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The Fall

1982 - 6 CD Box Set

    1982 was a decisive year for The Fall. Their critically acclaimed album “Hex Enduction Hour” was released in March on Kamera Records, closely followed by “Room To Live” in September.

    This six-disc boxset brings together those two classic albums alongside a host of John Peel sessions, Kamera singles, live performances and the group’s live album “In A Hole”, recorded during their tour of New Zealand and originally released on Flying Nun Records.

    Also included in the box is a replica poster from the August 1982 show at the University of Canterbury in Christchurch, New Zealand and a replica press-release for “Hex Enduction Hour”.

    Founded by its only constant member, Mark E. Smith, The Fall formed in Manchester in 1976 and were one of the most prominent post-punk groups in the world. Musically, there may have been several stylistic changes over the years, but it was often characterised by an abrasive guitar-driven sound and frequent use of repetition, always underpinned by Smith's distinctive vocals and often cryptic lyrics.

    “They are always different; they are always the same.” John Peel.

    The Fall

    Hex Enduction Hour - Triple Splatter Coloured Vinyl + 7" Edition

      1982 was a decisive year for The Fall. Their critically acclaimed album “Hex Enduction Hour” was released in March on Kamera Records, closely followed by “Room To Live” in September of that year.

      This triple LP includes the full classic album plus John Peel Sessions and live recordings in Manchester and New Zealand.

      The bonus 7” single is a replica of their 1982 Kamera single ‘Look, Know’, b/w ‘I’m Into C.B.’

      This release is a triple gatefold on green & white splatter vinyl – the 7” is black vinyl.

      Founded by its only constant member, Mark E. Smith, The Fall formed in Manchester in 1976 and were one of the most prominent post-punk groups in the world. Musically, there may have been several stylistic changes over the years, but it was often characterised by an abrasive guitar-driven sound and frequent use of repetition, always underpinned by Smith's distinctive vocals and often cryptic lyrics.

      “They are always different; they are always the same.” John Peel.

      FORMAT INFORMATION

      3xLtd LP Info: Triple gatefold on green & white splatter vinyl and bonus 7".

      The Fall

      Room To Live - Double Marbled Coloured Vinyl Edition

        1982 was a decisive year for The Fall. Their critically acclaimed album “Hex Enduction Hour” was released in March on Kamera Records, closely followed by “Room To Live” in September.

        This double LP includes the classic album (“Room To Live”) plus live recordings in Manchester, London, New Zealand, Netherlands and Canada.

        This release is a double vinyl on coloured marble effect vinyl.

        Founded by its only constant member, Mark E. Smith, The Fall formed in Manchester in 1976 and were one of the most prominent post-punk groups in the world. Musically, there may have been several stylistic changes over the years, but it was often characterised by an abrasive guitar-driven sound and frequent use of repetition, always underpinned by Smith's distinctive vocals and often cryptic lyrics.

        “They are always different; they are always the same.” John Peel

        FORMAT INFORMATION

        2xColoured LP Info: Double vinyl on coloured marble effect vinyl.

        Luv*Jam presents The Legend Of Gelert 3000.6 with two ambient dream house artists of the highest order; Melbourne’s ‘Dawn Again’ and Wuppertal’s ‘Colkin’. As we continue the descent down the 3000’s of the Snowdonia mountain range. 3000.6 is Glyder Fawr at 3279 ft (999m) and is the higher of the two Glyderau summits which is gained up a scree slope above Glyn Y Can (Lake of the Dogs). The exact highest point between Glyder Fawr and Glyder Fach is a matter of debate and they are only a few metres apart so you might well want to touch them both and join the rucksack club as we wiggle down the mountain side.

        Artwork is made with love for the local feral mountain goat population of Snowdon Massif, who were recently touted as bate by an idiotic hunting firm from across the borders by offering ‘the chance to shoot goats in the Welsh mountains for £1000’ yes you are reading this correctly... Protect our goats, protects our mountains, let this nomadic ancient breed run free and let our music take you to the niPPi peaks

        Milky Chance

        Mind The Moon

          Milky Chance return with the help of Tash Sultana, and the results are simply put; special. Pop on their collaborative efforts, Daydreaming, which you’ll immediately see manages to border feeling both worldly and otherworldly

          It’s rare that on a day you hear a new Milky Chance song that you’ll hear anything else as fresh sounding. This track is one of their most introspective offerings yet. The band explain "It’s not just a daydream, it’s more like a vision of how things could be, and where you could go. It’s about those mechanisms that starts working when you don’t know how to deal with reality.“

          Their collaboration with Tash Sultana evolved after they met at an Australian festival. They got together shortly after in the studio to create Daydreaming. Tash’s debut record, Flow State, has seen the artist win host of tastemaker credibility from media from across the globe from Rolling Stone, Triple J to the Guardian.

          Milky Chance comprises of German duo Clemens Rehbein and Philipp Dausch. There’s few accomplishments that the band haven’t already achieved with their first two albums, Sadnecessary and Blossom. Things really started for the band with their first hit, Stolen Dance, which went on to become a global phenomenon garnering support from the likes of BBC Radio 1 who playlisted the song for 6 weeks with the track peaking at no.1 on Shazam. On their second record, hits like Cocoon and Doing Good saw them play 241 shows in 41 countries.


          Various Artists

          Once Upon A Time In Hollywood

            The soundtrack for Quentin Tarantino’s heavily anticipated music-laden film Once Upon a Time… in Hollywood/

            Personally curated by Tarantino himself, the soundtrack is a love letter to the music of 1960s-era Hollywood. The Once Upon a Time… in Hollywood soundtrack features over 20 standout tracks from artists such as Paul Revere & The Raiders, Deep Purple, and Neil Diamond, as well as vintage radio advertisements, creating a true time capsule of a golden era of filmmaking.

            Quentin Tarantino’s Once Upon a Time… in Hollywood visits 1969 Los Angeles, where everything is changing, as TV star Rick Dalton (Leonardo DiCaprio) and his longtime stunt double Cliff Booth (Brad Pitt) make their way around an industry they hardly recognize anymore. The ninth film from the writer-director features a large ensemble cast and multiple storylines in a tribute to the final moments of Hollywood’s golden age. Written and Directed by Quentin Tarantino. Produced by David Heyman, Shannon McIntosh and Quentin Tarantino. Georgia Kacandes, YU Dong and Jeffrey Chan serve as executive producers. The film also stars Margot Robbie as Sharon Tate plus Al Pacino, Emile Hirsch, Timothy Olyphant, Dakota Fanning, Bruce Dern, Lena Dunham, and more.



            FORMAT INFORMATION

            Coloured LP Info: Indies exclusive limited double translucent orange coloured vinyl in a gatefold sleeve. Includes a (folded) 24" x 36" art poster.

            Timeless Legend

            Do You Love Me / You're The One

              Timeless Legend came from Columbus, Ohio. Their ‘Synchronised’ album from 1980 is one of the rarest ‘rare grooves’ and both original copies and the ‘northern soul’ single “I Was Born To Love You” still sell for over £1,000 a copy. By 1985 music styles had changed and the group with shortened name Timeless capitalized on the burgeoning boogie scene with the 12” double header we reissue here. Of the two sides “You’re The One” has become the most enduring and in demand, again an original reach which has been sold for £1000 on the collectors scene. The French reissue from 2011 is also extremely sought after. In this edition the release has been restored to how the original first looked and sounded on Pendulum Records.

              Skull Practitioners

              Death Buy EP

                “Massive slab of debut vinyl by a Brooklyn New York trio whose guitarist, Jason Victor, knows more than a little about the potential of psych-gush overload. In his position as the current guitarist of the Dream Syndicate, one might suppose that, by stepping into shoes formerly occupied by Karl Precoda, Mr. Victor was granted some sort of special legacy connection to the ur-root of string-excess in the post-punk era. But Jason seems to have been blowing the tops of people’s heads off with pure raunch vomona since before he ever met Steve Wynn.

                “The Skull Practitioners have been active since 2013, garnering a reputation for bodacious live skronk, although the only graspable evidence of their existence has been a 2014 cassette, which was not widely distributed. Now, with the mighty In The Red empire behind them, only a sucker would think they won’t go far.

                “Victor’s explosive guitar shards are the most obvious element of the trio’s sound, but bassist Ken Kenneth Levine can conjure up a throb as thick as Al Feedtime’s, and Alex Baker’s drumming mixes propulsion and motorik circularity with reckless grace. There are only vocals on half the tracks here— Gun Club-seasoned blow-outs called “The Beacon” and “Grey No More”—but I didn’t miss them on their other two tunes. The richness of the band’s psychedelic inventions obviates the need for overt human lingo. The music here communicates on a molecular level.

                “Remember when Tim Leary said Peter Walker was ‘playing celestial strings on the DNA of musical being’? It’s the same here. I’ve never heard much of Jason’s studio work (often with pop engines like the Silos or Matthew Sweet), but if he plays this great, I might have to check them out. In the meantime, these four songs will be enough. For me. For you. Even for the late Tim ‘Fuckin’ Leary. C’est la.” —Byron Coley.

                R. Elizabeth

                Every And All We Voyage On

                  R. Elizabeth is the recording name of London-based artist and academic Rachael Finney. Every And All We Voyage On is her solo recording project’s second full length and is a focused distillation of her practice in sound art and her knack for pop minimalism. It follows a long sold out release on Where To Now? Records and a prolonged period in which she concentrated on artist residencies exploring her interest in recorded sound and voice. Immediate and natural, Every And All We Voyage On manages to sound joyful while tackling complex themes, handling everything with an improvisatory touch.
                  The songs are full of air and light; infectious, melodic and off-the-cuff.

                  Recorded using a single 80s Casio keyboard, reel-to-reel tape manipulation, piano and vocal, Finney’s practice with R. Elizabeth belies a studious attention to detail. Her academic work is often focused on analysing sounds – particularly voice and language – divorced from meaning and R. Elizabeth challenges the listener with overtly emotional tropes: sweeping portmento lap-steel guitar keyboard tones on Back From Ten suggest a nostalgic melancholy when it intersects with the narrator closing her eyes, realising she has nothing left to give. The lilting vocal cloaked in reverb is disarming, with an almost child-like surrender to the undertow of the song. On Tragedy And Trade there’s a rough grace to the mixing with visceral, manipulated tape sounding like the artists’ hands are literally in the speakers wrenching the melodies in mid-air. When it intersects with chants about the “gaps and the silences” it has an eerie, hauntological effect. R. Elizabeth is constantly playing with sound and song: a Wonderland of perceived emotion, the listener’s perception of what they’re hearing constantly in flux, it’s deceptively simple and deserving of repetitive listening.

                  Cut Piano opens the album and introduces a documentary-feel which the album upholds through-out. It’s the sound of the artist mangling a tape of her own piano recording, twisting it out of shape and suggesting a bend in reality. We’re listening to the artist becoming a ghost in her own machine, a 3rd or 4th generation copy of an emotion rendered a long time ago, chilling and playful at the same time. An Image Is Different bursts out of this with a sunny Casiotone beat, a melodic contrast that also introduces Finney’s vocal. It flitters between a gorgeous repetitive melody ruminating about the nature of reality and a seemingly careless, conversational tone. The effect is joyful, but you don’t really know why. The lyrics instruct someone (you? The artist?) to “go outside and break someone’s neck, make it feel so real” before ending with R. Elizabeth nonchalantly stating “I dunno, to be honest I don’t really care” as if on the phone to someone they’re bored with. It would be jarring if it wasn’t so catchy and uplifting. The title track is a slow-tempo meditation with droning synths providing the background to slow, dragging tape sounds and
                  grounding, just-out-of-focus vocals bunkering down in the mix. The methodology suggests the work of Broadcast: there’s a loping bassline that propels the track forward but the duet/duel between Finney’s haunted vocal and the soloing tape warble provides aural snakes for the listener’s ear to follow. Spiritual To Symphony is the brightest, most unabashed example of what R.Elizabeth achieves on Every And All We Voyage On. It’s utopian, bright and hypnotic: over a repetitive hook, a double tracked vocal intones a kind of post-structuralist, feminist manifesto: “A different kind of intimacy, a kind of female masculinity, I sense how to be, from vision to visuality.” It’s the perfect example of a piece of music that can be taken on its own terms, enjoyed as pure sound massaging the receptors in the brain or as something that can be dissected, it’s a microcosm of the album as a whole. Effortless and endlessly playful, the album is constantly shifting in and out of focus, from airy imagination to earthy reality. R. Elizabeth invites you to take the sound however you want it. Maybe she doesn’t really care, maybe she does. Who really knows? 

                  Peter Jefferies

                  Last Ticket Home

                    Peter Jefferies, a living legend of New Zealand underground music, from his seminal bands Nocturnal Projections and This Kind Of Punishment, to his collaborative efforts in bands such as Plagal Grind and Two Foot Flame, is perhaps best known for his solo work on masterpieces such as The Last Great Challenge In A Dull World (1990) and Electricity (1994), as well as numerous other albums of his singular songcraft.

                    Grapefruit is proud to be releasing Jefferies’ latest, Last Ticket Home, which leaves the station early in his career when The Last Great Challenge In A Dull World left off and takes us on a guided tour of a fascinating side street via rare singles, both released and unreleased, radical live interpretations, and a wealth of never released material dating from 1991-2019. Last Ticket Home redefines Jefferies’ artistic journey, giving us a song cycle narrative which scorches, blisters and eventually heals on its relentless, ragged way home.

                    Olivia Jean

                    Night Owl - Single

                      Olivia Jean is back on the beat with her second full-length (and first self-produced) album, Night Owl, due out August 30, 2019 on Third Man Records. The title track and first single “Night Owl” is now available on 7” vinyl with physical-only B-side “Jaan Pehechaan Ho," made popular by Mohammed Rafi in blockbuster 1965 Bollywood classic Gumnaam.

                      Monolord

                      Vaenir - Coloured Vinyl Repress

                        MONOLORD just cut a doom-swathe throughout the UK and Europe on tour with labelmates Salems Pot, they blew minds…this is the new heavy sound for now!.. their long awaited new album is finally upon us. Monolord wipe the grime of mediocrity from the tomb of doom and crank out some serious donw tuned and down tempo riffage, praise Iommi / praise Pike, this is wht we want! Over two slabs of vinyl, or on one CD.. this ;looks to be one of the heavy albums of the year! 


                        FORMAT INFORMATION

                        Coloured LP Info: White with black swirl coloured vinyl. Limited to 400 copies.

                        Monolord

                        Rust - Coloured Vinyl Repress

                          Gothenburg, Sweden trio Monolord is a rare breed: A band both encompassing and transcending genre; a vortex of heavy rock density that consumes all others. Their thunderous, tuneful heft has built a rabid international fanbase in short order since their 2014 debut. But Rust, the band’s third full length, truly exemplifies why some refer to them as the Nirvana of doom.

                          Monolord’s enveloping, syrupy sludge is a vibe, it’s a state of mind. Not riffs for riffs sake, but a collective buzzing, rattling and rumbling that’s more total environment than collection of songs. Together, guitarist/vocalist Thomas Jäger, drummer Esben Willems and bassist Mika Häkki create a massive, dynamic sound with ultra-low frequencies serving as its fourth member.
                          “We've always been inspired by great band musicians — as opposed to technical solo peacocks,” Willems says. “Because that force of a band really playing together as one single unit is incomparable. At its best, it's just unstoppable.” And, Monolord is truly unstoppable, on record and on stage. “A heavy groove that contains both bombastic overkill and a lot of dynamics is what we always aim for in Monolord; in playing, in song writing and arranging, in recording,” Willems says.

                          Album opener “Where Death Meets the Sea” perfectly exemplifies their mastery of dynamics and hooks with a driving, infectious buzzsaw riff that lesser bands would ride off into the sunset, but Monolord uses subtly to spur the song’s skull rattling rhythmic core ever onward. Jäger’s watery vocals glide over ominously building verses that erupt with the song’s insistent refrain. Being such a tight rhythmic unit, it sounds almost like an early ZZ Top record played at half speed. “Dear Lucifer” squeals and hums with slow deliberation as Willems summons Dale Crover pummel with chasm like low-tuned toms and syncopated cymbal crashes. The album’s title track is also its centerpiece, opening with a dramatic, shimmering Hammond organ intro as Jäger sings, “you are the reason that I lied/ You are the reason that I cried/ Please don’t wait until tomorrow/ There’s only pain and grief and sorrow.” Suddenly, the band kicks in with a downtuned open-C line that nosedives down the guitar neck as the drums hammer down for the kill. Elsewhere, tastefully understated guitar harmonies elevate the behemoth churn of “Wormland” and apocalyptic album closer “At Niceae” simmers in a slow build of rumbling guitars and rolling drum triplets.

                          Monolord formed in 2013, quickly recording their 2xLP debut Empress Rising, which RidingEasy Records released in April 1st, 2014. The second album, Vænir, followed April 28th, 2015. The 2-song Lord of Suffering / Die in Haze EP was issued in late 2016 amid the band’s relentless touring schedule in order to tide fans over until the next full length.

                          Noisey calls Monolord "universally beloved" and "Swedish doom royalty”, while Consequence of Sound deems them, “a truly modern sound: recognizably doom, but with glistening production values and adventurous songcraft.” Vænir landed on countless Album of the Year lists in 2015, and Rust is poised to open an entirely new range of possibilities for Monolord. 

                          FORMAT INFORMATION

                          2xColoured LP Info: White and brown speckle coloured vinyl. Limited to 400 copies.

                          Monolord

                          Empress Rising - Coloured Vinyl Repress

                            Sweden's psychedelic doom band, Monolord, is set to release their First full length LP "Empress Rising" via Easy Rider Records in April 2014. The five song album comes in at almost 50 minutes of skull crushing heavy grooves and heavy guitars that summon the spirits of Norse gods when played at loud volumes. Monolord is far more than just doom-metal fanatics - this is an epic record for all fans of guitar driven rock and roll, stoner rock, and heavy riffs. As a free gift from Monolord and EasyRider Records you can download the title song "Empress Rising" here. The song is a 12 minute long opus that will leave you wanting more, but you will have to wait until April 1 2014 for the rest of the record that will be making headlines for next year. 'Empress Rising' has all of the flavors of an iconic doom record and follows in the footsteps of Sleep - "Holy Mountain", Pallbearer - "Sorrow and Extinction", Electric Wizard - "Witchcult Today" with melodic vocals and harmonies that are super psychedelic and easy to sing along with.

