (The Body), Kristin Hayter (Lingua Ignota) and Dylan Walker (Full Of Hell) recorded their debut ‘Grave Of A Dog’ at Machines With Magnets with Seth Manchester (The Body, Lightning Bolt). Fans will recognize immediately Buford’s singular percussion and production, Walker’s venomous howl and Hayter’s virtuosic voice. The three share a bleak vision of existence and a willingness to follow each other into the musical abyss. Sightless Pit are a group of expansive ideas, extensive experience working together and shared vision. Over the course of the eight tracks the trio reflect the extremes and emotional weight of their world view through elegiac dirges, driving beats and explosive crescendos. Together, three strong voices unite to create a work of remarkable clarity of expression of enormous sorrow, futility and, most of all, beauty.

                      FORMAT INFORMATION

                      Coloured LP Info: Translucent pink vinyl.

                      Elements Of Life Featuring Jasper Street Company

                      Stand On The Word (Lost Souls Of Saturn And DJ Spen & Gary Hudgins Remixes)

                      7 years ago the band Elements Of Life re-recorded the Joubert Singers and Celestial Choir Classic “Stand On The Word” as an album track on the “Eclipse” full length release on Fania Records. Today in 2020, Vega Records retain their rights and re-release the Eclipse album and have brought in powerhouse remixers to give you their rendition of this golden nugget.

                      In the studio is Seth Troxler and Phil Moffa of The Lost Souls of Saturn taking you on an ethereal journey stretching out the chord progression of the organs, pianos, and vocals provided by Lisa Fischer, Cindy Mizelle, & Josh Milan. This will have music lovers on a cosmic ride, making you feel as if you are flowing through the stratosphere, then lands on a proper groove vamping away. The reverb on the vocals and organs are stunning.

                      Then, we go onto Baltimore, the home of gospel house, with Dj Spen & Gary Hudgins, who have created a top anthem of 2020 for all house lovers. Not only did they add live horns and ultra hot organs, pianos, and rhodes but they call on the legendary Jasper Street Company, the group of gospel house royalty. “Stand On The Word, the Word of God, Staaaaaannnnnnnd”, everyone will be singing along really soon!!

                      Los Campesinos!

                      Romance Is Boring - 10th Anniversary Edition

                        A pivotal moment in the evolution of Los Campesinos! - both more ambitious and more assured than the two albums that preceded it - this is the work of a band truly hitting their stride as songwriters. Musically the band expanded their already impressive sonic palette further on this album to incorporate orchestration from composer Jherek Bischoff and brass instrumentation, along with guest vocals from Jamie Stewart (Xiu Xiu) and Zac Pennington (Parenthetical Girls).

                        Lyrically, too, this album is a leap forward, with Gareth honing his skills as a storyteller and turning his focus outwards where the previous albums were more biographical in their subject matter. The results are some of Los Campesinos!’ best songs - from the anthemic poppier moments such as ‘These Are Listed Buildings’ and the album’s title track, to the sweeping melodrama of ‘The Sea Is A Good Place To Think Of The

                        FORMAT INFORMATION

                        2xColoured LP Info: Gold vinyl.

                        2xColoured LP includes MP3 Download Code.

                        Presenting another fully legit, remastered and repackaged reissue from the WD vaults! Brand new style for 2020.

                        London's Warriors Dance label was a unique operation and a pioneering London label during the late 80's acid house phenomena. Home to an assortment of DJs, MCs and soundmen, they went on to make their own original and indelible mark on the rave scene from the infamous 'Addis Ababa' studio on Harrow Road on the North-West side of the city. A former reggae and soul studio that was instrumental to the output of influential artists like Soul II Soul and more, a steady diet of reggae, bass, hip-hop, house and techno kept their edgy, and diehard UK sound and style right at the cutting edge of the dance music underground across the globe with the top DJs and producers of the day celebrating the label. The studio, helmed by label owner Tony ‘Addis’, acted as an incubator for artists whose names would go down in the history books.

                        No Smoke was one of the main and best known outfits on this cult label. Their mammoth worldwide, cult club smash 'Koro Koro' is still in DJ bags across the galaxy today! 'Righteous Rule' is another tuffy from this crew, some heavyweight bassline madness for the dance. All the elements of the WD sound are here, a perfect mix-up of Reggae vibes, jacking house and tribal badness rolled into one. A proper record, to be played on a proper system! This one's become a rare catch out in the wild, and is fetching some P's on the web among the collectors. Here's a nice 2020 repress for you, done the right way!

                        No Smoke 'Righteous Rule' is the pure unadulterated WD vibe, featuring original label artwork tweaked by Atelier Superplus and lovingly remastered by Curvepusher, UK. Special thanks to Nicky Trax & Tony Addis. Proudly distributed by Above Board distribution. 2020.

                        Lightning Bolt

                        Ride The Skies

                          ‘Ride The Skies’ is the second album by Lightning Bolt and this re-release makes it available to fans for the first time since its original release. Compared to their first album it’s cleaner and tighter, recorded in studio rather than live. Lightning Bolt never fail to make magic, filling a space with loud, raw sound. Sounds of synth or guitar turn out to be bass and riffs become patterns, become a beat in the background, become a wall of noise, become a clear sound above it all. Lightning Bolt are known for the sound that truly comes into its own in this album. Recent Lightning Bolt re-releases seem to move as quickly as the Brians playing live, as old and new fans jump at the rare opportunity to finally get an old favourite in a shiny new jacket.

                          FORMAT INFORMATION

                          Coloured LP Info: ‘Baby Blue Sky’ coloured vinyl.

                          Lanterns On The Lake

                          Spook The Herd

                            It’s strange – not to mention fundamentally disconcerting - to live through turbulent times. Yet as many feel like the world is slipping out of control, artists are enlivened as they seek to make sense of the shifting sands. Hazel Wilde of Lanterns on the Lake is now a songwriter necessarily emboldened. On Spook the Herd, the band’s fourth record, her voice and preoccupations rise to the fore like never before. In tandem, the band break new ground on a set of songs that are direct and crucial.

                            Wilde does nothing less than dive headlong into the existential crises of our times. Beginning with the record’s title - a pointed comment at the dangerously manipulative tactics of ideologues - its nine songs turn the microscope to issues including our hopelessly polarized politics, social media, addiction, grief and the climate crisis.

                            The world is brought into focus, but Wilde’s style is not declarative. She also proves herself a songwriter possessed of a rare talent for finding the personal contours to contemporary issues, fully inhabiting them to make them real. Recorded as live where possible, the band’s natural touchstones of gauzy dream-pop and monumental post rock still float in the air, but listening to Lanterns on the Lake now feels like actually sitting in the corner of the room as they play. As guitarist and producer Paul Gregory says of approaching their fourth album, “There was a sense of release in terms of what kind of music we felt we could make. The idea of what kind of band you’re supposed to be really disappeared. It was great; you felt you could do whatever you like.”

                            FORMAT INFORMATION

                            LP Info: 180g black vinyl.

                            LP includes MP3 Download Code.

                            Juno Records Presents Robot84 Promo Vol. 2 the much anticipated follow up to the smash Native Dub. Killer Four track Italo disco/house EP which again has been slaying dance floors across the globe... major support and plays from DJ Harvey droppin it at Pikes in Ibiza, . Artwork saying he has been smashing it at every gig over the summer..., Dimitri from Paris ,HiFI Sean, Horse meets Disco droppin king supreme & Willow Dance over the summer saying its a disco bomb..., Gerd Janson , Hunee, The Black Madonna, Groove Armada, Heidi Lawden, Melon Bomb(ibiza), Alfredo (ibiza)

                            Needs returns in 2020 for it's 7th fundraising release. Keeping a focus on the environment, this time they are joined on their quest by Telephones, Ciel, Al Wootton and Eliphino.

                            In aid of climate change and deforestation. All profits donated to Cool Earth UK.

                            Emotional Rescue is proud to reissue a collection of global music band, International Noise Orchestra, presented across 4 special EPs.

                            Founded when Berlin based musician Ulrich Hornberg mixed a newly acquired Commodore 64 with visiting Algerian drummer Jol Allouche's tablas "old culture meets new technology" the fundamentals were laid. Simple, maybe naive, with a curiosity to combine and inspire. 'The means of production must belong to the workers', investing in a studio, label and publishing house allowed INO the adventure to record what they wanted, a project via 'gastes', taking their influences and culture, in a melting pot of eastern melodies, african percussion, jazz, soul, dub, and pop an orchestra not of size, but of different playing styles and idiosyncratic interpretations.

                            Old meets new starts with their cover of Gimme Your Lovin, taking Winwood's classic and molding a white funk, pop, rock, dance hybrid, with enigmatic actor / singer Richard Strange's distinctive poetic delivery. Following Dr. Sarmaz, released under INO's alias - Internationales Gerauschorchester - the global dance vibrations begin.

                            Feel It Flow is pure 80's dance pop, with Glynnis Thomas (Savage Progress) distinctive tones leading to the jazz fusion of Atai, before closing with the guitar / synth / tabla rhythms of Culture Rescue Service.

                            Following a journey of releases via Morocco, Uganda and Kenya, Banana Hill look close to home for their fifth release and present an accomplished debut from Manchester-based producer Clay. Sounds of the city run through this record, from the ethereal synths, scattered percussion and driving low end of 'Up There' to the broken beat swing of 'People Floating' and the title track 'Shapes' that sounds like it was crafted for a specific moment at 5am in a Salford club.

                            Harks & Mudd

                            Susta Inc. Emperor Machine Lovers Mix

                            It would be fair to say that Leng co-founder Paul “Mudd” Murphy is a born collaborator. Since first donning the Mudd alias at the dawn of the century, Murphy has released numerous collaborative albums and singles with regular collaborators Ben Smith (as Smith & Mudd) and Kevin Pollard (Mudd & Pollard), as well as playing a key role in “super-groups” Paqua and Bison. “Susta”, which marks his first single on Leng since 2009, sees Murphy add some new names to his growing list of collaborators. It was made in cahoots with singer/songwriter David Harks, a regular Satin Jackets collaborator who also appeared on Jack Cutter’s superb “Serpent Strut” cut on Murphy’s Claremont 56 label.

                            “Susta” is a bubbly, evocative and ear-pleasing chunk of mid-tempo nu-disco pop featuring lead vocals from Jaanika Leino AKA JaneLy – a former X-Factor Finland contestant whose sultry and evocative voice simply soars above Murphy and Harks’ sparkling, life-affirming instrumentation. Rich in twinkling synth solos, rich Clavinet lines, chugging arpeggio lines and eyes-closed piano, “Susta” is a strong song that will squat inside your head and stay there for days. Our advice is to welcome it in – it’s as joyous and life-affirming a track as Leng has ever released. It’s accompanied by a predictably strong remix by British electronic music veteran Andrew Meecham (Bizarre Inc, Chicken Lips etc.), who dons the now familiar Emperor Machine alias to deliver a dub for the ages. Combining his own analogue and modular electronics with snippets of Leino’s vocal and some of the warmest instrumentation from Murphy and Harks’ original mix (think Clavinet and Rhodes for starters), Meecham offers up an epic slice of electronic dub disco that bubbles away for ten mesmerizing minutes. It’s a superb interpretation of a high quality cut.

                            Digwah

                            Deter

                            Renowned for the weightiest of rollers, Digwah drops another hand stamped, one sided slice of techy brilliance.

                            Pure low end, pinging synths and tough percussion coupled with an audacious, chopped, screwed and spun out noughties vocal that will have the club jumpin no matter what time it is.

                            Various Artists

                            Cadence Revolution: Disques Debs International Vol. 2

                              Strut present the second volume in a series of compilations taken from the archives of Disques Debs International, the longest-running and most prolific label of the French Caribbean. Set up by the late Henri Debs in the late ‘50s, the label has continued for over 50 years, releasing hundreds of records and playing a pivotal role in bringing the creole music of Guadeloupe and Martinique to a wider international audience.

                              Volume 2 of the series focuses on the label’s ‘70s output and the development of the unique Cadence sound, pulling disparate influences into a Pan-Caribbean blend of rhythms, styles and languages that dominated the dancehalls, clubs and concerts of the decade. Based in a small but state-of-the-art studio on the first floor of Henri Debs’ Club 97-1, just outside Pointe-à-Pitre in the town of Gosier, the label hosted sessions from the cream of local and regional talent, hothousing ideas into over 100 LP and 45 releases over the decade that reflected an increasingly confident creole identity.

