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Third Man Books Present

Maggot Brain

    Third Man Records is excited to announce Maggot Brain, a new, full-color quarterly edited by noted Detroit music scribe Mike McGonigal. Inside the Premiere Issue - Dec/Jan/Feb 2020:

    Alice Coltrane, Swell Maps, Malls Across America, Mia Zapata, Dilla’s ‘Donuts’, Luc Sante, Vibrant Detroit Sign Painting, Mayakovsky, Index, Big Joanie, How To Resist Ice, Daniel Johnston, Les Filles Des Illeghidad, Swampfest, The KLF’s Greatest Pranks + More!

    Caribou

    Suddenly

      In 2014 Dan Snaith aka Caribou released Our Love to overwhelming critical acclaim and massive fan support. Now Caribou returns with his seventh studio album Suddenly, an album about family and the changes we go though as those relationships evolve.

      Suddenly is the most surprising and unpredictable Caribou album to date. Though it retains the trademark Caribou warmth and technicolour, this album is littered with swerves and left turns, and amazes with it’s yet unheard nuances, samples and hooks.

      As Snaith puts it, “these albums are like photo albums for me – when I look back at the old ones, they’re a snapshot of my life at that time, full of people who are close to you”. This is the drive to continue to make Caribou albums. Full bodies of work where Snaith is able to evaluate things, look at those around him and celebrate them. As his passion and joy in music making remains as fresh as ever, Suddenly is the purest example of this yet.

      Sorry

      Right Round The Clock / Rock'n'Roll Star

        After over ten years of Hercules & Love Affair, Andy Butler offers three reimagined versions of classic Hercules tunes and a piece of new music on the ‘Change EP’. Producer with current partner in crime Alec Storey (aka Second Storey), the two have been touring the Hercules catalogue with an approach that incorporates a proper dose of techno while duly engaging Storey’s penchant for breaks and intricate percussion work. Butler decided to put a few of these reworks out for DJs and dancefloors, offering the chance for these great Hercules moments to shine once again.


        In 2015, Optimo’s Autonomous Africa label released Youth Stand Up!, a triangular recording project hatched at Glasgow’s Green Door Studio that brought together young musicians from Belize, Ghana and Glasgow for ten tracks of cross-cultural collaboration. The result was an infectious cocktail of traditional Caribbean and West African rhythms, hip hop, highlife and Glaswegian post-punk, featuring contributions from Optimo Music regulars Golden Teacher and Whilst, among others.

        The proceeds from that project went directly back to the youth groups in Ghana and Belize, helping the musicians from Ghana’s Tafi Cultural Institute build a recording studio and performance space in their village.

        Two years later, a grant from Creative Scotland’s Open Fund spawned the sequel to Youth Stand Up!: Youth Stand United, recorded both at Green Door and at TCI’s new studio in Ghana (with Golden Teacher’s Laurie Pitt at the controls), and mixed by Green Door’s Stuart and Emily Evans.

        Youth Stand United features backing tracks contributed by members of Golden Teacher, Pu$$y Mothers, Whilst, Kaputt, and Sordid Sound System, with vocals provided by the musicians from TCI. Over 6 songs, it oscillates from the left-field disco of Diloeshutubui to the Juju-electro odyssey of Gidi to the Joe-Meek-meets-William Onyeabor space age gospel pop of Nobody Knows.

        Proceeds from Youth Stand United will go towards a scholarship fund for musicians from Tafi Atome, Ghana.

        Various Artists

        South Bronx Hip Hop Classics: B Boy Records


          • B Boy Records was a significant player in the development of hip-hop in the 1980s, but a very short lived label shrouded in mystery.

          • This double LP selects the best of the independent label, from the beginning of the label to including past icons and future legends, hard-hitting drum programming, synthesize and sampled beats overlaid with fierce battle rap swagger. This is a snapshot of hip-hop history.

          • The label is best known for issuing the hugely influential Boogie Down Productions LP Criminal Minded, which is included twice on this release with ‘The Bridge Is Over’ and ‘South Brox’

          • Other highlights include JVC Force’s enduring classic ‘Strong Island’, DJ Scott La Rock (founding member of BDP) & D-Nic and all-female rap Sparky D, 5 Star Moet

          • The double vinyl LP packs in 16 tracks, presented on 180g heavyweight classic black vinyl with printed inner sleeves

          Kingdem - Rodney P, Ty and Blak Twang, a brand new supergroup formed of UK hip-hop heavyweights and a trio who need little introducing.

          London Posse affiliate and all-round Godfather of British hip-hop: Rodney P links up one of UK Black music’s true innovators and popularisers: Ty, and the original South-London colloquial hip-hop geezer: Blak Twang, to deliver a fresh future bass anthem that is rooted in their artists legacy to the UK hip-hop canon.

          Fresh off the back of a powerful Fire In The Booth with Charlie Sloth (Beats 1) Kingdem fill in the missing chapters of UK hip-hop’s history: 'The UK hip-hop scene has gone way underground - so we set up Kingdem to let artists come up from behind us. We want the next generation to know that they don’t need to be chasing that grime sound, that rap sound. I think a lot of young people just don’t know we ever existed and assume that hip-hop in the UK started in the early ‘00s when grime came out', Rodney P explains. 'We made it easier for the grime scene to come out and use their own accents. We paved the way to make people have an understanding and respect of the UK accent, this UK vernacular in the music.'


          FORMAT INFORMATION

          Ltd 12" Info: Blue Vinyl

          Ltd 12" includes MP3 Download Code.

          Happy Mondays

          Squirrel And G-Man Twenty Four Hour Party People Plastic Face Carnt Smile (White Out)

            Released in April 1987, the Happy Mondays debut album was a perfect snapshot of a very different kind of pop culture coming from beyond the fringes. It would be an underground album but a game changer. Produced by Velvet Underground legend, John Cale, this was the accidental sound track for the endless housing estates sailing away from Manchester City centre and into Salford-perfectly captured by this gang of misfits

            With artwork lovingly replicated by original Manchester designers Central Station Design, this album is on vinyl for the first time since it’s original release.

            Featured the singles “Tart Tart” and “24 Hour Party People”

            Happy Mondays

            Pills 'N' Thrills And Bellyaches

              Happy Mondays formed in 1980 and were signed by Tony Wilson to Factory Records.

              While their first album 'Squirrel And G-Man' had been all ramshackle ramblings and jarring grooves, by their second album 'Bummed' they were already showing signs of what was to come on 'Pills and Thrills' with off kilter funky grooves carrying Sean's sneering nonsensicle lyrics. 

              By 1990, 'Madchester' was in full swing, this was the time of the indie-dance crossover. Previously there had been a very distinct line drawn between these two genre's which was rarely (if ever) crossed, but rave culture and Ecstacy had erased such rigid barriers and with DJ Paul Oakenfold more dancefloor orientated production, the Mondays embraced this change and added loose (ok, yes, baggy) psychedelic grooves to their uncompromising lyrics and shady tales. This album (along with Primal Scream's 'Screamadelica') came to defined this indie-funk-psych-rave melding of genres and hedonistic scene perfectly. 

              Happy Mondays

              Bummed

                Like many an influential album in rock history, the cultural significance of Happy Monday’ Bummed was apparent to precious few listeners upon its first release on 5 November 1988. Within a decade or two, Bummed would be hailed as one of the best records of the ’80s, often by the self-same publications that had slated it back in the day – a harbinger of the seismic shift about to take place in British popular music, away from the squeaky-clean, corporately ordained pop-radio fodder which had increasingly dominated the charts since punk, and back towards the more aggressive, unruly and experience-hungry urges which had always pulsed through rock ‘n’ roll.

                With artwork lovingly replicated by original Manchester designers Central Station Design, this album is on vinyl for the first time since it’s original release.

                Featured the singles “Wrote For Luck” and “Lazyitis - One Armed Boxer”

                Happy Mondays

                ...Yes Please!

                  The last Happy Mondays album on Factory Records- reaching no 14 in the UK chart. Produced by Talking Heads’ Tina Weymouth and Chris Frantz. Artwork lovingly replicated by original Manchester designers Central Station Design.

                  Featured the singles “Stinkin´ Thinkin”, “Sunshine & Love” and “Angel”

                  Gil Scott-Heron

                  We’re New Again – A Re-imagining By Makaya McCraven

                    To mark the tenth anniversary of the release of I’m New Here, the thirteenth - and last - studio album from the legendary US musician, poet and author Gil Scott-Heron, XL Recordings will release a unique reinterpretation of the album by acclaimed US jazz musician Makaya McCraven. Titled We’re New Again, the album will be released on 7th February 2020; exactly a decade after the release of Scott-Heron’s original Richard Russell-produced recording. It’s set to follow in the footsteps of Jamie xx’s highly acclaimed 2011 remix album We’re New Here and will be McCraven’s first release of 2020, following the huge global acclaim heaped upon his 2018 album Universal Beings. One of the most vital new voices in modern jazz, McCraven is described by the New York Times as a "Chicago-based drummer, producer and beat maker, [who] has quietly become one of the best arguments for jazz’s vitality"

                    Cornershop

                    England Is A Garden

                      “A Stones-gone-Purple riff forged in up-to-the-minute desperation and an empowering memory of the heavy music that soundtracked Midlands life when Singh and Ayres first connected at college in Preston, Lancashire.” David Fricke, Rolling Stone, USA

                      In the latest of a series of albums that have mirrored the exceptional story of the band itself, Cornershop return with a new album ‘England Is A Garden’ on March 6th 2020 on Ample Play Records. It is an album that strides in an upbeat fashion, to deliver a full listening experience, bringing songs of experience, empire, protest and humour, steeped in the way only Tjinder Singh would come with.

                      Listen to a first taste of the album now, ‘No Rock: Save In Roll’, that is to say that there is not one without the other, that rock, for all its focus on death is the saviour of life.

                      The anvil here is music itself, and a celebration of Tjinder’s birth place - The Black Country, which also gave birth to heavy metal that has gone on to influence the world to dirty rock, whether the streets are lined with pylons or palm trees, the Black Country has allowed us to see things differently.

                      So the sound here goes back to Englands’ Midlands with two thumbs up to the feeling of hearing heavy metal from the back of a stage, as we all ride on and await the female backing vocals of our song to come in.

                      Yoshinori Hayashi

                      Bjorn Torske / Prins Thomas Remix

                        The Tokyo based producer Yoshinori Hayashi released a new 12inch with remixes from Bjørn Torske and Prins Thomas. These are the first remixes of his debut LP, Ambivalence, from 2018 which received a glowing 4.0 review from Resident Advisor.

                        Hayashi has studied under Japanese avant-classical composer Mica Nozawa. When not DJing, he works in a record store in Tokyo. Thus far, Hayashi has released a string of 12”s on labels including Going Good Records, Jinn Records, Lovers Rock, Gravity Grafitti and Moscoman’s Disco Halal.

                        Previous work by Hayashi has been called “a complex patchwork of studio gear, live instruments, dusty jazz records and smartly cut library sounds, whose textures are soft and inviting. But its arrangements are constantly ruffled, squeezed, brushed and pinched—which is to say, nothing stays still for long” (Resident Advisor).

                        Phonk D

                        Shir Khan Presents Black Jukebox 29

                        Phonk D lands on Exploited with a takeover of their now-legendary Black Jukebox series. Serving up 4 killer dancefloor cuts, he’s got the weapons you need for the months ahead.

                        The supremely funky ‘Work Dance’ makes great use of dramatic horn blasts as off-beat bass pumps and stomps all over the place. Twanging guitars licks accentuate the groove further. Chunky drum fills punctuate the rhythms and tumbling congas keep things rolling as vocal cuts command you to ‘dance!’

                        Head directly to ‘Facelift’ for some glorious strings, cascading romantically over snappy ‘90s house vibe beats. Undulating bass perfectly complements these cute motifs, making for a track that falls somewhere between ‘sorrowful’ and ‘triumphant’ on the mood board. Throw in some glistening harp scales and you’ve got yourself a winner.

                        ‘Never Walked Away’ is a tense stomper that focuses around a filtering soul vocal loop with some sustained strings cooked into it. The shuffling beats and relentless bass are supporting by detuned piano chords, increasing the hypnotically looping feel.

                        ‘Get Ready’ teases with more warped piano before unleashing a loose funk b-line and dubby vocal snippets. Sweet guitar licks weave around the slinky bassline, this understated track making a deep and balmy finale for this great EP. 

                        Jung Jae II

                        Parasite (Original Motion Picture)

                          “The script for Parasite begins as follows: “Dark and hopeful music plays.” For a long time, I contemplated whether this piece of music could actually exist. Director Bong (Joon-ho) and I began with a sound that could permeate through the entire film and progress with focus. What is the one singular tone that can accompany emotions ranging from the most trivial humiliation to the extremities of murder, express all sorts of chaos, and embody the exhilaration of speed, or peace, or loneliness, or messy and dirty situations?

                          I thought that a string orchestra could express these various narratives with one consistent tone — the elegant and refined sounds of baroque music, grotesque and neurotic sounds of contemporary music reminiscent of Penderecki or Ligeti, sounds used to heighten emotions in many films, and violin and cello sounds that carry the bleakness of wandering nomads. In terms of the melody, it was structured as a repetition of ascension and descent as the Kim family ascends to the rich house only to descend back to their poor home and further below to the dreadful bunker hidden beneath the Park family’s basement.

                          The final music that closes the film is “Soju One Glass.” Director Bong said that he wants the audience to crave a shot of soju as they leave the theater after watching the film. Soju, the cheapest Korean liquor, has been with the joys and sorrows of everyday Koreans for decades. I think he wanted the audience to leave the theater feeling bitter after facing the pain and helplessness of reality, woeful from Ki-woo’s impossible dream, and wanting to release the inexplicable frustration and disquiet this movie brings. To paint a picture of Ki-woo drinking soju while mulling over his unattainable dream, sleeping on the streets, and waking up to a lonely morning, the actor Choi Woo-shik sang the song himself and Director Bong wrote the lyrics.