                            FORMAT INFORMATION

                            2xColoured LP Info: Green and black coloured vinyl. Limited to 400 copies.

                            Kelley Stoltz

                            My Regime

                              Kelley Stoltz enters his 20th year in the record business with the release of his 10th full length album, “My Regime”. This will be his second release for the Spanish label Banana & Louie after prior albums on Castleface, Third Man Records and Sub Pop. A longtime DIY home recording multi instrumentalist, Stoltz again engineers, mixes and plays all the instruments on the album and his unique brand of “60’s/80’s” pop, garage-rock and folk sounds seem to have gotten better with age.

                              “My Regime” was recorded during an emotional year that saw him get engaged to marry, his father pass away and his tenure as rhythm guitarist with longtime heroes Echo & the Bunnymen come to and end. Jovial and reflective moods ensued and were put to tape by Stoltz in his Electric Duck Studios at home in San Francisco. The first single “Turning Into You” ponders the delight and soul connections of love, while “2020” asks “have you got what you need to ride it out… I wish I could see peace in 2020”, in reference to the chaotic politics at home. “Fire on Fire” written with his Dad on his mind, and is a big beat slow burner reminiscent of the Church’s “Starfish” years.

                              Firebreather

                              Under A Blood Moon

                                Fire is what happens when a carbon based object is consumed by oxygen. That chemical reaction is fitting to the sound of Firebreather: The riffs are suffocating, the rhythms fast moving and all-consuming. It’s so blindingly and deafeningly monolithic, don’t be surprised to find yourself gasping for air while listening.

                                The Gothenburg, Sweden trio has a streamlined focus on driving, symphonic riffs in the vein of High on Fire, Inter Arma and their tour- and label-mates Monolord. The guitar and bass tones are, quite simply, entrancing. Like watching flames engulf a forest, the billowing guitar tones are simultaneously beautiful and destructive, while the rhythms sway and lunge with vicious precision.

                                “It’s riff based, heavy as fuck, but with a groove to it,” explains vocalist/guitarist Mattias Nööjd, formerly of popular Swedish doom merchants Galvano. “We had gotten off a tour with Monolord in February of 2018 and by that time we had the song ‘Firebreather’ done,” but soon thereafter new drummer Axel Wittbeck joined the fold.

                                “Once Axel had joined, it was like the flood gates opened,” says bassist Kyle Pitcher. “The rest of the album just came together.” Under a Blood Moon was recorded at Elementstudion in Gothenburg with engineer Oskar Karlsson, who also recorded the band’s lauded 2017 self-titled debut on Suicide Records.

                                Album opener “Dancing Flames” sets the stage for the onslaught to come with a slinking, serpentine riff over slow churning rhythms. Nööjd’s hushed, gravelly vocals sink into the mix, more like a baritone guitar than a human voice. “Our Souls, They Burn” nicely exemplifies the band’s furious grind that makes even faster tempo songs sound impossibly heavy, like a slow motion stampede. Elsewhere, “We Bleed” perfectly sums up the band’s focus on the riff and groove, honing in on the power of hypnotic attrition. Closing epic, “The Siren” opens with lugubrious, slightly swinging drums and rumbling bass building tension over delay- and phaser-soaked guitar harmonics, until a massive, sliding riff crashes headlong into the proceedings. The song seems to cleverly shape shift across several harmonic and rhythmic parts, without losing the core groove underneath. A short pause for breath, then it’s off to the races with a galloping crescendo for succinct closure. 

                                FORMAT INFORMATION

                                2xLtd LP Info: Double LP, Gatefold, D Side Etching.

                                Brian Crook With The Renderers

                                The World Just Eats Me Up Alive

                                  While recording a group of songs that would end up being part of
                                  This World Just Eats Me Up Alive, Brian Crook took a break outside
                                  with his bandmates. A small girl nearby ran up to a woman saying
                                  “Mommy, mommy! There’s a vampire here!” The mother asked how
                                  the girl knew it was a vampire, and the girl said, “He talks like this,”
                                  and proceeded to do a growling impression of a New Zealand accent.
                                  At the time, Brian was in a dark suit and had super long hair, and was
                                  playing badminton….

                                  Crook’s new solo album comprises eight years of recording, so
                                  perhaps his undead appearance is not surprising; it comprises a span
                                  of inspiration that seems almost vampiric, with themes suggested
                                  by Greek mythology, a favorite 1960s author, to the abstract
                                  electronics of Aphex Twin and Arca as influences. The album came
                                  together in parts, slowly assembled with various contributors and
                                  recording locations, the earliest trace having lyrical origins from 1991,
                                  and was done during during sessions for The Terminals, Crook’s
                                  other band (you can also add NZ legends Scorched Earth Policy and
                                  Flies Inside The Sun to that list).

                                  A near decade provides a lot of material for reflective songwriting.
                                  In Crook’s revelations about life in New Zealand and his tenebrous
                                  lyrical style there is more than a touch of comedy, albeit of a blackly
                                  humorous, “South Island New Zealand” nature. The lyrics and music
                                  come from a similar place as New Zealand painters Bill Hammond
                                  and Tony de Latour, evoking a kind of ceremonial primitivism.

                                  Twin Peaks

                                  Lookout Low

                                    Twin Peaks are elated to announce their new album, Lookout Low,  via Communion Records. Where their last LP, 2016’s Down In Heaven, and 2017’s Sweet ‘17 Singles compilation were adventurous and compelling updates on their youthfully raucous formula, their fourth album, Lookout Low feels like a total revolution. Their most deliberate and seamless record yet, the album is a collaborative triumph, propelled forward by Twin Peak’s near-decade-long bond.

                                    For Lookout Low, the five of them - guitarists Cadien Lake James and Clay Frankel, bassist Jack Dolan, multi-instrumentalist Colin Croom, and drummer Connor Brodner - committed to work countless hours in their studio and practice space. Meeting daily, they demoed 27 songs and relentlessly rehearsed them, eventually whittling down to a select ten tracks.

                                    The album was recorded at Monnow Valley with legendary producer Ethan Johns ((Paul McCartney, Kings of Leon, Laura Marling, White Denim), who lauds Twin Peaks as “the best Rock and Roll band I’ve heard for a very long time.” Already a well-oiled live unit, the band’s mission was to capture the exhilarating vibe of their shows. Often, they thrived on the thrill of live recording, going with the magic of the original first take. This life-affirming burst of adrenaline seeps into every facet of the LP. 


                                    Jeff Buckley

                                    Grace - 25th Anniversary Edition

                                      Originally released in 1994, Jeff Buckley's solo debut "Grace" is now considered by many to be one of the best albums of the 90s. "Grace" displays a dazzling array of influences from an artist still developing his craft.

                                      FORMAT INFORMATION

                                      Coloured LP Info: Very limited exclusive gold coloured vinyl.

                                      Prince

                                      Emancipation

                                        Emancipation was as expansive an album as anything Prince had ever release. A triple album constituting exactly three hours of music, Emancipation found Prince celebrating the release of music solely on his terms. “This is my most important record,” he proclaimed upon its release. “I’m free, and my music is free.” Much like Paisley Park, the recording complex in which Prince created Emancipation, the album represents the incredible variety of his influences and moods. Romance and family are key themes reflecting his recent marriage to back-up dancer and muse Mayte Garcia that year. Elsewhere, Prince reflects on technology and sex and offers new, upbeat grooves as well as four unique covers. 

                                        FORMAT INFORMATION

                                        6xColoured LP Info: First time on LP Vinyl, six purple LP's in slipcase. Each LP will have printed jackets and printed interior sleeves.

                                        FREE SHIPPING This item has FREE UK shipping!

                                        Prince

                                        The Versace Experience (Prelude 2 Gold)

                                          Released ahead of 1995’s The Gold Experience, the first album credited to Prince’s infamously unpronounceable symbol, The Versace Experience (Prelude 2 Gold) was a gift to attendees of the designer’s collection at Fashion Week in Paris.

                                          Produced at the time as only a very limited edition promotional cassette, it featured remixed versions of future favorites “Pussy Control,” “Gold” and “Eye Hate U” as well as rare and commercially unreleased selections by The New Power Generation and Prince’s jazz-fusion project Madhouse. The rare promotional cassette went on to be incredibly sought after, with one copy setting a record as the highest priced cassette every sold, fetching over $4,000.

                                          It was recreated as a limited edition cassette release as a Record Store Day exclusive in April 2019 and was one of the most popular releases. First time available on LP Vinyl.

                                          FORMAT INFORMATION

                                          Coloured LP Info: Purple coloured vinyl.

                                          Prince

                                          Chaos & Disorder

                                            Released in July 1996, Chaos and Disorder came with a rare disclaimed penned by Prince (then known as the unpronounceable “love symbol”): “Originally intended 4 private use only, this compilation serves as the last original material recorded by [The Artist] 4 Warner Bros. Records.”

                                            Prince’s contentious relationship with the label was at its lowest point, and this record—a taut 39 minutes of dexterous guitar and simple but addictive pop melodies—was a crucial final link in the chains that kept him from releasing the music the way he wanted. Any internal turmoil was not represented in tracks like “Dinner With Delores” (a minor U.K. hit) and the rollicking title track, a staple of his live shows.

                                            “Someone told me that Van Halen did their first record in a week,” Prince told the Los Angeles Times of the album’s quick creation. “That’s what we were going for—spontaneity, seeing how fast and hard we could thrash it out.” First time on LP Vinyl. 

                                            FORMAT INFORMATION

                                            Coloured LP Info: Purple coloured vinyl.

                                            The Clash

                                            London Calling: Special Sleeve

                                              When The Clash’s third studio album London Calling was released in the winter of 1979, it was clear that the band had made an instant classic, an era-defining masterpiece that stands as one of rock's all-time greatest albums. The album is a hugely compelling melting pot of musical styles, driven by a passion for action and a fierce desire for social justice, with lyrics which remain completely relevant. 

                                              FORMAT INFORMATION

                                              2xDeluxe LP Info: This heavy weight vinyl edition has a special clear slip case printed with Ray Lowry’s artwork, which can be removed to reveal the Pennie Smith photo below.

                                              2xDeluxe CD Info: This edition has a special clear slip case printed with Ray Lowry’s artwork, which can be removed to reveal the Pennie Smith photo below.

                                              The Clash

                                              London Calling: The Scrapbook

                                                When The Clash’s third studio album London Calling was released in the winter of 1979, it was clear that the band had made an instant classic, an era-defining masterpiece that stands as one of rock's all-time greatest albums.

                                                The album is a hugely compelling melting pot of musical styles, driven by a passion for action and a fierce desire for social justice, with lyrics which remain completely relevant today.

                                                The London Calling Scrapbook is a 120-page hardback companion to the album, of previously unseen archive material, lyric notes, and other exclusive memorabilia, packaged alongside the iconic album itself.

                                                Arthur Baker & Lazara Casanova

                                                Shir Khan Presents Black Jukebox 28

                                                Shir Khan Presents Black Jukebox 28 featuring legendary producer Arthur Baker. Highly limited as usual. First come - first serve.

                                                Arthur and Laz met at MURKs famed Monday residency at Coyo Tacos Wynnwood Miami where Casanova is a resident and Baker a guest resident.

                                                Baker was inspired by the music that Laz and the MURK boys played with collaborations with MURK on the tracks “MIAMI” and “COYO” following.

                                                Laz and ABs first joint collab is the eps opener “MAKOSSA”. It started off from a few 80s loops out of Bakers vast catalogue, with Casanova whipping them in shape. It’s been battle tested over the last few years and finely tuned to Bomb like results.

                                                “CALE!” features the vocal and production skills of MURKs legendary Oscar. He added the hook and a few nudges in a late night session at Casanova little Havana studio. There’s an original mix and the stripped down drum and vocal take.

                                                “BTS HAPPINESS” started its life as a loop from a Baker cassette rough mix circa 78. It reminded him of an old Booker T and the MG groove, this the name. He brought his old friend (& ex wife) Tina b ( of Rockers Revenge, Tripping on Sunshine and Jazzy Sensation fame amongst others) to do some disco vocalizing. Casanova added the tight final mix.

                                                Jungle Brothers

                                                Straight Out The Jungle - Vinyl Reissue

                                                  De La Soul and A Tribe Called Quest may have been more commercially successful, but the afrocentric, jazz political rap movement and unfadeable Native Tounge Massive started with the Jungle Brothers. Their debut full length “Straight Out the Jungle” opened up many doors that are walked through by artists like Mos Def, Common and even Kanye West. Their taste for jazzy horn samples helped kick-start the entire jazz-rap movement, and their James Brown fixation was oneof the first. Plus, the group’s groundbreaking collaboration with legendary house producer Todd Terry, “I’ll House You,” paved the way for numerous hip-house hybrids that shot up the dance and pop charts over the next few years and appeared to be a staple on every East Coast Rap Album from ‘88 until ‘92. The opening track “Straight Out the Jungle” samples the classic Bill Withers drum break as the JB’s tell you where they are coming from. “Black Is Black” (featuring a young Q-Tip) and “Sounds Of The Safari” introduces the pro-black edge, while the sexually subtle classics “Jimbrowski” and “I’m Gonna Do You” are funny, clever and timely. Hard, smart, fun, clever and brilliant, Mike G., Africa Baby Bam and Sammy G may not have realized it but they crafted a classic rap album that stands the test of time. Available here on high grade, loud pressed, double vinyl!

                                                  FORMAT INFORMATION

                                                  2xColoured LP Info: Limited edition indie stores exclusive, pressed on red & green opaque vinyl.

                                                  Thom Yorke

                                                  I See You - Crack Magazine Present (A Zine) Curated By Thom Yorke

                                                    As a companion piece to the 100th Issue of CRACK Magazine, which featured Thom Yorke on the cover, the magazine have worked with Thom on a limited edition zine, entitled I See You.

                                                    Centred around resistance, pressure and panic in 2019, Crack Magazine and Thom Yorke have collaborated on a special limited-edition zine which unites the thoughts and messages of eight artists and activists chosen by Thom. All eight are asked the same set of questions written by Thom and the disparate answers are presented together alongside a patchwork of visual fragments from each interviewee’s world.

                                                    The zine features pioneering synth legend Laurie Spiegel, prominent global warming activist George Monbiot, Edinburgh poet and writer Harry Josephine Giles, New York contemporary artist Amy Cutler, fashion designer Jun Takahashi, director and screenwriter Luca Guadagnino, experimental musician Kali Malone and Brooklyn-based artist Christian Holstad.

                                                    Featuring an exclusive foreword note from Thom, as well as artwork from Stanely Donwood and Dr Tchock the zine serves as an expansion on the themes explored in his cover story for Issue 100 of Crack Magazine – an assessment of anxieties, futures, sustainability and opposition.

                                                    All profits from the zine go to Greenpeace. Approx 100pg.

                                                    FORMAT INFORMATION

                                                    Magazine Info: 100pg perfect bound book, foil blocking on the cover. Solid colour 3 edges.

                                                    Thom Yorke, Flea, & Wynton Marsalis

                                                    Daily Battles (From Motherless Brooklyn: Original Motion Picture Soundtrack)

                                                      “Daily Battles” was written by Thom Yorke (Radiohead, Atoms For Peace) for “Motherless Brooklyn” the film directed, written by, produced by and starring Edward Norton. The film features two versions of the song, each performed by musical icons of modern music. Thom Yorke along with Flea (Red Hot Chilli Peppers, Atoms For Peace) performs a sparse and emotionally stunning version of the song. The other version of “Daily Battles” was arranged and performed by jazz trumpet icon Wynton Marsalis, who, along with his hand-picked quintet of heavy-hitter-jazz-stalwarts delivers an instant jazz standard version of the song that conjures images of the 1950’s-era gin-soaked Harlem jazz club seen in the film.

                                                      FORMAT INFORMATION

                                                      Ltd 7" Info: Limited to 500 copies on black vinyl.

                                                      Gary Numan

                                                      The Pleasure Principle - The First Recordings

                                                        Beggars Banquet release two special titles to commemorate the legendary albums Gary Numan/Tubeway Army issued in 1979 – these editions are titled Replicas – The First Recordings, and the debut under his own name, The Pleasure Principle – The First Recordings.

                                                        While both of these albums have remained in print, these releases concentrate on the early recordings made prior to the completed albums and present the evolution of the albums. The tracks have been sequenced as they appeared on the original tapes and the audio has been taken from the high resolution digital transfers made by John Dent in 2007. One of the Freerange studio tapes suffered irreparable print through damage on two tracks so they were not used in the 2009 release. However an alternative source has been located so the tapes can now be presented as complete for this release.

                                                        Even before the single “Are ‘Friends’ Electric?” was released, Numan had recruited a permanent drummer and keyboard player and demoed an album’s worth of new material between April 9-12, 1979 at Freerange Studio in London’s Covent Garden. This was supplemented by a second session, probably the following June, that yielded four further songs and two re-recordings. Following the hectic schedule of promoting “AFE?”, Numan recorded a new session for John Peel the day after the single hit #1 on the UK charts. Rather than record as Tubeway Army, the session was credited to Gary Numan and the group name abandoned at the peak of it’s success. As before, rather than promote the current album, Numan chose to record four new songs. While the album Replicas hit #1, Numan was busy recording a follow up in Marcus Music Studio. From the surviving tapes there are six mixes marked as out-takes and these have been included in the CD package. The discs have been sequenced with the stronger, second Freerange demo preceding the first session but all tracks are in the order of the tapes.