                              Groups like Les Vikings, Super Combo and Typical Combo along with a host of lesser- known bands were in fierce but friendly competition in the bals, dances and concerts in Guadeloupe, across the region and into Metropolitan France. Haitian Compas, Congolese influences from le Ry-Co Jazz, cadence-lypso and reggae from Dominica and a heavy dose of jazz and Puerto Rican salsa were thrown into the mix alongside local biguine, quadrille and gwo ka to power an unrivalled recorded output.

                              Compiled by Hugo Mendez (Sofrito) and Emile Omar (Roseaux), ‘Cadence Revolution’ is released in conjunction with Henri Debs et Fils and Air Caraibes. The package features previously unseen photos from the Debs archive with both formats featuring extensive liner notes and an interview with singer and trombonist Christian Zora (Les Maxel’s, Energy).


                              The Young Gods

                              Super Ready / Fragmenté

                                The twelve compositions of Super Ready/Fragmenté are of a pure sonic power. From the nasty rock song “I’m The Drug” or “Freeze”, to the abstract “C’est quoi c’est ca”, the playful “El Magnifico”, the psychedelic and moving “Stay With Us”, “Super Ready/Fragmenté” (nine minutes of sound journey and pivotal track on the album), The Young Gods have delivered a great album inhabited by Franz Treichler’s clearer, warmer and more powerful voice.

                                That being said, words are, as always, of paramount importance to the Gods.

                                With the political and poetic “About time”, the group rises up against fear as a market value. Fear is a very current signature of today’s world, recalls Franz Treichler. How many politicians get elected by selling fear by the kilo? Or describes, in detail, the relationship between the couple and the imaginary “Everythere”.

                                "Super Ready/Fragmenté" is one of those major albums that, behind a palpable sense of urgency and insecurity, is revealed and discovered through poisonous, disturbing and passionate listening.


                                FORMAT INFORMATION

                                2xLP Info: First ever vinyl edition.

                                Sign Libra

                                Sea To Sea

                                  Sign Libra is the sigil under which Latvian composer and artist Agata Melnikova delivers her mystical, musical musings. Sea to Sea, Melnikova’s sophomore album, operates at the node between cerebral and celestial, the complex and magnificent systems of our immediate and greater cosmos arranged into exquisite and eccentric sound patterns. Closer to the Equator, Melnikova’s debut album (originally released on Sounds of the Dawn, and then Antinote), was composed for a contemporary ballet choreographed by Milana Komarova and performed at the Latvian National Opera in Riga. A microcosmic rendering of rainforest activity equally informed by BBC nature documentaries, Closer introduced Melnikova’s penchant for impressionistic, pseudo-anthropological and intimately synthesized environmental visions, executed with detailed and balanced arrangements.

                                  For Sea to Sea, Melnikova surveys a different, satellite scenery: the “seas” of the moon’s surface, known collectively as Lunar Maria. These large, dark plains formed by volcanic eruptions were thought to be actual seas by early astronomers. On Sea to Sea, Melnikova studies the philosophical and mythological nature of this surreal landscape, framed by the illumination of the sun, the shadow of the earth, and the personal perceptions of its inhabitants. The moon becomes an inseparable half of the holistic of make-up our world, and its gravity guides Sea to Sea.

                                  Across the Sea to Sea’s nine songs, each dedicated to a different liquid expanse, Melnikova’s deft and dancerly arrangements articulate themes of abundance and peace, curiosity, bliss, mystery and mastery, all in Libran balance. Her singular voice appears throughout in repeated, mostly-wordless refrains, a narrator of the performance of life, unfolding continually and infinitely. Between these refrains, a language forms and reminds us what we have learned, and what we have yet to learn, before echoing away into distant waters and galaxies.

                                  On behalf of Sign Libra, a portion of proceeds from this release will benefit Music Fund, an organization that gives young people living in conflict zones and/or poor regions the chance to practice music in suitable conditions

                                  Riki

                                  Riki

                                    Riki is the Los Angeles based dark synth-pop outfit commandeered by the mysterious Niff Nawor, a visual artist and musician active in the deathrock / anarcho-punk scenes of the California bay area (formerly a member of Crimson Scarlet), before founding her solo endeavor as Riki in 2017. Niff’s desire to explore her own sound manifested in the recording of the Hot City cassette tape in 2017, which featured Chelsey Crowley of Crimson Scarlet, Skot Brown of Phantom Limbs and Peđaof Doomed to Extinction. Released on Commodity Tapes and later reissued on vinyl by the well-regarded Symphony of Destruction label, Riki followed the release of the single with several small tours and festival dates, performing with such acts as Light Asylum, Black Marble, and Trisomie 21.

                                    For her self-titled debut album for Dais, Riki explores courage, physicality, and romance across eight timeless synth pop anthems. Produced and engineered by hardware-based synthesist Matia Simovich of INHALT, influences and ideas are worn proudly without deviating from fresh and daring electro-pop territory. Nostalgic cues can be heard ranging from Neue Deutsch Welle, early Adrian Sherwood productions, classic ZYX Italo Disco, Japanese Visual Kei and even classic new wave/pop like Pat Benatar, Kate Bush, and early Madonna.

                                    The lead single, Napoleon, contains Riki’s indelible sound design, reminiscent of 80’s New York dance floor electro-pop that recalls the fusion of uptown and downtown styles and culture, told through Riki’s present day West Coast narrative. For contrast, the second single entitled Böse Lügen (Body Mix) was previously released in demo form and remixed to emphasize its commanding presence and addictive nature. Translated simply to “Wicked Lies” and sung completely in German, Böse Lügen moves away from the upbeat romanticism found throughout the album and commands serious self-reflection guised within an infectious dance floor anthem. Riki invites listeners to “reveal their useless habits of complacency and fear...and witness their own rebirth, a rhythm universal”


                                    FORMAT INFORMATION

                                    Coloured LP Info: Green vinyl.

                                    Townes Van Zandt

                                    Townes Van Zandt - 50th Anniversary Edition

                                      Townes Van Zandt is the third studio album by the American singer-songwriter Townes Van Zandt, originally released in September 1969 by Poppy Records. It includes re-recordings of four songs from his 1968 debut album, including the first serious song he ever wrote, "Waitin' Around To Die".


                                      FORMAT INFORMATION

                                      Ltd LP Info: 180g remastered vinyl.

                                      Boris

                                      Feedbacker - Reissue

                                        First-ever US issue of this key 2003 release from Japan's shapeshifting heavy lords, Boris. The album title says it all. Immerse yourself in 43 minutes of sonic waves of slow-building fuzz, feedback and layered dimensions where lysergic solos and unintelligible vocals compete for their place deep inside your ID. Buy if you dig: Sun O))), Sleep, Boris.

                                        Boris

                                        Akuma No Uta - Reissue

                                          Official reissue of Boris' 2003 flawless release. Drone waves meet heavy guitar heroics in a satanic pinky violence gang fight at the schoolyard. This ones for the Heads. Buy if you dig: Sabbath Worship, Comets on Fire, acid, leading children astray, Boris.

                                          Boris

                                          Love & Evol

                                            2019's release from Japan's Psych Lords, Boris. In turns dynamic, droney, stoney, dreamy and beautiful, these albums contain multitudes. Boris continues to push their sonic palette into new mind-shreddy directions. Formed in 1992, Boris boldly explores their own vision of heavy music, where words like “explosive” and “thunderous” barely do justice. Using overpowering soundscapes embellished with copious amounts of lighting and billowing smoke, Boris has shared with audiences across the planet an experience for all five senses in their concerts, earning legions of zealous fans along the way. Buy if you dig: Sunn O))), Sonic Youth, shoegaze, shitgaze.

                                            STAFF COMMENTS

                                            Barry says: Japanese dronelords Boris return to the unlikely, but 'thinking-about-it,-it-actually-makes-sense' home of Third Man for their latest excursion in hazy psychedelic distortion and arrhythmic cataclysmic heft. They've always been one of the most prolific and productive outfits on the scene, and that clearly shows on this mindblowing new opus.

                                            Tindersticks

                                            See My Girls

                                              This four song EP features a radio edit of “See My Girls,” an instrumental dub version of the track and two new songs - the David Boulter penned instrumental “A Street Walker’s Carol” and “Blood And Bone,” with Sidonie on lead vocals. The EP is a companion to Tindersticks’ 2019 release No Treasure but Hope. Pitchfork called No Treasure but Hope “sensuous and sunlit,” and Aquarium Drunkard says “while many of the compositions are soft, enveloping soundscapes, much of No Treasure floats in a dim vastness, reveling in the existentialism and singularity of being human.”

                                              “’See My Girls’ is a song about isolation, tourism, migration, and as part of No Treasure but Hope about the beauty and terror of the world,” says Staples. “It was written on Ithaca and from the perspective of a small island, looking out with wonder and apprehension across the sea and beyond. The film is a collaboration with my daughter Sidonie Osborne Staples. After much preparation and experimentation, she made a continuous, layered illustration of her interpretation of the song, around 50mm high and 3m in length.”


                                              FORMAT INFORMATION

                                              12" Info: Limited to 2000 copies worldwide.

                                              Born out of a desire to share a selection of personal DJ focused, dancefloor edits, that have been exclusively test run and hammered by DJ Harvey and Lovebirds for the past few months, SIRS kicks off this new label offshoot with four, slick, sweltering and powerful reworks that ooze class.

                                              Secret weapons of the highest order, each edit reimagines it’s original from the mind of the DJ – anticipating the moves of the club and harnessing the power that deft touches, reshaped structures and expressive effects can make to the force and energy of a record.

                                              As appropriate soundtracking the crescendo of a club night, as they would be scoring the backdrop to a hazy sunset these edits are a must have in any DJs record bag.

                                              Phantom Posse

                                              Forever Underground

                                                Eric Littmann has spent much of the past decade mining his voice as a recording artist with the tools most readily at hand: his command of computational biology (a day job turned life-pursuit) alongside a healthy saturation in the tropes of the 90’s /early aughts college radio charts. Filtering these data through the evolving traditions of home recording, Littmann has shared north of a dozen releases under the monikers Steve Sobs and Phantom Power as well as producing acclaimed records by artists such as Julie Byrne, Yohuna, Emily Yacina, GABI and many others. Littmann’s peak to post-internet collaborative project Phantom Posse has sustained a life across five albums that amounts to some of the producer’s richest statements. 2020’s Forever Underground is the most recent entry in this undulating series, with its title nodding to the project’s unapologetically nostalgic leanings and also quite literally to the homages woven within that reference elusive NYC graffiti artists and their concrete subjects. On subway-tempo’d instrumentals such as “ZNO on Canal”, or “SEBO9 on the Bridge”, a photographic memory is made audible. These documents coupled with the diverse voices featured across the album imply a kind of anthropology that at times mirrors Litmann’s science work, all coursing under the fabric of the producer’s intimate chamber synth melodies.

                                                No Bad Days is back with the weird and wonderful sounds of the Korean tropics for Closet Yi’s debut release ‘Tam Tam Land’. Opening with ‘Honeymoon Junction’ we are greeted by the signature floaty yet punchy sound that often comes with a No Bad Days record but then around the halfway mark, an almost abrupt eeriness ambience washes over the track, letting us know: this isn’t going to be quite what you expected. ‘Circle Dance’ is next on the A side which is more of a functional club track in its structure to it’s predecessor. Birds tweet and a female Korean voice creeps in and out of the mix, luring us deeper into the depths of the island.

                                                Hopping over to the B side we arrive at the climax of ‘Tam Tam Land’ with the thumping ‘Basalt (玄武岩)’. Closet Yi flexes her skills in producing a peak time acid-tropische-prog-banger and doesn’t disappoint.

                                                His Name Is Alive

                                                Return To Never: Home Recordings 1979 - 1986 Volume 2

                                                  Second volume in a trilogy exploring the teenage tape experimentation of Warren Defever aka His Name Is Alive. Echo-drenched guitar instrumentals, field recordings and gorgeous ambient tones pulsate through the analogue murk, also taking in dalliances with greyscale industrial drone, musique concrète and even a burst of 4-track noise pop reminiscent of the early work of The Jesus And Mary Chain. Inner sleeve essay and interview once again by Mike McGonigal, the man behind Third Man’s recently launched Maggot Brain magazine and the author of books on My Bloody Valentine and Galaxie 500.

                                                  FORMAT INFORMATION

                                                  Coloured LP Info: Clear vinyl.

                                                  Coloured LP includes MP3 Download Code.