                          I haphazardly recorded the song with my guitar after sleeping on my studio floor, and I couldn’t recreate the rough recording’s sense of misery and shabbiness in the actual recording studio, so we ended up just using the demo version. I hope you enjoy the music. Thank you.” — Jung Jae Il

                          FORMAT INFORMATION

                          Coloured LP Info: Green grass coloured vinyl.

                          Jeff Parker & The New Breed

                          Max Brown – Part 1

                            On December 2nd, composer and multi-instrumentalist Jeff Parker releases a 7” single featuring parts one and two of his latest, “Max Brown.” The track is a sneak peek of Parker’s new album, a full-length follow-up to his critically lauded 2016 International Anthem LP The New Breed, which will be released in late January of 2020. Further details on the new album to be announced at the top of the year.

                            “Max Brown” was produced by Parker alongside Paul Bryan, who also plays bass; additional featured are Josh Johnson (known for work with Kiefer, Leon Bridges) on alto sax, Nate Walcott (Bright Eyes, M. Ward) on trumpet, and Jamire Williams (Moses Sumney, Solange) on drums. A video for the track, directed by interdisciplinary artist Mikel Patrick Avery, also debuts December 2nd.



                            The Social Singing Choir

                            Sings The Hits Of Moshi Moshi Records

                              We first came across the choir in 2017 when we booked them to play Caring Is Creepy in Margate. The choir was a new thing then and a little rough around the edges (I initially wondered if it was a cover for mid-week drinking by some of Margate’s mums, and for that I sincerely apologise). It seemed like a nice idea to ask them to cover some Moshi Moshi songs to mark our 20th birthday celebrations but we never dreamed they would come out sounding as good as they have. Much of the credit for that must go to the expert guidance of choir master Hughie Gavin who arranged and directed the recordings and took these songs in some deeply moving and unexpected directions, with some additional help in the mix from Margate resident Adem Ilan. This has been one of our most joyous releases in recent years and maybe just the start of a wonderful working relationship.

                              Margate's Social Singing Choir was formed in 2017 with a simple idea, no auditions, no need of previous experience, just a place in the community to sing some awesome songs together and have a good time. The choir has performed shows at Dreamland, Margate Pride and the Turner Prize, as well as recording vocals for Swim Deep's album 'Emerald Classics'.

                              A quote from Stephen Bass of Moshi Moshi –

                              “I have a love of weird, perhaps not necessarily cool covers of songs, Acid Brass, Sonic Youth covering the Carpenters, Langley Schools Project doing David Bowie, Howard Marbern's cover of I Want You Back, Trinidad Steel Drummers covering Cissy Strut, Los Angeles Gay Men's Chorus doing Benny and the Jets (if ever you need cheering up please watch this https://www.youtube.com/watch?v=MQvj4dy9pPc). I am not even sure who came up with the idea for this but as soon as you hear the choir covering these songs it works so well... hits the right spots, fun and emotive at the same time”.

                              Ren Harvieu

                              Revel In The Drama

                                Harvieu’s defiance against the odds and her willingness to lay herself open to make what she believed was within her is baked into every groove of the record, across every stylistic turn: the giddy pop of ‘Strange Thing’, the gothic swoon of ‘Cruel Disguise’, the smokey seductiveness of ‘Yes Please’ through to the stirring torchsong finale ‘My Body She Is Alive’.

                                Harvieu has come a long way from the 17-year-old who was signed to Island Records and who had no intention of becoming a singer-songwriter. Even when she made her debut album “Through The Night”, her confidence was low. “I did help write a few of the songs on that record, which I’m still very fond of, but I felt more of a mouthpiece for someone else’s talent, which eats away at you especially because I had so much to say lyrically I just hadn’t learnt how to as yet.”

                                Her injury - a broken spine following “a freak accident” between recording and releasing her debut album - undermined Harvieu even further. Likewise, Island parted ways with her six months after it’s release, despite a Top 5 chart entry, making the BBC’s Sound Of 2012, a 5-star live review from The Guardian and TV exposure. What followed was what Harvieu describes as “some very dark years” which she addresses in songs like ‘Spirit Me Away’ and the 50’s ballad-evoking ‘You Don’t Know Me.’ A split with her long term partner, her manager and then her beloved Salford. “In one fell swoop everything was gone. I knew I had to get away, start again, rebuild myself.”

                                It wasn’t until 2015 to be exact, when she met Romeo Stodart, the Magic Numbers frontman and songwriter who had emailed after seeing her perform on Later… With Jools Holland, to ask if she’d consider writing together. “When we started, the energy was immediately different to anyone I’d worked with before, there was this insane instant musical connection” she says. “I loved that Romeo really embraced who I was and encouraged it, I was starting to realise that I didn’t have to be anything other than myself.”

                                The pair spent the next two years co-writing: “I wasn’t in a massive hurry, because at last I was having fun” Harvieu says. ‘We’d stay up all night drinking, dancing and playing music, I felt like I was re-discovering a girl who had been hidden, quietened. I’d tell Romeo, I don’t just want to paint pretty pictures I want to revel in the drama of my life, the good and the bad, before I was afraid to say something in my lyrics, but no longer. I felt free.”

                                The album was co-produced by Romeo Stodart and Dave Izumi Lynch, owner of Echo Zoo studio in Eastbourne where recording took place. “It was a truly magical experience working with Dave & Romeo, they are two absolute nurturing musical wizards.” says Harvieu.

                                Harvieu’s lyrical confidence is evident throughout the album and has you leaning in to absorb line after line. Her voice, soaring and caressing in equal measure, is matched in force by her flirtatious personality. From the album’s opening lyric “Let me put my paws on you, strange thing’through to the feminine bite of ‘Curves And Swerves’ “I’ve got some curves and some swerves, what you gonna do about it?” which crackles with sexual tension and an aching vulnerability.

                                Among Harvieu’s new songs are messages of hope to her younger, anxious self. To the teenage goth Ren in ‘Little Raven’, she says: “I want you to know, that I’m starting to feel, but its gonna take time, but I’m ready to heal”. ‘Tomorrow Girl Today’ is to the Ren “who would make bad decisions… we can all be very self-destructive, but will we make it this time?”

                                So what now, Ren Harvieu? “I’ve created a second chance for myself“ she says. “And I will keep creating second chances for myself, because this is my life and I’m not afraid to revel in it anymore.” Revel In the Drama of Ren Harvieu - finally we all can too.

                                FORMAT INFORMATION

                                Coloured LP Info: indies-only clear vinyl

                                Yorkston / Thorne / Khan

                                Nine Emotions

                                  Navarasa : Nine Emotions is the trio’s third record. The first fruits of their fantastic expedition entitled Everything Sacred appeared in 2016. The second, Neuk Wight Delhi All-Stars, followed in 2017. Navarasa : Nine Emotions takes their journey many, many leagues on.

                                  At the heart of YTK’s transporting new album is the subcontinent’s navarasa; the nine (nava) emotions or sentiments (rasa) of the arts. This central unifying underpinning is a centuries-old organising principle. The individual artistic emotions range from Shringara (love, beauty) through Hasya (laughter, mirth, comedy), Raudra (anger), Karuna (sorrow, compassion or mercy), Bibhatsya (disgust), Bhayanaka (horror, terror), Veera (heroism, courage), Adbutha (surprise, wonder) to Shanta (peace, tranquillity).

                                  Each song on YTK’s new album is connected to one of these emotions, and the first track to be shared from Navarasa : Nine Emotions is “Westlin’ Winds”, paired with Adbutha.

                                  “Westlin’ Winds” starts with the life-destroying Act I of Robert Burns’ poem ‘Now Westlin Winds, (And Slaught’ring Guns)’ and deliciously transplants its disjoined, nature-extolling and life-affirming Act II onto Indian soil with a composition “in Purbi, a specific dialect of old Hindi. I learnt the song,” says Suhail, “by listening to various qawwali [Muslim devotional song] singers singing at Hazrat Nizammuddin’s dargah [shrine] in Delhi. Its source is Hazrat Amir Khusrau.” Thus YTK unite one of the key spiritual visionaries and architects of Hindustani art music, the poet-philosopher Hazrat Amir Khusrau with the key literary visionary of Scottish and Scots-language culture, Robert Burns.

                                  This bricolage of diverse cross-cultural elements is apparent across Navarasa : Nine Emotions and all of what YTK create. James Yorkston weaves in Scottish folk, sangster and literary strands. Jon Thorne is grounded in jazz and groove. What the New Delhi-based, eighth-generation hereditary musician Suhail Yusuf Khan brings to this feast of pulses and cycles is northern Indian classical, light classical (thumri, for example) and Sufi devotional musical and literary forms. What binds these diverse musical strands together is, in James’ phrase, “a dark happiness”.

                                  Yorkston/Thorne/Khan will play a special album launch show at Glasgow’s Celtic Connections before their own UK headline tour in March.

                                  FORMAT INFORMATION

                                  2xColoured LP Info: 2 x DARK GREEN coloured standard weight vinyl

                                  Dan Deacon

                                  Mystic Familiar

                                    With Mystic Familiar, Dan gives us the result of years of obsessive work, play, and self-discovery. It’s at once his most emotionally open record and his most transcendent, 11 kaleidoscopic tracks of majestic synth-pop that exponentially expand his sound with unfettered imagination and newfound vulnerability.

                                    Since 2015’s Gliss Riffer, Deacon has branched out into an array of collaborative projects including film scores to Rat Film, HBO’sWell Groomed, ESPN’s30 for 30: Subject to Review; collaborating with the NYCBallet’s resident choreographer Justin Peck, LAPhil and Baltimore Symphony Orchestra.

                                    While fulfilling, these projects lacked Dan’s singing voice. In the midst of that whirlwind of activity, he returned whenever he could to a personal oasis⁠—the songs that would become Mystic Familiar, informed by all these collaborations but built from within. Deacon’s writing took an exploratory new direction developed with therapeutic practices of self-compassion and mindfulness, daily prompts from Brian Eno’s deck of Oblique Strategies and the use of meditation. These techniques produced songs that paint life as a psychedelic journey brimming with bliss and disruption, darkness and light.

                                    It’s a vulnerable shift in a songbook abundant with characters, metaphors, and modulations. This voice-focused album is also the first record in which each song was built around one central concept—the Mystic Familiar, a supernatural other being that we carry with us everywhere in our head, which only we can hear and with whom we live our lives in eternal conversation.

                                    Mystic Familiar takes a propulsive leap with the robot-performed drums and soaring melodies of “Sat By a Tree.” Lyrically, the song conjures campfire reflections on key memories with the hard-won clarity of time, a dialogue with an anthropomorphic tree on chilling out, and befores and afters of life and death. The video, directed by Daren Rabinovitch offilm and animation studioEncyclopedia Pictura and starring comedian Aparna Nancherla, uses natural world elements, vivid colors, and a cartoon-like aesthetic to reflect on time and the precious shortness of life (not for those with an aversion to bugs).


                                    FORMAT INFORMATION

                                    Coloured LP Info: limited edition silver coloured vinyl

                                    Baxter Dury

                                    The Night Chancers

                                      Failed Fashionistas, Instagram voyeurs, jilted Romeos, reeking insecurity, the willingly self deluded, the comically unware, the Night Chancers… “Baxter Loves You” The album was co - produced by long time collaborator Craig Silvey (Arcade Fire, John Grant, Artic Monkeys) and Baxter, and was recorded at Hoxa studios West Hampstead in May 2019.

                                      From thrilling affairs that dissolve into sweaty desperation (Night Chancers) to the absurd bloggers, fruitlessly clinging to the fag ends of the fashion set (Sleep People), via soiled real life (Slum Lord) social media – enabled stalkers (I’m not Your Dog) and new day, sleep – deprived optimism (Daylight), the record’s finely drawn vignettes, are all based on the corners of world Dury has visited.

                                      Baxter says “Night Chancers is about being caught out in your attempt at being free”, it’s about someone leaving a hotel room at three in the morning. You’re in a posh room with big Roman taps and all that, but after they go suddenly all you can hear is the taps dripping, and all you can see the debris of the night is around you. Then suddenly a massive party erupts, in the room next door. This happened to me and all I  Could hear was the night chancer, the hotel ravers”.



                                      FORMAT INFORMATION

                                      Coloured LP Info: Crystal clear vinyl.

                                      Pale Saints

                                      The Comforts Of Madness

                                        Deluxe double CD & LP formats include unreleased demos & 1989 John Peel Session.

                                        On the eve of a post-Thatcherite Britain, the Pale Saints, alongside the likes of Lush, Ride and Slowdive, were ushering in a new wave of British indie. And in 4AD, they found a perfect home for their music - an exciting & undeniable meld of noise and dream-pop.

                                        Their debut album, The Comforts of Madness, didn’t disappoint, now standing as one of the best of its era. Pitchfork placed it in their Best 50 Shoegaze Albums Of All Time saying, “There’s a restless urgency, particularly when the volume swells and the rhythms intensify. That energy not only keeps (it) vital, it emphasizes Pale Saints’ inventiveness, how they channelled softness and rage into something distinctive.”

                                        Nearly 30 years on and The Comforts of Madness is finally getting the reissue treatment. Having been remastered, a faithful LP repress on black vinyl is being released as well as double CD and double clear vinyl editions, both of which come with a bonus disc of previously unreleased demos and the band’s only John Peel Session, recorded in 1989.

                                        FORMAT INFORMATION

                                        Coloured LP Info: Clear double vinyl.