                                                        Gary Numan

                                                        Replicas - The First Recordings

                                                          Beggars Banquet release two special titles to commemorate the legendary albums Gary Numan/Tubeway Army issued in 1979 – these editions are titled Replicas – The First Recordings, and the debut under his own name, The Pleasure Principle – The First Recordings.

                                                          While both of these albums have remained in print, these releases concentrate on the early recordings made prior to the completed albums and present the evolution of the albums. The tracks have been sequenced as they appeared on the original tapes and the audio has been taken from the high resolution digital transfers made by John Dent in 2007. One of the Freerange studio tapes suffered irreparable print through damage on two tracks so they were not used in the 2009 release. However an alternative source has been located so the tapes can now be presented as complete for this release.

                                                          In late 1978, Gary Numan was booked into a small studio in London’s Chinatown with the same musicians that had played on Tubeway Army’s debut album, released a month earlier. Two stereo master tapes were compiled of eleven tracks. A month later they again went to Gooseberry Studio and recorded an additional three tracks, including “Are ‘Friends’ Electric?” and “Replicas”. At the same time, the band recorded a session for the BBC’s John Peel show, taping alternate versions of three songs from the December recordings. Finally Numan returned to an upgraded studio, Marthus Music, in February to overdub and remix the Gooseberry recordings into their released versions. Only one alternative out take still exists (“Down In The Park”) which is included in this release.

                                                          Interpol

                                                          Antics - 15th Anniversary Edition

                                                            The classic sophomore LP, available in a limited white vinyl pressing and available for the first time ever as a coloured LP.

                                                            After two years of seemingly endless tours, the quartet returned in early 2004 to Peter Katis’s Tarquin Studios in Bridgeport, Conn., to record their second album. They had already debuted a handful of songs earmarked for Antics on the road: “Length of Love,” “Narc,” “C’mere.” Meanwhile, having revisited – and reinvented– the material from Bright Lights night after night, they discovered new strengths. There was more room for experimentation in these songs, for toying with arrangements and intricacies of individual parts, than on their debut.

                                                            With Antics, Interpol has delivered a disc even more engaging than its celebrated predecessor, without sacrificing any of the depth that has made them such an important band for so many. The songs are at once catchier and more variegated, revealing themselves over time to a degree heard on few current releases, and nothing is ever obvious. Frontman Paul Banks describes, “A lot of time, there are specific topics or events that that inspire the songs, but it’s not explicit in my lyrics.“ Indeed, with Interpol, things are rarely what they seem.

                                                            David Bowie

                                                            VH1 Storytellers

                                                              On the 23rd of August 1999, David Bowie played an intimate set for invited guests at The Manhattan Centre’s Grand Ballroom in New York for the VH1 Storytellers series. Ten years later in 2009 a CD/DVD/Download of the evening was released, and now 20 years on the most complete version available will be released as a strictly limited-edition double vinyl LP.

                                                              The Bowie set has long been regarded as one of the most memorable episodes in VH1 Storytellers history, with David delving deep in to his catalogue to perform tracks such as ‘Can’t Help Thinking About Me’ for the first time in 33 years, Aladdin Sane’s ‘Drive-In Saturday' which he had not performed since 1974 and ‘Word On A Wing’ which received its first outing in 23 years.

                                                              Bill Flanagan, Executive Producer of the VH1 Storytellers “We were used to dealing with legendary musicians. Still, landing David Bowie was more than a big booking. There's no way to say this without being corny: it was an honour. Bowie has a unique place in rock & roll. He is not only one of the most influential musicians of the era, he does nothing unless he is fully committed”.

                                                              Fenella

                                                              Fenella

                                                                ‘Fenella’ is the latest project from Jane Weaver - musical polymath and one of the most respected electronic composers of recent times - and her long-term bandmates Peter Philipson and Raz Ullah.

                                                                Having already released three critically-acclaimed LP’s within the last five years Weaver’s creativity continues to expand ever further into the (modern) kosmos with this reimagined soundtrack to Marcell Jankovics’ cult animation Fehérlófia.

                                                                Released in 1981, Fehérlófia is a remarkable animation based in ancient folklore with a narrative culled from mythical tales of the Scythans, Huns and Avars.

                                                                Weaver’s richly emotional and psychedelic music offers a perfect contemporary dialogue with Jankovics’ astonishing visual aesthetic.

                                                                A mixture of ambient textures, menacing drones and spine-tingling vocals combine to create a lavish soundscape saturated with hypnotic moods and cinematic atmosphere.

                                                                Fenella’s self-titled LP is a continuation of Fire Records re-imagined score series.

                                                                FORMAT INFORMATION

                                                                Dinked Edition LP Info: Limited Edition ‘Ink Spot’ Vinyl.
                                                                Individually Foil Numbered.
                                                                500 copies only.

                                                                Coloured LP Info: Crystal clear vinyl.

                                                                Cypress Hill

                                                                Cypress Hill

                                                                  Cypress Hill’s self-titled debut album was hard as nails, with very few pop concessions. There was humor, but it was laced by cackling, homicidal sneering. Not well known outside of the hardcore hip-hop scene at first, faces of the three group members weren’t usually shown clearly in press photos; they preferred the shadows. As their first singles began hitting the airwaves and record racks, the press and music fans started to take notice. From the opening notes of the group’s first single, “The Phuncky Feel One,” to deeper album cuts like “Stoned Is The Way Of The Walk” and “Tres Equis,” it was clear that Cypress Hill was something different. And very, very dope. The world Cypress Hill espoused was gang-ridden and far from cheery, but they managed to laugh through the pain. Lead rapper B-Real took each fuzzed-out, rock-hard DJ Muggs beat as a challenge, jumping around it like a spark off a joint as it makes its way to the concrete.

                                                                  MC Sen Dog always had B-Real’s back, to bring intensity and a no-bullshit gruffness that made the group both menacing and unpredictable. When they introduced percussionist Eric Bobo to the mix in the early 90s, it brought new dimension to the band, making their live performances one of the most unique and accomplished shows in hip-hop. Journalist and author Chris Faraone highlights the group’s relationship in the reissue’s liner notes (which is included only in limited edition Skull) saying, “[By the late ‘80s] the undisputed Cypress unit finally formed. B and Sen realized that their diametric styles - the latter’s deep wrangle, the former’s inimitable high notes - complemented one another righteously. By then Muggs had bangers in the bag, as well as industry experience from a jaunt with the New York duo 7A3. B and Sen waited while Muggs messed with 7A3, and in that time began to build the blueprint for their raucous and weeded no-holds-barred style. Besides getting schooled on industry pitfalls, Muggs had also grown into hip-hop’s most formidable young producer, while straddling the bi-coastal gap.” Cypress Hill’s debut went gold by the end of 1991 and has since pushed past double platinum status, making it the first album for a Latino-American hip hop group to do so. The album received raves from the likes of Rolling Stone and the Los Angeles Times, saw a #1 Hot Rap Single with the release of “The Phuncky One” and helped the band win Artist Of The Year at the 1992 Source Awards. After 25 years, it should come as no surprise that Cypress Hill is a cornerstone of the group’s live set to this day. 

                                                                  FORMAT INFORMATION

                                                                  Coloured LP Info: Red vinyl edition!

                                                                  Atomic Forest

                                                                  Disco Roar

                                                                    The re-discovered third album by India’s best known psychedelic-rock ensemble, presented in its entirety. The companion piece our Atomic Forest anthology Obsession (NA 5087) Covers of Deodato, Stevie Wonder and “Spectrum,” the heaviest Indian psych-funk jam unearthed to date. Over the course of four years, culminating in 2011, we at Now-Again Records assembled the Atomic Forest anthology Obsession, which delved into and told the story of India’s 70s rock underground and this psychedelic ensemble’s story. At the time we issued Obsession, we were not aware of the third album that the Atomic Forest had recorded, issued under Kanga’s name as Disco Roar.

                                                                    When it came to our attention, we figured that we owed it to anyone entranced by this hard-to-believe, underground, Indian rock scene to issue this, the first album that the Atomic Forest recorded. “That Disco Roar album was the first time we were doing anything like that. It was the first thing we did. It progressed into the Hit Film Themes album. Then these guys came with more commercial potential songs (which became Obsession ’77). But originally it was just a band, the live performances that we did, that made us very popular, these simple songs,” guitarist Abraham Mammen recalls. Atomic Forest’s story stands in for the untold stories of many of India’s underground bands, bands remembered vividly by those who witnessed their performances, bands that often homemade, cassette recordings – that have been lost to time. Mammen, now a traveling preacher splitting his time between India and the United States, reflects on the unlikely reissue of the Atomic Forest’s recordings: “What’s left of the Atomic Forest? It’s just like smoke: smoke on the water.’ With the release of Disco Roar, that smoke keeps rising

                                                                    El Ten Eleven

                                                                    El Ten Eleven (15th Anniversary Edition)

                                                                      15 years ago Kristian Dunn & Tim Fogarty released their ST debut album as El Ten Eleven. The self-released LP received only modest attention initially, but the project would go on to defy all expectations, gradually attracting a significant cult audience of loyal fans. "It was a glacial pace," Dunn said of the process. "When we first put it out there was very little reaction. But the reaction we did get was very passionate, which was exciting for us because we felt like we were on to something." Defying expectations is standard operating procedure for El Ten Eleven. Seriously, who would expect two instrumentalists to create such a large and complex sound? But thanks to inventive arrangements and a masterful use of looping, Dunn (bass/guitar) and Fogarty (drums) developed a pulsating sound full of atmospheric intensity.

                                                                      Early on Dunn feared the quirkiness of the group's 2 man band approach would overshadow their music. "When we first started and we made that first record, I was really worried that people would only be interested in the novelty of us looping and playing everything by ourselves as just two people," Dunn shared. "I was worried that they wouldn't be moved by the music. The music of El Ten Eleven has been embraced by fans of many genres - from math rock, to jazz, to lo-fi hip-hop. The duo's sound is sharply evocative in mood and feeling, yet simultaneously abstract and meditative. The combination of these qualities has stimulated the imagination of the group's fans, and gives space for listeners to assign their own value and meaning to the sounds. When El Ten Elven was released in 2004, on-demand music streaming services were still in their embryonic phase. The growth of those services would be a consequential factor in introducing El Ten Eleven's music to the world. Dunn views the development of digital music distribution services as a liberating force for artists, an effective channel to sidestep the suffocating control of corporate media. "Really, this is a Golden Age of music," Dunn observed. "I think this is the greatest time in history to be a musician. We don't have to rely on MTV or a radio station to be heard. If you make something great people will find it. I'm not saying what we did was great, but that's what we were aiming for. I figured people would find us and they did. It took a long time, but it worked." For all the band's fans who discovered this album via online streaming services, JNR's deluxe vinyl reissue of El Ten Eleven provides an excellent opportunity to bypass the compromised bitrates and crappy laptop speakers associated with digital listening, allowing listeners to experience this music in all of its full-frequency high-fidelity glory. Meanwhile, Dunn remains humbled by the ongoing interest in El Ten Eleven's debut. It's surpassed my expectations for longevity and impact, and of course we're happy about that." 

                                                                      FORMAT INFORMATION

                                                                      Coloured LP Info: Amber Coloured indies-only vinyl with bonus flexi.

                                                                      HTRK

                                                                      Nostalgia

                                                                        HTRK’s seminal debut gets a new cut to white vinyl with white sleeve and gloss cover. An abrasive record shrouded in sonorous pulses, deafening feedback and tension-soaked reverb that immerses you deep into their world. HTRK’s lo-fi post-punk, post-industrial noise-electronica echoes Suicide, Throbbing Gristle and Joy Division. ‘Nostalgia’ took inspiration from the sound and imagery of David Lynch, The Birthday Party and electronic artist Pita. Rowland S Howard’s ‘Teenage Snuff Film’ was also cited as a big influence, HTRK notably caught the post-punk legend’s attention with their live gigs which saw him endorse the band and go on to co-produce their next release ‘Marry Me Tonight’. A compelling introductory statement that delves into their guilty nostalgia for the nihilistic energies rampant in the 80s underground. “An agitated haze of addictive ambivalence instead of the swagger and violence of their influences, the overall feeling is of beautiful disharmony” 

                                                                        Sure Fire Soul Ensemble

                                                                        Build Bridges

                                                                          For Fans Of… Menahan Street Band, The Budos Band, Antibalas, El Michels Affair.

                                                                          Build Bridges combines stellar musicianship with unlimited drive and lag proof swing-ability. You can hear the maturity of their sound, which inadvertently allows you to appreciate their previous recordings even more. They're all in the same ballpark yet seem to be on a completely different playing field. Tim Felten's lineup not only shows his keen ability to pick top choice artists, but also shows his sense of direction and investment to high quality musicians. The Sure Fire Soul Ensemble is a staple of the west cost soul/jazz/funk scene and with their third LP, they solidify their position. Heavy grooves and drums, with top tier musicianship and writing. Build Bridges is just as sophisticated as it is soulful and funky! 

                                                                          FORMAT INFORMATION

                                                                          Coloured LP Info: Limited coke bottle clear vinyl.

                                                                          Psychic TV

                                                                          Trip Reset

                                                                            First time on vinyl. Originally released on CD only in 1996 – Features full lyrics and extensive liner notes from Genesis Breyer P-Orridge.

                                                                            TRIP RESET - A STORY OF A LOST ALBUM RE-AWAKENED by GENESIS BREYER P-ORRIDGE and PSYCHIC TV featuring “THE ANGELS OF LIGHT” A biodelic configuration illuminating the following hallucinogenic songs

                                                                            FORMAT INFORMATION

                                                                            2xColoured LP Info: Limited edition two LP set on purple (A&B) and silver (C&D) vinyl.

                                                                            Kristin Hersch

                                                                            Crooked

                                                                              “Her significant solo output has been remarkable” Drowned In Sound. Following a special vinyl release for this year’s Record Store Day celebrating its tenth anniversary, ‘Crooked’ will be reissued on black vinyl and CD on 27th September.

                                                                              ‘A figurehead for feminist indie rock’ (Classic Rock), Kristin Hersh achieved a music and publishing first when her eighth solo album was initially released as a multi-media book in 2009. Hersh’s “poetic, provocative and puzzling songcraft” (The Washington Post) makes ‘Crooked’ a stunning record. The resplendent, melancholic ‘Flooding’ came to Hersh in the form of song but was also a premonition of the imminent death of close friend and musician Vic Chesnutt. Mainstay in her recent live shows, ‘Mississippi Kite’ is snarly and unsettling whilst the spectral psychedelic tones of ‘Rubidoux’ stem from a 50foot Wave car ride and a late-night recording session. The songs still lead the way hitting Hersh fully formed but it’s her beguiling raspy vocals paired with guitar, and any other instrument that she chose to play on this album, that has a beautiful intensity that’s jarring, unpredictable and inherent in her music. “She's still as powerful a presence as she ever was.” Pitchfork… 

                                                                              Red River Dialect

                                                                              Abundance Welcoming Ghosts

                                                                                Whilst touring during 2018 in support of Broken Stay Open Sky, their 4th album, Red River Dialect uncovered a new depth of communication in their playing, and the follow-up bears the fruit. Abundance Welcoming Ghosts finds the British folk-rock band relaxing into a natural, playful confidence. It was recorded at Mwnci Studios (Southwest Wales), during 4 days in 2018, just a month before the band’s songwriter David Morris left the UK for a 9 month meditation retreat at a remote Buddhist monastery in Nova Scotia. By the time the band reached the studios, the imminent hiatus lent a poignant and celebratory atmosphere to the sessions. The compositions had not been fully formed prior to recording, but any pressure was transmuted into invigoration, resulting in the jubilant energy that adorns even the most turbulent songs. This expansiveness bears testament to the skill of long-term collaborator and guide Jimmy Robertson (Michael Chapman), who engineered and mixed the songs. Guest musicians Joan Shelley, who sings the hidden spaces on “Snowdon” and “Piano,” and Tara Jane O’Neil (Rodan, the Sonora Pine), who plays sweet aching slide guitar on “My Friend,” complement the core sextet. Ed Sanders’ violin alternates between soaring with crisp highland sadness on “BV Kistvaen” and burying jaws into the flesh of songs like “Salvation.”


                                                                                Coral Kindred-Boothby’s bass swings the anchor in deep blue fathoms, but frequently dances up to the clouds; she sings heart-swelling, radiant harmonies on “My Friend.” Lead guitarist Simon Drinkwater weaves spry and subtle lines just under the surface of the ocean, breaking for gasps of air and bicycle kicks, slicing the air on “Snowdon” and “Blue Sparks.” Kiran Bhatt rides the drums out to all the cardinal points, tapping high bright stars on “Piano” and pulsing with the circular tide on “Two White Carp.” Robin Stratton has one hand rummaging in the swamp around “Red River” and the other under a waterfall on “Slow Rush”; his piano and organ playing flow like water into both rhythm and lead roles.The thread of mourning that has long held sway in Morris’ songwriting, particularly on 2015’s Tender Gold and Gentle Blue, is not fully unravelled. There are familiar questions about allegiances to caution and pensiveness, but the songs edge ever closer to abandoning restraints, including the desire to achieve coherence in meaning as some form of salvation. Regarding the title, he points to a quote attributed to the eleventh century Tibetan spiritual master Machig Labdrön, 

                                                                                FORMAT INFORMATION

                                                                                Coloured LP Info: Deluxe Ghost-white indies only vinyl.

                                                                                Ghostface Killah

                                                                                Ghostface Killahs

                                                                                  Ghostface Killahs marks the return of Ghostface. After several side projects, GFK returns with his first true solo album in years. He is joined by fellow Wu-Tang members Method Man, Inspectah Deck, Cappadonna, & Masta Killa. Other guests include Harley, Sun God (Ghosts first born son), Solomon Childs, Shawn Wigs, and Eamon. Production is handled primarily by Danny Caiazzo. Iron Man Tone continues his onslaught of colorful wordplay, and harsh street realities, as the laser beam vocalist tells it. This album sounds like vintage Ghostface and will prove worthy amongst any true Hip Hoppers. Proving the Wu Tang is truly forever, this is a must for any Wu fan as well as every Ghostface Killah fan. The veteran wordsmith, known for his prolific and versatile catalogue, delivers another classic album to the Ghostface and WuTang legacy

                                                                                  Current Affairs

                                                                                  Object & Subject

                                                                                    Current Affairs are a post punk band from Glasgow, neatly navigating the line between new wave and goth. Formed in 2016 and Comprising Joan (ex-The Royal We/Seconds/Rose McDowall's band), Seb (ex-Anxiety/Pissy), Josh (The Downs/Kaspar Hauser/ex-Rose McDowall's band) and Andrew (Shopping/As Ondas).