                                                  Endless Boogie & Weak Signal

                                                  Jerome / Rolex

                                                    The masters of minimal blues repetition, Endless Boogie are in condensed charging form on “Jerome.” A treasure trove of interlocking riffs and searing lead lines from Matt Sweeney, Jesper Eklow, and the one and only Stephen Malkmus, the A-side sounds like a lost proto-punk classic. Paul Major’s racing vocals tell a story of urban debauchery (nods to the Velvets included) while Mark O and Harry Druzd lock into that unmatched groove the fans of this band have been missing. This track matches any underground chestnut from “Urban Guerilla” to “Teenage Head”era Flamin’ Groovies and has what Matt Sweeney calls a “thug-assed jacked-up Saturday-night vibe.”

                                                    On the flip side’s “Rolex,” Weak Signal show us the morning after the party, through the lens of a con artist so smooth he knows how to hit his mark “without knowing.” From the first-person perspective, Mike Bones walks us through every detail of the scam with the detachment of a practiced criminal who revels coolly in his skill. Weak Signal ply a different strain of minimalism from Endless Boogie, one in which every note, word, and drum hit are there for a reason and nothing is wasted. Fans of their debut LP and recent EP will find this track threading the needle between them—another great new track from one of New York’s best new bands.

                                                    FORMAT INFORMATION

                                                    7" Info: Black vinyl.

                                                    You’d be hard pressed not to have been completely won over by Lovebirds and vocalist Stee Downes magnetic ‘Want You In My Soul’ back in 2011. A record that is as blissful as it is absorbing, a true crossover that seemed to appeal to everyone and anyone, skyrocketing prices up to £200 for an original on Discogs. South Street continue their incredible run with a fully remastered, officially licensed reissue of this cherished cut.

                                                    Clocking in at over eight minutes ‘Want You In My Soul’ is as pure a modern deep house anthem as you’ll get. An extended intro that gradually builds in intensity from the echoing pads to the shimmering arps, before the pulsing synths and Stee Downes instantly recognisable soul infused vocals come to the fore. Packed with passion, brimming with emotion it’s about as sun kissed as you can get without getting burnt.

                                                    On the flip, the never before released ‘Summer In London’ edit, that gets straight down to business, shortening the lengthy intro and adding extra percussive touches for a more DJ friendly take on the original.

                                                    A highly sought-after EP, finally given the reissue it deserves - a must-have in any collection.

                                                    Stephen Malkmus

                                                    Traditional Techniques

                                                      Traditional Techniques, Malkmus’ third solo LP without the Jicks (or Pavement), is new phase folk music for new phase folks, with Malkmus as attuned as ever to the rhythms of the ever-evolving lingual slipstream. It’s packed with handmade arrangements, modern folklore, and 10 songs written and performed in his singular voice. An adventurous new album in an instantly familiar mode, Traditional Techniques creates a serendipitous trilogy with the loose fuzz of the Jicks’ Sparkle Hard (2018) and the solo bedroom experiments of Groove Denied (2019). Taken together, these three very different full-lengths in three years highlight an ever-curious songwriter committed to finding untouched territory.

                                                      Malkmus took on Traditional Techniques as a kind of self-dare. Conceived while recording Sparkle Hard at Portland’s Halfling Studio, Malkmus had observed the variety of acoustic instruments available for use. The idea escalated within a matter of weeks into a full set of songs, and shortly thereafter into a realized and fully committed album. When he returned to Halfling, Malkmus drew from a whole new musical palette--including a variety of Afghani instruments - to support an ache both quizzical and contemporary. The resulting Traditional Techniques is expansive and thrilling. Alongside gorgeous folk music, there are also occasional bursts of flute-laced swagger, straight-up commune rock (“Xian Man”), and mind-bending fuzz.

                                                      Centred around the songwriter’s 12-string acoustic guitar, and informed by a half-century of folk-rock reference points, Traditional Techniques is the product of Malkmus and Halfling engineer/arranger-in-residence Chris Funk (The Decemberists). Additionally, Matt Sweeney (Bonnie “Prince” Billy, Chavez) plays guitar throughout.

                                                      FORMAT INFORMATION

                                                      Coloured LP Info: Indies exclusive deluxe LP on red vinyl.

                                                      Rowland S. Howard

                                                      Teenage Snuff Film

                                                        Rowland S. Howard's importance to the world's musical landscape and Mute's history can not be understated. Rowland joined The Boys Next Door in 1978, a band formed by Nick Cave and Mick Harvey and is often sited as the catalyst that turned that band's sound into the force of nature that would become their new band The Birthday Party. After The Birthday Party split up in 1983, Nick Cave formed the Bad Seeds with Mick Harvey and Rowland formed the magnificent These Immortal Souls whilst also collaborating with Simon Bonney's Crime & The City Solution, Lydia Lunch, Nikki Sudden, Fad Gadget, Foetus, Jeffrey Lee Pierce, Epic Soundtracks and Mick Harvey. Rowland sadly passed away in 2009 after recording his final solo album Pop Crimes, both this and Teenage Snuff Film have been unavailable physically outside of Australia for many years and both fetch high prices on Discogs and Ebay.

                                                        FORMAT INFORMATION

                                                        Coloured LP Info: Limited blue vinyl.

                                                        Rowland S. Howard

                                                        Pop Crimes

                                                          Rowland S. Howard's importance to the world's musical landscape and Mute's history can not be understated. Rowland joined The Boys Next Door in 1978, a band formed by Nick Cave and Mick Harvey and is often sited as the catalyst that turned that band's sound into the force of nature that would become their new band The Birthday Party. After The Birthday Party split up in 1983, Nick Cave formed the Bad Seeds with Mick Harvey and Rowland formed the magnificent These Immortal Souls whilst also collaborating with Simon Bonney's Crime & The City Solution, Lydia Lunch, Nikki Sudden, Fad Gadget, Foetus, Jeffrey Lee Pierce, Epic Soundtracks and Mick Harvey. Rowland sadly passed away in 2009 after recording his final solo album Pop Crimes, both this and Teenage Snuff Film have been unavailable physically outside of Australia for many years and both fetch high prices on Discogs and Ebay.

                                                          FORMAT INFORMATION

                                                          Coloured LP Info: Limited red vinyl.

                                                          F*CLR Records are delighted to release Dublin based producer/remixer Glenn Davis’s outstanding new EP, Namida (Tears of Happiness), the eagerly anticipated follow up to his hugely acclaimed Body & Soul 12 Inch.

                                                          With remixes from Ashley Beedle & Darren Morris’s Afrikanz on Marz production unit, it has already been given the legendary François Kevorkian seal of approval with massive support on his Worldwide FM show.

                                                          Mr Davis has been busy in the studio this year creating complete dancefloor and radio fire - house music to lift you up and save your soul.

                                                          The original mix of Namida (Tears of Happiness) would sit comfortably next to anything on the Nu Groove label roster; the Burrell Brothers would be saluting Glenn for his beautiful attention to detail.

                                                          Ashley Beedle x Darren Morris take their Afrikanz on Marz remixes onto a cosmic disco level and with a bass line that takes no prisoners, deliver a sparkling remix + dub.

                                                          With the addition of the properly late night sleazy bizniss UGetting Down, it’s party time for deep headz. Enjoy!!

                                                          Following Musta’s exquisite release on Viaggio in 2019, the Sardinia native returns with a three tracker of far-reaching, club ready rhythms.

                                                          ‘Carosello’ was born out of a chance sampling session, with Musta digging through a bunch of dusty records he’d never thought of sampling before. The result? An absorbing trek through a tropical jungle, strange sounds call out, enticing melodies attempt to lure you off into the undergrowth. Decaying chimes, twisted rhythms, and a pounding bassline, it’s a tribal trip of surrealist oscillations.

                                                          ‘Amico Mio’ & ‘Gnamelo’ came from a desire to leave the software as much in its box as possible. Instead, a week-long recording session with a range of Sardinia’s finest talent laying down a range of afrobeat infused parts, on instruments of the era. Worked around bumping live bass and infectious afrobeat percussion - ‘Amico Mio’ is a joyous sunshine filled, trumpet trilling groover whilst ‘Gnamelo’ takes the route of mesmerising, bass heavy slow burner.

                                                          Steve Spaceks classic dancefloor workout gets the remix treatment from three smoking hot producers. Already featured as one of the exclusives tracks on the recent Eglo Records Vol.2 compilation the EP kicks off with the highly celebrated Skeptical DnB remix, a track which has been tearing up clubs in a major way for the last 12 months, in heavy rotation with legends like Randal and Bryan Gee. A true scientist of sound and key component in the current DnB vanguard Skeptical has released on esteemed imprints like Metalheadz, Soul:R and Exit, his intricate yet sparse bass loaded techniques have made him a true autuer of the genre, complimenting Spaceks dancehall fasletto to a tee!
                                                          The B-Side features another classic remix, the Duke Hugh Reggae Version, a mix which has been bubbling away on the underground for months, now finally getting an official release. The Netherlands based producer gives the track an authentic dub reggae makeover, a style perfectly suited to Spacek's vocal flashback. The final remix comes from Eglo associate and Apron records founder Funkineven aka Steven Julien, who takes the song to completely uncharted territories with his frazzled slow mo interpretation. Completely reimagining the song into a bugged out cacophony.

                                                          LaRombé is one of the most talented songwriters I have come across in my years of working for Jazzman and Athens of the North. Having gone through much of his tape archive it obvious what a powerhouse of song writing and composition this man is. LaRombé music is of the strongest calibre all the way, from his first release in 1979 to present day. All of his Soul, Disco & R&B stands the test of time. It's easy to have one record that with luck ends up great but another thing to write record after record with great hooks you can't leave alone. Athens of the North is very proud to present 'From Philly', Vinyl and CD comes with sleeve notes featuring interview and photos.

                                                          It's album release time for this Madrid-based soul/jazz organ trio who have been burning up stages and festivals throughout 2019 and who have already had a successful single out on Rocafort Records. Beat Bronco Organ Trio have not rewritten the Hammond musical handbook, but they do what it says on the tin rather splendidly – a Road Trip that grooves, swings and sashays around the familiar but much loved funky jazz theme.

                                                          Although it's impossible to listen to the album without summoning up the ghosts of Jimmies McGriff & Smith and the like, nearly all tracks here are originals and shout out personality, verve and respectful homage to the tradition. Featuring the usual leitmotifs: Shaftish film sountrack, lo-fi lounger, gospel-tinged toe-tapper, the hip shaker and much wah-wah frenesi, there's nothing not to like if the genre is your bag.

                                                          The steaming horn section on "Hard Play" thickens the sauce à la JBs and the Meters, aided along by a unique orchestra of handclaps. Vocalist and guitarist Alberto Palacios Anaut storms in with "Hey Hey", an old Dave Bartholomew classic from New Orleans, just to remind us where Fats Domino and Ray Charles got it all from. Chip Wickham makes two welcome appearances on flute, adding an extra jazzy touch to "Squirtly" and "Electro Pi" – the latter a fabulous trippy, spacious head-nodder that demands in our opinion some kind of a wigged out drum'n'bass remix. Every track is clearly dominated by variations on the vintage keyboard, be it Hammond, Clavinet or Minimoog; all roads lead to that sexy, sacred sound.

                                                          Spain is already prominent on the modern-day Funk map thanks to groups like The Sweet Vandals, Speak Low and Mighty Vamp – and it comes as no surprise that our hero trio featured at various times in all these bands. Gabri Casanova (keys), Lucas de Mulder (guitar, percussion) and Antonio "Pax" Alvarez (drums, percussion) have been busy reviving the funk gospel for some time now. Road Trip is an elegant culmination of their efforts in keeping alive a revered and timeless tradition that still today serves as a reference to where all the good stuff came from: The Church!

                                                          Athens of the north is not just here to release great music but to support our artist development and experimentation, to this end we always try to bring good people together to work on new music. This LP fuses two massive talents, for the first time to AOTN we introduce House and Techno legend Linkwood, joining him is one of the |UKs most respected Jazz Artists Greg Foat, who will need no introduction to AOTN fans

                                                          'Linkwood & Foat' is the first LP to be recorded in the new 'Athens of the North Studio', which was designed and built specifically for our artists so that they can create without the time pressures or expenses of studio hire elsewhere. With no fixed plans, no rules or expectations, the pair relaxed in the new studio and started making music. The result is very special indeed

                                                          Linkwood had just returned from walking in the wilds of an Ibiza summer and Greg had similarly been immersed on the sun drenched south coast of the Isle of wight. This freedom and sense of space saturates the grooves of the LP juxtapositioned against a deeper late night basement club feel they both love so much, the pull between nightlife and the freedom of nature. It's extroversion and introversion, the freedom and escapism of the two seemingly opposing environments permeates this recording.