                                        Khruangbin & Leon Bridges

                                        Texas Sun

                                          Driving anywhere in Texas can cost you half a day, easy. For example, it’ll take you over four hours just to get from R&B singer Leon Bridges’ hometown of Fort Worth down to Houston, where the psychedelic wanderers in Khruangbin hail from. The state is vast, crisscrossed with rugged expanses of road flanked by limestone cliffs and granite mountains, forests of pine and mesquite, miles of desert or acres of sprawling grassland, all depending on what part you’re in. And it’s all baking under the Texas Sun that lends its name to Bridges and Khruangbin’s new collaborative EP.

                                          “Big sky country, that’s what they call Texas,” Khruangbin bassist Laura Lee says. “The horizon line goes all the way from one side to another without interruption. There’s something really comforting about that.”

                                          On Texas Sun, these two members of the state’s musical vanguard meet up somewhere in the middle of that scene, in the mythical nexus of Texas’ past, present, and future—a dreamy badlands where genres blur as seamlessly as the terrain. It calls equally to the cowboys bootscooting at Billy Bob’s in Fort Worth, the chopped-and-screwed hip-hop fans rattling slabs on the southside of Houston, the art-school kids dropping acid in Austin, the cross-cultural progeny who grew up on listening to both mariachi and post-hardcore out on the Mexican borders of El Paso. All of these things, overlapping in a multicolored melange, purple hues as vivid and unpredictable as one of the state’s rightfully celebrated sunsets.

                                          A journey through homesick reminiscences, backseat romances, and late-night contemplations, the kind of record made for listening with the windows down and the road humming softly beneath you. Like the highways that inspired it, Texas Sun is guaranteed to get you where you’re going—especially if you’re in no particular hurry to get there.

                                          FORMAT INFORMATION

                                          Coloured LP Info: First pressing on limited translucent orange vinyl.

                                          Gaz Coombes

                                          Sheldonian / Live / EP

                                            Gaz Coombes announces the upcoming release of his ‘Sheldonian Live EP’. The EP consists of four songs recorded live at the Oxford Sheldonian earlier this year and is to be released on 20th December on digital and vinyl.

                                            The EP comes following his charity concert at the Sheldonian Theatre to mark the 350th anniversary of Christopher Wren’s iconic building. Gaz performed a bespoke set with an orchestral arrangement with Luke Lewis conducting. All proceeds from the concert were donated to two local charities, Yellow Submarine of which supports people with learning difficulties, and the Young Women’s Music Project (YWMP) with Suzy Bowtell of the charity opening the show.

                                            Previously, Gaz released his album ‘World’s Strongest Man’ back in 2018 which was the follow up to 2015’s ‘Matador’ – a record conceived, recorded and mixed in the studio equivalent of solitary confinement. It transported Gaz from ‘former Supergrass frontman’ to hugely respected Mercury and Ivor Novello nominated solo artist in the space of ten months. After this came ‘Salamander’, the first release after the highly acclaimed album. The track was written and recorded by Gaz at his Oxford studio, co-produced alongside long-time collaborator Ian Davenport, and featured guest performances from members of his incredible touring band.


                                            FORMAT INFORMATION

                                            Coloured LP Info: Turquoise (transparent) Vinyl.

                                            Unlimited Love

                                            Unlimited Love #24

                                            The Unlimited Love edits mob continue to chop up the finest smatterings of disco, boogie and soul for their infamous series.

                                            Number 24 and it's four more nicely excavated cuts that evade the ears of our intrepid IDers and deliver nothing but positive energy for the floor. From the driving, slick, late 70s disco; to horn-guided funk-disco and back through gospel-calipsp-disco-boogie (!!) and finally, a scuzzy, punky, barrell roller of disco-funk.

                                            Top drawer throughout!   

                                            One of our favourite newcomers to the dance arena concludes what's been an absolutely stellar year with a tasty three tracker for new label, Original Schvitz. The Toronto native heads the lasers and the big rigs for a trusting mainroom anthem, "The Canadian Shield" is built around galvanized synths, buzzing leads and uplifted stabs - it's basically a totally playable techno bomb that few will find resist after a couple of garies with their mates...

                                            "Feed The Planetary Sharks" is more cerebral, showcasing the playful and exotic side that highlights much of Micay's output thus far. Jubilant and with a magic and highly transportative quality, it's the sound of a producer conjuring up his own sonic planes on which to inhabit.

                                            "I Like My Nudeln Fried" is deep n naughty; capturing the house heads with its highly swung drum beat but keeping the techno heads hooked with its big rumbling b-line and futurist synth washes. Micay's expertly processed drums sound particularly exquisite on this final number....

                                            A flawless year for this burgeoning producer who more than warrants your attention right now! 


                                            Nadia Reid

                                            Out Of My Province

                                              No one ever got anywhere by standing still. As an artist, you must move to grow. It’s a sentiment Nadia Reid knows well. Leaving her beloved New Zealand for America to record her third album with strangers, what she didn’t expect was a family awaiting her; teaming up with Spacebomb, her evocative travel tales push explorations of love, personal growth and deep reflection beyond boundaries she ever thought possible.

                                              Out of My Province further marks Nadia’s wildly expanding trajectory, this time from outside her comfort zone. Nadia packed up for Spacebomb studios in Richmond, Virginia with long-term “musical rock” and guitarist Sam Taylor. They were joined by joined by the Spacebomb house band - Cameron Ralston (electric and upright bass), Brian Wolfe (drums) Daniel Clarke (organ, piano, and keys), and producer Trey Pollard, who would arrange strings, horns, piano and Rhodes to give the album a depth in sound Nadia had always imagined. “As an artist, progression is key. I want to always be changing, pushing boundaries, to feel growth. It’s good for us,” Reid says.

                                              “Out of My Province is definitely a travelling album; they are road songs,” tells Nadia, written during a period of intensive touring following the release of her critically acclaimed LP, Preservation. “I felt inspired while I was moving and playing most nights. Sometimes good. Sometimes hard – there was this term I came up with called ‘digging for gold’ where some nights, you’d need to dig deeper for that feeling. During that time I felt really alive and useful.”

                                              Completed back home in her hometown of Dunedin, first single “Best Thing” is a "song is about relationships, childhood and nostalgia. It is about intimate love and about the love between a mother and a daughter." The video was directed by Charlotte Evans and shot on film in locations around her neighbourhood including Tunnel Beach, the Railway Station and Botanic Gardens, starting at 6 AM in wintertime. "Dunedin is full of places that will flaw you with its natural beauty." reveals Reid, whose new songs act like postcards back to Port Chalmers.

                                              The album takes its title from an interview with one of Nadia’s favourite New Zealand authors, the late Janet Frame, in which the interviewer asks if she has considered the supposition that she is one of the greatest writers of the twentieth century, to which Frame uncomfortably replies, "That question doesn't reach me. It's out of my province." Explains Nadia, “I was so moved by her response for some reason. I am enamoured by her books. I can re-read them at any time and take such comfort from them. So ever since... out of my province. That phrase has never left me.”


                                              FORMAT INFORMATION

                                              Dinked Edition LP Info: Dinked Sticker.
                                              Gold Foil Numbered.
                                              Alternative outer artwork with pink back sleeve.
                                              Pink with white edge splatter vinyl exclusive to Dinked.
                                              Limited to 400.

                                              Lee Perry

                                              Captive

                                                1978 tune by living reggae legend Lee Perry. Captive revealed the continual enslavement of black people in the West, calling for mental and spiritual liberation. The Upsetters dub it on the B-side. Full colour vinyl sleeve. Licensed from Lee Scratch Perry. Remastered by Equus. Edition of 500. 

                                                The Uplifters

                                                Strength & Power

                                                  Canadian rarity available again on 7". The Uplifter were a duo that consist of vocalists Egbert Dennis and Marcel Williams. Heavy bass on this one & wicked dub. "I beg you don't stop!" Full colour vinyl sleeve. Licensed from King Culture. Remastered by Equus. Edition of 500. 

                                                  Sheppy

                                                  Get Out Of My House

                                                    Sheepy are embarking on another European Tour, taking in Germany, Switzerland, Belgium and France to celebrate their 3rd album, Get Out My House, released on Blang Records. Sheepy from Liverpool play pop punk with mega catchy songs, tight hooks and lovely harmonies. Since 2012 the band toured across the UK, Ireland and Europe. Songwriter Luke Jones recorded 12 self-produced albums before teaming up with Blang Records. "Predator EP" was the first release, followed by the singles "Glum" and the 7" "Another Day". These songs received national radio airplay on the likes of BBC Radio Two, 6 Music, XFM, plus some national TV play on Soccer AM. Sheepy are Liverpool school friends Luke Jones (guitar/vox) and Ollie Phillips (drums) aided and abetted by Irishman Villy Raze (bass) and recently strengthened by the addition of Katie McGrath on keyboards and backing vocals.

                                                    As hilarious as they are in person and in their new video for ’15 Songs’ taken from their second album ‘Alarm Bells’, musically they are on a dedicated mission! They entered the World Guinness Book Of Records. Luke explains it’s, “About writing my fifteenth bedroom-recorded solo album called "15" and I jokingly thought to myself why not write 15 songs in an hour for the 15th. I was thinking of going for quantity not quality with short punchy punk tracks of about 2 minutes each. But I was only half joking as I tried to brainstorm lots of ideas that were coming to me in a short space of time. I wrote the 15 songs in about a week.” 

                                                    Lumerians

                                                    Yellowcake

                                                      Throughout their career, Oakland’s Lumerians have consistently been a shape-shifting psychedelic force, traversing krautrock, drone, dub and jazz in their quest to create truly cosmic music. Hot off the heels of their 2018 album Call Of The Void’, the band’s dizzying space-rock opus, Lumerians have stripped things back to their raw fundamentals with the single ‘Yellowcake’. ‘Yellowcake’ sees the band trim away the fat in favour of a highly-focused psychedelic garage rock jam. Winding, contorted guitars meld with motorik drums and a rumbling bassline that stretches out into eternity. Driven by the axe wizardry of Jason Miller and Tyler Green, atop the track’s skeleton they constantly spin webs of claustrophobic Contortions-esque guitar flourishes. The single is, in the words of the band, “about someone waiting on a train platform before sunrise to go to work, staring at the city and fantasizing about what it would be like if a nuclear bomb went off." The lyrics are ambiguous at best, delivered by a careless Damo Suzuki-esque whisper from deep within the track’s dense soundscape, but the chaotic darkness of the song is on the surface for all to hear. The B-side is ‘C Rock’, an angular, krautrock-inflected cover of the 1977 song of the same name by Italian synth-pop/post-punk combo Chrisma

                                                      FORMAT INFORMATION

                                                      7" Info: Limited to only 300 copies.

                                                      Various Artists

                                                      Festival Compilation (Fuzz Club Eindhoven 2018)

                                                        As With all Fuzz Club titles, this is for Indies Only. Fuzz Club Eindhoven 2018 - Festival Compilation. Available on 3x180 gram coloured vinyl. Compilation album made especially for the Fuzz Club Eindhoven festival and includes lots of previously unreleased tracks, remixes and cover songs from bands that took part in the festival. Including Kikagaku Moyo, The Warlocks, Whispering Sons, The Telescopes, Snapped Ankles, Teeth Of The Sea and more. Triple record with 180g coloured vinyl in a heavy trifold sleeve and printed inner sleeves. This record is almost a kilo! Limited to 500 copies. 

                                                        Just Joans

                                                        The Private Memoirs And Confessions Of The Just Joans

                                                          Acerbic yet winsome Scottish indiepoppers The Just Joans return with the dazzlingly maudlin The Private Memoirs and Confessions of the Just Joans, a deeply personal collection of songs that hazily recall the past and contemplate the futility of the future. A titular twist on the classic gothic horror novel The Private Memoirs and Confessions of a Justified Sinner by compatriot James Hogg, the new album is the follow-up to 2017’s You Might Be Smiling Now… and contains the kind of melodies and mockery that led Uncut to class the band as the point at which “Stephin Merritt lies down with The Vaselines.” At the forefront remain the mischievous lyrics and heartfelt vocals of siblings David and Katie Pope, aided and abetted by Chris Elkin on lead guitar, Fraser Ford on bass guitar and Jason Sweeney on drums. Yet it is the recruitment of multi-instrumentalist Arion Xenos and guest appearance of Butcher Boy’s Alison Eales to arrange strings that have helped elevate the band’s music to new heights. Their progression is most noticeable on lead single “Dear Diary, I Died Again today”, a painfully beautiful admission of everyday anxiety and “When Nietzsche Calls”, the triumphant cry of a spurned lover revelling in the misery of their ex to a backdrop of trumpets and violins.

                                                          The juxtaposition of the fragility shown in these tracks with the menace of “Wee Guys (Bobby’s Got A Punctured Lung)” – an observation and understanding of the casual violence that once cast a shadow over the band’s hometown – highlights The Just Joans’ ability to seamlessly flip between sensitivity and danger, and sums up why Highway Queens described them as the “perfect Glasgow kiss.” The Private Memoirs and Confessions of the Just Joans is a veritable smorgasbord of misery, longing and unrequited love; stories of small town resentments, half-forgotten school friends, failing relationships and awkward workplace conversations. As David explains: “It’s a collection torn from the pages of the diary I haven’t kept over the past 25 years. There are songs about places and people I vaguely remember, feelings I think that I once may have felt and the onset of middle-aged ennui.” Despite entering new territory with the addition of brass and strings, they have nevertheless maintained the DIY ethos that made them darlings of the underground indie-pop scene, with each song on the album recorded and produced by the band in various gloomy bedrooms around Glasgow. “The Just Joans have documented the romantic pratfalls of a generation of indie kids with a sardonic wit and a shambling musical style where Stephin Merritt lies down with The Vaselines” 

                                                          FORMAT INFORMATION

                                                          LP includes MP3 Download Code.