                                                                                    A cassette called Object was released along the way on Comodillo Tapes and in December 2018 the band’s first 7” Breeding Feeling -bw- Draw The Line was put out into the world by Not Unloved, followed in June 2019 by Buckle Up -bw- World’s In Crisis, out via Berlin’s Dot Dot Dot (...).

                                                                                    Object & Subject is the accumulation of the band’s output over 3 years (excluding the Dot Dot Dot release), now gathered and synthesised into one convenient disc. “We never agonised over our sound or direction, but worked to our punk strengths and leaned into our pop tendencies collectively. On the cusp of releasing an album and re-imagining our live set up, it feels great to be putting out this overview of what we’ve made so far. “

                                                                                    FORMAT INFORMATION

                                                                                    Coloured LP Info: Black Grape colour vinyl.

                                                                                    Taras Bulba

                                                                                    One

                                                                                      Taras Bulba was formed in the winter of 2019 by Fred Laird and Jon Blacow. Taking a new direction from their last musical outfit EARTHLING SOCIETY, the duo embarked on an inner space mission for new age ideas, rhythmic mantras, ambient landscapes and creative micro dosing.

                                                                                      Taras Bulba ‘One’ is a pot-pouri of Eastern/ Asian sounds, Krautrock Rhythms, ambient landscapes, psychedelic blues and Orb inspired dub. Taking influences from Midori Takada, Tony Scott, CAN, Neu!, 6 organs of Admittance, The Orb and the soundtracks of David Lynch and Angelo Badalemnti.

                                                                                      Recorded between September 2018 to May 2019 on home recording equipment in different houses and any empty space large enough for a drum kit. A laptop dying with over worked CPU and amps so broken that the only alternative was to record straight into the desk. Working to a true DIY ethic like some paranoid Philip K.Dick character with a tin foil antenna; piecing together tracks created out of the ether like satellite messages from some imaginary planet.


                                                                                      FORMAT INFORMATION

                                                                                      Ltd LP Info: Limited 300 only black vinyl LP housed in a gloss finished outer sleeve with download code.

                                                                                      Itasca

                                                                                      Spring

                                                                                        In the fall of 2017, a year after the release of her acclaimed 2016 album Open to Chance, Kayla Cohen, the songwriter and guitarist who records and performs as Itasca, left her home in Los Angeles to live and write for two seasons in a century-old adobe house in rural New Mexico (pictured on the album cover). More urgent escape than fanciful escapade, the move from one Southwestern desert to another resulted from a set of dire circumstances, both personal and societal, not least of which was the sense, shared by many, that a sinister cabal of impaired lunatics had irredeemably poisoned the already sour well of our American discourse. She decided to drop out and dive deeper—hiking into the mountains, through fragrant juniper and piñon forests, past groves of golden cottonwoods, to the source of what she calls in the song “Cornsilk” with a nod to poet Clayton Eshleman “the canyoned river.” Inspired by the landscape and history of the Four Corners region, the resulting album, the sublime Spring—its title summoning both season and scarce local water sources—dowses a devotional path to high desert headwaters.

                                                                                        Cohen followed some heavy footprints across the Sandia and Sangre de Cristo ranges. In the long American tradition of lighting out for the territories, many artists, particularly visual artists including Terry Allen, Georgia O’Keefe, Agnes Martin, Walter de Maria, Bruce Nauman, and Susan Rothenberg have famously sought refuge and inspiration in the Land of Enchantment. Captivating landscapes and the astonishing biodiversity aside (outside), foot-thick adobe walls provide a security and shelter insulation and isolation that can be hard to find in LA. With her studies of New Mexico’s long history and seismic geological and cultural changes, Cohen sought something different, more ancient—a hearth, a retreat from the noisy and noisome city, yes, but also a deeper historical understanding of urbanity and community, landscape and loss. (Chaco Canyon’s massive architectural complexes ranked as the largest buildings in North America until the late 19th century.)

                                                                                        Her investigations bore bright fruit in the form of an interpretive travelogue: Spring, suffused with mystery and a keenly evoked sense of place, contains Cohen’s most quietly dazzling, coherent, and self-assured set of songs to date. Having withdrawn from and returned to the city, she sounds more like herself than ever before. In the context of the album’s bolder arrangements, her gorgeous, lambent voice and helical fingerstyle guitar plumb new depths of expressivity, confidence, and wonder. Inflected with flourishes recalling the ’70s orchestrated concept albums from which it draws influence, Spring resembles an archeological excavation of
                                                                                        Cohen’s own encanyoned style. She recorded unhurriedly, in piecemeal fashion, with various collaborators: first to two-inch tape at Minbal studio in Chicago, with Cooper Crain (Bitchin’ Bajas) engineering; then to quarter-inch tape at home, with a Tascam 388; and finally overdubbing at Tropico in Los Angeles, with Greg Hartunian. Daniel Swire (drums), Kayla’s bandmate in Gun Outfit, and Marc Riordan (piano) of Sun Araw provided the exquisitely delicate rhythm section; Dave McPeters once again contributed lightning-field flashes of pedal steel; and James Elkington arranged the subtly cinematic strings (played by Jean Cook.) Chris Cohen mixed, imparting some of his signature classic pop dynamics, which press beyond the sonic realm of the solitary singer-songwriter.

                                                                                        If Open to Chance felt moonlit, spectral and spooky, Spring sounds positively auroral, luminous, a brisk early morning walk through lucid daylit dreams, a series of vivid visions in thrall to the dusty New Mexican terrain. By opening themselves to multivalent interpretations, these generous, sun-dappled songs hide nothing. An intentional narrative of discovery connects the sequence, from the beckoning highway apparition in “Lily,” through the immersion in the “Blue Spring” dug deep into the recesses of a cliffside cave, to the resigned farewell of “A’s Lament” (which ends, poignantly, with a blessing to a departed friend: “I just want you to be free”). Elsewhere the links to Cohen’s research are oblique, more atmospheric and impressionistic than explicit. She carefully claims no authority or answers, but instead offers a traveler’s tranquil observation and wide-eyed reflection, weaving together her questions about the relationships between the land and the Ancestral Puebloan culture that shaped it with her questions about her own cultural and ecological bearings. Lead single “Bess’s Dance” provides a metaphorical key to the record’s concept, with a glimpse of the Basketmaker culture’s woven artifacts, functional art objects that so fascinated Cohen that she found herself dreaming their patterns:

                                                                                        FORMAT INFORMATION

                                                                                        LP Info: Deluxe LP edition features 140g vinyl; heavy-duty sleeve, insert with lyrics & download code.

                                                                                        The Cosmic Dead

                                                                                        Scottish Space Race

                                                                                          Heavy psych experimentalists The Cosmic Dead's eighth album - Scottish Space Race - is set to be released via Riot Season Records and has been mastered by John McBain (Monster Magnet, Wellwater Conspiracy).

                                                                                          The album was recorded in their Glasgow HQ with cosmic sound guru Luigi Pasquini, four sprawling chunks of music recorded live amongst a run of momentous late night festival appearances in the summer of 2018. Scottish Space Race is the first Cosmic Dead release to feature the drumming of Tommy Duffin (Headless Kross) and the lap-steel synthesizer yowls of Russell Andrew Gray (Girl Sweat) alongside long-time cosmicians Omar Aborida and James T Mckay.


                                                                                          FORMAT INFORMATION

                                                                                          Coloured LP Info: Limited purple coloured vinyl.

                                                                                          Felix Lee

                                                                                          Inna Daze

                                                                                            Felix Lee has created a world for his debut album “Inna Daze“, a kind of post-human environment where the sun never really rises and everything is lit with a burnt out glow. These are survival ballads for the near future, whose vocals, mutated to fit into this setting, drift in a haze of dissociation. Musically, at first glance, it's sparse and minimal but with continued immersion, subtle iridescent-light shadows shimmer around grainy colour, sub bass rises through kicks and snares retooled from their surroundings, not so much refixed as decaying. Felix has been here before in his incarnation as Lexxi, making his debut appearance on Total Freedom’s 2012 “Blasting Voice“ compilation, and as a co-producer on Elysia Crampton's “Demon City“ album.

                                                                                            He then went on to release his first instrumental EP “5TARB01” in 2016 on his own imprint Endless. He also runs an NTS show of the same name, along with previously holding raves, cross pollinating and interacting with the vanguard of the electronic underground. The punky crunch of those earlier releases is reflected in tracks like “Smoke” made with long time collaborator and southside resident Kamixlo. These club moments inevitably give way to the vocals, conveying a feeling of loss and renewal. Intended to exist both inside and outside the club, it's an electronic music that at times feels like a skeletal take on shoegaze, solidifying that feeling with the intense rising synths of the album closer “Slow Decay“. Inna Daze's features include Drain Gang members Ecco2k and Whitearmor, Yayoyanoh, Quantum Natives' Oxhy, and Gaika, as well as Felix making his debut as a vocalist, his voice filtered through effects to give it a slippery, steam-like texture, echoing around the songs, giving them a second skin of sensed abstraction. One of the most thoughtful and interesting debuts of 2019, “Inna Daze“ beckons the listener into its simultaneously toxic and beautiful sound-world. Keeping enough distance to provoke more questions than answers, the album unfolds in a different way on every listen.


                                                                                            Leon Ware

                                                                                            Rainbow Deux

                                                                                              Co-produced by Taylor Graves, it has stellar musical contributions from the likes of Kamasi Washington, Thundercat, Ronald Bruner Jr, Rob Bacon and Wayne Linsey.

                                                                                              The melodically adventurous soul of Leon Ware continues its expression in his final opus Rainbow Deux, released on double vinyl on September 13th.

                                                                                              The album features new songs recorded and performed by Leon before his health turned, leading to his transition on February 23rd 2017.

                                                                                              Taylor Graves came into Leon’s musical family in 2002 when he, his brother Cameron and the Bruner brothers Ronald Jr and Stephen (Thundercat) were playing along with their schoolmate Kamasi at an L.A. jazz club. Taylor, Cameron, Ronald and Stephen became Leon’s band for his debut shows in Japan in 2002 and Taylor continued to work with Leon as his mentor and collaborator over the next 15 years.

                                                                                              “Leon was ALWAYS writing something or developing his musical palette” his wife Carol Ware tells us, so it’s impossible to pinpoint any single moment of Rainbow Deux’s genesis. Six of the songs go back to 2012/2013 and were released in 2014 as part of Sigh, a Japan-only CD collection heavy with Rob Bacon’s tasteful licks and Wayne Linsey’s piano vibes. The rest of the material comes from Leon’s sessions with Taylor.

                                                                                              Describing Leon’s and his process, here’s Taylor: “We’d start by having some great homemade food! Then a glass of wine ‘to slow down time’. After we’d have our fill and smoked our joints we’d go into his studio room to listen and create.”

                                                                                              The album was finished-up around August of 2016 in a back-and-forth between Leon and his go-to mastering engineer Toni Economides in the UK.

                                                                                              Leon worked on Rainbow Deux with life’s greatest challenge looming over him, yet it is one of his most focused and cohesive solo offerings since the 1980s. The entire record is a vibe: mellow, deep and smooth as silk. The lyrical themes are eternal, and the music is elegant, soulful and sensual.

                                                                                              The album opens with the hypnotic throb of “For The Rainbow”, coming on like a percussive, slow-mo house shuffle. Gilles Peterson is a fan. The exotic “Let Love In” follows, with its gradual-build Island Funk, intricate guitar picks and sassy female vocals. It explodes when it hits its stride. “Sigh” is the stylish slow jam close-out to side A. Serene guitars and polished drums create neck snapping funk, with a swaggering finger-snap strut.

                                                                                              Side B opens with the easy-burning broken-beaty “The Darkest Night”, the centrepiece of the album. Kamasi Washington’s lurking sax, restrained and beautiful, unfurls into the dank, sticky atmosphere of Thundercat’s signature creeping bass laid over his brother’s in-the-pocket drums. Leon’s vocals are perfect, a masterclass in seductive sax-soul.

                                                                                              “Surrender Now” conjures waves of vocals to swell and wash over the glossy piano, subtly bumping hip-hop drums and bubbling synth-bass stabs. It’s got the trademark Leon layers. “Summer Is Her Name” has Kamasi’s effortless, melancholic sunshine sax give way to rising tempos and propulsive rhythms.

                                                                                              “Are You Ready” is a total highlight (and we’ve been playing it out for ages). It’s a nimble groove of piano and synth rolling around Theo Croker’s sensual trumpet playing. Digi-soul at its finest. With lush G-Funk sensibilities “Streets (Keep Me Runnin’)” sounds like a lost Dam-Funk produced gem. All tough kicks and snares and street sounds. Leon’s hood pass will be forever intact.

                                                                                              “Samba Dreams” is the first of two tracks that bring a little Rio magic to Rainbow Deux. Leon created a whole body of work in partnership with Brazilian legend Marcos Valle that includes “Rockin’ You Eternally” - a hit for Leon - and “Estrelar” – a hit for Marcos. Leon channels his obvious love of Brazilian music here through more of Croker’s sumptuous trumpet, played over loose percussion. “Let’s Go Deep” is next up. A dreamy between-the-sheets quiet storm anthem and a real showcase for Leon’s vocals.

                                                                                              The dripping, honeyed harp-funk of “We Should Be Laughin’” marks the star turn of the brilliant Kimbra. Leon first met her on-stage to do an impromptu duet of “Inside My Love” during an open-air celebration of Minnie Riperton in July of 2014. Kimbra was working with Taylor on her music and he brought her to Leon’s house to do some writing. This was the result.

                                                                                              Warm synths radiate shuffling samba soul on “Wishful Thinking” as those Brazilian rhythms return to bring Rainbow Deux to a close.

                                                                                              During an apartment move Leon and Carol rediscovered some watercolours Leon had done years ago. One of these paintings had been dubbed “Deux Hearts” and Leon decided it should be on the cover of Rainbow Deux, getting as far as approving a draft concept for the artwork.
                                                                                              Carol has overseen developing that draft into the final gatefold sleeve. It brings together quotes, photographs and tributes in what is a reflection on the music, relationships and philosophy of the sensual minister.
                                                                                              Gerry “the gov” Brown, Leon’s long-time sound engineer, was by his side throughout the project, recording and mixing. The album was mastered by Toni Economides and Simon Francis’ additional sensitive work makes sure this double LP sounds like it should on vinyl.

                                                                                              Be With’s first ever release was Leon’s eponymous LP. Re-issuing that album planted the seed of a relationship that has grown to grant us the privilege of presenting his crowning achievement. We know that Leon’s fans all over the Earth will love Rainbow Deux. But we also hope that this album, the final entry in a phenomenal body of work, will reach new fans and find fresh conduits for the spirit of this oft-unsung hero of Soul.

                                                                                              Leon always said “they will get it when I'm gone.”
                                                                                              He also said that “the spirit never dies”…

                                                                                              FORMAT INFORMATION

                                                                                              Ltd LP Info: 140g vinyl, double LP, gatefold sleeve, printed inner sleeves.

                                                                                              Pharoah Sanders

                                                                                              Moon Child

                                                                                                Pharoah ‘Farrell’ Sanders (born 1940) is a leading figure in the world of jazz and one of the last living legends with connections to players like Sun Ra and John Coltrane. His tenor saxophone playing has earned him royal status amongst free jazz players, critics and collectors.

                                                                                                Originally Sanders was interested in urban blues music, but his high school teacher exposed him to jazz and this took Farrell in an entirely new direction. Once completing high school Sanders quickly packed his belongings and headed to Oakland, where he got a chance to work with musicians of high caliber such as saxophone players Sonny Simmons and Dewey Redman (who were both later to be major forces in new jazz and free jazz). Soon the young Pharoah would meet John Coltrane and would feel being attracted to the life as a professional musician. By the early sixties Sanders moved to New York where the major jazz scene was happening. Here he’d spent most his time honing his skills at rehearsals with Sun Ra….sadly he was not making much money with the Arkestra and soon found himself living on the streets, trying to stay up all night playing and then scrounging for money during the day, often selling blood to eat.

                                                                                                Sanders recorded his debut album for ESP soon after, but it wasn’t until he started playing with his old friend John Coltrane that he would fully unleash the fury of his saxophone on the world of free jazz. The records Pharoah Sanders played on for Coltrane laid the foundation of what was to come for both the world of free jazz and for Sanders as a musician. After Coltrane’s tragic death Sanders would record further with Alice Coltrane, John’s widow, on the album Karma (1969 – Impulse!), which is universally accepted as Sanders’ masterpiece. Along with musicians Alice Coltrane and singer Leon Thomas, Sanders helped to create the genre of spiritual jazz.

                                                                                                By this point in his career & on the album we are presenting you today (Moon Child, recorded in 1989), Sanders had largely withdrawn from the kind of screeching avant-gardism on which he at first staked his reputation. Here Sanders plays with an all-star line-up consisting of Stafford James (Sun Ra) on bass, William Henderson (Roy Ayers) on piano, & Eddie Moore (Sonny Rollins) on drums. Moon Child, with its attractively spacy vocals, is reminiscent of the days of “The Creator Has a Master Plan,” and this mood is kept throughout the album and in the choice of cosmic tunes represented on it.

                                                                                                On this album the legendary saxophonist clearly reinvented himself as a more traditional improviser, capable of thoughtful and pensive deliberations. Catchy mystical New Age vocals, astrological references… Pharoah may remain an acquired taste, but few jazzmen can equal his unique formula of mastering the ‘groove’.