                                                          Henry Hicks AKA Horatio Luna is a Melbourne based improviser, composer, bassist and producer.

                                                          A founding member of hip-hop/soul community "30/70 collective", he is an active member of the Australian beatz, jazz and soul music scene.

                                                          After parting with 30/70 in 2019, Horatio featured on the Gilles Petersons Brownswood compilation 'Sunnyside Up', released a 12" 'Print It, Run It, Send It', Remixed Moodyman approved Jitwams music and focused his sights on working and collaborating with the younger generation of players in Melbourne, serving as the musical director on 'downundaground' and joining Antiphon among many other groups.

                                                          Sometimes, looking back to the tracks that have been most inspirational yields very interesting results. In the last couple of years these four tracks stood out and share a deep sonic connection. All artists produced music in the early/mid 80s, played in post-punk, experimental and EBM/industrial bands and transitioned naturally into the techno, ambient and trance sounds of the early 90s, while maintaining an elemental early 80s live feel in the process. It’s no coincidence that these tracks date back to 92-94, a time defined by rapid technological change and a major political landslide.

                                                          The fall of the Berlin wall seemed to herald the dawn of a new era of peace and prosperity. The Cold War thawed, a sense of relief took hold, the West appeared victorious and the future looked bright. The emergence of rave culture seemed to embody this world of endless technological possibility and future optimism, techno-optimism indeed. Fast forward to 2019 and this optimism has obviously faded into oblivion, where the dream of universal freedom turned out be the empty promise of free market hypercapitalism beneficial to a small elite only. But thirty years ago rave culture was the product of that change and felt like a new home for those who discovered it. All these tracks are a precursor to sounds we hear today, an integral part of an ongoing cycle of trends where successive generations take over from previous ones. Rediscovery of that moment in time and sound is what Transition is all about, a collection of penultimate tracks that define that era.

                                                          Birthed at the turn of the ‘80s, synth and wave music has remained a constant force over the last four decades, with a recent spike in interest in the sound offering further proof of its’ timeless, out-of-this-world quality. It’s against this backdrop that Dutch DJ Interstellar Funk presents his celebration of the style, “Artificial Dancers – Waves of Synth”.

                                                          A bumper compilation bristling with obscure and hard-to-find gems, the set sees the Artificial Dance label founder joining the dots between synthesizer and drum machine-driven tracks in a variety of subtly different styles. It’s the result of hundreds of hours spent digging through dusty old records, tapes, and the Bandcamp accounts of DIY musicians who have been active since the sound’s first boom in the early 1980s.

                                                          The 11-track set draws on tracks made and released at different times over the last 40 years, with the earliest cut committed to tape in 1978 and the most recent in 2018. While the tracks date from the ‘80s, ‘90s, noughties and 2010s, the showcased cuts are united by a primitive but futuristic quality that makes dating them difficult. In many cases, it’s hard to tell which tracks were made in the early 1980s and which were conjured up in 21st century studios.

                                                          As you’d expect, highlights are plentiful with a number of the most unknown or sought-after cuts appearing on vinyl for the first time. In this category you’ll find the Human League’s odd but inspired early number “4JG”, a near mythical 1982 live version of Liasons Dangereuses’ “Dias Cortas” (previously only available on a VHS video) and Chris and Cosey’s “Hybrid C”, a brilliant mid-’90s cut plucked from their CD-only album “Skimble Skamble”. You’ll also find a rare demo version of Clan of Xymox’s Dutch darkwave classic “Stranger”, which became a club smash across Europe in 1983.

                                                          Interstellar Funk has also chosen to showcase tracks by a range of DIY producers and lesser-known artists. These include Californian band Batang Frisco, who self-released a sole private press album in 1986 (their contribution, “Sewing Machine”, is dedicated to founder member Bill DiMichele, who passed away this year), Matthias Schuster’s Im Namen Des Volkes project – which contributes the previously unreleased 2014 track “Alles Ist Gewinn” – and Zahgurim, a short-lived early ‘80s act who reunited in 2018 to record their first new material since 1983.

                                                          If that wasn’t enough to set pulses racing, the compilation also showcases a solo track by sadly departed Psyche member Stephen Huss. Nobody is quite sure when Huss recorded “Infinity Sign”, but we can confirm this is the first time that one of his solo productions has ever appeared on vinyl.

                                                          UFO Inc. starts the new decade with fast, dark improv-techno tracks by the New York DJ, producer and singer Heidi Sabertooth. The four tracks on UFO4 are an impressive testimony to her passion for vintage gear and are the result of an interplay of mainly three machines with which she also plays live: Roland SH-101, Korg ESX2 Electribe and Yamaha DX200 - Sabertooth knows her tools inside and out by heart and tried on this EP to sound as "live" and spontaneous as possible. She plays her machines like instruments and want them to have some life and breath in them because she grew up playing all kinds of wind and string instruments and played in bands many years before she became a DJ. Her approach to making tracks is to capture as much live experimentation and weirdness as possible, while still making something that grooves and kicks on the dancefloor. She is not so concerned about making things perfect, in fact sometimes she intentionally try to disrupt things if it starts sounding too polished or square: ,,I like things to be human. I think you can feel it in the recording when the hands are touching the machine - it is human/machine/spirit connection.?This is why I named the EP as such - With The Void - this is how I like to create: jump into outerspace, into the unknown, with my machines and we all have an experience together - a cosmic electric dance - and that's when I hit the record button." On UFO4 you can definitely hear the fun she and her machines had in the recording process.

                                                          After Nu Guinea’s LP, Nuova Napoli, and Napoli Segreta first compilation, NG RECORDS follows up with an exploration into the unknown groovy side of Naples by releasing Napoli Segreta Vol.2.

                                                          Famiglia Discocristiana, DNApoli and Nu Guinea team up again selecting more tracks from their archives, for a new compilation containing 9 mysterious Neapolitan tracks, found in the most hidden corners of remote flea markets around the Vesuvius.

                                                          But forget classical Neapolitan songs, "'O Sole Mio" or "Luna Rossa"... Forget about what you expect to find once you land in town… oh and also forget about Google maps. Take a dodgy local guide, keep your eyes open, and follow it to enter the secret downtown, the underground, the routes that no satellite can detect, but beware there is no easy way out.

                                                          Napoli Segreta Vol.2 is a musical journey into the sonic landscapes of Naples that you have never heard of before. A variety of genres merging soul, disco, funk, blues, new wave, afro-beat and boogie, including lyrics in Neapolitan urban slang, instrumental tracks with progressive flavour, and also some unexpected covers!

                                                          BC Camplight

                                                          Shortly After Takeoff

                                                            “This is an examination of madness and loss,” says Brian Christinzio, the inimitable force behind BC Camplight. “I hope it starts a long overdue conversation.”

                                                            Fired by his ongoing battle with mental illness, Shortly After Takeoff is the final, and finest, chapter of what Christinzio calls his “Manchester Trilogy”, following 2015’s “How To Die In The North” and 2018’s “Deportation Blues”. All three albums were created after the native Philadelphian had moved to Manchester. Like Deportation Blues, Shortly After Takeoff spans singer-songwriter classicism, gnarly synth-pop and ‘50s rock’n’roll, with Christinzio’s similarly distinctive, flexible vocal carrying a fearless approach to lyrical introspection, but the new album is a major leap forward in songwriting sophistication and lyrical communication.

                                                            “It’s important to stress that this isn’t a redemption story,” he says. “I'm a guy who maybe lives a little hard and I’m in the thick of some heavy stuff. But as a result, I think I've made my best record.”

                                                            The “heavy stuff” has come thick and fast for Christinzio. Just days before How To Die In The North was released, he was deported and banned from the UK because of visa issues. Estranged from his new home, his girlfriend and his dog, unable to promote his album and back home with his parents, Christinzio sunk deep into the dark. An Italian passport, care of his grandparents, eventually allowed him to re-settle in Manchester, but then just days before Deportation Blues was released, his father Angelo unexpectedly died.

                                                            “I went into a spiral that was worse than any time since my twenties,” he recalls. Hence the title Shortly After Takeoff: the feeling of being suddenly thwarted by what life throws at you. Making matters worse was a neurological disorder that returned after years in remission: “I see TV static, and it messes with how my brain interprets everything from sound to my own feelings.”

                                                            One way to process tragedy is comedy, which elevates Shortly After Takeoff to a heightened plateau, from grief-stricken vulnerability to armoured bravado, from the black dog of depression to gallows humour. None more so than ‘Ghosthunting’, which opens with an extraordinary (fabricated) passage of Christinzio doing a stand-up routine, centring on the memory of hallucinating his father’s ghost. “I want to drag the listener into this world and hopefully they question why they feel uneasy,” he explains.

                                                            “I also wanted to make a record totally free of whimsy and irony, that was just clear and open and honest. I don’t think you really heard the chaos in Deportation Blues, but in Shortly After Takeoff, I can hear I’m finding undiscovered places to go, only because I was so lost. Lyrically, I wanted people to hear and understand me this time. Before, if I would have written about my father dying, I would have made up some weird bullshit, like an analogy about a tree shedding leaves or something. That Brian is gone. I have a direct line to the listener now. I have a direct line to myself too. It’s a benchmark moment for me.”

                                                            Shortly After Takeoff ends with the gorgeously tender 93-second ‘Angelo’, “a little fleeting moment for my dad. I wanted his name on the album, and something that sounded like a goodbye. It ends with the drums, like a heartbeat stopping…”

                                                            That’s Christinzio and Shortly After Takeoff: his best, most honest, open and frequently heartbreaking record.

                                                            FORMAT INFORMATION

                                                            Coloured LP Info: Clear vinyl.

                                                            The 6th release on BLKMARKET MUSIC is a new collaboration between electro producer Gosub and label head Taimur.

                                                            On the A side, Gosub & Taimur go techno with two versions of their track ‘THE CONTROLLER.’ The A1 is a deeper 135bpm version that takes you into outer orbit. The A2 ‘THE CONTROLLER (DARK PATH MIX)’ focuses on a faster 145bpm darker and more tripped out version of A1.

                                                            The B side focuses on the after-hours side of things. On B1 they kick things off with ’SAFE,’ an electro track that turns into a druggy four on the floor tune, with haunting vocals that chant ‘You think you’re safe.’ On B2 their track ‘PHI’ is more on the techier side of things.

                                                            Concepts powered by dusty machines. Made in Florida. 

                                                            Unknown

                                                            Untitled

                                                            As peaktime rollers go this little limited edition hand stamped number is about to take the crown as the flushest of them all.

                                                            A thumping beat, a heavyweight bassline and a vocal that’s got more sass than you can shake a stack of dollar bills at.

                                                            It’s big, bad and about to storm every club with a sound system heavy enough to handle it.

                                                            Very limited Handstamped, one sided vinyl biz that’s bang on the money.

                                                            STAFF COMMENTS

                                                            Matt says: Big funky / tech house refix here as Cardi B chart smasher "Money" finds the club with a pinging, pounding mainroom groover. Wiggle!

                                                            Waxahatchee

                                                            Saint Cloud

                                                              What do we hold on to from our past? What must we let go of to truly move forward? Waxahatchee’s Katie Crutchfield spent much of 2018 reckoning with these questions and revisiting her roots for answers. The result is Saint Cloud, an intimate journey through the places she’s been, filled with the people she’s loved.

                                                              Written immediately in the period following her decision to get sober, the album is an unflinching self-examination. This raw, exposed narrative terrain is aided by a shift in sonic arrangements as well. While her last two records featured the kind of big guitars, well-honed noise, and battering sounds that characterized her Philadelphia scene and strongly influenced a burgeoning new class of singer-songwriters, Saint Cloud strips back those layers to create space for Crutchfield’s voice and lyrics. The result is a classic Americana sound with modern touches befitting an artist who has emerged as one of the signature storytellers of her time. Many of the narratives on Saint Cloud concern addiction and the havoc it wreaks on ourselves and our loved ones, as Crutchfield comes to a deeper understanding of love not only for those around her but for herself. This coalesces most clearly on “Fire,” which she says was literally written in transit, during a drive over the Mississippi River into West Memphis, and serves as a love song to herself, a paean to moving past shame into a place of unconditional self-acceptance.