                                                          Sun Ra Arkestra

                                                          Live In Kalisz 1986

                                                            It was one of the most peculiar landings of the Sun Ra Arkestra. Time: 7 December 1986, Polish People’s Republic, still separated from the West by the Iron Curtain. It's a grey and poor twilight of a real socialism era. In three years the Eastern Bloc would collapse, but what still occupies the minds of Poles now is mostly the martial law imposed by the Pro-Moscow regime in 1981, when the country wanted to free itself from the influence of the Soviet Union. Place: Kalisz, one of the oldest Polish cities dating back to the 10th century, historically connected with the first kings of Poland, grew into a multinational centre with time as not only the Czech Brethren escaping the Habsburg monarchy found refuge here, but also prominent rabbis known across Europe used to operate and expound in the local Jewish community.

                                                            In the 20th century Kalisz became a provincial city and its presence in the cultural life of Poland was most significantly marked with the International Jazz Piano Festival. It was during the 13th edition of the festival that Sun Ra Arkestra performed. What turned out to be most memorable for the concert-goers was the closing procession of musicians who left the stage to walk around the audience, circle the venue, and return. Researchers of the Sun Ra mysticism recognized such gestures as rituals of passage corresponding to the cosmic cycles of death and resurrection. From a European perspective, Sun Ra's work turns out to be a dream come true for Wagner and Stockhausen. His music brought the myth to life. The myth connecting the past with the future – above the unfavourable present – which created a sphere of freedom. However, Ra used to say that it was not freedom that was at stake here, but precision and discipline. 

                                                            Mythic Sunship

                                                            Changing Shapes

                                                              Mythic Sunship played three shows at the 2019 edition of Roadburn - ”Changing Shapes” documents the most ferocious and courageous of the three. It follows 2018's ”Another Shape of Psychedelic Music”, where the band incorporated saxophone player Søren Skov, and ventured deep into uncharted sonic territory, somewhere in between fuzzed out space rock and free jazz. A sound that's both challenging and deeply engaging. As the festival described the album before the show: “The kind of album people talk about years afterward. The kind of album that isn’t for everybody, but for those whom it touches are never quite the same again.” ”Changing Shapes” is a continuation of those ideas, not just a live performance of previous material (only two tracks from ”Another Shape...” are featured on this set). Søren Skov joins the band again here as the five-piece burns through a handful of lengthy pieces in front of an ecstatic audience. It's an immersive listen, from the curious opening notes of ”Awakening”, to the relentless roar of ”Ophidian Rising”. ”If Mythic Sunship aren’t the shape of psychedelic music to come, it’s in no small part because there are so few out there who could hope to match what they do.” -The Obelisk ”It’s the sound of a band that have fully found their mojo and can just hammer out these sonic slabs that are devoid of cliche and scream originality.” -The Fragmented Flaneur ”They grind out massive riffs and tribal beats like a soundtrack to the apocalypse...This is psychedelic music unlike you’ve heard before.” -Complex Distractions 

                                                              FORMAT INFORMATION

                                                              LP includes MP3 Download Code.

                                                              John Foxx

                                                              Concrete And Organised Noise

                                                                Alongside the raw, icy aggression of vocal-led Burning Car and Miss Machinery, this collection of instrumental music from 1980 initially appeared on the 2018 Metamatic box set. Now on vinyl for the first time to celebrate Metamatic’s 40th anniversary in January 2020, this is a haunted, at times beautiful electronic soundtrack which stands as a sister album to the main work. Photo by C.P. Gabrin. Artwork by Jonathan Barnbrook

                                                                FORMAT INFORMATION

                                                                Coloured LP Info: Grey vinyl LP

                                                                En Attendant Ana

                                                                Juillet

                                                                  With the release of 'Juillet', Parisian quintet En Attendant Ana make good on the promise of their album 'Lost & Found' (2018, Trouble In Mind), diligently crafting a set of ten songs that shimmer, glide and sway with a sophistication only hinted at by their debut. Trouble In Mind is honored to present 'Juillet' exclusively to the world. Recorded by Vincent Hivert and Alexis Fugain over the course of one week at Studio Claudio, an isolated studio in rural France, "Juillet" is the sound of a band reshaping itself, adapting to numerous transitions both within the band ('Juillet' is the first recording with current guitarist Maxence Tomasso) and in life. Primary lyricist & front person Margaux Bouchaudon says "I tend to consider it as a journey towards acceptation of losses (would they be friends, lovers or dreams through death, departure or disillusion...) but also towards self respect and independence." Indeed many of the songs on "Juillet" feel hopeful, despite their melancholic tone, lacing a lilting melody or triumphant trumpet swell (courtesy of multi-instrumentalist Camille Frechou) or charging guitar riffs from Tomasso or Bouchaudon.

                                                                  Famed French engineer Dominique Blanc-Francard mastered the whole affair with a deft hand, coaxing the subtleties of the mix without sacrificing its sonic whallop. Whereas the tunes on 'Lost and Found' felt wild & reckless, the songs on 'Juillet' feel focused, composed by the band over six months, working a much as possible on arrangements, structure to create a set of songs that feel bonded together by the magnetic pull of each other; each shines on their own, but viewed as a whole, they dazzle. Songs like "Do You Understand?" and the first single "Words" point toward a new frontier for the group, effortlessly sharpening their razor-sharp hooks to such a fine point, you almost don't realize their complexity.

                                                                  Elsewhere, songs like "Flesh or Blood" and opener "Down The Hill" revel in the push/pull dynamics they teased at on "Lost and Found" while earworm tunes like "In / Out"s poetic lyrics bounce atop a toe-tapping pulse (courtesy of rhythm section of bassist Antoine Vaugelade & drummer Adrien Pollin). Finally, songs like "From My Bruise To An Island" and the sparse "When It Burns" bridge a confessional narrative atop an amorphous ambient float. They feel important, and hint at an exciting future for a band letting go of its past and entrusting fate with its future. "Juillet" is the French word for July - a month representing the transition from spring to summer, & in the band's own words "Juillet" is "a symbol of the end of something and the beginning of an other one" 

                                                                  FORMAT INFORMATION

                                                                  Coloured LP Info: Indies only Opaque Metallic Gold vinyl

                                                                  Bert Jansch

                                                                  Avocet (Expanded Anniversary Edition)

                                                                    Newly expanded audio. New liner notes from Pentangle bandmate and collaborator Danny Thompson. Vinyl only, limited to 500 copies worldwide. Expanded 40th anniversary edition, featuring newly discovered live tracks and notes from Pentangle bandmate (and Avocet collaborator) Danny Thompson. Bert Jansch was often quoted as saying “I’m not playing for anyone, just myself” and this feels no more apparent than on 1979’s ‘Avocet’, his beautifully meditative paean to British birds.

                                                                    This isn’t to say that Jansch was throwing commercial success to the wind, or was unaware of his audience, more that this album feels like a uniquely personal reflection of him. (The subject of British birds is one that Jansch held close to his heart. Indeed, just preceding this album was his 1978 split 7” single with Shirley Collins - with proceeds in aid of the RSPB.) For fans of Jansch this is often the album that is singled out as his best work. The freedoms of a post-Pentangle career are much in evidence; folk rock and even trad folk give way to an album that is not only without lyrical accompaniment but really quite orchestral, classical even, in its composition. There are surprises in particular in ‘Lapwing’ (a dirge-like waltz that wouldn’t be out of place on a Nils Frahm album) and ‘Bittern’ (which speaks of Arthur Russell’s more experimental pieces). Featuring ex-bandmate Danny Thompson, alongside Martin Jenkins (Dando Shaft, amongst others) with sleeve notes by Jansch aficionado Colin Harper (author of ‘Dazzling Stranger: Bert Jansch and the British Folk and Blues revival’). This new edition also comprises three never-before heard tracks, recorded live in Italy in in 1977 (‘Bittern’; ‘Kingfisher’; ‘Avocet’), as well as Danny Thompson’s recollections of the making of ‘Avocet’, recorded by Dave Thompson (Mojo Magazine) in typical style. Remastered by Brian Pyle from original tapes. 

                                                                    FORMAT INFORMATION

                                                                    LP Info: Limited edition White vinyl pressing.

                                                                    Georgia

                                                                    Seeking Thrills

                                                                      Georgia’s new album, ‘Seeking Thrills’, is a musically daring story of hedonism, self-discovery and, above all, the transcendental power of the dancefloor.

                                                                      The North West Londoner has been on a long, dazzling journey since the release of her critically acclaimed debut album in 2015. Her first self-titled collection of percussive, punk-inflected pop songs was lauded by The Guardian, Vice, The FADER and others - but nobody predicted the about turn she would make when she returned with two rough-hewn diamonds of house music in 2019.

                                                                      FORMAT INFORMATION

                                                                      Coloured LP Info: Available to independent retailers on red heavyweight vinyl with 16-page booklet and digital download code.

                                                                      Manchester's most exciting, enthuastic and entertaining house upstart (FKA LOZ) Goddard kick flips onto Apparel for a four track EP featuring a hot collab with Harry Wolfman and a tasty remix from Jad & The. 
                                                                      As usual we're talking high def house business from the get-go here, starting with "Fourth Dimension", a frankly irresistible groover which sees the G-man tag team the studio gear with the aforementioned Wolfman. Aimed for peaktime deployment, the cut swells from cosmic filters and trilling arps into a total 4/4 shoulder roller packed with percussive nuance, NJ swing and a right rib rattline B-line. If you need a breather after that opening salvo, I'd suggest you luxuriate in the deep and jazzy "Signals", a smooth serving of relaxed house with plenty of syncopated percussion and subtle Rhodes. The fun continues over the road as Loz pays homage to the expansive melodies and tonalities of Norway with "It's Not Cold In Tromso", a spacey house jam which could easily be mistaken for the next incarnation of Torske, such is the quality of the cut. Aussie operative Jad & The joins in the festivities on the B2, employing junglist breaks and nanging acid lines where once there was fjordfunk. Bangers all round - big up Goddard!

                                                                      Seminal club sounds from the legendary Strictly Rhythm catalogue, this is some straight 1994 heat. Armand Van Helden is a worldwide legend in house music - his discography is untouchable and "Witch Doktor" is easily one of the most classic and biggest jams in his catalogue. This is the sound of unbridled euphoria, huge soundsystems, packed out darkened dancefloors and an era of dance music that has passed but still reverberates today.

                                                                      The classic 'Dark Ages' version is reissued here and featuring two slamming brand NEW mixes courtesy of Serge Santiago and Illyus & Barrientos for 2019. Huge. This 12" comes with all original Strictly label artwork, snoozing not permitted!


                                                                      Power Music presents Mood II Swing - Call Me (12")
                                                                      This is the first re-issue ever on the original label "Earth Moon & Sun" in this constellation on a 12"!
                                                                      A must have including "Call Me" extended mix, Mood II Swing remix and two remixes by DJ Duke!

                                                                      Noema caps off a busy 2019 with the freak power of the "Sky, Horse and Catch EP" on his own Magic Movement imprint. On his quest to 'Bring the Jams', the world traveling DJ delivers two stunning tunes, streaked with percussion that he recorded on a trip to Sao Paulo. If that wasn't enough to push you over the edge, this EP also comes with a mind-benging remix by Romanians Khidja.
                                                                      The title track translates a 90's Detroit House Groove to the present day and adds Cuica, Berimbau and several other Brazilian drums on top. Riding the complex groove, you encounter eccentric synths, mysterious soundscapes and of course the horse, on this 11 minute long hack.
                                                                      'Minhocao' trades the horse for a racing car and takes you on a cruise on the same-named elevated highway that leads through the city of Sao Paulo. Surrounded by driving beats, guitar single-notes, massive synth-bass howls and a gritty Moog theme, this jam is a hell of a joyride!
                                                                      Khidja strips down the original title track to its core and creates a solely percussive version in a half-time groove. By adding a virtuoso Qanon/Saz-like sound the tune develops an arabesque flavour with a dubby bass as the cherry on the top.

                                                                      Brand new release on Brothers From Different Mothers, after the first LP of J-zbel, Judaah's label deliver the first solo EP of Jonquera, half of The Pilotwings.

                                                                      It's a scuzzy take on sinister electro and more experimental electronix as our guides takes us through five very different sonic environments.

                                                                      "Umamami" is sludgy and lysergic, full of gated drums and swirling sfx; like if Adrian Sherwood decamped to the Red Planet. "Hell Reggaeton" also milks the 80s gated drum set, with a crossover freestyle beat and mangled to oblivion vox; it's galloping delays and discordant guitar chops only add to the sense of urgent disorientation.

                                                                      "Smegta" opens the flip with an arresting slice of aural manipulation; pulling and stretching a canvass of synthesized choir notes around a mechanized loom; it's like the ghosts of a cotton mill escaping out the woodwork.

                                                                      "Escroc Voice In My Head" concludes the trip with a stop-you-in-your-tracks slice of taut EBM. Highly strung and ready to implode at any moment, the elastic synths and dark stabs perfectly compliment the creeping, zombie-horror groove in what's surely one of the best closing tracks to grace an EP all year!


                                                                      Kobza Vajk is a Hungarian self-taught psychedelic folk musician who has been playing the oud and other obscure stringed instruments, like kithara or the lute for more than 15 years.
                                                                      His main influences are folk and ancient music of all kinds, which he unites with his contemporary approach of composing and the oriental technique he plays his instruments with.
                                                                      This release focuses on his original work from the late 2000's with a few reinterpretations coming from established e-music producers.
                                                                      The title track is a live recording from 2008, perfectly setting the mood for the whole EP: psychedelic shaman music with powerful oud chords and a hypnotic Middle Eastern atmosphere.
                                                                      In his remix Dutch producer, Perdu keeps one of the main patterns of the original but by adding some extra percussion he turns it into an entranced tribal banger. Next up is Multi Culti boss, Dreems, who revisited one of the most famous Hungarian folk songs creating a uniquely interesting piece with dubish subs and the twisted main melody. The final track is a more carefully tempered yet driving remix by Hungarian producer and Budabeats staple, Bete (aka Suhov).