                                                                                                Jim Sullivan

                                                                                                If The Evening Were Dawn

                                                                                                  On March 4, 1975, Jim Sullivan mysteriously disappeared outside Santa Rosa, New Mexico. His VW bug was found abandoned, his motel room untouched. Some think he got lost. Some think the mafia bumped him. Some even think he was abducted by aliens.

                                                                                                  By coincidence–or perhaps not–Jim’s 1969 debut album was titled U.F.O.. Released in tiny numbers on a private label, it too was truly lost until Light In The Attic Records began a years-long quest to re-release it–and to solve the mystery of Sullivan’s disappearance. Only one of those things happened, and you can guess which…

                                                                                                  Light In The Attic’s reissue of U.F.O. introduced the world to an overlooked masterwork and won Sullivan, posthumously (presumably), legions of new fans. Those new admirers are in for a real treat: a lavish, first-time release of a previously unheard 1969 studio session.

                                                                                                  If The Evening Were Dawn contains 10 acoustic solo recordings that have never seen the light of day. Whereas U.F.O. was bolstered by legendary sessioneers The Wrecking Crew, this is Jim Sullivan on his own terms, stripped down and soulful as ever. Recorded at a Los Angeles studio circa 1969, the session contains acoustic versions of a handful of U.F.O. tracks alongside a half dozen previously unheard songs. This, then, is the closest thing to those fabled Malibu bar performances at which Sullivan was first noticed.
                                                                                                  According to his widow, Barbara, this was the album Jim always hoped to record. It serves as an unprecedented glimpse into the mysterious, larger-than-life figure who’s become the stuff of legends.

                                                                                                  While Sullivan’s disappearance remains unsolved, his music endures and is finally gaining him the recognition he deserves, albeit long overdue. This recording serves as an unexpected missing piece of the puzzle; this is Jim Sullivan’s true swan song.


                                                                                                  Jim Sullivan

                                                                                                  Jim Sullivan

                                                                                                    On March 4, 1975, Jim Sullivan mysteriously disappeared outside Santa Rosa, New Mexico. His VW bug was found abandoned, his motel room untouched. Some think he got lost. Some think the mafia bumped him. Some even think he was abducted by aliens.

                                                                                                    By coincidence–or perhaps not–Jim’s 1969 debut album was titled U.F.O.. Released in tiny numbers on a private label, it too was truly lost until Light In The Attic Records began a years-long quest to re-release it–and to solve the mystery of Sullivan’s disappearance. Only one of those things happened, and you can guess which…

                                                                                                    Light In The Attic’s reissue of U.F.O. introduced the world to an overlooked masterwork and won him, posthumously (presumably), legions of new fans. Those new admirers are in for a real treat: a lavish reissue of Jim’s 1972 sophomore album, Jim Sullivan.

                                                                                                    The self-titled LP was originally released on Playboy mogul Hugh Hefner’s short-lived Playboy imprint. Horns sweeten this funky and bombastic session driven by Jim’s unmistakably larger-than-life voice and exceptional song-writing chops, alongside a cast of legendary session musicians including Jim Hughart. Another LP you’ll rarely see in the wild, it is by no means the poor relation of U.F.O., but rather a big stride into country, folk rock, and swampy blues, mesmerically finger-picked, brass-bedecked, and with that uniqueness of phrasing–part crooner, part jazz singer–that makes Sullivan such a rare performer.

                                                                                                    Each song could have been a bonafide radio hit, but with spotty promotion and negative connotations surrounding the Playboy name, the self-titled album suffered a fate known all too well and fizzled out. While Sullivan’s disappearance remains unsolved, his music endures and is finally gaining him the recognition he deserves, albeit long overdue.


                                                                                                    Frakkur

                                                                                                    2000 - 2004

                                                                                                      Frakkur was the artist name Jónsi used for his experiments in electronic music. Working on his own, either at home in Reykjavík, in hotel rooms on tour with Sigur Rós, or later at his boyfriend’s house in Boston, Jónsi spent endless hours diving into then-new bits of kit and programming, having fun and seeing how far he could push things.

                                                                                                      The legacy is three collections of work totalling 25 tracks collated into one triple album - each made a year or so apart, under slightly different circumstances and with different equipment.

                                                                                                      The oldest, 2000-2001, was made on Jónsi’s first PC laptop, named The Tank for its unwieldy size. The second, 2002-2003, was made in his small flat in the middle of Reykjavík, where he set up his first home studio in a cupboard, so that it could be packed away at night. The final part of the Frakkur trilogy, 2003-2004, was made in Cambridge, Mass. in breaks of Sigur Rós touring. His partner, Alex Somers, had by then introduced Jónsi to the programme Logic, and this he coupled with a Yamaha VSS-30 toy keyboard to sample his voice in what he describes as a spontaneous and exciting process.


                                                                                                      Miles Davis

                                                                                                      Rubberband

                                                                                                        Miles Davis shocked the music world in 1985 when he left Columbia Records after 30 years to join Warner Bros. Records. In October of that year, he began recording the album Rubberband in Los Angeles at Ameraycan Studios with producers Randy Hall and Zane Giles. The musical direction Davis was taking during the sessions marked a radical departure, with the inclusion of funk and soul grooves; with plans to feature guest vocalists Al Jarreau and Chaka Khan. Eventually, the album was shelved and Davis went on to record Tutu, leaving the Rubberband songs unheard and untouched for over 30 years.

                                                                                                        Davis’ fans finally got a taste of the iconic trumpeter’s long-lost album last year with the release of a four-song Rubberband EP for Record Store Day, which is also available digitally. Now Rhino is excited to announce that the entire 11-song Rubberband album will make its debut on September 6 on CD, LP, and digitally. It was finished by the original producers Hall and Giles; with Davis’ nephew, Vince Wilburn, Jr., who played drums on the original sessions for the album in 1985-86. The track titled “Rubberband Of Life,” featuring Ledisi, is available now digitally. The cover art for the album is a Davis original painting from the time.

                                                                                                        “Uncle Miles would be proud. Randy, Zane and I, and everyone involved, put our heart and soul into ‘The Rubberband Of Life,’” says Wilburn, Jr.

                                                                                                        In 2017 – 32 years after Davis started recording Rubberband– Hall, Giles, and – and Davis’ nephew, Wilburn, Jr., began work to finish the album. The final version includes several guest artists including singers Ledisi (a 12-time Grammy nominee) and Lalah Hathaway (daughter of soul legend Donny Hathaway).

                                                                                                        Davis – who plays both trumpet and keyboards on the album – was joined in the studio by keyboardists Adam Holzman, Neil Larsen and Wayne Linsey; percussionist Steve Reid; saxophonist Glen Burris; and Wilburn, Jr. on drums. The sessions were engineered by Grammy®-winner Reggie Dozier, whose brother Lamont Dozier was part of the legendary Motown song writing team Holland-Dozier-Holland.


                                                                                                        FORMAT INFORMATION

                                                                                                        2xLtd LP Info: 180 gram vinyl.

                                                                                                        Rare as hell DJ Duke electro record getting a re-issue. 

                                                                                                        Another timeless Electro Force release by the genius DJ Duke in the rebound. This time it's "Getting High" on 303 Records from 1995. It will be available re-mastered on black solid vinyl October 6th. Highy recommended!

                                                                                                        Kim Gordon

                                                                                                        No Home Record

                                                                                                          With a career spanning nearly four decades, Kim Gordon is one of the most prolific and visionary artists working today. A co-founder of the legendary Sonic Youth, Gordon has performed all over the world, collaborating with many of music’s most exciting figures including Tony Conrad, Ikue Mori, Julie Cafritz and Stephen Malkmus. Most recently, Gordon has been hitting the road with Body/Head, her spellbinding partnership with artist and musician Bill Nace. Despite the exhaustive nature of her résumé, the most reliable aspect of Gordon’s music may be its resistance to formula. Songs discover themselves as they unspool, each one performing a test of the medium’s possibilities and limits. Her command is astonishing, but Gordon’s artistic curiosity remains the guiding force behind her music.

                                                                                                          It makes sense that this “American idea” (as Gordon says on the agitated rock track “Air BnB”) of purchasing utopia permeates the record, as no place is this phenomenon more apparent than Los Angeles, where Gordon was born and recently returned to after several lifetimes on the east coast. It was a move precipitated by a number of seismic shifts in her personal life and undoubtedly plays a role in No Home Record’s fascination with transience. The album opens with the restless “Sketch Artist,” where Gordon sings about “dreaming in a tent” as the music shutters and skips like scenery through a car window. “Even Earthquake,” perhaps the record’s most straightforward track embodies this mood; Gordon’s voice wavering like watercolor: “If I could cry and shake for you / I’d lay awake for you / I got sand in my heart for you,” guitar strokes blending into one another as they bleed out across an unstable page. Front to back, No Home Record is an expert operation in the uncanny. You don’t simply listen to Gordon’s music; you experience it.

                                                                                                          FORMAT INFORMATION

                                                                                                          Coloured LP Info: Exclusive white vinyl edition.

                                                                                                          The Lilac Time

                                                                                                          Return To Us

                                                                                                            “Return To Us” is the new album by The Lilac Time, the country folk band fronted by Stephen Duffy. The collection is their tenth so far and Stephen’s twentieth long-player in a career that has spanned four decades.

                                                                                                            Coming off the back of five-star rave reviews for the reissue of Stephen’s album I Love My Friends, Return To Us was recorded by the three-piece of Nick Duffy, Claire Duffy and Stephen who have been the core of The Lilac Time since 1999.

                                                                                                            The nine-track album was recorded in Stephen and Claire’s home and covers topics as diverse as The D-Day Landings (March To The Docks), auditory processing disorder and the difficulties in recognising and interpreting sounds (King Kopetsky), Italian Neorealism (A River That Runs Both Ways), life before the Internet (The Simple Things), not getting dragged back to a fictitious golden age (Return To Us), a Christmas song of sorts (The Needles) and needing ‘reassurance because the world went stupid’ ((I’m) A Believer).

                                                                                                            Stephen Duffy: “This our first release on a major label since 1990. After a calamitous time with RCA around the recently reissued I Love My Friends album I never considered it an option. But then after our last performance at Port Eliot in 2017, we were approached by BMG’s senior scout who suggested we send our new record to them after some time we did and here it is”.

                                                                                                            FORMAT INFORMATION

                                                                                                            Coloured LP Info: Limited purple coloured vinyl.

                                                                                                            Beastie Boys

                                                                                                            Root Down

                                                                                                              Root Down is an EP by legendary hip hop group Beastie Boys, released in 1995. The first three tracks are variations of the track “Root Down,” from the Beastie Boys’ 1994 album Ill Communication. The remaining seven tracks were recorded “live in Europe, winter 1995.”



                                                                                                              Beastie Boys

                                                                                                              Paul's Boutique - 30th Anniversary Edition

                                                                                                                Paul’s Boutique is the Beastie Boys second studio album released on July 25, 1989, on Capitol Records. Featuring production by the Dust Brothers, the album was recorded in Matt Dike’s apartment and the Record Plant in Los Angeles from 1988 to 1989, and mixed at the Record Plant. Aside from the vocals, the album is almost completely composed of samples.

                                                                                                                The Roots

                                                                                                                Things Fall Apart - 20th Anniversary Deluxe Edition

                                                                                                                  Things Fall Apart (also referred to as When Things Fall Apart) is the fourth studio album by hip hop band The Roots, released 23rd February, 1999 on MCA Records. Recording sessions for the album took place at Electric Lady Studios during 1997 to 1998, coinciding with recording for other projects of the Soulquarians collective, including D’Angelo’s Voodoo (2000), Erykah Badu’s Mama’s Gun (2000), and Common’s Like Water for Chocolate (2000). According to Spin magazine, the album is a landmark moment for The Roots and the collective, as it “swelled the Roots clique into a movement-style posse”.

                                                                                                                  The album has been considered by music writers as The Roots’s breakthrough album, earning praise from major publications and critics, while becoming the group’s first record to sell over 500,000 copies. It includes the song “You Got Me”, which won the 2000 Grammy Award for Best Rap Performance by a Duo or Group, while Things Fall Apart was also nominated for the Grammy Award for Best Rap Album of the same year, losing to Eminem for his The Slim Shady LP. Rolling Stone called it a “top-flight record”, while AllMusic cited it as “one of the cornerstone albums of alternative rap.” The album takes its title from Chinua Achebe’s novel of the same name, which in turn took the phrase from William Butler Yeats’s poem “The Second Coming”. On April 5, 1999, Things Fall Apart was certified Gold by the Recording Industry Association of America (RIAA) for shipments of 500,000 units and on April 22, 2013, fourteen years after its release, the album was certified Platinum by the Recording Industry Association of America for shipments of 1,000,000 units.

                                                                                                                  FORMAT INFORMATION

                                                                                                                  3xDeluxe LP Info: Tri-gatefold.
                                                                                                                  3rd LP curated by Questlove (bonus tracks & remixes).
                                                                                                                  20 Page Booklet w/essays by Black Thought & Questlove.
                                                                                                                  Track by Track Liner notes by Questlove.

                                                                                                                  Massive Attack

                                                                                                                  Massive Attack Vs Mad Professor Part II (Mezzanine Remix Tapes ’98)

                                                                                                                    All 8 of the Mad Professor remixes included here are previously unreleased and include his dub mixes of 2 tracks not originally featured on Mezzanine but from the same period – Metal Banshee – a dub version of Superpredators which was a cover of Siouxie and the Banshee’s Metal Postcard – and Wire, a track they recorded for the soundtrack of the film Welcome to Sarajevo.

                                                                                                                    This release is a vinyl accompaniment to the 2CD deluxe version of Mezzanine to be released on 23 August 2019 that features these remixes + the original album remastered.

                                                                                                                    FORMAT INFORMATION

                                                                                                                    Coloured LP Info: Pink coloured vinyl.

                                                                                                                    Minor Pieces

                                                                                                                    The Heavy Steps Of Dreaming

                                                                                                                      ‘The Heavy Steps Of Dreaming’ is the brilliant debut album from Vancouver-based Minor Pieces, a new songwriting partnership comprising acclaimed singer/composer Ian William Craig and newcomer Missy Donaldson, a singer and multi-instrumentalist. Retaining some of the textural play and experimentation of Ian’s solo material whilst channeling it squarely within the domain of tangible songwriting, the pair utilise guitar, modified tape decks, bass and synths to fashion deeply-felt songs with their beautifully matched male/ female vocals standing resolutely centre-stage. Taking influence and inspiration from the likes of Low, Grouper, Mazzy Star, Portishead, My Bloody Valentine, Talk Talk and Cat Power, ‘The Heavy Steps Of Dreaming’ sounds at once familiar whilst forging something new, unique and beyond the sum of its influences.

                                                                                                                      Over the course of its 8 tracks - from the opening bars of ‘Rothko’ to the resonant closing lines of ‘Shipbreaking’ - the duo move fluidly between voices, shift from moments of overwhelming power to perfect points of stillness; from acoustic balladry pared down to the sparsest of means to thick, tumbling swells of tape and electronics or billowing synth trails. At both album and song level, it’s a work of contrasts and combinations; of broad, bold dynamics. Masterfully crafted, the lyrics are rendered with an almost painterly approach and reveal a palpable joy in the richness of language and its capacity to conjure resonances, to hold moments close and to patch together meaning from life’s scattered detritus. What’s forged is a kind of Alt. Americana filtered through a progressive modern lens and the tactile, heavily processed tactics of Ian’s solo practice – an approach that links to the corrosive asethetics of electronic artists like Fennesz, William Basinski or The Caretaker.

                                                                                                                      FORMAT INFORMATION

                                                                                                                      Coloured LP Info: Limited edition clear vinyl.

                                                                                                                      (Sandy) Alex G

                                                                                                                      House Of Sugar

                                                                                                                        (Sandy) Alex G, aka singer, songwriter and musician Alex Giannascoli, announces new album ‘House of Sugar’. The album is the Philadelphian’s ninth overall and third for Domino.

                                                                                                                        Giannascoli worked closely with Jacob Portrait, who mixed both ‘Rocket’ and 2015’s ‘Beach Music’ and helped to balance each of ‘House of Sugar’s dense, multi-faceted tracks. As the product of extended focus and planning, ‘House of Sugar’ emerges as Giannascoli’s most meticulous, cohesive album yet: a statement of artistic purpose, showing off his ear for both persistent earworms and shifting textures and the out-there sonic adventurism that’s made previous (Sandy) Alex G records so singular.

                                                                                                                        FORMAT INFORMATION

                                                                                                                        Coloured LP Info: Available to independent retailers on purple
                                                                                                                        heavyweight vinyl with digital download card.

                                                                                                                        Eye Flys

                                                                                                                        Context

                                                                                                                          Eye Flys brings together the minds of four musicians known for their work in some of the most extreme, blistering bands today. The quartet was initially started by Full Of Hell guitarist Spencer Hazard and former Backslider drummer Patrick Forrest as an outlet to play aggressive music with equal intensity that would contrast the breakneck speeds of their other projects. After asking Backslider bassist Jake Smith to join on guitar and vocals and Triac’s Kevin Bernsten on bass, Eye Flys’ potential for crafting impossibly heavy songs was solidified.

                                                                                                                          Eye Flys’ debut ‘Context’ was written and recorded just a few short months from the band’s inception, drawing on each members’ considerable experience and driven by the excitement of playing in uncharted territory. This is an album of commanding, lean noise rock absolutely brimming with vitriol.

                                                                                                                          The direct, raw energy of Eye Flys’ music is simultaneously menacing and intoxicating. Drawing immediate comparisons to bands like Unsane, Cherubs and The Melvins (where they take their name), the quartet’s bludgeoning sound is underpinned by a razor sharp edge. Smith’s vicious lyrics are paralleled by his unrelenting barks with passages like the opening of ‘Weaponize’ literally spat through grinding teeth. Their taut, muscular riffing and pummelling drums lay atop a foundation of deceptively intricate arrangements.