                                                              Over the course of Saint Cloud, which was recorded the summer of 2019 and produced by Brad Cook (Bon Iver), Crutchfield peels back the distortion of electric guitars to create a wider sonic palette than on any

                                                              previous Waxahatchee album. It is a record filled with nods to classic country, folk-inspired tones, and distinctly modern touches. To bolster her vision, Crutchfield enlisted Bobby Colombo and Bill Lennox, both of the Detroit band Bonny Doon, to serve as backing band on the record, along with Josh Kaufman (Hiss Golden Messenger, Bon Iver) on guitar and keyboards and Nick Kinsey (Kevin Morby) on drums and percussion. Saint Cloud marks the beginning of a journey for Crutchfield, one that sees her leaving behind past vices and the comfortable environs of her Philadelphia scene to head south in search of something new. If on her previous work Crutchfield was out in the storm, she’s now firmly in the eye of it, taking stock of her past with a clear perspective and gathering the strength to carry onward.

                                                              FORMAT INFORMATION

                                                              Coloured LP Info: Indies only coke bottle clear LP

                                                              Dana Gavanski

                                                              Yesterday Is Gone

                                                                ‘I’m learning how to say goodbye / to let you go and face the tide / to wrap my feelings in a song,’ sings Dana Gavanski on the title track of her debut LP, Yesterday Is Gone. To wrap her feelings in a song: this is the task Dana has dedicated herself to with this record. It’s a goal common to many songwriters, but few approach it with such aplomb. By turns break-up album, project of curiosity, and, as Dana puts it, ‘a reckoning with myself’, Yesterday Is Gone is her attempt to ‘learn to say what I feel and feel what I say’: an album of longing and devotion to longing, and of the uncertainty that arises from learning about oneself, of pushing boundaries, falling hard, and getting back up.

                                                                Born in Vancouver to a Serbian family, Dana has always harboured a desire to sing. In her final year of university in Montreal, she picked up the guitar left by her ex-partner and decided to re-learn. But with a father in film and a painter mother, other art-forms clamoured for her attention. She spent a summer as her producer father’s assistant in the Laurentians, in a derelict hotel-turned-office that looked like something out of The Shining. The long days behind a computer cemented her desire to make music, ‘because it was so impossible to play that I needed to, in order to feel like it was real.’ The income she saved that summer funded a year of writing religiously, leading to EP Spring Demos in September 2017, which Dana describes as ‘whatever was coming out of me. A flood.’

                                                                Following Spring Demos, Yesterday Is Gone reflects Dana’s aim ‘to make something bigger, more thought through’. Steeped in determination and uncertainty in equal measure – ‘I just wanted to write a good song’ – the album took shape after she returned from a writing residency in Banff, Alberta. She left the residency resolved not to worry about her songs being ‘too obvious’. She’d begun to learn the art of empty time, of being alone with her emotions, losing herself in a landscape. She thought of Vashti Bunyan, riding for hours and writing, writing, writing. She considered how she might use writing to make sense of her life after the tumults of a break-up and a new city. Adrift in Toronto, Dana struggled to feel at home and connected to people, but the solitude also allowed her to ground herself in writing. She kept office-style hours at her bedroom desk every day until she started to understand the writing process, to see that ‘transforming a burning desire into something clear and tangible is a vulnerable and delicate act. You have to be able to let things happen, to accept losing control.’

                                                                The record is a co-production between Dana, Toronto-based musician Sam Gleason, and Mike Lindsay of Tunng and LUMP. While Sam helped Dana bring out the tunes, Mike’s input marked ‘the beginning of developing a sound that was closer to what I had in my head’. Though excited by the other elements of a song introduced during production, Dana and Mike were keen on ‘finding essential things, not overblowing, keeping things bare and letting the elements speak for themselves’. Not that the sheer variety of sounds and instruments didn’t overwhelm. ‘But you have that feeling,’ Dana says, ‘then you just pick up an instrument. At the base, you do know what you want. It’s about how to chip away at what you don’t want.’

                                                                The album shapeshifted as it passed through the hands of Dana, Sam, and Mike, taking on different tastes, feelings, and visions. When Dana performed the songs with a band, they found new form again. She was intrigued by performers like David Bowie and Aldous Harding, who inhabit different personalities on stage, physically tuning themselves to their music. ‘Watching these kinds of performances,’ Dana says, ‘I feel my body longing to express myself in exaggerations … to leave behind self-consciousness and become this energy.’ But a three-month trip to Serbia in autumn 2018 really pushed performance to the forefront of Dana’s mind. She took singing lessons to learn how to sing with the resonance that defines traditional Serbian song. Stirred by the bombast of fifties, sixties, and seventies music, including the high-energy kafana, or café music, as rooted in expressive pouts as it is vocal resonance, the trip incited a yearning to completely inhabit herself on stage. ‘I often feel we’re all just these controlled bodies,’ she says. ‘Sometimes I just want to make a snarl with my lip and keep it there.’

                                                                Stood on a crowded train last spring, Dana sang the Macedonian song Jano Mome to an audience of cheery Scottish ladies. The moment, brief but beautiful, lays bare Dana’s craving for live spontaneity. But it also reflects her injection of stylish drama and vivid emotion into the folk landscape that inspires her, from contemporary singers H Hawkline and Julia Holter, to stalwarts Fairport Convention, Anne Briggs, Connie Converse, and Judee Sill. Expressive urges run all through Yesterday Is Gone. Moments of beguilement splinter a backdrop of tenderly picked guitar, bass, synth, and poppier elements, which commune to produce her own kind of wall of sound. Each component is meticulously placed, yielding a deeply sincere response to the chaos of human emotion. ‘Often we have to go a little far in one direction to learn something about ourselves,’ Dana says. The months of solitary writing and self-doubt testify to this, but they’ve led to Yesterday Is Gone: an optimistic, steely-eyed gaze into the future.

                                                                FORMAT INFORMATION

                                                                Coloured LP Info: Indies exclusive orange vinyl.

                                                                The Slow Readers Club

                                                                The Joy Of The Return

                                                                  Manchester’s The Slow Readers Club release their fourth album, The Joy Of The Return. 

                                                                  Opening to an energetic blend of driving drums and infectious guitar lines, the opening track builds through evocative verses and anthemic choruses, imbued with their idiosyncratic brand of insightful and confronting lyricism and set against relentlessly danceable and energy-provoking instrumentation. “‘All I Hear’ is about a lack of agency and an inability to affect change. That there’s something happening, and you have no choice but to go along with it,” explains singer Aaron Starkie.

                                                                  Throughout the album, the band explore a vast swathe of sonic territory, from the passionately delivered ‘All The Idols’, to the poppier tones of ‘Jericho’ that power through with bright indie guitar lines and ethereally melodic choruses.

                                                                  Recorded at Parr Street Studios in Liverpool and produced by long-standing collaborator Phil Bulleyment, The Joy Of The Return marks a significant change in the band’s process, with their extensive touring allowing them time to write and develop tracks and arrangements through soundchecks and back-of-van jams.

                                                                  “I think it’s definitely our most interesting and accomplished record musically,” says singer Aaron Starkie. “Lyrically the album covers love, alienation, the rise of right wing populism and comments on algorithm driven propaganda. And as always, I try to deliver those lyrics with uplifting melody.”

                                                                  The dark power-pop that defined their previous releases holds a strong influence, with the brooding ‘No Surprise’ providing a powerful dose of evocative lyricism amid immersive soundscapes, while the unsettling ‘Paris’ is an undulating exploration of observational songwriting and eclectic musicality.

                                                                  The swelling, arena-sized ‘Zero Hour’ displays the enormity of The Slow Readers Club sound and sets the precedent for their incredibly exciting future, while ‘The Wait’ closes the album with a beautifully absorptive combination of atmospheric synths flipping the pace of the record on its head to intoxicating effect.


                                                                  FORMAT INFORMATION

                                                                  Dinked Edition LP Info: • Exclusive Clear Vinyl with Magenta Splatter.
                                                                  • Exclusive Dinked Edition Art print (Numbered & Signed).
                                                                  • Exclusive Sleeve Design (Dinked edition).
                                                                  • Limited to 400 copies.

                                                                  Coloured LP Info: Magenta coloured vinyl.

                                                                  “Soul Is My Salvation" is a collection of dance friendly gospel songs. The mission is to simply uplift your spirit through music and word. Dance floor’s around the world mirror the reactions of Churches from the 70’s and 80’s when experiencing these recordings.” - Tone B. Nimble.

                                                                  Released as a series of eight limited vinyl-only 45, when assembled together the covers reveal a beautiful design courtesy of designer Charlotte McCrae. A true collectors item.

                                                                  Chapter 1 includes the brilliant but incredibly tough pull, Rev L. Weaver’s rendition of a Sister Sledge classic. Side two is an Al-Tone extended version of The Pink Family’s Don’t Give Your Life Away.

                                                                  New Detroit House and Techno from Big Strick's youngest kid ButterBandz

                                                                  It is truly a family affair over at 7 Days Entertainment. Butterbandz, the youngest son of 7 Days Entertainment label head Big Strick, gives us his debut EP titled Legacy. This freshman EP of the youngest of the Strickland clan is nothing short of what you would expect from a family member deeply rooted in dance music from Detroit. The first song off of the EP is a vocal track from BBZ with help from the artist Marc, who is a rising vocal talent from Detroit associated with the 7 Days imprint. If You Don’t Dance is slated to be an anthem among the scene for years to come. It evokes you to get out there and move your body. It brings the energy from start to finish with excited high hats, a grumpy bass and an admirable synth pattern. Things slow down for a more relaxed groove on Free Roaming, a laid back chiller with a smooth synth and a mellow bass of pure delight. Its reverbed synths take you on a never-ending journey through your own mind. Hellraiser is a straight high-octane pure adrenaline rush. It has the soul of true Detroit techno. The unforgiving drum and percussion pattern shines brightly over an acid bass line and catchy synth keys. The last song on the debut EP, Monkey See, closes the project out with a bang. An offset drum knocks on top of an offset synth and warm pianos. The flute is complementary and the percussion ties it all together nicely. Butterbandz shows unparalleled promise for more top-notch projects in the future.

                                                                  Jackie Lynn

                                                                  Jacqueline

                                                                    Not so long ago...in the long winter of 2016–2017. The debut of Jackie Lynn. It was a year of bright lights and alien love, and an undercurrent of undisguised tension too. It fed the music, what can you say. Then suddenly one night, one gig was just the last. For awhile. Until now. Now it’s a new year beginning, and Jacqueline is the album of that year, bringing Jackie fully back in front of us, larger than life, her arms reaching out farther into the glittering darkness than before.

                                                                    Jacqueline finds Jackie Lynn down the road apiece, having broken in and out of the glare of American days and nights. A casino queen in Missouri now, a stranger in a short black dress in Odessa tomorrow—another track, another rich slice of the life for our femme long-haul truck driver. Each one flowing with the whitehot bursts of NEW as it unfurls itself around her. The process of realizing is palpable, as we watch Jackie roll her wheels across the wrecked frontier. Removed from the urban play that made her first songs hum with onyx-black edges, Jackie is an agent of her own agency this time around, alone and together with herself, as big-sky perspective flashes through the windshield over and over: dreamlike passing flares, white-line beats, twilight falling silk on the horizon.

                                                                    Jackie’s trip is an analog evoking, among other things, the spiraling times of a traveling musician. The conversation with yourself just keeps coming back around. Every night with a peak and a valley. Practical things that are fun are also fault lines with existential depths opening up underneath. Is going forward getting somewhere, or is the road just crumbling behind you? Jacqueline blooms expansively from the synthetic rhythms of her debut, blowing up their bone structure with bigger stakes in sight. Jackie Lynn, comprised of Cooper Crain, Rob Frye and Dan Quinlivan of Bitchin Bajas and Haley Fohr of Circuit des Yeux, approached the material as a group, drawing together the journey over time, inspired collectively to find the right notes, sounds and settings to open the landscape for Jackie—and alter it inexorably

                                                                    Mick Harvey

                                                                    Waves Of Anzac / The Journey

                                                                      Waves of Anzac / The Journey is Mick Harvey's first soundtrack release in over 10 years. The album features two recent soundtracks to powerful subject matters recorded by Mick Harvey. The first, Waves of Anzac looks at Sam Neill’s personal family history interwoven with the history of the First World War and the Anzacs through to the modern era while the second, The Journey, is a four-part composition released in support of #KidsOffNauru, a campaign working for the child refugees and people seeking asylum who find themselves in offshore detention.