                                                                      ‘Tangerine serves as a coda to the qualities that have established Celeste as one of the most instinctive and generous underground DJs in the current landscape of dance music. Beginning as a record store assistant at Idle Hands in Bristol and now a fixture of some of the world’s most acclaimed clubs and festivals, Celeste’s instincts and curiosity have forged a musical space that is very much her own. Here, whether in sweat-drenched basements or to vast numbers, she strikes a common cause between the melodic richness of the legacy of the music of Detroit, alongside the natural ease with which she carries across tempos that embody UK Soundsystem traditions. Tangerine is Celeste’s most fully-realised contribution thus far to this continuum of musical culture.

                                                                      More than that, Tangerine is an innate extension of Shanti’s self, telling stories beyond her record box and delving into her personal history. There is her manipulated voice serving as a bedrock in tracks. There's a kalimba, recorded at her father's home in Chile.

                                                                      There are, of course, her rich synthesizers that wrap her tracks like velvet cloaks, providing the familiar warmth and colour we know from her work so far on labels such as Idle Hands and Future Times. There’s even her characteristic paintings on the cover. Here, on her very own Peach Discs, the label she co-runs with goodfriend Gramrcy, Celeste naturally delivers her most impressive and wholly personal work.

                                                                      Creating Tangerine has been a space for Celeste to explore all of this with a freedom that has come with the easing of expectations that an artist earns with the passing of time. Striking a balance between deeper, understated sounds and building gradually towards the fleet-footed bursts of rave energy that Celeste is known for, Tangerine peels back layersof dreamy textures to reveal an optimistic afterglow, reflecting a life devoted to club culture.

                                                                      “When I made music for EPs, sometimes I felt restricted,” shesays. “I would think too much about creating the moments on the dancefloor I love - seeing visions of ecstatic people hugging, I didn’t give myself free reign to express all of myself. Writing an album made me feel free of all this because it seemed like an open-ended project. I could just keep creating until I felt like stopping”.

                                                                      'I Enjoy the world' is the first solo album by Efrain Rozas. The piece was composed to be listened to as a sonic meditation of 40 minutes. Buh Records (Lima, Peru), previously released the album as a limited cassette edition in 2017, accompanied with an animated video by Muriel Holguin. The album has now been remastered and pressed on vinyl by Futura Resistenza, a new record label from Rotterdam, the Netherlands.

                                                                      Music beamed through Dimensional Waves by Abstract Thought. 3 unnamed Abstract Thoughts taken from the original project tapes from 2003, recorded around the same time as the well known full length album release. Sonic expressions that will need your own interpretation to lead to a reality-oriented conclusion.

                                                                      Synth ambiences, acoustic landscapes, deep songwriting and subtle candombe percussions combine in most of the musical output released in Uruguay during the 80s. A very unique sound was developed within the narrow boundaries of Montevideo by just a small group of very talented artists. These sounds reverberated in singer-songwriting, jazz fusion approximations, experimental music and the work of musicians at the intersections of these worlds.

                                                                      In “América Invertida”, ethereal vocal arrangements and acoustic guitars cohabit with synthesizers and drum machines; Candombe and Latin American music form a fellowship with new wave and dream pop.

                                                                      "América Invertida" is presented with obi strip, deluxe artwork finishing and insert including extensive liner notes and previously unseen photos. Most of the tracks are reissued here for the first time.

                                                                      This compilation is the fruitful output of a collaboration with Montevideo based label Little Butterfly, the first of many to come

                                                                      Left Ear have put together a collection of recordings taken from the elusive Berlin band I.A.O., spanning their third phase from 1988 to 1995. Phase III commemorates the bands final line-up of three members; Achim Kohlberger, Ralf Östereich and Carsten Zielske. The sounds on this retrospective vary widely, however, link with threads of melancholic sequences, angular jamming and a focus on electronic soundscapes.

                                                                      The tracks are pinned against a backdrop of political and social unrest in Berlin at the time. Two different cities had become one with the fall of the wall, driving a bubbling subculture attempting to reunite the capital. Seemingly irrelevant to what I.A.O. was producing, these territories dance parallel to one another. In the late 1980’s, Achim Kohlberger of the band and partner Dimitri Hegemann, were orchestrating ‘Atonal Festival’, these days known as Berlin Atonal. Soon after, they set-up of one of the first techno clubs in the world - UFO, today known as Tresor.

                                                                      I.A.O. cites the cast of personalities they would come across in the clubs and pubs as influential in their songwriting, artists, outsiders or the ‘general dropouts.’ However, the works of IAO far resemble techno music. Phase III’s opening track Gospel IV introduces the band with their patience and restraint, synthesizers work to reveal folding melodies. The downtempo voyage continues with Marshmallow Girls, an insight into the band’s sensitive observations and hazy imagery. All Is Bliss presents a vocal mantra cooperating with nagging bass lines and euphonic percussion. Meanwhile, two instrumentals Love and Twinkle Twinkle Twinkle Little Star both typify and defy timeless dancefloor paradigms. The compilation signs off with Ferns, binding the icy yet bright tones found throughout. 

                                                                      A chance meeting in a New York club led to the conception of Mowgan’s debut album, in collaboration with renowned African Benin-born Nigeria raised singer and multi-instrumentalist, Kaleta (Leon Ligan-Majek) an ex Fela Kuti, Sunny Ade, Lauryn Hill cohort who also fronted Akoya Afrobeat Ensemble and presently heads up a 70s style afro funk band called Super Yamba based in NYC. The Frenchman was working at Lina Frey when he overheard a Beninese salsa singer called Laurent Hounsavi channeling Afro-centric vibes through his performance. He approached the singer and was put in touch with Kaleta, who lives in the Big Apple, too. What happened next was pure magic, as the two men got to work in the studio to bring their two worlds together.

                                                                      It’s the kind of mystical alchemy that only happens once in a blue moon; Kaleta was given carte blanche over Mowgan’s extensive collection of Africa-inspired electronic instrumentals. He selected his favourites and performed on each one, delivering an original vocal, and his own guitar licks, over the top. To stir up even more electrifying vibes, Kaleta also invited several of his talented friends to join the recordings sessions - they included vocalists Shade Myers Emmanuel, Justin Masters and Gbenga Wise, Freddie Deboe on sax, Mic Dada assisting Mowgan on synth pads and Takuya Kuroda, the infamous Japanese trumpet player from Kobe who specialises in neo-soul, hip hop and electronica.

                                                                      The result is ‘Karoussel’, a vibrant, dynamic, soul-enriching hybrid between electronica and deep African musicality that sets the standard for contemporary collaborations between western and African artists, and the first in a series of album projects from Mowgan on his fledgling label Mow Records...

                                                                      After detonating a highly volitile batch of weirdshit with his debut LP "Changing Hands" earlier in the year, Juan Ramos returns to ESP Institute with the 'Oxford House' EP. Though his relationship with the label has already spawned four releases, the A-side here holds the track where it all started, "Fahrt Im Himmel", a hyperactive electro-house thumper caked in neon optimism. The folks at ESP first heard this jam in the midst of a packed dancefloor when Juan was at the decks, and have been patiently waiting to let this one loose ever since. On the flip "Oxford House" splinters freestyle, 91 house music and a pinging bassline into a sample-heavy dose of retro-raving primed for peace time detonation. If you ain't feeling the uptempo thump, wrap your ears around the "New York Metropolitan Area Mix", a bass heavy neck-snapper which could be a Black Moon instrumental. Mega!

                                                                      Unknown Artist

                                                                      Artists Series (2)

                                                                      Konsysttenzia caused a microcosmic cataclysm for our techno customers t'other week when the anonymous first volume, "Artists Series" dropped. Cloaked, stealth techno, it was a million miles away from the stadiums of Awakenings or the aircraft hangers of Sonar, but more an intimate, intricate and trickski style of production that keep people hooked without bathing in superfluity.

                                                                      Well, it's back with another four tracks and they're just as hot as on that initial outing. Flecked with acid, propelled by split atomic particles and emanting a radioactive hum that should see it quaranteed for only the most bravest dancefloor digestion. Ready to twist craniums inside out at the after party, or just keep the backroom bubbling and covered in electronic voodoo; you'll get some much milage out of this EP you'll probably want to buy two copies...

                                                                      Mega, mega label! Do not sleep! 


                                                                      STAFF COMMENTS

                                                                      Matt says: 2nd instalment of this vital, mysterious techno series and there's no sign of the tension loosening as the anonymous artist delivers four more tracks of clocked, stealth techno for the deep heads. Highly recommended!

                                                                      Second release from Label head Mouhcine Zouitina commonly Known as Polyswitch.

                                                                      Casablanca’s finest returns for a second release with six songs spanning over the spectrum’s most vivid junctions. « FEVERISH CUTS VOL.2 » flaunts a strong funk connection merging with an uplifting rhythmic activity under a jazzy atmosphere. This continuum endorses the first volume with an ensemble of afro-diasporic and free flowing sonic slices.

                                                                      Karma Moffett

                                                                      Sitting Still Within / Sitting Still Without

                                                                      Sound has the ability to heal. This is the primary tenet that has been driving Karma Moffett for over 35 years. Pure tones, resonant harmonics, the sounds of the earth. At the dawn of the 80’s, as the burgeoning movement of privately-issued New Age was taking hold, Karma Moffett was a pioneer. Eschewing the use of synthesizers and other increasingly-available electronic technology, Karma crafted his meditative, introspective music using ancient instruments. Primarily utilizing Tibetan Bells, and Singing Bowls, Karma Moffett crafted sounds that led the listener on an inward journey.

                                                                      1982’s "Sitting Still Within / Sitting Still Without" is Karma Moffett’s earliest triumph. Combining the aforementioned Tibetan Bowls & Bells along with naturalistic field recordings, Karma’s first album is a testament to the power of minimalism and repetition. An ambient voyage that truly draws the listener inwardst, and outwards, "Sitting Still Within / Sitting Still Without" is music for healing.


                                                                      The motor hasn’t had time to cool down and the belt drive is feeling the fatigue. But Charles Maurice is the kind of DJ who just can’t let a turntable rest. After steaming up the slipmat with three sexy compilations of French Boogie, Charles Maurice is back with Volume 4.

                                                                      In the late 70s and early 80s, while France was still firmly tuned into variety-show pop, a few enlightened ears and souls picked up the hypnotic beat of funk from across the Atlantic. These first warrior monks spread the good word in discotheques, jumped on newly available frequencies to fill the airwaves and, in some cases, took up instruments themselves to unabashedly build on the U.S. model.

                                                                      In a short decade stretching from the late 70s to the late 80s – just a blip on the scale of music history – they turned out material in abundance. Lush productions with colorful covers, groovy typeface and creative photo shoots…

                                                                      But first and foremost, they made music weaned on, spoon-fed and imbued with funk. Music defined by a groove with a robotic beat (Djeneba) that clearly hears hip-hop banging on the door, where layers of synthesizers, handclaps (Eric Chotteau), horns and African percussion line up and follow the all-powerful lead of the swelling slap bass (Cyrill). Music that tells everyday stories, both humorous and lovelorn (Serge Delisle), and often packed with pheromones just waiting to be released on the dance floor or sofa (Chris O’Hara). Shaped by synthetic textures, these productions are also spiced with Caribbean and Creole arrangements that reflect the West Indies’ critical contribution to French Boogie (Wai Kop, Acayouman).

                                                                      With his immaculate tailoring, slicked back hair and clipped moustache, Charles Maurice has once again transformed himself into a HiFi stylus to explore the groove traced by this specifically French musical style. From 45 to 33 rpm, he has traveled the black spiral to bring us a new selection that proudly features a number of rarely heard pieces and even an unreleased track by Marco Attali. True to form, Monsieur Charles carefully crafted this fourth volume from his personal collection of impeccably restored and mastered vinyl recordings.

                                                                      Charles Maurice, where French elegance meets uncompromising musical taste.

                                                                      Antinote and Dizonord present STUDIOLO - Belfiore, Veneto, 1447. Birth of the first "Studiolo" or cabinet of curiosities, these rooms where "rare, new, and singular things", often exotic, were stored and exhibited. A practice that would spread throughout Europe during the Renaissance.

                                                                      Northeastern Italy, at the beginning of the 1980s, an entire local scene gathered around a handful of DJs who put their dancefloors in a trance to the sounds of "rare, new, and singular" music, under the strong influence of ethnic and world music. Mixes where German Kosmische clashes with space disco, along with the most experimental side of British new wave, industrial music, creepy funk, deviant rock and pop. All this mixed with Brazilian and Afro music, reggae, ragga, percussions and bhangra... A kind of mixing in total rupture with that of a dying disco for which it is intended as an alternative. A way of playing songs often at the wrong speeds, at 33RPM instead of 45RPM and vice versa, and always the obsession of a slow tempo, between 95 and 110 BPM, while the cruising speed of disco mixes goes up to 125/130 BPM... A haunting rhythm, accelerated or slowed down voices, with experimental and ethnic approaches... the sets by Moz-Art, Ebreo, Roberto Lodola, TBC, Meo, Fabrizio Fattori... are endowed with a baroque, quasi)mystical dimension. Without forgetting the enemy brothers, at the origin of this fusion of styles, Daniele Baldelli, resident of the Cosmic Club in Rimini, who called it Cosmic Style, and Beppe Loda, resident of the Typhoon in Gambara (a small town not far from Belfiore, unsurprisingly) and who referred to his mixing as "Afro Style". "Afro", the name that will be adopted by this scene and especially by its fans, recognizable by their post-hippy style, their Citroën DS or 2CV, with car radios fully powered by mixtape cassettes recorded in the clubs by these DJs, then sold in the parking lot of what was still called "the discotheque" at that time. This "Afro" wave mainly involved 3 regions in Italy (Lombardy, Emilia Romagna, and Veneto) and the young Austrians and Germans who would go there on holiday. Among them, Stefan Egger, a young DJ from Innsbruck, received a monumental shock while listening to a set by Daniele Baldelli during his holidays in Rimini. Therefore, he decided to make his Austrian dancefloor resonate to the sound of the Cosmic Style.