                                                                                                                          Eye Flys’ ‘Context’ stands as a testament to its members’ abilities to produce music that is as ferocious as it is addictive. In just six songs Eye Flys not only prove their place among their peers but stand out as a force of sheer, immovable power.

                                                                                                                          FORMAT INFORMATION

                                                                                                                          Coloured LP Info: Limited edition smoky black coloured vinyl.

                                                                                                                          Joseph

                                                                                                                          Good Luck, Kid

                                                                                                                            In the making of ‘Good Luck, Kid’ Joseph pushed beyond the dreamy folk of their debut album with ATO Records, embracing a grittier, more dynamic sound.

                                                                                                                            The 13-song collection was produced by Christian ‘Leggy’ Langdon (Meg Myers, Charlotte OC) and the result brims with thick drums and lustrous guitars, heavy grooves and radiant melodies.

                                                                                                                            Despite the bolder sonic palette, ‘Good Luck, Kid’ remains centred on the band’s crystalline vocal work, including the otherworldly harmonies that suggest a near-telepathic connection among sisters.

                                                                                                                            “The through-line of the album is this idea of moving into the driver’s seat of your own life - recognizing that you’re an adult now, and everything’s up to you from this moment on,” Natalie said. “You’re not completely sure of how to get where you need to go, and you don’t have any kind of a map to help you. It’s just the universe looking down on you like, ‘Good luck, kid.’”

                                                                                                                            “[The] blend their voices in the eerily close way that only siblings seem able to accomplish” - NPR Music. 

                                                                                                                            “a rallying cry and a celebration of the determination and angst that has pulled us all through these toxic times” - Nylon. 

                                                                                                                            “Upbeat, anthemic” - Brooklyn Vegan. 

                                                                                                                            “Dark folk-pop that will make you cry (in the best, most cathartic way possible)” - Paper. 

                                                                                                                            “an uplifting stronghold” - Paste.

                                                                                                                            FORMAT INFORMATION

                                                                                                                            LP Info: LP format includes digital download code.

                                                                                                                            Mica Levi

                                                                                                                            Monos: Original Motion Picture Soundtrack

                                                                                                                              Invada Records and Lakeshore Records will co-release ‘Monos: Original Motion Picture Soundtrack’, featuring original music by Ivor Novello Award-winner and Academy Award-nominated Mica Levi (Jackie, Under the Skin).

                                                                                                                              The London-based composer, music producer and artist creates an indescribably hallucinatory, often menacing backdrop to the survivalist thriller set on a remote mountain in Latin America.

                                                                                                                              Says director Alejandro Landes: “Mica connected with and understood the spirit of the film: the faces, the colors, the extremeness of the environment, the mash of costumes, the absence of a specific time, place or date. She's classically trained but can be equally as inspired by pop or heavy metal; she can mix synthesizer-driven music with a quartet. All this brings a very particular sensibility, a mixing of instruments, that made for a distinct, emotional and atemporal sound.”

                                                                                                                              FORMAT INFORMATION

                                                                                                                              LP Info: The score is pressed on 180g black vinyl, housed in a deluxe heavyweight gatefold sleeve, with stunning artwork by Sander Brouwer printed on reverse board. The record comes housed in a double sided printed innersleeve and includes an extra thick printed artwork insert and digital download card.

                                                                                                                              Mike Patton & Jean-Claude Vannier

                                                                                                                              Corpse Flower

                                                                                                                                Mike Patton has teamed up with legendary French producer Jean-Claude Vannier (Serge Gainsbourg) for an album of sleazy pop rock that will appeal to fans of Patton’s projects such as Peeping Tom, Lovage and Mr. Bungle.

                                                                                                                                FORMAT INFORMATION

                                                                                                                                Coloured LP Info: 180gram ‘Smoky Swirl’ vinyl LP in embossed gatefold jacket on rainbow board.

                                                                                                                                CD Info: CD in embossed 6-panel digipak on rainbow board (which gives the package a rainbow effect).

                                                                                                                                Sequoyah Murray

                                                                                                                                Before You Begin

                                                                                                                                  “A striking set of visionary soul/pop that recalls contemporaries such as MorMor and Sampha, yet his magnetic baritone voice and unpredictable productions also find strong inspiration in the outsider pop works of Arthur Russell.” - KEXP

                                                                                                                                  At just 22 years old, Sequoyah Murray is crafting the kind of concise, singular musical statements that many artists strive for their whole careers. His mutant brand of modern soul is as deeply eclectic as it is instantly arresting, a quality that drew early comparisons to Arthur Russell. Like Russell, Murray has a boundless, playful approach to composition; an incredible breadth of vision balanced by concise editing. Futuristic electronics, West and North African influenced polyrhythms, gospel vocals and psychedelic Tropicália textures blend seamlessly, anchored by his astounding three-octave baritone.

                                                                                                                                  ‘Before You Begin’ distils an enormous wealth of ideas, emotion and detail into a stunning debut. Murray’s joyful energy is infectious on his bravely intimate self-portrait, painted with an inventive and unexpected collection of sounds.

                                                                                                                                  The album is influenced by Murray’s experience growing up in one of the world’s music capitals. Atlanta’s hip hop and trap heritage finds its place in his inventive lyricism, future-seeking sonics and DIY approach to music-making. Although Murray points to rap as one influence, he cites Atlanta’s lesser-known jazz and free-improv scene as facilitating his development as an artist.

                                                                                                                                  FORMAT INFORMATION

                                                                                                                                  Coloured LP Info: Limited edition hi-melt brown coloured vinyl.

                                                                                                                                  Various Artists

                                                                                                                                  J-Jazz Vol.2: Deep Modern Jazz From Japan 1969-1983

                                                                                                                                    Following the sell-out success of our landmark compilation, J-Jazz: deep modern jazz from Japan 1969-1984, BBE Music is thrilled to present another exploration into the very finest Japanese modern jazz. J-Jazz 2 builds on the solid foundation of the first compilation and sees co-compilers Tony Higgins and Mike Peden once again pick choice sections from their own record collections.

                                                                                                                                    They present a deep dive into an intoxicating and beguiling range of styles: from cinematic roaring big-band (Little G by Nobuo Hara) and sparse minimal acoustic funk (Teru-Teru Bozo by Teru Sakamoto), to deep spiritual modal epics (Dragon Dance by Makoto Terashita and Harold Land) and funk fusion (Mother of the Future by Electro Keyboard Orchestra).

                                                                                                                                    J-Jazz 2 delivers more astonishing high quality jazz that will appeal the old school hard-core jazz head as much as those digging the current sounds of the current vibrant jazz explosion in the UK and USA. The specially chosen tracks on J-Jazz volume two span across 25 years of Japanese musical progression and invention. From the elegiac stark beauty of Serenade to a Dimly Lit Street and the modal vortex of Daguri, to the fierce post-bop freedom of Bull Trout and the mid-tempo bossa lilt of Vietnam, there is enough here to satisfy the most curious and demanding jazz fan seeking something extra special.

                                                                                                                                    Simbad

                                                                                                                                    Collections EP1

                                                                                                                                      London production hero and DJ Simbad (aka SMBD) joins forces with BBE Music for retrospective album ‘Collections Vol.1’. Despite having produced a stellar series of remixes for the label over the years, ‘Collections Vol.1’ is Simbad’s debut on BBE as an artist, so he’s brought a few friends along for the ride. The album features guest vocals from Lulu James, LaAerial, Steelo, Entek, Byron The Aquarius, Rae Rae, Claudia Smith and Miryam Solomon, all deftly framed by Simbad’s distinctive, warm, jazz-infused production. Although a constant traveller, Simbad’s affinity with the UK, and in particular London, has placed him at the centre of the city’s music scene for many years now; with influences and inspirations flowing in both directions between him and his adopted hometown.

                                                                                                                                      Says Simbad: “I came to London end of the 90's with my saxophone for a summer & ended up staying. This is the place where my music journey as a DJ & a producer truly began. The culture of this island hit me hard & deep. And because most of the stuff I've done is still unreleased (and I never stop making music where ever I go) I am absolutely delighted to share this collection of tunes featuring some of the most talented singers (and friends for life) that I had the pleasure to work in these last 10-15 years, recorded in my London studio sanctuary throughout the years. And hopefully even the old songs still stand the ground...”

                                                                                                                                      Tijuana Panthers

                                                                                                                                      Ghost Food

                                                                                                                                        Previously released on cassette and digital, this 10" vinyl, 6 song EP is limited to 500 copies. Packaged in a black, big hole jacket.

                                                                                                                                        Bananagun

                                                                                                                                        Do Yeah

                                                                                                                                          There are some records that you come across that sound like you’ve discovered an unearthed gem from a previous decade; a lost moment in musical history that has cruelly been sat gathering dust in a record shop for years. From the opening seconds of Bananagun’s “Do Yeah” - which stirs to life in an intoxicating blend of 1970s afrobeat, fuzzed out psychedelia and immersive pop - this very much feels like the case of discovering something special. However, rather than being a decades old find, this track comes from a brand new Melbourne band. With the aim of merging the proto-garage rhythmic fury of The Monks with the tropicália grooves of Os Mutantes, the band soon forged a sound that was as loose and unravelling as it was focused and taut, with an aim of creating a real sense of place and environment.

                                                                                                                                          “We didn't want to do what everyone else was doing,” the band say. “We wanted it to be vibrant, colourful and have depth like the jungle. Like an ode to nature.” There’s a deeply percussive element to the band’s psychedelic ode to mother nature, touching upon Fela Kuti-esque repetitions, exotica, jazz and 1960s pop-rock. Much like a lot of the influences it filters into its own unique spin on it all, it’s intended as “music for the people” - a unifying groove that spans genres. Even the seemingly innocuous band name has an underlying message of connectivity that matches the universality of the music. “It’s like non-violent combat! Or the guy who does a stick up but it’s just a banana, not a gun, and he tells the authorities not to take themselves too seriously.” This extends to the underlying message of their debut single too: “try to love and not hate because you’re the one who has to carry it around.” Do Yeah 7”

                                                                                                                                          London based DJ and producer Dan Shake is set to release his new EP ‘Daisy’s Dance / Bert’s Groove’ on Denis Sulta’s ​Sulta Selects ​offshoot ​Silver Service​ this September.

                                                                                                                                          Dan’s latest 12” outing features two polished club cuts in his peak-time bigroom style: lead track ‘Bert’s Groove’ is a high-impact dancefloor weapon with a funk-inflected disco bassline and riotous percussive pulse, whilst B-side ​‘Daisy’s Dance’ is a fine-tuned disco house heater, with looped-up sampled vocals, jubilant horns and an infectious bassline.

                                                                                                                                          After lighting the fuse on his own career back in 2014, with a CD keenly thrust into the hand of a surprisingly reciprocal and un-moody ​Moodymann​, Dan's ​3AM Jazz Club / Thinkin About U ​on Mahogani Music carved out some well-deserved early notoriety as the record reached ubiquity on house dancefloors, spun by every DJ worth their salt.

                                                                                                                                          Shake made it into a springboard for his ambitions to work crowds the world over. His love of groove – ranging from sparky acid to Brazilian samba, itchy funk to heavyweight house – fuels his drive to make those around him dance as keenly as he does. At a party, Dan Shake isn’t just loaded with peak time weapons: he is one.

                                                                                                                                          His debut on Sulta Selects follows a string of dance floor-igniting releases on his own label Shake​, the most recent of which continues to scorch the airwaves from ​Radio 1 to ​NTS​, garnering DJ support from the likes of ​Annie Mac, Gilles Peterson, Honey Dijon ​and The Black Madonna​.

                                                                                                                                          This will be the fourth release on Denis Sulta’s ​Silver Service imprint launched in 2018, with previous releases from Berlin based producer ​Cromby​, a collaborative EP from ​Hammer & Atlus​, and Denis Sulta himself. The new label follows on from Denis’s Sulta Selects imprint – home to three volumes of his own essential 12” series.

                                                                                                                                          Dan’s infectious charm and expert ear has resulted in a truly international list of shows in locations as far flung from home as Beirut to Buenos Aires, plus armfuls of Balearic visits, including closing the main stage at ​Dimensions Festival and playing b2b shows with ​Jeremy Underground​, ​Marcellus Pittman​, ​Alexander Nut & ​Jamie 3:26 to name a few. With a never-ending tour schedule, his own productions in the record bags of countless established DJ heroes and more new music planned for 2019, Shake is set to reach new heights this year

                                                                                                                                          The 12th Downbeat release comes from the south east of Ireland.

                                                                                                                                          Alan Smith is a producer from Waterford with tracks released on D1 Recordings and Elusive Recordings who loves the analogue sound of 90´s and the sound of Detroit.

                                                                                                                                          "Bump together ep" is one super complete release halfway between House music and Techno, Detroit and Sheffield, and between dancefloors and futuristic chillout which owns all the aesthetic parameters that a Downbeat release should be.

                                                                                                                                          Alan delivers a 4 track Ep with hidden, delicate and subtle melodies, minimalist structures and an excellent job with percussion and mixdown.

                                                                                                                                          But if there is one word to describe this release it is "Deep". Layers of synthetic pads, creative basslines and hi-hats in motion provide deepness to this solid release.

                                                                                                                                          300 copies pressed.

                                                                                                                                          Belle & Sebastian

                                                                                                                                          Days Of The Bagnold Summer

                                                                                                                                            Days of the Bagnold Summer began life as a 2012 award-winning graphic novel by Joff Winterhart, was turned into a feature film and the directorial debut of Simon Bird (The Inbetweeners, Friday Night Dinner), and is now a wonderful, rich, bittersweet, and warmly welcoming original soundtrack album by Belle and Sebastian on Matador Records.

                                                                                                                                            The album features eleven brand new Belle and Sebastian songs, as well as re-recorded versions of classics 'Get Me Away From Here I'm Dying', originally appearing on 1996's If You’re Feeling Sinister, and ‘I Know Where The Summer Goes’, from 1998's This Is Just a Modern Rock Song EP.

                                                                                                                                            Tom Blip & Swordman Kitala

                                                                                                                                            Kitala Beat

                                                                                                                                            For Blip Discs’ eighth instalment, label head Tom Blip presents two bass-loaded, grimy workouts recorded with local Ugandan MC, Swordman Kitala. Spoken in a hybrid of Luganda and English, Swordman’s lyrical lines fittingly compliment the skippy 808-driven instrumentals laid down by Tom Blip, gaining early support from Auntie Flo, Call Super, Ploy, Roska and even UK funky legend, Donae’o.

                                                                                                                                            Vancouvers Pacific Rhythm crew launch their new label 'Specials'
                                                                                                                                            Featuring vocals from Dreamcast and remixes from Project Pablo and DJ Sports.

                                                                                                                                            In the spirit of global collaboration, Specials Worldwide’s first release comes courtesy of Vancouver’s own ZDBT & Washington, DC’s own Dreamcast. The collaborative “On Love EP" between the producer and singer/songwriter is a musical anthology of 2019 “love in this club” anthems, featuring the lead single “Take A Chance (On Love)” and B-Side “Time For You”.

                                                                                                                                            The EP is the end result of a multi-day studio session in August of 2018 when Dreamcast was invited out to Vancouver for a live show with locally based imprint Pacific Rhythm. With immediate chemistry abound, the result was “Take A Chance (On Love)”, a beautiful permutation of R&B and Techno that melds the soulful vocals of Dreamcast with the peak time Techno of ZDBT (known for his work with 1800HaightStreet on labels like Lobster Theremin). B-Side “Time For You” is a slowed down, dubbed out one-take vocal with Dreamcast featuring his soaring vocal range over moody Techno chords, resulting in another ode to the pursuit of finding love in the club.

                                                                                                                                            Rounding out the EP is a blissed out, Trance tinged take on “Take A Chance (On Love)” courtesy of Montreal based producer Project Pablo and an even deeper, dubbier version of “Time For You” by DJ Sports, the Danish producer and member of Århus based collective Regelbau.

                                                                                                                                            There's a distinctly UK thread throughout Off Grid; from the broken drum machine workout on Isit and the acid bass line on New Levels to the jungle- influenced breaks on High And Mighty and Turnin', Romaal Kultan has produced a compelling EP that will provoke plenty of gun fingers as well as nodding heads. 

                                                                                                                                            Down the long driveway at the end of Second Avenue is a single story abode perched on a cliff overlooking the water. The timber constructed house built in the 1950s, is surrounded by native pohutukawa trees whose bright red coloured flowers are mimic'ed by the window frames and detailing of the exterior. As you walk down the narrow path along the side of the property, you can peer into the studio and catch a glance of an older man working away at his desk. Surrounded by books, records and CDs he will be drafting plans by hand for his next project. Continue along the path and reach the edge of the cliff — watch your step as you go down the decaying staircase and arrive at a small landing lapping in the waves of the harbour.

                                                                                                                                            This record is dedicated to my grandfather Jack and the house he built.

                                                                                                                                            Adam Green

                                                                                                                                            Engine Of Paradise

                                                                                                                                              Adam Green is an artistic polymath -- a songwriter, filmmaker, visual artist, and poet. As part of New York’s downtown antifolk scene at the end of the nineties, Green made up one half of The Moldy Peaches, who later enjoyed mainstream success via the 2007 Grammy-winning Juno soundtrack.

                                                                                                                                              As a solo artist, Green has recorded 10 albums, many of which have become cult hits. His songs have been performed by artists as diverse as The Libertines, Carla Bruni, Kelly Willis, Dean & Britta, and Will Oldham. His 2005 record Gemstones went Gold in Europe.

                                                                                                                                              Green’s paintings and sculptures have been the subject of exhibitions in America, Asia and Europe, including a 2016 solo-show at the prestigious Fondation Beyeler Museum in Basel, Switzerland. Green first combined his visual aesthetic, psychedelic writings and musical compositions in the The Wrong Ferarri (2010), the first feature film shot entirely on an iPhone. The “screwball tragedy” was described by Rolling Stone magazine as “Fellini on Ketamine” and went on to feature in the curriculum of NYU’s Tisch Film School.