                                                                      Waves of Anzac is a 10-track score, created for the ABC documentary on forgotten war stories and lives lost, a personal history by the actor Sam Neill (Jurassic Park, The Piano) set against a contemporary increasingly divided political backdrop. ‘Why Anzac? with Sam Neill’ (Dir. KrivStenders, 2015) is named for the Australian and New Zealand Army Corps (Anzac) who served together in the Gallipoli Campaign, their first engagement in World War I and continued as a military unit until after WW2. The film is a look at this pivotal point in our shared history, and the impact it still has on a personal and on a geopolitical level. Harvey recently examined this period via the prism of a fictional soldier/poet for his collaboration with Christopher Richard Barker, The Fall and Rise of Edgar Bourchier and the Horrors of War.

                                                                      The Journey is a four-part composition, recorded with The Letter String Quartet, in support of people seeking asylum who have found themselves in Australia’s offshore detention program. The piece was composed as a study of the hardships endured by the detainees on Nauru, Manus Island and Christmas Island before and during their internment and as an expression of hope for a humane outcome to their plight. 


                                                                      FORMAT INFORMATION

                                                                      Coloured LP Info: Clear vinyl.

                                                                      Coloured LP includes MP3 Download Code.

                                                                      Bon Iver

                                                                      Blood Bank EP - 10th Anniversary Edition

                                                                        Bon Iver’s Blood Bank EP was originally released in early 2009, hot on the heels of the beloved album ‘For Emma, Forever Ago’. The EP was a harbinger of a new sound for Bon Iver: a movement away from the acoustic guitar-led instrumentation of the debut and the beginning of an exploration into the experimental sounds that have evolved but defined Bon Iver ever since. The reissue of this seminal EP is coupled with brand new live renditions of all the EP tracks.

                                                                        A reflection on the Blood Bank EP by Ryan Matteson: "When I reflect on the songs that make up the Blood Bank EP, I am drawn to mantras, both musical and lyrical. The driving and pulsating rhythm of the title track is held steady by the repeated refrain, I know it well, before it eventually yields to a beautiful array of guitar distortion and noise. These moments are significant through all four songs. When the steel guitar makes its entrance on “Beach Baby,” it’s transportive. A blissful, breezy feeling sweeps into the room and that puts you within the moment. Close your eyes and you can feel it. “Babys” follows perfectly. A piano guides your mind to the new beginnings that come with the changing of seasons. The awareness of time passes and makes way for another day. Then there’s “Woods.” A flawless finale. Foreign and new. Not just a new direction but a new beginning entirely. A place where boundaries don’t exist. It was a signal change of things to come, laying the groundwork for new collaborations. A decade later, the song says so much in just three lines. Most significant to me are the words, “I’m building a sill to slow down the time.” Time doesn’t slow down, it races."

                                                                        FORMAT INFORMATION

                                                                        Coloured LP Info: Red Vinyl.

                                                                        Dungen

                                                                        Dungen Live

                                                                          Dungen Live is a document of a band playing with and beyond time, passionately reviving a slowly storied history of sound. A captivating ride captured and collaged from two shows in their native Sweden and assembled into one piece of continuous music by producer Matthias Glava. Dungen Live covers all the peaks and valleys, the moments of intuition and inspiration, and the cosmic connectivity between a family of musicians that makes each Dungen show a spiritual shift.

                                                                          The source material for Live was recorded, in late November 2015, at Stora Teatern in Gothenburg and Victoriateatern in Malmö. Joined by Swedish sax deity Jonas Kullhammar (who brought his skills to Allas Sak), these were undoubtedly some massive experiences. Live drops us into moments where Dungen’s right at the edge of the cliff, right at the point where they’re getting out of the time machine to bust into John Anthony’s studio right when Affinity is cutting their album for Vertigo, right at the point where you discover the break on a record that snaps into place over some hip hop track you’ve been listening to for years, and you play it over and over.

                                                                          Entirely instrumental (including a footstompin’ cover of Doug Jerebine’s “Ain’t So Hard to Tell” – check with our buds over at Drag City for the full story on that one), Live showcases what Dungen does best: create a vibe where none existed, build a mood out of circumstance, attack the music with a fan’s soul and a master’s scorching virtuosity. It extends moments out of their catalogue that seemed like they were already explored and breathes new life into them, at times graceful, at others rambunctious, and sometimes a little of both. It stirs memories of when those first import copies of Ta det lungt hit the record store, how we listened in awe and watched the customers turn around, that first shock of awareness, that anxiety over trying to take home what appeared

                                                                          Cable Ties

                                                                          Far Enough

                                                                            Cable Ties are a fierce, tense rock’n’roll trio. They take the three-minute punk burner and stretch it past breaking point to deliver smouldering feminist anthems. Post-punk and garage rock hammered together by a relentless rhythmic pulse. Jenny McKechnie channels her struggles into songs that resonate deeply, giving voice to feelings often buried in modern life.

                                                                            Shauna Boyle and Nick Brown are a rhythm section anchored in Stooges primitivism, relentlessly hammering out a bedrock for McKechnie’s guitar pyrotechnics and vocal wallop. Three friends summoning a rhythmic tide to deliver anthems that turn latent anxieties into a rallying cry. The band has been committed to an inclusive feminist and political outlook since its inception in 2015, exploring issues of gendered violence, colonialism, and sexual assault. The band members have been involved in benefit shows, organized DIY festivals, and volunteer with Girls Rock!, a not-for-profit organization that aims to empower female, trans, and gender non-binary youth in music.

                                                                            FORMAT INFORMATION

                                                                            Coloured LP Info: Indies-only Black and orange swirl vinyl

                                                                            Wilma Archer

                                                                            A Western Circular

                                                                              Within A Western Circular lies an exciting and varied crew of guest artists including MF DOOM, Samuel T. Herring (Future Islands), Sudan Archives, and Laura Groves, all contributing vocals to his rich, dexterous compositions. These collaborations are the by-product of several years of writing and producing. Recently, he’s appeared extensively on the debut albums by Sudan Archives (writing the lead single, 'Confessions', no less) and Nilüfer Yanya (contributing seven songs), alongside work with Celeste, and another writer and production credit on Jessie Ware’s Devotion.

                                                                              An album that’s been in the works for the past half-decade, A Western Circular is a bold, reflective piece that directly relates to Archer’s personal experiences of life and death, centered on one particular week where they breathed with equal intensity. The record’s themes of greed, love and loyalty all relate back to that specific time. Inspired by author John Fante, A Western Circular is a spiritual voyage through life’s pushing and pulling: finding beauty in the rough, sadness in the bright. Ostensibly, it’s a poignant reflection on the duality of the human condition.

                                                                              On the record, Archer has uncovered new depths and forged an invigorating singular sound - supple and multi-layered, honouring his acoustic heritage and influence, while building a sonic universe that commands contemporary references to everything from Frank Zappa to Yasuaki Shimuzu, Robert Wyatt to Arthur Russell.

                                                                              FORMAT INFORMATION

                                                                              Coloured LP Info: Indies exclusive clear vinyl.

                                                                              Deluxe LP Info: Album on clear vinyl, comes with white label 12” of Last Sniff featuring MF Doom on black vinyl.

                                                                              Various Artists

                                                                              Scorcha! Skins, Suedes And Style From The Street

                                                                                Half a century ago, vast numbers of British working-class youths adopted a style that reflected both their attitude and tastes. Dubbed by the country’s media as ‘skinhead’, the look starkly contrasted with that of the country’s largely middle-class ‘hippy’ population, drawing heavily on the smart, practical and stylish fashions introduced to the UK by the Windrush generation. The Caribbean influence was even more evident in the music that provided the soundtrack to the skinhead scene: reggae.

                                                                                To finally set the record straight about this greatly mis-understood sub-culture, celebrated writers, Paul 'Smiler' Anderson and Mark Baxter have penned a brand new book, ‘Scorcha! Skins, Suedes and style from the Streets - 1967 to 1973’. In addition, the pair have also compiled a companion 7” vinyl box set of the same title, comprising ten 45s, each featuring a pair of reggae classics favoured by first generation skinhead record buyers.

                                                                                Pressed on high quality vinyl and presented in sturdy reproduction Trojan-branded sleeves, the singles are accompanied by an insert featuring a fascinating essay on the music and those on the scene by the book’s co-author, Paul Anderson. 


                                                                                Alex Somers

                                                                                Honey Boy (original Motion Picture Soundtrack)

                                                                                  Honey Boy OST by Alex Somers. Beautiful and transcendent soundtrack to accompany the Shia LaBeouf written and Alma Har'el directed Honey Boy.



                                                                                  Studio Electrophonique

                                                                                  Buxton Palace Hotel

                                                                                    Studio Electrophonique is the solo musical venture of James Leesley. Bright eyed, tousle-headed and with a look halfway between penitence and innocence, James conjures a sound akin to the dream where Bill Ryder-Jones fronts The Velvet Underground with echoes of Cherry Ghost drifting in there for good measure. Cinematic, melodic, warm - efficient in arrangement yet intricate in detail. On hearing the song "Jayne", Richard Hawley invited Studio Electrophonique to open for his band in London and Holmfirth in May 2019. Studio Electrophonique’s debut elp album “Buxton Palace Hotel” was released on 10” vinyl on Violette Records on 20 September 2019. Almost by word of mouth alone the record sold out within a fortnight capturing the admiration of audiences, journalists and musicians alike. Etienne Daho’s love of the record extended to a personal invite to James to perform as his special guest and open his show at the famous L’Olympia in Paris in January 2020. Studio Electrophonique will be playing live throughout 2020 including festival performances at Glastonbury, End of The Road and The Green Man.

                                                                                    Primo

                                                                                    Sogni

                                                                                      Primo are a quartet from Melbourne writing up-tempo, terse, chorus and verse with two guitars, bass, drums and a shared group vocal sensibility to adorn their enquiries into deconstructed punk. Their songs chime and charm, sounding at times bountiful, at others brittle, always buoyant with attention to detail. Primo songs are inquisitive, chasing down questions for answers hurrying away, amidst minimalist shuffle beats and ringingout chords. The group’s debut album ‘Amici’ (2018) was a triumph of the underplayed, its small details pulling focus, allowing the album to treat us to unexpected truths in plain sight. Primo's newest member since ‘Amici’ was recorded is Amy Hill, who also plays in Terry and Constant Mongrel, on bass. Outside of Primo, Xanthe and Violetta both have lent their guitar skills to Terry and The Shifters respectively, whilst Suzanne works in film. 2020 sees Primo return with their second album of prudent delights entitled ‘Sogni’, from the Italian for ‘dreams’. Using the same musical lexicon and internal logic developed through their debut, ‘Sogni’ reflects on themes of decision-making, change, time, heartbreak, the practicalities of work and daily life.

                                                                                      The songs came together as a way of making sense of the times - offering a way through. Tracks were demo-ed quickly by early 2019, then developed collectively through the year in the rehearsal room, played live and finally recorded onto 8-track in late 2019 by Al Montfort in a number of home studios across Melbourne. Vocal duties were largely shared throughout the record, which has the same post punk sensibility and minimal approach as in previous recordings, but here imbued now with electronic flourishes and expanded instrumentation that sees Primo’s sound growing bolder. ‘Sogni’ will be released through Upset the Rhythm on March 20th.

                                                                                      FORMAT INFORMATION

                                                                                      Coloured LP Info: Indies only opaque orange vinyl.

                                                                                      Freddie Gibbs & Madlib

                                                                                      Bandana Beats

                                                                                        Instrumental version of the amazing 'Bandana' album from 2019. 

                                                                                        Cerrone

                                                                                        DNA

                                                                                          'Cerrone’s 17th album -DNA -opens with The Impact, a throbbing track of bendy entanglements all with an environmental stance. Halfway through, we’re treated to an excerpt of a speech from Jane Goodall, the world-famous primatologist and ethnologist: “Every single day we make some impact on the planet. We haven’t inherited this planet from our parents. We’ve borrowed it from our children. If we get together, then we can start to heal some of the scars that we’ve inflicted.” It’s hard not to draw comparisons with Supernature, in which Cerrone declared his first warning about man’s impact on the planet, 43 years ago.

                                                                                          This nine-track concept album is built on wandering contours and magnetic sparkle, from which bursts saturated oppressive synth pads (Obsession), a nod to PinkFloyd (DNA), and dramatic soundscapes (Close To The Sky, Experience) and clammy atmospheres that are delightedly languid. “What if I told you that the idea for Air Dreaming came to me after watching a video of a parachute jump featuring naked parachutists? When people ask me whether I’m still inspired by love and sex today, naturally my answer is yes.” Cerrone doesn’t deprive himself either of pushing Kraftwerk’s logic of unleashing robots on the dance floor (“I’ve got a rocket”, ”Let Me feel”), as his songs appeal to both the intellect and the body’s desire to move. “Let me dream, let me see, let me feel.”What better mantra for bringing this album full circle.