                                                                      While the official history of underground dance music has very quickly and rightly retained the contribution of DJs from Chicago and New York, it was not until the early 2000s that interest in the Afro/Cosmic scene was finally shown. Since then, a lot has been said on this scene, its DJs, their completely crazy and obscure tracklists, while Daniele Baldelli and Beppe Loda are playing Boiler Room sets as well as Europan and Japanese gigs one after the other. But few have shown interest in the moment in time when, at the end of the 80s, these DJs became producers and started creating songs that sounded like their sets, where all their influences would collide, often naively, sometimes with genius, always without filters. Nor to how this scene changed at the beginning of the 90s with a marginal approach to trance and progressive house, when the Italian, Austrian and German DJs of this second Afro period played these trance and progressive records at 33+8, as their elders did with synth wave or post-punk records, always staying within this 100/110 BPM tempo. It is in this last period that this compilation will immerse you, through 8 tracks from the Italian, German and Austrian scenes.

                                                                      “Welcome / to my galaxy / of snare drum samples / full of emotions”

                                                                      The year is 2019, and Jan Schulte is spelling out his vision in simple terms. Within the first few of Albumsi’s hour-plus runtime, our host lays out the mat, and welcomes us to the ‘Galaxy’, just as he welcomed us to ‘Zum Paradies’ on Instrumentalmusik von der Mitte der World. There, he donned a Wolf Müller mask. Here it is nom de doof, Bufiman. The directive is clear: buckle up, as this trip advisor for countless left-of-the-dial dancers and deep thinkers alike is back in the hot seat.

                                                                      True to his word, the first thing that hits is the drums. Across the album are samples that Bufiman has been collecting since he was a mere Bufiboy. Recordings culled from market stalls 20+ years ago and song sketches that lay dormant since 2006 get a facelift at the Wolf Müller Flanger Studio and walk into the world as finished articles. A proggy tribute to funk classic ‘Blow Your Head’ takes this updating job most directly, transporting Fred Wesley & The J.B.’s to the fringes of a Frankfurt rave with a decanter of spiked punch, doin’ the worm through a space-time wormhole as they go.

                                                                      Sometimes those drums jive away steadily, and sometimes they boom and bap right under your nose (and in the middle of the LP, they are barely present at all). Live instrumentation and digitised rat-a-tat link like brothers in arms. What might Mantronix sound like if they were from North Sentinel Island instead of New York City? Albumsi could be the answer.

                                                                      This is the first record Bufiman has since leaving his day job of 11 years. It is the first made after touring and exploring some of the furthermost pockets of the globe – something that left a naturally great and greatly natural impression on him. A switch was flipped, he says, once he realised he could finally paint these pictures without pressure: “For the first time in my life I suddenly had a studio, a bit of gear and 3-4 days of time every week at once. Before I might have had one or two of these components, but never all at once.”

                                                                      The resultant Albumsi is the most accurate measure of the ‘man to date. Thick waves of bass lap up at an exotic shoreline of greenery and indistinct birdsong. Tunes swell, ebb, crest and recede over 6, 8, 13 minutes at a time. Are we in Goa or Grafenburg? Rasping synthesisers taking off on ‘Well, Traumhaft’ and SFX like suction cups on ‘Hoolock Rock’ suggest the latter. But then, listen to the ecosystem of competing animal voices on ‘Apo-Calypso’ or the marriage of hand drums and wavering lead on ‘Pantasy’, and it’s impossible to be sure.

                                                                      As ever, our host does not toil in studio solitude. Master mastering engineer Carsten Dämbkes brings the hi-def best out of the dense thicket of grooves. Close collaborators and friends like Niklas Rehme-Schlüter (Cass.), Lucas Croon, Nikolai Szymanski (Airchina), Alexander Dorn (Credit 00), Gregor Darman & Aki Vierboom (Phaser Boys), Sara Dudzinski Rodriguez and Florian Van Volxem variously add tweaks to the kit and compliments to the overall product.

                                                                      Truly however, Albumsi begins and ends in the galaxy of Bufiman. With feet in the forests and head in the night sky, one arm pulling samples from the past and another jutting fingers into the future, the album is a rich stew of sounds, mantras and motifs and that have been simmering inside for a long, long time.

                                                                      Following his debut LP in June 2017, Trenton Chase returns with “Planar Array”, a 7 track LP on Artificial Dance. As half of Manie Sans Délire and the co-owner of June records, he’s known for his uncompromising sound that touches a wide range of genres. The release is heavy-hitting with distorted vocals, industrial textures and dagger-like synths, a satisfying array of wave, EBM and experimental music. From Transit Decay with the clunky bassline and depth at its core to the aggressive electronics in Narked. From the title track, Planar Array’s melodic high synths to the dreamy contracting offbeat of Doppler Shift. Trenton Chase brings the smoke out of the machine, progressively getting harder, faster and more destructive.

                                                                      Another win for the Glowing Pin as Müller & Wandt drop a fresh new age groover on a killer club dub tip. Elsewhere Phazer Boys, Suzanne Kraft, Philipp Otterbach and River Yarra remix the pscht out of their favourite tracks from ‘Instrumentalmusik..’. Expect Goan hits, cosmic trips, loved up rave and chilled out wave on this flawless five tracker.

                                                                      Growing Bin becomes Glowing Pin for the most anticipated rematch of the century. Back at the beginning of 2018, Wolf Müller and Niklas Wandt went head to head for a box office smash, throwing a high school percussion tray, wall of hardware and voodoo skull into the ring for the tribal trip of ‘Instrumentalmusik Von Der Mitte Der World’. Now the multi-instrumental duo face off once again, but this time it’s a royal rumble with Phazer Boys, Suzanne Kraft, Phillip Otterbach and River Yarra all bringing the noise to the Glowing Pin.

                                                                      Müller and Wandt dominate the action on the A1, playing loose with sampler vox, serene pads and future primitive rhythms on the unreleased ‘Fun Dub’ of the also unreleased ‘Dub Dub’. Imagine Ferris Bueller’s trampoline tumble trading Chicago to the Weissenhof and you’ll sense the mood of this New Age groove. Germany’s number one party dudes, those freaky Phazer Boys take a break from dropping killer Candomblé cuts to reach for the lasers on the A2, taking ‘Ahu’ to another dimension. Dripping in neon body paint and armed with fire poi, the Düsseldorf duo power up progressive house sequences, didgeridoo bass and thumping tribal house percussion for a wall-shaking, speaker-breaking remix.

                                                                      The B1 belongs to synth whiz Suzanne Kraft who revels in glistening, gliding glory on an expansive remix of ‘Auflösung’. Sleek, serene and futuristic, the track shimmers like Fritz Lang’s Metropolis, free from inequality and rendered with the 5D(ub?) majesty of a DMT breakthrough.
                                                                      B2 hears Salon associate and serious talent Philipp Otterbach take over on a stripped back and psychedelic post punk dub of ‘Expedition’. Angular bass by Süne Große and a stuttering rhythm underpin astral flourishes and the hazy vocals of Lucas Croon before the African elements begin to move to the forefront.
                                                                      Last man standing is Australian outlier River Yarra, who leads us into the Krautback with a chugging dub of ‘Weltraumsandalen’. Lent a lysergic sparkle by a percolating one-note bassline, this slow motion stunner masters perpetual motion amid the eerie echoes of the bush, organic percussion and electronic animal cries fading into the night. Let the pins glow again.

                                                                      Lovely Eggs

                                                                      This Decision

                                                                        “This Decision” is the the first single from The Lovely Eggs forthcoming album “I am Moron.” Released on limited edition 7” face raging purple vinyl and accompanied by mind melting artwork designed by Casey Raymond “This Decision” is an outright attack on greed and mindless consumerism and a fierce defence of a no frills lifestyle that The Lovely Eggs have chosen to pursue. “This Decision” goes further than capturing the zeitgeist of Brexit Britain. It’s about choice and the lack of choice in society. This decision is all yours. Is it?

                                                                        For the last two years The Lovely Eggs have sat back and watched England and the rest of the planet slowly eat itself. Their new album “I am Moron” is the result of their observations, a relentless analysis of a modern culture that is bringing the world to its knees.

                                                                        Following up from their critically acclaimed 2017 album “This is Eggland”. It is their second album co-produced and mixed by Dave Fridmann (The Flaming Lips, MGMT, Tame Impala) and continues their journey through Eggland into the unknown.

                                                                        Continuing the heaviness of “ This is Eggland” “I am Moron” brings more depth to their sound bringing with it a mix of heavy psych, pop and strangeness. Some songs flicker between an earthly realism and the otherworldly loneliness of a one way space mission.

                                                                        With no booking agent, manager, record label or publisher The Lovely Eggs are truly independent. And this isn’t due to economics. This is by design. From day one. And support for them is snowballing. They are selling out bigger and bigger venues and more eggheads are joining them in their crusade against bullshit.

                                                                        This Decision is a powerful harsh hit at reality. The Lovely Eggs say it how it is. They’ve never been afraid to swim against the current and now they’ve got an army of fans behind them.

                                                                        Islet

                                                                        Eyelet

                                                                          A Powys trio whose free-spirited invention and exuberant intensity flows through experimental pop: hypnotic, exhilarating and defiantly unique. The Welsh band Islet return with the release of their long-awaited new album.

                                                                          Eyelet was recorded at home tucked away in the hills of rural Mid Wales. It took form the months following the birth of band members Emma and Mark Daman Thomas’ second child and the death of fellow band member Alex Williams’ mother. Alex came to live with Emma and Mark, and the band enlisted Rob Jones (Pictish Trail, Charles Watson) to produce.

                                                                          ‘Caterpillar’ described by Emma as “a song for my unborn child”. It's followed by syncopated lullaby ‘Good Grief’ with its haunting keyboard hook and icy percussion thawed by Emma’s yearning vocals about the quiet strength of generations of women. With nods towards Arthur Russell and Jenny Hval, ‘Geese’ is a mini symphony of driven electronica inspired by Welsh cultural theorist Raymond Williams’ novel People Of The Black Mountains.

                                                                          Young Fathers inflected rhythm can be heard on ‘Radel 10’ that accompanies the multi-tracked variations of Emma and defiant lyrics that were inspired in part by The Good Immigrant - the landmark anthology of essays on race and immigration by BAME writers.

                                                                          FORMAT INFORMATION

                                                                          Coloured LP Info: LP is Ltd edition DIE CUT Sleeve, NEON ORANGE Vinyl with download.

                                                                          Eluvium

                                                                          Virga I

                                                                            Virga I is the first album in a new ambient music series by Eluvium. Matthew Cooper, the composer behind the Eluvium moniker, explains: "I had recently been playing around with various forms of generative music and long-format looping, as well as practicing patienceinteracting with musical systems and recordings, hesitantly dueting with them, trying to keep things minimal while also encouraging as much depth as possible. It was really just something fun to privately experiment with for personal gain. Over time I'd created a group of pieces and had them on various mixes that I would make for myself, but I hadn't really given them much thought. Over the winter, my wife and I were subjected to an unexpected move from our home, into our tiny garage studio as we had some work done on the house. It was a little like an unexpected backyard camping trip but with two dogs and two people in a very small space, with the majority of our belongings in boxes on the driveway all while weathering a snowstorm. It got a little weird in there, but also oddly comfortable. At some point, my evenings became very much about relaxing, stretching, and breathing to these pieces. They gradually fostered a very specific mood that I found intoxicating. The music seemed to enhance the soft orange glow in this small room in the dark of night, with the snow falling just outside. They also reminded me of some of my earliest works, those which were a bit less researched and considered. Perhaps they were simply more "felt" than anything.

                                                                            It occurred to me that other people might find that peculiar feeling inside these works in the same manner that I have, and that I might enjoy returning to working in this way again soon. I decided it might be nice to start a series inspired by this setup. A place for me to relax and experiment with emotions, and slow movements with various toys in my studio, in honor of strange deep feelings, gentle touches, and memories from a long time ago. I titled it Virga, after the drifting of rain we sometimes catch drooping on the horizon, disappearing before it reaches the ground."

                                                                            FORMAT INFORMATION

                                                                            Coloured LP Info: Crystal Clear coloured vinyl

                                                                            Having issued a solid number of equally solid releases on the likes of Berceuse Heroique, Versatile, Wisdom Teeth, Peur Bleue and his own finely curated imprint, Banlieue Records, Benoit B steps up for the latest Unthank 10" instalment!

                                                                            A world populated by eerie synth-pop textures, hypno-industrial oddities, electroid dynamics and hip-hop breaks gone astray. 100% retro-futuristic Bauhausian blends for the DJs and dancers out on a limb.

                                                                            10" Clear vinyl with 75mm, metallic labels. Two colour screen printed sleeves with artwork by House Of Traps.

                                                                            Juniore

                                                                            Un Deux Trois

                                                                              The “yéyé noir” of Juniore has always been rooted in the cinematic as much as the musical. The Paris outfit’s blending of 1960s French pop, hazy psychedelia, seamless pop, surf grooves and lush orchestration feels as intertwined with big screen aesthetics as greatly as it does being found in the grooves of vinyl. So it makes perfect sense that the band would sooner or later find themselves appearing on more film and TV soundtracks, including the universally lauded drama Killing Eve.