                                                                                                                                              His second feature film, Adam Green’s Aladdin (2016) -- an immersive fantasy film starring Macaulay Culkin, Natasha Lyonne, Alia Shawkat, Jack Dishel and Francesco Clemente and shot entirely on papier-mache sets -- was described by Buzzfeed.com as “the trippiest movie ever made,” while RogerEbert.com called Aladdin “a movie that belongs inside a museum.” An instant cult hit, the movie was screened theatrically in a midnight movie context, at over a hundred of Green’s concerts around the world, as well as the Andy Warhol Museum in Philadelphia.

                                                                                                                                              After first publishing a bilingual volume of his poetry with Suhrkamp Verlag, Green’s newest book War and Paradiseis a graphic novel that combines his lyrical and visual vocabulary. The satirical war epic is about the clash of humans with machines, the meeting of spirituality with singularity, and the bidirectional relationship between life and the afterlife. Green’s 10th solo album, Engine of Paradise, is a musical exploration of these same themes. Recorded in Brooklyn, New York, by Loren Humphrey, the forthcoming album reimagines the baroque orchestral style of his early 2000s era records and f eatures performances by James Richardson (MGMT), Florence Welch (Florence and the Machine) and Jonathan Rado (Foxygen).

                                                                                                                                              The Standells

                                                                                                                                              Dirty Water

                                                                                                                                                The Standells’ key albums for the Tower label (Dirty Water, Why Pick On Me, and Try It) perfectly bottled a rebellious wave of sound sweeping across Mid-1960’s teen clubs, radio playlists and record racks. Starting with the genre-defining, proto-punk smash “Dirty Water”, through a series of equally memorable underdog anthems (“Sometimes Good Guys Don’t Wear White,” “Why Pick on Me”) and obscenities (the banned “Try It”), the Standells left an indelible mark on their era. Those three Tower albums are a veritable feast of three chord, fuzz-drenched, Vox Organ-driven “squares”-repellant.

                                                                                                                                                The Standells’ Dirty Water album, their first for Tower Records, was primarily recorded away from their Hollywood home base. Producer Ed Cobb picked a Seattle studio and engineer Kearney Barton (the Sonics), unwittingly unleashing the savage Pacific Northwest Sound on the rest of the country. As Standells founding member Larry Tamblyn tells it, “It really was the Standells raw.” The results include crushing classics like “Little Sally Tease,” “Medication,” and “Why Did You Hurt Me.”

                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                Coloured LP Info: Limited edition white vinyl.

                                                                                                                                                Wendy & Bonnie

                                                                                                                                                Genesis

                                                                                                                                                  One of the most remarkable unheard albums of 1969, Genesis, the sole release by San Francisco-based sisters Wendy and Bonnie Flower, has emerged as an acclaimed pop-psych touchstone. Brimming with melodic confections and laced with radiant, sisterly harmonies, the set’s breezy Brazilian splashes and soft-rock strains convey a sophistication that belies the artists’ tender ages (Wendy, 17; Bonnie, 13). The album has grown over the years in importance, and has influenced a generation of psychedelic pioneers, from Broadcast to Stereolab to Welsh rockers Super Furry Animals ( who sampled the duo on their hit "hello Sunshine"). This 180 gram single-lp edition is an exact replica of the original 1969 pressing, with fully restored cover art and incredible sonics mastered from the original reels.

                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                  Coloured LP Info: White vinyl version.

                                                                                                                                                  Ana Mazzotti

                                                                                                                                                  Ana Mazzotti

                                                                                                                                                    In 1977, Mazzotti took her debut album back to the studio, releasing the album with a new running order and new ethereal cover art, ostensibly another crack at commercial success following the small scale of the independently funded first release.

                                                                                                                                                    With intimately re-recorded vocals, and the bonus of gorgeous horn arrangements and a new track: the carnivalesque ‘Eta, Samba Bom’, replacing Roberta Flack’s hit ‘Feel Like Making Love’, Ana Mazzotti (1977) delivers Mazzotti’s refreshingly cool musical style even more effortlessly, while retaining the all magical energy of her debut.

                                                                                                                                                    Ana Mazzotti

                                                                                                                                                    Ninguem Vai Me Segurar

                                                                                                                                                      Far Out Recordings is proud to present the official reissue of this cult favourite Brazilian treasure. Remastered and pressed to 180g vinyl.

                                                                                                                                                      In 1974 Mazzotti recorded her first album Ninguem Vai Me Segurar (1974), enlisting the in-demand arrangement talents of Azymuth’s original keyboard maestro Jose Roberto Bertrami who co-wrote several of the tracks and plays organ, piano and synthesizers on the album. It also features Azymuth’s bassist Alex Malheiros and percussionist Ariovaldo Contestini, with Romildo Santos who produced the album on drums. Recorded in Estudio Haway around the same time Azymuth recorded their debut album there, it’s no wonder the samba jazz-funk pioneer’s distinctive aesthetic is present throughout, and Mazzotti’s sensational compositions are made even more beautiful for it.

                                                                                                                                                      Kicking off with the swirling samba-jazz-dance masterpiece ‘Agora Ou Nunca Mais’, the album hosts several groove-heavy Brazilian cult-classics including ‘Roda Mundo’ and ‘Eu Sou Mais Eu’. Deeper moments come in the form of the alluring future soul synth sounds on ‘Bairro Negro’ and ‘Sou’, and Mazzotti’s tender, hallucinatory version of ‘Feel Like Making Love’ (made famous by Roberta Flack) perfectly reflecting the idiosyncratic genius Mazzotti achieved with Bertrami’s visionary arrangements, and Romildo’s impeccable production approach.

                                                                                                                                                      Hozan Yamamoto With Sharps & Flats

                                                                                                                                                      Beautiful Bamboo-Flute

                                                                                                                                                        Seminal Japanese jazz album from 1971. Journeys through jazz fusion, soul and big band moods. Impossible to obtain in its original format these days.

                                                                                                                                                        Official Mr Bongo reissue.

                                                                                                                                                        Lord Echo

                                                                                                                                                        Curiosities

                                                                                                                                                          Soundway Records completes the Lord Echo album collection, finally reissuing the second album in the trilogy from the in-demand New Zealand multi-instrumentalist and producer. Originally released in 2013, ‘Curiosities’ is now available as a DJ friendly double LP for the first time.

                                                                                                                                                          The entirely self-produced album blends jazz with disco-tinged neo-soul, reggae and classic afro-beat in effortless manner - and joins the dots between the more downtempo first album ‘Melodies’ and the disco, electronic, club-ready of his third album ‘Harmonies’.

                                                                                                                                                          The album also features a dub-funk cover of Pharoah Sanders’ “The Creator Has A Master Plan”, with vocals from Lisa Tomlins.

                                                                                                                                                          Octo Octa

                                                                                                                                                          Resonant Body

                                                                                                                                                            “Resonant Body” is the third studio album by Octo Octa (Maya Bouldry-Morrison). Maya recorded the songs at her cabin in New Hampshire in order to channel the resonance of the forest, the beauty of the river, and the energy from the rituals she conducts within it. “Resonant Body” is the second release on T4T LUV NRG, the label co-run by Maya and her partner Eris Drew. It draws on the same themes of togetherness, embodiment, love, healing and survival that animated her acclaimed “For Lover’s EP” (Technicolour, 2019).

                                                                                                                                                            Kindness

                                                                                                                                                            Something Like A War

                                                                                                                                                              "Kindness returns with their third full length album titled “Something Like A War”. The album is a culmination of years spent collaborating with the likes of Robyn, Jazmine Sullivan, Seinabo Sey and Cosima among many others. Produced entirely by Bainbridge, the record is a collection of works representing a period of reflection and transformation over the course of 4 years following their second record “Otherness.” Now based in London, the album was recorded in several locations, while Kindness was primarily based in New York during the writing and recording of the album. "

                                                                                                                                                              Kindness, who uses they/them pronouns, has remained busy since Otherness, working across several projects: they co-produced five tracks on Solange’s album A Seat at the Table, and contributed production, writing, and vocals to Blood Orange’s Freetown Sound and Negro Swan albums in addition to production on Robyn's latest album Honey. A sought-after DJ, radio host, writer, collaborator, and lecturer on everything from musical craft and heritage to queerness and history, they’ve spent the last several years performing as a DJ at venues across the world, from Palais de Tokyo to the Guggenheim Museum, hosted their own radio show on Red Bull Radio in 2016 and 2017, lectured at the Boiler Room in New Delhi and moderated Robyn’s Red Bull Music Academy lecture at MOMA in New York. They were recently featured in Solange’s Calvin Klein advertisement, shot by Willy Vanderperre, alongside friends Dev Hynes, Kelela and Caroline Polachek.


                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                              2xDinked Edition LP Info: Exclusive Dinked yellow vinyl.
                                                                                                                                                              3 x exclusive signed prints.
                                                                                                                                                              Hand numbered edition of 400 only.

                                                                                                                                                              2xColoured LP Info: Indies only opaque pink coloured vinyl.

                                                                                                                                                              Copenema

                                                                                                                                                              Deixa A Musica Tocar

                                                                                                                                                                After a string of succesful singles, “Deixa Musica A Tocar”, “So Vejo Voce”, “E A Felicidade” and the Dj Harvey supported “ Te Faz Bem” and “Serei Seu”, The Danish / Brazilian quartet constellation Copenema (Copenhagen / Ipanema = Copenema) are ready to release their debut album “Deixa Musica a Tocar”.

                                                                                                                                                                The album mixes European electronica influences with Brazilian songwriting style. The sound becomes unique and some would say Balearic.The albums leading single “Te Faz Bem” a funky downtempo track with live saxophone, flute and rhythm guitars and a baseline to die for has become somewhat a national Ibiza balearic anthem over the past years and spread worldwide especially due to the massive support from Djs incl from Harvey to Dj Pippi to Pete Tong.

                                                                                                                                                                “Serei Seu” the second single another Ibiza fave is a funky party track that sounds like a modern Jorge Ben. The single “So Vejo Voce” is Stan Getz meets the beach vibes, “Festa De Relaxamento” an Alfredo fave is jazzy Brazilian funk vibes with heavy live drums and a bass line that wants you to move.

                                                                                                                                                                “Lullaby For Impanema” is sunset material. The bands first recording the 12 min beautiful jazzy cosmic downtempo Pat Metheny influenced and Leo Mas supported “Some Di Some Day” is pure bliss and a sunset fave amongst the Balearic community.

                                                                                                                                                                The album has three added bonus tracks (Vinyl Only) - Can’t Sleep and Nada Mais both recorded in a Music For Dreams writers camp recently and the 12 minute journey of Serei Seu by Danilo Braca

                                                                                                                                                                Stirling March

                                                                                                                                                                Under Cover Lover

                                                                                                                                                                  Kalita are happy to announce the first ever re-release of Stirling March's 1985 Bahamian boogie grail 'Under Cover Lover'. With original copies painfully hard to find and commanding eye-wateringly high prices, we believe the time is ripe to share this masterpiece with the world once more, accompanied by never-before-seen photos and interview-based liner notes.

                                                                                                                                                                  Falling in love with music at an early age, Stirling listened religiously on the radio to both soul and disco greats, as well as to contemporary pop and rock musicians including Stevie Wonder, The Jackson 5 and Elton John. By the age of twenty-one he decided release his own record in an attempt to demonstrate to the Bahamian music industry his own ability, and in the hope that it would help him launch his musical career. Written over the space of just a few hours, the result was 'Under Cover Lover'. A sun-kissed Caribbean boogie track, Stirling explains that “this was the first song the I had written that I felt was good enough in its arrangement to put to tape”.

                                                                                                                                                                  Recorded at a local studio in Nassau that was available for budding young musicians to give it their best shot at fame, Stirling proudly recalls that it “turned out much better than I had expected. It reinforced my confidence that I could really be good at singing”.

                                                                                                                                                                  The record was originally released on the sound engineer's own label Illumination Records, but was distributed solely by Stirling, who admits that “I had absolutely no idea what I was doing. I knew I had something good but didn't quite understand the industry and nobody picked it up”. Although he recalls the local radio airtime being “phenomenal”, difficulties in elevating the record's status were further compounded by his own financial inability to promote the record as it probably warranted. As a result, the record was therefore soon sadly lost into distant memory.

                                                                                                                                                                  We hope that this re-release brings ‘Under Cover Lover’ the recognition that it deserves as one of the best Caribbean boogie tracks to ever be put to wax.

                                                                                                                                                                  No Sister

                                                                                                                                                                  Influence

                                                                                                                                                                    Continuing the band's interest in experimenting with the post-punk song, No Sister's upcoming release is an acknowledgement of an elemental, unavoidable creative facet: influence.

                                                                                                                                                                    While Tiarney Miekus sings 'Burning News', she took influence from band member Mino Peric's childhood experience of clearing out an old, family house in suburban Tokyo. When Mino's family lit a backyard bonfire, burning newspaper floated into the sky, covering the neighbourhood in small black specks. Musically and aesthetically, the song was especially influenced by Phil Collins' 'In The Air Tonight' and the Prophet 5 synthesiser, alongside a desire, at the song's finale, to attempt to capture a moment of overwhelming, largely cinematic awe.

                                                                                                                                                                    No Sister's new EP draws from a variety of influences including writers Sheila Heti and Anne Boyer, and musicians ranging from David Sylvian, Ryuichi Sakamoto, Prince and other 80s fascinations - the band endeavor to expand their post-punk sound to include influences from both sides of the Atlantic (and Pacific). Influence was recorded by John Lee and Pat Telfer at Phaedra Studios (Beaches, Love of Diagrams, Lost Animal, Stonefield), mixed by Mino Peric and mastered by David Walker at Stepford Audio. Opposite Number will release the EP in UK + Europe to partner with the bands self-release in Australia.

                                                                                                                                                                    Domenico Torti Featuring Afrika Bambaataa

                                                                                                                                                                    Radar

                                                                                                                                                                      Domenico Torti is a French producer & remixer. Famous for his classic Daft Punk reworks, the robots loved his skills and asked him two times to put his magic hands on their music.

                                                                                                                                                                      Domenico Torti also remixed the following artists: Lenny Kravitz, Osunlade, Christine and The Queens, Cassius, Justice, Stetsasonic, Dimitri From Paris, London Grammar & more…

                                                                                                                                                                      From a young age, he was fascinated by the New York atmosphere of the ‘80s and its explosive artistic flow, the music of course as well as painting, graphic design and street art.

                                                                                                                                                                      His recent collaboration with his idol Afrika Bambaataa is the culmination of a teenage dream!

                                                                                                                                                                      Disco, hip-hop, funk, electro and house are his major musical influences. This is reflected in his choice of collaborations as well as in his own compositions on which he is currently working.

                                                                                                                                                                      Pedro Winter followed the career of Domenico Torti for 20 years now, Ed Banger records is very proud to release his first 12’’ under his name.

                                                                                                                                                                      FORMAT INFORMATION

                                                                                                                                                                      12" Info: Pressed on fluorescent orange vinyl.

                                                                                                                                                                      Stiff Little Fingers

                                                                                                                                                                      Inflammable Material - Vinyl Reissue

                                                                                                                                                                        Stiff Little Fingers are proud to release Inflammable Material. Originally released in 1979, this seminal record, printed on black vinyl, explores themes of teenage boredom and sectarian violence with an underlying insight into Northern Irish life during the peak of the tensions.

                                                                                                                                                                        Their punk rock aesthetic is authentic, with raw lyricism and harsh instrumentation. Containing the anthemic track ‘Alternative Ulster’, Stiff Little Fingers promote the ‘grab it and change it’ narrative. 


                                                                                                                                                                        FORMAT INFORMATION

                                                                                                                                                                        Ltd LP Info: 180 gram black vinyl edition.

                                                                                                                                                                        Sterephonics

                                                                                                                                                                        Kind

                                                                                                                                                                          Recorded in just eleven days at The Distillery, Wiltshire, ‘Kind’ was co-produced by Kelly Jones and George Drakoulias (Tom Petty & The Heartbreakers, Primal Scream). The results are an honest and hopeful album for our times, and an album that stands shoulder to shoulder with the band’s best work.

                                                                                                                                                                          ‘Fly Like An Eagle’ is a perfect first taster of ‘Kind’. An ode to endless possibility, it is the sound of a band exuding confidence in their craft as they allow the quality of songwriting and musicianship to take centre stage.

                                                                                                                                                                          Stereophonics are a band woven into the fabric of popular music and with ‘Kind’ Kelly Jones continues to cement his place amongst the great British songwriters with an ability to sketch and capture truth and beauty from everyday observations as well as delving into his own life experiences.

                                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                                          Coloured LP Info: Indies exclusive limited pink vinyl.

                                                                                                                                                                          Deluxe CD Info: Limited deluxe CD with bonus tracks.

                                                                                                                                                                          Michael Kiwanuka

                                                                                                                                                                          KIWANUKA

                                                                                                                                                                            The self-titled record usually marks a definable phase of a musician’s career; an embrace of personal mythology, perhaps, or merely a shift to ‘take me as I am’ straightforwardness. But “Kiwanuka”, the single eponymous word that heralds Michael Kiwanuka’s third album, holds a resonant, complex significance. It signals, for one thing, a swift, pointed rejection of the stage personas that artists have historically donned as both a freeing creative mask and a protective shield. It is an act of cultural affirmation and self-acceptance: a young British-African, contemplating the continued struggle for racial equality, and proudly celebrating the Ugandan name his old teachers in Muswell Hill would struggle to pronounce. It is a nod to a suite of arresting, ambitious soul songs that – while they deftly recall the funkified epics of artists as varied as Gil Scot-Heron, Fela Kuti, Bobby Womack and Kendrick Lamar – cement the singular, supremely confident sound that made 2016’s Love & Hate such an undeniable step up.