                                                                                          Ásgeir

                                                                                          Sátt

                                                                                            'Singer-songwriter, multi-instrumentalist and collaborator; the mighty Ásgeir returns with highly anticipated third album ‘Bury The Moon’. The Icelandic artist returns to his folk roots for lead single ‘Youth’ written in collaboration with his admired poet father, the song documents his childhood growing up in his small Icelandic town, unburdened by worry and full of unbridled joy. The stunning new track swells with horns and hushed acoustic guitars, Ásgeir’s unmistakable honey-soaked vocal soaring across weaving instrumental melodies, culminating in a anthemic peak that exudes nostalgia. ‘Bury The Moon’ will be available via One Little Indian 7th February 2020.

                                                                                            Also releasing 'Sátt', the Icelandic language version, on the same day.

                                                                                            Ásgeir

                                                                                            Bury The Moon

                                                                                              'Singer-songwriter, multi-instrumentalist and collaborator; the mighty Ásgeir returns with highly anticipated third album ‘Bury The Moon’. The Icelandic artist returns to his folk roots for lead single ‘Youth’ written in collaboration with his admired poet father, the song documents his childhood growing up in his small Icelandic town, unburdened by worry and full of unbridled joy. The stunning new track swells with horns and hushed acoustic guitars, Ásgeir’s unmistakable honey-soaked vocal soaring across weaving instrumental melodies, culminating in a anthemic peak that exudes nostalgia. ‘Bury The Moon’ will be available via One Little Indian 7th February 2020.

                                                                                              Also releasing 'Sátt', the Icelandic language version, on the same day.

                                                                                              FORMAT INFORMATION

                                                                                              Indies Exclusive LP Info: Indies exclusive silver LP

                                                                                              Robert Glasper

                                                                                              Fuck Yo Feelings

                                                                                                'Legendary genre-bending, multiple Grammy and Emmy-winning artist and producer Robert Glasper releases his newest project, Fuck Yo Feelings. It is the result of a 2-day session in which Glasper invited musician friends to stop by the studio and organically create together, the final result being this mixtape which sonically documents the lost art of improv and on the spot collaborations that can only come from authentic relationships and true artistry. 

                                                                                                Alhaji Bai Konte, Dembo Konte, Ma Lamini Jobate

                                                                                                Gambian Griot Kora Duets

                                                                                                  The hypnotic, delicate strum of the kora, the harp-like instrument strung on a halved gourd, has been a trademark of West African music for centuries.

                                                                                                  ‘Gambian Griot Kora Duets’ (1979), featuring the master player Alhaji Bai Konte and his equally influential son Dembo Konte and Ma Lamini Jobate, is a remarkable recording that documents an evolution in the kora’s use in the traditional music of the Gambia. The album, made in Dembo and Alhjai Bai Konte’s living space, shows the musicians incorporating complex, polyrhythmic arrangements, inspired by kora recordings from Mali introduced to them by producer Marc Pevar. Though these musicians are intrinsically linked to the Jali tradition of griot families in West Africa, in which kora players are the historians and record keepers of local cultures, these recordings, with their stylistic innovations, marked a new beginning for international interest in the kora. Dembo Konte went on to tour internationally, performing on John Peel’s legendary BBC program in 1989 and collaborating with the influential group Mustaphas 3. This reissue is part of Smithsonian Folkways Vinyl Reissue Series, bringing to light hidden gems from the extensive collection and revisiting some of the most iconic and influential albums released by the label. This album is being released alongside other international classics ‘Tuareg Music of the Southern Sahara’ and ‘Calypso Travels’ by Lord Invader.

                                                                                                  Short, targeted PR campaign with LP promo mailings to key industry/press influencers. These releases rebrand the series as a mode of discovery for adventurous listeners, a guide through the legendary Folkways catalog and other labels in our collection to highlight culturally relevant, but perhaps little known, recordings.

                                                                                                  Various Artists

                                                                                                  TUAREG MUSIC OF THE SOUTHERN SAHARA

                                                                                                    In the 21st century, the music of the Tuareg people, a diverse group spread across the Sahara encompassing Mali, Niger, and beyond, has reached an unprecedented international audience.

                                                                                                    Groups including Bombino, Mdou Moctar, Tinariwen, and Les Filles de Illighadad have incorporated the mesmerizing, repetitious qualities of the region’s folk music into rollicking, full-band rock and roll, bringing countless new ears to these styles developed in the African desert. ‘Tuareg Music of the Southern Sahara,’ originally released on Folkways in 1960, traces the origins of these sounds and styles, focusing on the ecstatic vocalizations and singing accompanied by sparse instrumentation.

                                                                                                    These raw, extemporaneous recordings offer a glimpse at the musical traditions dating back hundreds of years from many tribes and localities from throughout the Sahel. This reissue is part of Smithsonian Folkways Vinyl Reissue Series, bringing to light hidden gems from the extensive collection and revisiting some of the most iconic and influential albums released by the label. This album is being released alongside other international classics ‘Gambian Griot Kora Duets’ by Alhjai Bai Konte, Dembo Konte, and Ma Lamini Jabote and ‘Calypso Travels’ by Lord Invader.

                                                                                                    Short, targeted PR campaign with LP promo mailings to key industry/press influencers. These releases rebrand the series as a mode of discovery for adventurous listeners, a guide through the legendary Folkways catalog and other labels in our collection to highlight culturally relevant, but perhaps little known, recordings.

                                                                                                    Lord Invader

                                                                                                    Calypso Travels

                                                                                                      Lord Invader was one of the most iconic and well-regarded calypso musicians of the mid-20th century. Coming from humble beginnings in the musical hotbed of Port-of-Spain, Trinidad, Invader gained notoriety for his unique voice and lyrical prowess. ‘Calypso Travels,’ his final album released just before his death, was produced in New York in 1960 by Folkways founder Moses Asch.

                                                                                                      The album showcases Lord Invader’s talent for biting lyrics that reference contemporary happenings, such as the rise of Fidel Castro, his experience at the 1956 World Fair in Belgium, the arrival of the Little Rock Nine in 1957 desegregating the public schools in the United States, and his touring experiences in Europe in the 1950s. An icon of Caribbean music, and one of the major forces exporting it to the world, Lord Invader epitomizes the spirit of calypso - boisterous, acerbic, and joyful. This reissue is part of Smithsonian Folkways Vinyl Reissue Series, bringing to light hidden gems from the extensive collection and revisiting some of the most iconic and influential albums released by the label. This album is being released alongside other international classics ‘Gambian Griot Kora Duets’ by Alhjai Bai Konte, Dembo Konte, and Ma Lamini Jabote and ‘Tuareg Music of the Southern Sahara’.

                                                                                                      Short, targeted PR campaign with LP promo mailings to key industry/press influencers. These releases rebrand the series as a mode of discovery for adventurous listeners, a guide through the legendary Folkways catalog and other labels in our collection to highlight culturally relevant, but perhaps little known, recordings.

                                                                                                      Various Artists

                                                                                                      Back From The Canigo - Garage Punks Vs Freakbeat Mods: Perpignan 1989-1999

                                                                                                        The Liminanas have been international stars since 2010. A few years earlier, the Hushpuppies were in the spotlight. Two groups from North Catalunya who have written some of the most beautiful pages of French rock thanks to their garage and neo-sixties style. Two groups born from the flourishing sixties style punk and mod scene of the 1990s in Perpignan. Back from the Canigo explores that decade, which saw the emergence of more than twenty groups from different scenes that were to fuse together in the end. Through more than thirty tracks, many of which are released here for the first time, this album brings to light the pioneering work of Les Gardiens du Canigou and of The Ugly Things, as well as eleven other groups who make worthy heirs to the former. From savage garage revival to sixties punk, from mid-sixties freakbeat to more psychedelic sounds.

                                                                                                        Derek Bailey

                                                                                                        Company 1983

                                                                                                          Derek Bailey, Evan Parker, Jamie Muir, Joelle Leandre, Hugh Davies, Ernst Reijseger, John Corbett, JD Parran, Vinko Globokar, Peter Brotzmann.

                                                                                                          Humanist

                                                                                                          Humanist

                                                                                                            Humanist, the expansive and ambitious project orchestrated by guitarist and producer Rob Marshall, features new single “Shock Collar”, with iconic Depeche Mode singer Dave Gahan.

                                                                                                            The self-titled debut album is masterfully conducted by Rob Marshall (guitarist of Exit Calm and co-writer of Mark Lanegan’s celebrated “Gargoyle” and “Somebody’s Knocking” albums) who wrote, played and produced all the music here.

                                                                                                            Humanist is a swirling Niagara of fuzzed-out industrial melody and noise, that has attracted an all-star cast of collaborators including Mark Lanegan (Queens Of The Stone Age), Dave Gahan (Depeche Mode), Mark Gardener (Ride), Carl Hancock Rux (David Holmes, Portishead), John Robb (The Membranes), Joel Cadbury (UNKLE), Ilse Maria, Ron Sexsmith and Jim Jones (The Jim Jones Revue, Thee Hypnotics).

                                                                                                            New single “Shock Collar” featuring Dave Gahan offers a stirring insight into the world that Humanist soundtracks, and its accompanying video is a dizzying, emotive and luminous visual gateway into the song. Filmed in New York, directed by Derrick Belcham (Brian Eno) and designed by Tracey Maurice (Arcade Fire), the video the explores the psychology of a heartbroken and regretful figure and the dual symbol of the halo / shock collar as a guide.

                                                                                                            Gahan comments; “It was a pleasure to be asked to be a part of Rob’s 'Humanist' project. Mark Lanegan asked me, and I liked the idea immediately… It’s a beast! I went for the vocal, with the visual of driving fast on an empty highway… We shot the video over a couple of days in New York, and it all came together”.

                                                                                                            FORMAT INFORMATION

                                                                                                            2xLP Info: Heavyweight black vinyl.

                                                                                                            Formerly a musician, cinematographer and lighting designer with The Residents and a student of “Blue” Gene Tyranny, Philip Perkins issued this astounding release on his own Fun Music label in 1983.

                                                                                                            Perkins often worked in topographical realms, crafting environment-enriching soundscapes, albeit on a micro level.
                                                                                                            Taking cues from minimalism, environmental field recordings and home-baked ceremonial mantras, King Of The World is a meditation on the lives of three ancient kings who believed themselves to be the ruler of all mankind.

                                                                                                            The post-Hassell currents of Fourth World music unavoidably come to mind. King Of The World sits comfortably amongst the backwards-referencing style of more recent producers - but Perkins was a contemporary of the famed trumpeter and he alchemises a DIY spirit and sound art aesthetic into his own unique province of Magic Realism. Off-centre loops of African hand percussion are overlaid with a palette of water trickles, bird calls and mutant Casio synthesizer forming deceptively simple rhythmic and textural collages, always at a level just above subliminal.

                                                                                                            Remastered in Brooklyn by Josh Bonati and with new sleeve artwork by the internationally acclaimed book designer Luke Bird.

                                                                                                            Sports Team

                                                                                                            The Races

                                                                                                              Sports Team today share their anthemic new single ‘The Races’. Recorded at Livingston Studios in London and produced by longtime collaborator Burke Reid (Courtney Barnett, Rolling Blackouts Coastal Fever), ‘The Races’ is built on a driving bassline, with their trademark swagger in full focus. Lyrically it continues to play with middle english characters recognisable from the band’s back catalogue, this time delving into dodgy politics and misguided patriotism.

                                                                                                              FORMAT INFORMATION

                                                                                                              Ltd 7" Info: Indies only Limited Edition 7"

                                                                                                              Heldon

                                                                                                              Interface

                                                                                                                Despite its often warm and near-funky feel, "Interface" has been cited as an influence on key industrial and noise musicians including Wolf Eyes and Merzbow. "A lot of people told me that 'Interface' and bands like Throbbing Gristle started the initial so-called industrial music but I was not aware of this at the time. But if you tell me it's pre-industrial music I'm okay with that, of course", Pinhas says in the liner notes of our release. Spoiler alert. A brilliant moment occurs right at the end of 1977's Interface. The album's final song, its side-long title track, builds up slowly into a roaring tornado of fiercely mutating drum patterns, effervescent synth work, and guitar licks that wail into the atmosphere like an abandoned astronaut. Then, after nearly nineteen minutes of highly futuristic avant-garde space rock, this ultramodern music fades out and is replaced by a concluding few seconds of traditional blues-rock guitar. "We were finishing the track, the tape was rolling, and I started to play a normal boogie or whatever," remembers Heldon leader Richard Pinhas. "I think it was a good idea to keep it. It just came naturally, at the end."