                                                                              It marks a period of continuous upward trajectory and forward momentum for the band who, since the release of their acclaimed 2018 album Magnifique, have been exposed to more people all over the world via stages and screens. From playing huge venues to thousands of people opening for the likes of the Dandy Warhols, to “corners of dive bars with duct tape holding the stage together” the band have been solidifying their sound, approach and relationship by playing extensively. “We’ve become more connected and better musicians,” Says the band’s songwriter and singer Anna-Jean. “I think the new songs are full of that wonderful conversation we have with each other on stage.”

                                                                              It’s this sense of deeper understanding that the band have reached between one another that has allowed them to record an album that sounds as natural, graceful and seamless as this one. “We are now even more who we are than before,” she says of their musical and personal bonding. “And yet we still don’t really know who we'll become next. I know it sounds absurd but it's a very nice feeling.” It’s a feeling that is mirrored in the music too. There is a sense of familiarity, a retro pop flourish – filled with infectious rolling bass lines, razor-sharp guitar lines, dense atmospheres and immersive melodies – yet predicting where the album will go remains a constant impossibility.

                                                                              The album’s title Un, Deux, Trois is another nod to the tight unit of the group. Swanny Elzingre and Samy Osta make up the trio, with the former on drums and the latter sharing guitar and keys along with Anna-Jean. It was in Samy’s cosy Paris studio that the album was recorded. The finished tone of the album - recorded often live to a 16 track - sounds like an amalgamation of their favourite French 60's muses like Françoise Hardy, Brigitte Bardot and Anna Karina with the new wave spark of Devo and the B-52's. While that cross-pollination between sultry, sophisticated pop and good-time energy and vibrancy is certainly present, there’s also a wealth of other touching points that underpin the record. So much so that Anna-Jean says of the themes that run through the album: “It’s a mix of everything we have loved and watched and felt in the last few years. It's like a laboratory of feelings – not really my or our feelings but more universal feelings and emotions – it's like a nonsensical Frankenstein’s laboratory."

                                                                              However, as fun as this record is, much like its predecessor, there's an underlying lyrical message that remains a key part of the band’s identity as they push forward equality-based principles. “It's the same as we've been trying to state since the beginning,” Anna-Jean suggests. “The importance of being independent, of counterculture, humour and poetry. Of not taking ourselves seriously but being very serious about it and fighting against sexism, ageism, racism, consumerism – all the worthwhile fights.”


                                                                              FORMAT INFORMATION

                                                                              Dinked Edition LP Info: Unique alternative colourway sleeve.
                                                                              Heavyweight Vinyl.
                                                                              Numbered Edition of 500.
                                                                              Exclusive bonus 7”.
                                                                              Drinks Coaster / Beer Mat.
                                                                              Postcard.

                                                                              Moses Boyd

                                                                              Dark Matter

                                                                                'Dark Matter’ is a landmark record, a producer album by a young auteur, threading several thrilling musical traditions into a bold new tapestry: the raw energy of grime and afrobeats and the rolling club rhythms of the London underground, combined with the freewheeling creativity and collaborative spirit of his jazz training. With that mentality in mind, it’s no surprise that his talents have trickled over into fashion, producing original compositions for the Louis Vuitton Foundation x MoMa Archive film (2017) and most recently scoring the Men's Dunhill Paris Fashion shows in both 2018 and 2019.

                                                                                A double MOBO & Jazz FM Award winner, Boyd’s live and studio collaborations have been as varied as they have been prolific, from touring with Sampha & Kelsey Lu, to drumming on Sons of Kemet’s Mercury-nominated album, to his recent collaboration with South African Gqom king DJ Lag, which made its way onto Beyonce’s official soundtrack for The Lion King. He produced Zara McFarlane 's 2017 full-length, Arise, in its entirety, for Gilles Peterson’s Brownswood label, and released several acclaimed solo projects though his Exodus record label. Boyd has produced original scores for major Paris fashion shows, and with saxophonist Binker Golding, he’s co-leader and co-producer of the ferocious semi-free group Binker and Moses.

                                                                                FORMAT INFORMATION

                                                                                2xDinked Edition LP Info: Limited to 500 copies
                                                                                Double 140g Grey Vinyl.
                                                                                90cm x 90cm Flag Wrap.
                                                                                Silver Foil Inners.
                                                                                Numbered Edition & Dinked Stickered.

                                                                                2xIndies Exclusive LP Info: Double LP with 2 x 140g.
                                                                                Splattered pressings.
                                                                                Silver foil inners.

                                                                                2xLP Info: Double LP with 2 x 140g
                                                                                Black pressing, Foil inners

                                                                                Lung Dart

                                                                                Slouching Towards Meridian

                                                                                  Inspired by the Rest Zone of the long-defunct Millennium Dome, their latest LP draws on the pair’s shared sense of millennial melancholia across twelve tracks of submerged songwriting and woozy ambience. Combining unorthodox production techniques, with an ear for melody, the result is a spellbinding reflection on growing up with the 21st century.

                                                                                  Fresh from scoring Mark Leckey’s Tate Britain exhibition, this marks an exciting chapter for two of the UK’s most innovative rising musicians.

                                                                                  Lung Dart are Tim Clay and James Rapson. Having met at university in Leeds, the pair have been releasing music since 2015, more recently from a base in South-East London. The last few years have been spent perfecting their distinct sound; music that contains the texture of environments, scattered with field recordings from everyday places. In that time they’ve held a regular show on NTS Radio, released an album, ‘As I Lay Drying’ (2016), an EP, ‘Some Other Hunger’ (2017), as well as contributing to Hot Chip man Alexis Taylor’s solo LP ‘With(out) Piano’. Alongside this the pair have produced scoring work which has been shown at Tate Modern, Barbican Centre, BFI London Film Festival, Somerset House, Berlin Film Festival among other others.

                                                                                  All the while, though, their focus has been moving towards something bigger. An album that captured their fascination with memory, and the ways in which sounds and feelings change and decay over time. In ‘Slouching Toward Meridian’, they have produced just that.

                                                                                  Created for the dawn of a new century, the Millennium Dome has come to be seen as a symbol of the failed optimism of the 1990s. For Lung Dart, though, it represents something else. Through conversations about the space, the pair recalled how it felt when they visited on school trips as children. The wonder it provoked, the atmosphere it created: idealistic and hopeful. Built on the Greenwich peninsula, where time “literally begins”, the Dome was a monument to a bygone age of hopefulness – a mood that coloured the childhoods of a generation now approaching their thirties.

                                                                                  In particular, Lung Dart remember the Millennium Dome’s Rest Zone – a section of the exhibition dedicated to wellness and renewal, where visitors were invited to lie down and let soft, pulsing lights wash over them. The experience was soundtracked by the Longplayer, a 1000-year long composition played on singing bowls due to finish its repetitive cycles some time in 2999. It was in this strange, turn-of-the-century sanctuary, that the duo first heard ambient music – it’s a place they’ve never forgotten. For a band concerned with memory, this pocket of peace has come to represent a calm before the storm – a distinctly relatable ennui for children of the nineties, who came of age as the supercharged world of the future began to crash.

                                                                                  ‘Slouching Towards Meridian’ then, sits in the foggy terrain between the optimism of childhood and the slump of the present day. Far from being defeatist or nostalgic, it is concerned with the disorienting sensations of growing up and remembering; an album about memories of the future.

                                                                                  The LP also contains their most direct music to date, as the pair swap obscured melodies for comparatively clear singing. Take “How?”, for instance, a plaintive ballad that blooms through the rolling fug of cloudy organs; or penultimate track “A Thousand People Floating”, which blends Rapson’s vulnerable vocal performance with soaring trance-like euphoria. Elsewhere, their ability to create soundscapes that are once unplaceable while feeling strangely familiar is on full display. Instrumental “AV Duet” bobs and weaves with childlike energy, while “Before the Crash” sets burnt woodwinds against a gently clanking beat.

                                                                                  For the artwork, artist Adam Bletchly created a visual composite of graphic queues from the Millennium Dome’s visual identity – a tableau of grayscale skies and golden horizons, including discreetly placed photos of Clay and Rapson as children. Like the record, it’s a vision of many things, all united by Lung Dart’s hue.

                                                                                  Lung Dart’s beguiling new record marks a moment of realisation for a duo who have been gently pushing the boundaries of experimental music for a few years. With the release of ‘Slouching Toward Meridian’, their singular vision feels clearer than ever.

                                                                                  Deserta

                                                                                  Black Aura My Sun

                                                                                    Matthew Doty didn't set out to write a solo album. His first batch of weightless and brightly lit material under the name Deserta began to take shape in 2017. Shortly after finding out he was going to be a father, Doty started working on a batch of songs inspired by the joy and the unknown of the world he was about to enter. That inspiration is the sonic and emotional backbone of debut album Black Aura My Sun. Like a hot air balloon headed straight for the stratosphere, Deserta reveals yet another side of the songwriting Doty has spent decades refining. As experimental as it is enthralling, Black Aura My Sun applies the vapor-trailed production values and sublime dynamics of Doty's previous group projects (including post-rock band Saxon Shore and the synth-laced postpunk of Midnight Faces) to a shoegaze-y sound that splits the difference between Slowdive and Sigur Rós.

                                                                                    Doty began finding his own musical voice in the early '00s with the sky-piercing efforts of Saxon Shore. While it was initially a collaboration with Josh Tillman (a.k.a. Father John Misty), Doty was Saxon Shore's only consistent member over the course of five acclaimed records. His responsibility spilled over into everything from booking shows to the songs themselves. He was never completely alone in his pursuit of post-rock perfection, however, so Deserta is very much a new endeavor: a trial-by-fire that was written, recorded, and mixed in total solitude.

                                                                                    Deserta expands and contracts, with chords that drift like clouds, drums that drag and dissipate, and hooks that hang in the air for what feels like forever. That doesn't mean Black Aura My Sun is a subtle or soft record. It actually whips up quite a racket and is particularly heavy when piped through a pair of headphones. Deserta is Doty's main creative outlet right now and a one-way ticket to another dimension entirely.

                                                                                    RIYL: M83, Sigur Rós, Slowdive, The Cure, My Bloody Valentine, Explosions In The Sky, Cocteau Twins

                                                                                    FORMAT INFORMATION

                                                                                    Coloured LP Info: Indies exclusive coloured vinyl (½ Mint Green + ½ Sea Foam), limited to 350 copies.

                                                                                    Douglas Dare

                                                                                    Milkteeth

                                                                                      English songsmith Douglas Dare returns with his third and most stripped back studio album to date, Milkteeth, released on 21 February 2020 with Erased Tapes. Produced by Mike Lindsay — founding member of Tunng and one half of LUMP with Laura Marling — in his studio in Margate in just twelve days, Milkteeth sees Douglas become confident and comfortable enough with his own identity to reflect on both the joys and pains of youth. In doing so, he has established himself as a serious 21st century singer-songwriter with an enduring lyrical poise and elegant minimalist sound.

                                                                                      Douglas Dare grew up on a farm as the youngest member of a large extended family, where he was often found in his own private world, dancing in his mother’s pink ballet dress. “Only now do I feel free to express my inner child again, and am giving myself permission to play dress up,” says Dare of Milkteeth’s cover shot, in which he wears soft makeup and is draped with layers of white linen, acting the part of a Greek muse. “I never felt like I fit in. I was different, odd. I wanted to dance and sing and dress up and on a small farm in rural Dorset that really stuck out.”

                                                                                      Where previously he has been known as a piano player, for Milkteeth Dare picked up a new instrument, the autoharp, and as soon as he sat down with it, songs poured out – he wrote the album’s first single Silly Games, in under an hour. “Instinctual feelings about childhood and innocence were the catalyst,” he explains. “Then with the autoharp, it all just clicked – I could see the album laid out ahead of me.”

                                                                                      Milkteeth opens with I Am Free, which loops piano and lyrics in an intimate dance, comparing the seemingly inexorable freedom of childhood to flying. The Playground is a song Dare says he’s wanted to write for years, about a yearning for childhood innocence and simplicity. While Red Arrows tells a story of vulnerability, of craving parental comfort, The Joy In Sarah’s Eyes is a Jeff Buckley-esque ballad for a new generation. In Heavenly Bodies there is an unhurried darkness that nods to Leonard Cohen’s songwriting, and is also the first time Dare has played the guitar on record. The melodies on Milkteeth are deliberately simple; Dare wanted it to feel familiar right from the first listen. In between these songs sit instrumental pieces – The Piano Room, The Stairwell, The Window – named for the spots they were recorded in, moments for stillness and reflection.

                                                                                      Marking his arrival in 2014 with the release of his acclaimed debut Whelm and establishing his musical dexterity on the much darker follow up Aforger in 2016, Dare’s star keeps growing. In 2017 he was asked to contribute a re-interpretation of Dance Me to the End of Love to the Leonard Cohen exhibition A Crack in Everything at the Contemporary Art Museum of Montréal, currently showing at The Jewish Museum in New York before opening at the Contemporary Jewish Museum in San Francisco in September 2020. He was invited by Robert Smith to perform at his Meltdown Festival at the Southbank Centre in 2018, followed by the David Lynch-curated Manchester International Festival alongside Anna Calvi in 2019.

                                                                                      Dare’s music speaks of his own experiences of universal themes like love, loss, and childhood. Perhaps most importantly, his music gives a voice and a sanctuary to anyone who’s ever felt unusual or out of place. Whether he’s singing of the pain of those in the Magdalene Laundries as on Whelm, describing coming out to his parents on Aforger, or processing his own childhood isolation on Milkteeth, Dare has a graceful honesty and an abiding clarity of vision in his simple and distinctive sound.


                                                                                      FORMAT INFORMATION

                                                                                      Dinked Edition LP Info: Limited to 300 copies.
                                                                                      Alternative cover art.
                                                                                      Numbered.
                                                                                      Coloured Vinyl.

                                                                                      Indies Exclusive LP Info: Ltd 500 indies only clear vinyl.