                                                                                                                                                                            Now, following ‘Money’ – the lauded summer single collaboration with Tom Misch – and a sunset Park Stage set that was the talk of Glastonbury 2019, the long-awaited follow-up to that record can be announced. And “Kiwanuka”, like its creator, contains multitudes; it offers both the triumphal, grin-widening empowerment of opener ‘You Ain’t the Problem’ and the ruminative, candlelit intimacy of ‘Solid Ground’. It looks inward and out, across widescreen sonic landscapes constructed in recording studios in London, Los Angeles and New York, and provides a sumptuous showcase for the honey-poured mahogany of Kiwanuka’s voice. It skilfully crosses the streams of the personal and the political. No other name would really have done.

                                                                                                                                                                            “I remember when I first signed a record deal, people would ask me, ‘So what are you going to be called?’” laughs the man himself, considering the thought process that inspired the title. “And I never thought of that; calling myself Johnny Thunders or whatever, like singers from the past. But I have thought previously, would I sell more records if my name had an easier ring to it? So [on this album] it’s kind of a defiant thing; finally I’m engaging with who I am and I’m not going to have an alter ego, or become Sasha Fierce or Ziggy Stardust, even though everyone's telling me I need to be this, that or the other. I can just be Michael Kiwanuka.”

                                                                                                                                                                            In many ways this self-possession is a direct consequence of Love & Hate. That record added an unexpected Mayfieldian groove and scope to to the scuffed, ‘70s-infused mellowness of Home Again, Kiwanuka’s Mercury-nominated 2012 debut. Album number two, of course, got its own place on the Mercury shortlist (not to mention a No 1 chart position, a Brit Award-nomination and the wide cultural blast radius afforded by songs that featured on shows like The Get Down, When They See Us and, most notably, HBO’s Emmy-winning Big Little Lies).

                                                                                                                                                                            “Kiwanuka” marks a reunion of the team that conjured <Love & Hate>’s acclaimed, pulsing soulscape – namely Gnarls Barkley hit whisperer Brian ‘Danger Mouse’ Burton and British hip hop producer Inflo – and it actually began life not long after the 32-year-old had finished touring its predecessor. Early Los Angeles sessions – in May, 2017 – proved wildly productive. Maybe, in fact, too productive. The trio had sketched out around eight songs – including lyricless, early versions of ‘You Ain’t the Problem’ and the spine-tingling, wintry ballad ‘Piano Joint (This Kind of Love)’ – at such a breathless gallop that Kiwanuka felt some of his old doubts and insecurities creep back. “It was all so fast,” he reasons. “I remember having a conversation with Danger Mouse where I even asked, ‘Is this my album?’” He chuckles at the memory. “That was the lack of self-belief and me beating myself up.”

                                                                                                                                                                            An extended recess was called and, when the team fully reconvened in New York in November 2018, Kiwanuka returned to the project with a new vigour, confidence and a clear sense of this new record’s themes and immersive, sonic textures. It was here that he actualised the lyrically knotty, comforting message of ‘You Ain’t the Problem’ (“It almost made me feel like being a rapper,” he grins); where he turned ‘Hero’ into a shape-shifting, thunderously percussive mini-movie, partly inspired by slain civil rights activist Fred Hampton; here that he crafted the hazy refrain – “<The lord said to me/Time is a healer>” – that allied with Danger Mouse’s rhythm guitar playing to give psych-gospel highlight ‘I’ve Been Dazed’ its eerie, hypnotic power.

                                                                                                                                                                            “We had three weeks and every day I would just do this half hour walk from my hotel by the Brooklyn Bridge to the studio in Red Hook, listening to backing tracks and scribbling lyrics on hotel paper or in my little scrapbook,” he says, more than a little wistfully. “It felt like being 15. And that excitement and childish imagination really helped me forget that it was a scary process.” This youthful sense of play also led to the invocation of some, possibly surprising, tonal influences from Kiwanuka’s childhood as a skater kid who loved Nirvana and Green Day as much as Outkast and Lauryn Hill. Using the cinematic skits and interludes of a record like <The Score> by The Fugees as a springboard, Kiwanuka wondered if the horn-drenched grandeur of previous lengthy songs like ‘Love & Hate’ and ‘Father’s Child’ could be intensified and transformed into something even more atmospheric, more immersive.

                                                                                                                                                                            The result is the unhurried, auterish poise that may be one of “Kiwanuka”’s most striking features. ‘Piano Joint (This Kind of Love) Intro’ sets the scene with windblown harmonies and a rumbling, canyon-deep baritone to rival Isaac Hayes (it’s actually Kiwanuka, detuned). ‘Another Human Being’ features a jolting gun shot and a quote taken from a participant in the Civil Rights ‘sit-in’ protests that swept through North Carolina in 1960 (‘Interlude (Living All the People)’ also features the voice of congressman and activist John Lewis). ‘Hard To Say Goodbye’ is a dawnlit, 7 minute opus that Kiwanuka garnished with the sampled sound of twittering birds. “I was really influenced by the vividness of something like <To Pimp A Butterfly>,” he explains, about the desire to create such a rich, inhabitable world.

                                                                                                                                                                            And he even allowed himself to be coaxed towards stretches of musical terrain that he would never have ordinarily explored. When Danger Mouse first started working towards the skipping, almost ‘80s rhythm of ‘Final Days’ – about as far from “Home Again”’s retro soul as this new record gets – Kiwanuka was hesitant. “It’s kind of spacey so I took a lot of convincing,” he admits. “But we went the whole hog with it and it’s one of my favourite songs now.”

                                                                                                                                                                            It tells its own story that Kiwanuka – who came up in the pub rooms of London’s acoustic scene before winning the BBC’s Sound Of 2012 poll – is now so happily embracing musical touchstones and styles that may have once seemed contradictory. The revelatory, confessional core of ‘Black Man in a White World’ (which grappled with identity and Kiwanuka’s status in communities where he was conspicuously the only ethnic minority) has evolved into something a little more certain. Now, Kiwanuka’s reengagement with his Ugandan heritage (he hopes, he notes, to play some shows there soon) manifests in skittering Afrobeat drums and guitar lines that he hopes possess “the feeling of a Fela track”. Now, the wide-lapelled, shimmering doo-wop of ‘Living In Denial’ implores you to <say what you mean>. Now, and here we return to that album title, ‘Hero’ opens with the proud, chest-puffed line: <I won’t change my name/No matter what they call me>.

                                                                                                                                                                            “The last album came from an introspective place and felt like therapy, I guess,” he reasons, surveying it all. “This one was a bit more about feeling comfortable in who I am and asking what I wanted to say. Like, how could I be bold and challenge myself and the listener? It is about self-acceptance in a bit more of a triumphant rather than a melancholy way.”

                                                                                                                                                                            “Kiwanuka” solidifies one of British music’s more remarkable career progressions. The man behind it has put his immense natural gifts to work in an album that wields difficult subjects – black identity, violence, self-doubt – with a light touch and a dramatist’s sense of mood, space and atmosphere. “The things that end up being enjoyed are often things you want to hide,” he says, quietly. “But obviously that’s the stuff that makes us connect.” Telling people who you are – truly, unabashedly showing yourself – has never sounded more thrilling.

                                                                                                                                                                            By Jimi Famurewa, July 2019.


                                                                                                                                                                            FORMAT INFORMATION

                                                                                                                                                                            2xColoured LP Info: Yellow double heavyweight vinyl with a gatefold sleeve.

                                                                                                                                                                            Deluxe CD Info: Hardcover book deluxe edition.

                                                                                                                                                                            Binker Golding

                                                                                                                                                                            Abstractions Of Reality Past And Incredible Feathers

                                                                                                                                                                              Binker Golding is a musician of many talents - one half of London trailblazers Binker and Moses, skilled composer, educator at Tomorrow’s Warriors, frequent collaborator with top musicians from the London jazz scene one of the most impactful saxophonists of our times. His new album ‘Abstractions of Reality Past and Incredible Feathers’ was recorded at Abbey Road Studios, mixed by the legendary James Farber (Michael Brecker, Joe Lovano, Brad Mehldau), and mastered and cut at Gearbox Records. The record features a distinctive quartet with Joe Armon-Jones on piano, Daniel Casimir on double bass, and Sam Jones on drums Golding’s quartet project promises to make waves as it maps a path between the more through-composed jazz fusion of previous decades and the hip hop/broken beat-influenced sound of the contemporary London jazz scene

                                                                                                                                                                              Omni

                                                                                                                                                                              Networker

                                                                                                                                                                                Enter Networker, the new album by Omni and first with indie giant Sub Pop Records. Their sound is still defined by sparse drums, locked-in bass, blistering guitar, and nonchalant, yet assured vocals, but from the first notes of "Sincerely Yours" you'll immediately notice that Networker sounds much cleaner and more "HI-FI" than their prior two albums, Deluxe (2016) and Multi-task (2017). The departure in fidelity suits the new record and allows the listener to enjoy the nuances of their meticulous arrangements. Don't worry, the riffs of Gang of Four and Wire are still present, but the production is more lush and the harmony is even more expansive.

                                                                                                                                                                                Despite nods to the sounds of the ’70s and ’80s what comes through is a record fully rooted in the here and now. Thematically, this is apparent on the title track "Networker" taking a candid snapshot of the “digital you” aspect of life in the age of the internet. The otherwise fun romp “Skeleton Key” also acknowledges the “direct message and obsessive” side of social media with lines like “if you don't like what you see, the pretty face on the screen, scroll on by...”  Networker was written half between tours and half during recording sessions. The band, Philip Frobos on bass/vocals and Frankie Broyles on guitars/drums/keys, returned with longtime collaborator Nathaniel Higgins to the studio in South Georgia where they also recorded Multi-task and most recent single "Delicacy." In this case, the “studio” is a cabin near Vienna, GA (pronounced Vye-anna) that was built by Frankie Broyles’ great-grandparents in the 1940s. The band completed four sessions between November 2018 and April 2019.

                                                                                                                                                                                Omni hit their stride in the cabin with songs such as "Moat,” which cruises along at a nice mid-tempo clip with sounds that are maybe piano or maybe the “behind the bridge” strings of a Jaguar a la Sonic Youth or This Heat. "Blunt Force" provides a nice contrast to some of the more upbeat cuts, getting jazzy with it’s less traditional arrangement and psychedelic outro. Overall, Networker is simultaneously fun, catchy, and contains some truly impressive musicianship. This combo is especially hard to pull off as bands that are great players often don’t have great or memorable songs. Omni and Nathaniel Higgins have done a stellar job of reigning in their diverse influences into a cohesive record by curating their sounds into a tight package that leaves you just on the cusp of understanding where the band is coming from, while still feeling like you’re hearing something totally fresh. While their earlier records had more of a “post-punk” sound, Networker is an amalgamation of the best sounds of the ’70s and ’80s, all arranged with (mostly) guitars, bass, and drums for our contemporary age, and it really works! There are hooks everywhere, vocal and instrumental, that will leave you humming along, even during the first listen. As Philip Frobos says in “Present Tense,” “guess who’s on my mind right now?” Well, Omni’s on mine and will be on yours soon.


                                                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                                                Coloured LP Info: Indies exclusive 'Loser' edition ocean blue vinyl.

                                                                                                                                                                                Rachael Dadd

                                                                                                                                                                                FLUX

                                                                                                                                                                                  Contemporary folk multi-instrumentalist Rachael Dadd is set to release her new album “Flux” on Memphis Industries on the 8th November 2019. Produced with Marcus Hamblett (Villagers / Laura Marling), “Flux” is a response to external and internal tides: the flow of life uprooted; a protest against the flow of recent political history and a diary of the flow within the intimate space of home.

                                                                                                                                                                                  Collaborators include multi-instrumentalist Emma Gatrill (Willie Mason / Matthew and the Atlas), drummer Rob Pemberton (Emily Barker / Low Chimes), bassist Jim Barr (Portishead) and vocalists Kate Stables (This Is The Kit) and Rozi Plain. Flux follows Rachael’s highly acclaimed album “We Resonate” which came out on Talitres and Sweetdreams Press, and a string of international releases on Broken Sound, Lost Map, Sweetdreams Press and Angel’s Egg. Living half her time as a travelling musician in Japan, witnessing how other people create things, connecting with other cultures and landscapes; all this is a furnace for Rachael’s innovative song writing, which has seen her gain a reputation as a pioneering and thought provoking artist, unafraid to push the boundaries of folk and pop.

                                                                                                                                                                                  Patterson Twins

                                                                                                                                                                                  Let Me Be Your Lover

                                                                                                                                                                                    A timely reissue of this ultra rare LP that is fetching prices upwards of £600 online. Originally released in 1978 on the obscure label out of Mississippi Commercial, Let Me Be Your Lover is now reissued and available again in the UK/Europe for this first time.

                                                                                                                                                                                    The album includes the absolute monster album version of the modern soul/crossover classic Gonna Find A True Love, which was reissued on Miles Away earlier this year. The album version of this track gives the 7” a run for it’s money.

                                                                                                                                                                                    Let Me Be Your Lover is an album is undeniably deep, soulful and passionate and now fully licensed from Estus and Lester Patterson.



                                                                                                                                                                                    Clipping

                                                                                                                                                                                    There Existed An Addiction To Blood

                                                                                                                                                                                      Clipping has returned with There Existed an Addiction to Blood, the group’s fourth effort and the follow up to Splendor and Misery, their acclaimed album of 2016. There Existed an Addiction to Blood features the singles “Nothing Is Safe,” “Blood of the Fang,” “La Mala Ordina” (Feat. Benny The Butcher, ElCamino, The Rita), and was produced by Clipping, mixed by Steve Kaplan, and mastered by Dave Cooley at Elysium Masters in Los Angeles. The album also features appearances from Ed Balloon, La Chat, Counterfeit Madison, and Pedestrian Deposit. 

                                                                                                                                                                                      There Existed an Addiction to Blood finds Clipping interpreting another rap splinter sect through their singular lens. This is Clipping’s transmutation of horrorcore, a purposefully absurdist and creatively significant sub-genre that flourished in the mid-90s. If some of its most notable pioneers included Brotha Lynch Hung and Gravediggaz, it also encompasses seminal works from the Geto Boys, Bone Thugs-N-Harmony, and the near-entirety of classic Memphis cassette tape rap.

                                                                                                                                                                                      The most subversive and experimental rap has often presented itself as an “alternative” to conventional sounds, but Clipping respectfully warp them into new constellations. There Existed an Addiction to Blood absorbs the hyper-violent horror tropes of the Murder Dog era, but re-imagines them in a new light: still darkly-tinted and somber, but in a weirder and more vivid hue. If traditional horrorcore was akin to Blacula, the hugely popular blaxploitation flick from the early 70s, Clipping’s latest is analogous to Ganja & Hess, the blood-sipping 1973 cult classic regarded as an unsung landmark of black independent cinema, whose score by Sam Waymon, the band samples on “Blood of the Fang” and inspired the album’s title.


                                                                                                                                                                                      FORMAT INFORMATION

                                                                                                                                                                                      Coloured LP Info: Indies exclusive 'loser' Edition silver vinyl.

                                                                                                                                                                                      Konk

                                                                                                                                                                                      The Magic Force Of Konk 1981 - 1988

                                                                                                                                                                                        Emerging during a period marked by the post-punk, new wave, disco and early hip-hop scenes, KONK straddled genres, blending the balls to the wall attitude of punk with the dance your ass off rhythms of the clubs, an eclectic approach that resonated throughout the city. Equally at home in rock clubs such as CBGB’s as they were in Danceteria and Paradise Garage, KONK took NYC’s supercollider of sounds and melted them down into a hard driving, latin infused flavour all of their own.

                                                                                                                                                                                        The Magic Force Of Konk 1981-1988 is a testament to the bands artistic staying power, the music sounding as fresh now as it did then, from the crossover funk grooves of the ‘Planet Rock’ inspired ‘Konk Party’, to the innovative punk funk synth bass of club hit ‘Your Life’, the bands influence indisputably lives on in this specially created deluxe collection. This beautifully designed package is a feast for the senses, looking as good as it sounds and sure to please fans of Liquid Liquid, ESG, Pigbag, James Chance, Soul Sonic Force, LCD Soundsystem, to name but a few, or simply those intrigued by those tales of wild nightlife that have become synonymous with the vitality of 1980’s downtown New York City.

                                                                                                                                                                                        Coming 4th Oct 2019, FUTURISMO give every discerning music fan the collection their ears have been craving, The Magic Force OfKonk 1981-1988. Each deluxe set includes 3x140g limited edition ‘Night Fun’ coloured vinyl - where each of the three disks are a different vinyl colour (transparent red with black marble splatter, solid bright yellow and classic black). Included alongside all the original studio recordings by the band are live tracks from CBGB’s plus a disk of DJ mixers, which can be used to mix alongside the original versions of ‘Your Life’ and ‘Konk Party’. These records come in a wide spined gloss laminated sleeve and contain a 12pg book featuring photos, flyers and a written piece by journalist Ezra Gale, and as if that wasn’t enough also included is a huge poster and a digital download of the tracks.

                                                                                                                                                                                        KONK’s The Magic Force OfKonk 1981-1988 is an essential addition to the collection of any jazz, funk, punk, afro or disco fan! This October, get down to the sound of the New York underground...only while stocks last!

                                                                                                                                                                                        • 3 x 140g Limited Edition vinyl LP.
                                                                                                                                                                                        • Each of the disks are a different colour.
                                                                                                                                                                                        • Wide spined gloss laminated sleeve, with full colour uncoated inner sleeves.
                                                                                                                                                                                        • Contains all Konk’s studio recordings, plus rare live recordings at CBGB’s.
                                                                                                                                                                                        • Includes a disk of DJ mixers that can be used to mix alongside the original versions of ‘Your Life’ and ‘Konk Party’.
                                                                                                                                                                                        • 12pg Book containing photos, flyers and a write up by journalist Ezra Gale.
                                                                                                                                                                                        • A huge Konk/Pigbag gig poster.
                                                                                                                                                                                        • Digital download included.


                                                                                                                                                                                        FORMAT INFORMATION

                                                                                                                                                                                        3xColoured LP Info: 'Night Fun' coloured vinyl edition


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