                                                                                                                This event acts as a reminder of just how far rock 'n' roll had been transformed since its earliest incarnations. This blueprint had been jolted and nudged down all kinds of unexpected avenues after players like Chuck Berry and Bill Haley first found fame. The genre had branched out into every manner of mutated form. It had given rise to misshapen clones and had shifted into unrecognisable shapes, like a beautiful alien creature from one of the science fiction tales that were fondly admired by so many experimental rock musicians, Pinhas included.

                                                                                                                Heldon, surely, represented one of rock 'n' roll's most distant relatives; an innovative fusion of avant-garde rock sounds and synthesizer pulsations. At the same time, Interface's unexpected ending also tells us that such music, however improvisatory or fused with electronic elements, will forever have its roots in those early rock 'n' roll records that are responsible for so many varieties of aural exploration. Heldon's third LP, remember, despite combining heady synth throbs with expressive blasts of spacey guitar in a distinctly radical fashion, had been given the title It's Always Rock 'N' Roll. Three years and an equal number of albums later, Heldon was continuing to evolve rapidly. Thanks to the increased presence of drummer François Auger and synth/Moog man Patrick Gauthier, Pinhas' project had solidified into a harder and heavier unit. So much so that, as one reviewer on a popular online marketplace's website has put it, Interface might as well be called "In yer face".

                                                                                                                Around the time of the album's release, the musician and composer Jean-Philippe Goude told Pinhas that because of its merging of synthesizer sounds with "real" instrumentation, "Interface will be recognized, in fifty years' time, as a great moment in music's development." Back then, Pinhas didn't believe his friend but he now has to admit the album has had real resonance. For instance, despite its often warm and near-funky feel, Interface has been cited as an influence on key industrial and noise musicians including Wolf Eyes and Merzbow. "A lot of people told me that Interface and bands like Throbbing Gristle started the initial so-called industrial music but I was not aware of this at the time. I was very alone in my world, with my friends. But we have never been classified, you know? If you tell me it's pre-industrial music I'm okay with that, of course. You can do this without risking a bullet in your head," Pinhas laughs.

                                                                                                                Pinhas is now approaching his 70s. His music has not aged in the same way. "It still sounds modern," he says proudly. "It could have been recorded yesterday. Nothing gets old with this." That's rock 'n' roll for you.

                                                                                                                Various Artists

                                                                                                                The Rough Guide To Blues Divas

                                                                                                                  The 1920s “classic era” of recorded blues was dominated by women who lived and performed in the cities. This Rough Guide explores its glitzy heyday when singers such as Bessie Smith and Ma Rainey became the first real stars of the blues.

                                                                                                                  This is an album which revives the memory of the largely forgotten 1920s blues queens and explores the hugely significant and often overlooked role that women have played in the story of the blues. Highlights the first wave of blues singers who inspired the likes of Billie Holiday, Mahalia Jackson, Nina Simone and Janis Joplin. The tracks were lovingly remastered using pioneering restoration techniques.

                                                                                                                  An album which revives the memory of the largely forgotten 1920s blues queens. Includes many lesser-known gems by artists shrouded in mystery The original blues divas were responsible for recording the first ever blues songs. Pioneering artists who developed the blues tradition and took it to the popular stages. Following on from the success of other blues titles in the Rough Guide range. Bringing to the fore hidden gems that deserve to be heard. Lovingly remastered using pioneering restoration techniques

                                                                                                                  Various Artists

                                                                                                                  Dr Boogie Presents Shim Sham Shimmy

                                                                                                                    A collection devoted to rare and lost recordings from '20 to '60's.Is it really possible to imagine what modern music would sound like if a few pioneering geniuses had not had the idea of electrifying their instruments, especially guitar and harmonica, between 1945 and 1950? Some purist will regret this evolution, but, in the '50s, the new sound will be heard in all the studios and night clubs of the United States; it will become a staple on the radio, in stores, at weddings, and private parties. It will radically transform the music scene and allow hundreds of artists to express themselves, create, hope, and innovate.

                                                                                                                    This collection pays tribute to about thirty artists, some of which later became known, like Albert Collins, Jack Dupree, Homesick James, Sam Myers, Dr. Ross, and Joe Hill Louis. However, the real treat is having an opportunity to hear fabulous unknowns who all, one day, had the chance to be recorded, either in a studio, on the street, or on a back porch, before going back to anonymity shortly after. Almost all of the artists presented here hailed from the south of the USA. Some of them stayed there their whole life, other emigrated toward the north, moving up the Mississippi, or toward the west to settle in California. The music included here is part of the foundations of all the modern music that would take the world by storm up to our time. 

                                                                                                                    Rejoicer

                                                                                                                    Spiritual Sleaze

                                                                                                                      Rejoicer is a Tel Aviv-based musician making cosmic jazz-tinged electronica. He has collaborated with Mndsgn, Georgia Anne Muldrow and Dudley Perkins, as well as being a member of the band Buttering Trio and running the Raw Tapes label. Several tracks on ‘Spiritual Sleaze’ include vocals, with featured guests including iogi, KerenDun, Nitai Hershkovits, Jenny Penkin and Sam Wilkes. Rejoicer cites Sun Ra, Aphex Twin, Steve Reich, Dabrye, Eric Satie, Wu Tang Clan and Scientist among his musical inspirations.

                                                                                                                      For fans of Kiefer, Mndsgn, Teebs, Flying Lotus, BADBADNOTGOOD, Thundercat, Shigeto.

                                                                                                                      Kollington Ayinla And His Fuji ’78 Organisation

                                                                                                                      Blessing

                                                                                                                        Kollington Ayinla’s celebrated 1978 album ‘Blessing’ is a rare lost classic of Nigerian Fuji music and features Ayinla’s sharp political lyrics together with his new band Fuji ’78. ‘Blessing’ blends the heavily percussive style of Fuji music with a stunning array of modern instruments, including synthesizers, Bata drums and guitars, to create one of the most forward-thinking and heavily danceable sounds ever to come out of Nigeria - a highly successful mixture of profound Fuji rhythms and Fela Kuti-style Afrobeat.

                                                                                                                        Kollington Ayinla ranks alongside his friend and competitor Ayinde Barrister as the two most important artists to dominate Fuji music from its inception in the 1970s through to the 1990s by which time it had grown to become one of the most popular dance genres in Nigeria. At the start of the 1980s Ayinla started his own record company, Kollington Records, to release his music and remains to this day an extremely prolific artist, having recorded over 50 albums, most of which have never been released outside of Nigeria.

                                                                                                                        HAAi

                                                                                                                        Systems Up, Windows Down

                                                                                                                          A need for experimentation, exploring new sounds and new ways of making music - the inspiration driving Mute’s newest signing HAAi, the Australian-born London-based DJ who continues an incredible couple of years by announcing her first EP on the prestigious label. Inspired by a chance trip to Berghain, HAAi started DJing by digging into a wealth of music on the psychedelic spectrum from around the globe. Her Coconut Beats parties in Dalston led to shows on Rinse FM and Worldwide FM and eventually to a prestigious residency at the London club Phonox where Throssell played Saturday nights for two years. As her residency came to end, BBC Radio 1 broadcast her Essential Mix which went on to win the accolade of the Best Essential Mix Of The Year, alumni of which include Helena Hauff, Caribou, Nicolas Jaar and Ben Klock. HAAi was then granted a monthly Radio 1 slot, which continues into 2020.

                                                                                                                          The new release, ‘Systems Up, Windows Down’, feels like an evolution from the previous releases on her own label. With a more mature, dancefloor focused sound, full of heavy basslines, breaks and crisp percussive electronics, she has experimented more and pushed the boundaries of her production. The opening track includes the revving of her stepdad’s 60s Mustang engine on ‘It's Something We Can All Learn From’ she uses an almost forgotten artefact from a trip to Marrakech and ‘CHONKIBOI’ is grounded in an earwormy ritualistic vocal. ‘6666’ was initially composed for the Genesis stage at Glastonbury and has since grown to be a monster of a tune, adding a tougher element to the EP. The closing track is a ten-minute burner which has been garnering love over the summer festivals.

                                                                                                                          FORMAT INFORMATION

                                                                                                                          Ltd 12" Info: Neon orange vinyl.

                                                                                                                          Polvo

                                                                                                                          Today's Active Lifestyles (Reissue)

                                                                                                                            Today's Active Lifestyles, the second full-length by North Carolina rockers Polvo, did exactly what a sophomore LP is supposed to do: It expanded the ideas put forth in the first album, gave them a new spin and shine, and presented the "where we are now" to the world. Produced and recorded over four heady days in December 1992 by former Bostonian and ex-Volcano Suns bassist Bob Weston (around the time he started in Shellac), Today's Active Lifestyles hit record store shelves in April 1993.

                                                                                                                            From the whizzing crunch of "Thermal Treasure" to the loping, connective "My Kimono" to the 7-minute-plus blowouts "Stinger (Five Wigs)" and album closer "Gemini Cusp," the album asserted its place as a most worthy successor to Cor-Crane Secret. The foreboding title of a particularly screechy, fuzzy jam, "Time Isn't on My Side," proved to be nonsense; Today's Active Lifestyles has aged beautifully. “The band experiments with several ideas throughout the album, and each concept is successful. The album ranges from cascading guitar solos in “Stinger (Five Wigs)” to the straightforward “Tilebreaker” to the catchy, rolling, keyboard-punctuated “Time Isn’t On My Side.” Overall an excellent album with many layers.” 

                                                                                                                            FORMAT INFORMATION

                                                                                                                            Coloured LP Info: Red & Yellow Vinyl

                                                                                                                            Coloured LP includes MP3 Download Code.

                                                                                                                            Polvo

                                                                                                                            Cor-Crane Secret (Reissue)

                                                                                                                              In January 1992, fresh off the glory that was the band's 1991 double-7" debut, Polvo headed into Duck Kee Studios in Raleigh, NC - aka the place where a lot of early Merge stuff was recorded - to track what became their debut full-length. CorCrane Secret was released in July of that year, the same month as Sonic Youth's Dirty and Danzig's Danzig III: How the Gods Kill. (Sadly, a triple bill never happened.)

                                                                                                                              Opening with a new take on "Vibracobra," a bit of alternately languid and shuddering guitar churn that had appeared on a single the year before (a perfect way to bridge the Polvo of "then" and "now"), Cor-Crane Secret, with songs such as the herky-jerky "Kalgon" and the youthful-yet-complex "In the Hand, In the Sieve," established the first iteration of that Polvo sound: intricate guitar melodies, Mr. Bowie's plain-spoken vocals politely deep beneath the guitar waves, and cool ideas of how guitars could go together all over the place. In an era where guitar bands seemed to be blooming like wildflowers in a particularly fertile cow pasture, Cor-Crane Secret was a complicated bloom indeed. But Polvo was just getting started. 

                                                                                                                              FORMAT INFORMATION

                                                                                                                              Coloured LP Info: Limited White & Blue Vinyl

                                                                                                                              Coloured LP includes MP3 Download Code.

                                                                                                                              The Lottery Winners

                                                                                                                              The Lottery Winners

                                                                                                                                After being discovered by music industry legend Seymour Stein (who famously signed Madonna, The Ramones, Talking Heads and many more,) Lottery Winners have spent the last two years recording tracks for their debut album….a complete labour of love, with a longer than planned delay due to the well-trodden path of record label disputes and the lengthy process of taking back control. The album was produced by TristemIvemy (Frank Turner, The Holloways, Beans On Toast) and mastered at Abbey Road.

                                                                                                                                Starting in the pubs and working men’s clubs of Lancashire (including the legendary Phoenix Nights) this fierce foursome has truly grafted to reap the rewards. Now signed to Modern Sky UK , 2019 has already seen Thom, Kate, Rob and Joe winning over a slew of new fans, winning the hearts of audiences across the UK and Europe, with support slots for the likes of Catfish and the Bottlemen, Madness, Larkins, The Libertines, Circa Waves, Sleeper, Cassia, Paul Heaton, and a storming Glastonbury debut in June.

                                                                                                                                Lottery Winners is made of real flesh and bones. It’s made of working-class Britain. It’s made of self-deprecation, dire deprivation and true dedication. Their live shows explode from the stage and stay in the minds of the audience, buried in there forever. They always come back. This is your new favourite band, whether you know it yet or not.


                                                                                                                                FORMAT INFORMATION

                                                                                                                                Coloured LP Info: Clear vinyl.


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