                                                                                      Italian cult combo CALIBRO 35 release their highly anticipated 7th studio album "MOMENTUM" on January 24th 2020. "Momentum" follows "DECADE" their previous studio album released in 2018 that had marked 10 years of Calibro 35 and it stands out as a new starting point for the project. In the last 10 years Calibro 35 have dug the golden age of soundtracks and they had been to the future with "S.P.A.C.E.", "Momentum", as the band stated: "represents a look at nowadays and a reflection about making music right in the time that we're living".

                                                                                      Inspired by the work of artists such as Tortoise, Jagajazzist, Dj Shadow, Budos Band, Stelvio Cipriani, Ennio Morricone, Sandro Brugnolini, White Noise, Comet is Coming, JPEGMafia and DJ Signify, compared to the previous Calibro 35's full lengths on the 10 tracks that make up the new album, band's instruments and sounds have increased in number and complexity as well as reality. The music palette is further extended by incorporating even more synths and electronic sounds, but keeping everything true and 100% real, with all the instruments played live and with no presets or programming. The two featurings on the album serve the cause as well. On the first single "Stan Lee", they collaborated with rapper, producer and songwriter Illa J a former member of super group Slum Village and younger brother of the late legendary hip hop producer and rapper J Dilla. On "Black Moon", the combo from Milan provided the groove for London-based artist MEI. "If Decade was the sum of everything that the band had felt in the previous ten years", Calibro 35 says, "Momentum is the prequel of what you will hear in the next ten".

                                                                                      To mark the new beginning and come full circle, the recordings took place under the expert hands of usual suspect Tommaso Colliva, in the same studio where Calibro released their self titled debut album twelve years ago.

                                                                                      Not much is known about Philadelphia record producer / label owner Curtis R. Staten who sporadically operated the C.R.S. record label during the late 1960s throughout the early 1980s. During that time, C.R.S. released at least 15 singles and 2 albums of some of the finest R&B, funk, gospel recordings from the Philadephia area.

                                                                                      Fans of Northern Soul and Deepfunk will be pleased to see (and hear!) some very rare AND amazing songs by such artists as George Johnson Jr. & The Mondells, Bonnie Blanchard, Andy Aaron & The Mean Machine, The Zodiacs, Midnight Madness, Carl 'Sherlock' Holmes, and many more.

                                                                                      Key selling points:
                                                                                      - initial 300 LPs contain a bonus 7" of Bonnie Blanchard's ultra-rare northern soul classic
                                                                                      - incl. full album download code
                                                                                      - 12x12" insert with detailed liner notes and unseen photographs
                                                                                      - curated by Dave Louis from Funkadelphia Record Distribution

                                                                                      Wrangler

                                                                                      A Situation

                                                                                        When Wrangler first formed like Voltron a decade ago, they had a very simple modus operandi. The clue was in their name. Ben ‘Benge’ Edwards (The Maths), Stephen ‘Mal’ Mallinder (Cabaret Voltaire) and Phil ‘Phil’ Winter (Tuung) would get together with a very select kit list of careworn analog synthesizers and vintage digital sequencers. Their task? To wrangle new music from the ancient equipment. These self-imposed restrictions helped produced two classic long players: LA Spark (2014) and White Glue (2016).

                                                                                        However the times have changed and so have Wrangler. The coming decade, which looks set to be dubbed the Terrible Twenties, may be the last time that bands actually get to release albums. Ecological collapse, climate crisis, food shortages and the disintegration of the fabric of society will mean that the slow devolution of the music industry isn’t even one of the main things that musicians (or anyone else) should be worrying about. So the trio have thrown everything into their third (but hopefully not their last) album. The result - A Situation out this month on Bella Union - is simultaneously their bleakest and funkiest release to date.

                                                                                        This collection of warm, reverberant, amped up tracks, that land somewhere between future music, synth pop, industrial dance, classic techno and rigid electro, captures the ambiguities of the group perfectly. Just as they use the ageing outmoded equipment that other people once chose to throw away in order to make tomorrow’s music, they are the paranoid group who (just about) dare to hope that things still might turn out OK. They cast a doleful eye across the hellscape of 2019 and state, if the end is truly nigh, then it’s never been more important to celebrate the little time we have left. And if a revolution to save ourselves is possible then we’re all in need of a revolutionary party, with a revolutionary soundtrack to match.

                                                                                        Even though their first two albums were released on Benge’s own MemeTune label he was unsure that he had the time and energy to release A Situation. The solution was staring them in the face however. In 2018 the members of Wrangler along with revered American musician, John Grant released Mr Dynamite on Bella Union, their debut as Creep Show. Label boss Simon Raymonde heard the tracks and loved them: Wrangler now had a new home.

                                                                                        For Mal it almost feels like a family affair: “I was best friends with Robin [Guthrie] and Liz [Fraser] of Cocteau Twins and when Simon joined the group I got to know him really well. I was more from a club music background but I loved what the Cocteaus did.”

                                                                                        Phil adds that there’s no real need for them to define the difference between Wrangler and Creep Show, as the chemistry is completely different: “It’s not just John’s vocals but the way he plays synths and programmes rhythms is unique, so that music can’t help but have its own character. It’s the result of a four way democracy instead of a three way democracy.”

                                                                                        The album title A Situation is purposefully ambiguous perhaps referring to a job that needs doing or a nettle that needs to be grasped; perhaps referring to an unspecified event that is potentially either an opportunity or a threat. The mood is set by ‘Anthropocene’ which concerns the collapse and fall of human civilisation. As Mal points out: “If a future archaeologist digs down into the rocks they probably won’t find any human fossils, just a very thin layer of plastic and some rust patches. There’s an inevitability because the wheels have already been set in motion but that doesn’t mean we should ignore what’s going on, we should be taking care of things regardless. So this is about reaching out to other people before it’s too late rather than building walls.They’re the first fucking things that are going to fall down in the Anthropocene!”

                                                                                        ‘How To Start A Revolution’ contains a different kind of warning. Mal says: “There was originally a little bit of irony in this track but if anything the world has become even scarier in the last two years. If you keep on pushing people there will come a tipping point and it will come back to bite you. There’s no irony left any more.” ‘Machines Designed (To Eat You Up)’ is about the fully-automated AI state surveillance that threatens us all. It looks like the future that Cabaret Voltaire warned us about over four decades ago is now finally here. Mal says: “It’s not my fault! I take no satisfaction at all in this stuff coming true. If it felt dystopian then, it feels more dystopian now. Wrangler are still questioning power but some of the tools of power have changed. I’m now fearful of Google in the same way I was fearful of Thatcher in the 80s.” Phill adds: “In the 70s and 80s if you wanted to have a go you could any weekend of the year but nowadays it’s harder to see who the enemy is and where they are. Come on out and have a go. Where are you hiding?” Benge concludes: “People are aware of the problems with Google, Facebook, 5g, social media, etc. but they’re woven into everything we do, so impossible to deal with.” Addressing the multiple failures of the internet ‘Mess’ originally had the more prosaic title ‘It’s A Fucking Mess’ which just about says it all. ‘White Noise’ is perhaps the bleakest track of all, based round a spoken word piece by Mal, inspired by a reflection on JG Ballard’s notorious and transgressive experimental novel The Atrocity Exhibition.

                                                                                        But Wrangler refuse to ignore the possibility of hope. The mirror image of ‘Mess’ comes in the shape of the copper-bottomed Kraftwerkian techno pop banger, ‘Rhizomatic’. In 1980, French philosophers Félix Guattari and Gilles Deleuze came up with the idea of complex connectivity between “nodes” which eerily predicted the way the internet would work. As Mal says: “It’s an uplifting song, simply because the decentralisation of technology is the one aspect of the internet that might save us.” On the track ‘Anarchy Of Sound’ the group call up perhaps their most unlikely influence to date: the ancient Greek mathematician Euclid Of Athens. Benge explains: “We’ve built weird things into this track called Euclid patterns.” Mal, who studied the history of rhythm for his PhD concludes: “They’ve been part of culture for millennia and explain African drumming as much as Elvis Presley.” But perhaps the most positive aspect of the album is hardwired into the DNA of the track ‘Slide’ simply because it stands on a continuum with the most uplifting of jacking Chicago house and the most utopian of New York garage.

                                                                                        Both sides of the coin - the dystopian and the utopian - are necessary for Wrangler to work. Phil sums it up the most succinctly when he says: “The heavier things get, the more I just want to jump around and have some fun.”

                                                                                        John Doran, Wiltshire, 2019

                                                                                        Spinning Coin

                                                                                        Hyacinth

                                                                                          A brave step forward, Hyacinth is an album full of poetry, light and warmth of heart, and presents a band holding nothing back. It registers a number of changes for the group since their debut LP Permo in 2017: personnel changes, geographical changes, a new context, an ever-changing world outside.

                                                                                          The quartet both lost and gained a member, with Cal Donnelly exiting the group, and Rachel Taylor joining. Rachel and Sean Armstrong have relocated, leaving Glasgow for Berlin – Rachel, from Canada, had no choice but to leave the UK, and Sean followed her. “I think if anything the change has brought us closer as a band,” Rachel reflects, “and made it clear to us that we wanted to continue making music together".

                                                                                          Throughout Hyacinth, there is joy in spades, but also melancholy, and a checked fury, threading the group’s political vision through their reflections on the personal and the interpersonal. Jack explains that the new songs “are about the need for love in an often very unloving world. Trying to find a balance of some kind between feelings of apathy, negativity, detachment and action, positivity and oneness.” Whilst Mellin’s songs were more pointedly political on Permo, here he has built more complexity into his writing. Elsewhere, Rachel contributes her first song to a Spinning Coin release, in the form of the beautiful “Black Cat”.

                                                                                          Hyacinth was recorded during a few days, by Peter Deimel at Black Box Studios in France, while the group were on a summertime tour. It was an idyll, a restorative respite. That carries through to the album, there’s a sense of society and collectivism at the heart of these pop songs, and a commentary on the optimism of the will, no matter how bleak things can get. Ultimately, on Hyacinth, the Spinning Coin ethos stays true to itself, as Sean expands about the experiences and the motivations behind the new music: “It’s trying to connect with other people on a human level, doing something that we love, and trying to embrace the unknown.”

                                                                                          Wah Wah 45s are very proud to announce the release of Kalba, the first album from Ghanaian xylophone master Isaac Birituro and Leeds-based producer and singer-songwriter Sonny Johns AKA The Rail Abandon.

                                                                                          The boundary crossing duo were introduced to the world via the first two singles released in early 2019, Yesu Yan Yan and Für Svenja, and the reactions to the project have been overwhelmingly warm.

                                                                                          There are many differences between Isaac and Sonny, but a powerful similarity - which gives Kalba its element of relatability - is that desire to hear the usual done unusually and play with the shared influence of the music from afar. Named after the town in North Ghana where Isaac resides, the album is a combination of differences; a magnifying glass over the Venn diagram of our lives, the unfathomable meeting of parallel lines.

                                                                                          "It was clear to me that, though he played a traditional instrument in a traditional way, Isaac was influenced by the Western tinged music that filled the streets of Accra - in fact his father, Edmund, introduced him with "He plays the modern way!" Partly dismissive, mostly proud," said Sonny. "And as this Viking sat before him played the guitar, it sounded too much like the stringed instruments of Mali for it to be just a coincidence."

                                                                                          There are so many stories behind each track on this album, but the common denominators are clearly the importance of community, of preserving and presenting local cultures, the ardent desire to contribute to changing the world around us, and, of course, the love and power of music created from a genuine place.

                                                                                          Lee Perry & Mad Professor

                                                                                          Super Ape Inna Jungle

                                                                                            "I am not a human being!" confirms Mr Perry - The opening line on the most electronic experiment The Upsetter has undertaken. This is truly Black Ark in the jungle! Originally Released in 1995 this release has been off the market for 20 years.

                                                                                            Milton Nascimento

                                                                                            Maria Maria

                                                                                              Milton Nascimento’s Maria Maria was recorded in 1974 and was unreleased until almost thirty years later. The album was written as the soundtrack to a ballet which dealt with the legacy of slavery in Brazil. Raw, atmospheric and emotionally charged, Maria Maria reveals one of Brazil’s greatest ever songwriters at his creative peak. Featuring an all-star cast of fellow Brazilian legends including Nana Vasconcelos, Joao Donato, Paulinho Jobim, and members of Som Imaginario, Maria Maria holds what Milton considers to be the definitive versions of some of his classic songs, including ‘Os Escravos De Jó‘ and ‘Maria Maria’.

                                                                                              Milton Nascimento possesses one of the most immediately recognizable voices in Brazilian music: high and sweet and as breathtakingly sublime as that of any soul singer. It was this voice that the legendary Brazilian singer Elis Regina fell in love with back in 1964, having heard Milton perform his song ‘Can o do Sal (Sultry Song)’ at a private party in Sao Paulo. Ellis went on to record the song in 1967 -giving Milton his first hit in Brazil and beginning a career that has spanned over 50 years.

                                                                                              Born in Rio on the 26th October 1942, Milton moved with his adoptive parents at the age of 18 months to Tres Pontas, a rural town in the state of Minas Gerais, 500 miles north of Rio. Milton became part of a local network of musicians, film makers, dancers, theatre directors and writers that included the journalist and song writer Fernando Brant as well as lyricist Marcio Borges and his younger brother Lo Borges. Milton’s religious upbringing as an Afro-Brazilian Catholic saw him exposed to church choral music from an early age. His love of this genre of music is apparent in both his celestial falsetto and vocal choral arrangements. This collection also displays his early fascination with evocative, non-verbal, scat-style singing, spare, harmonic guitar work and local folk music, jazz and rock.

                                                                                              In 1976, Milton and Fernando Brant teamed up with a new contemporary dance company called Grupo Corpo, whose Argentinian choreographer Oscar Araiz, would become a collaborator with the two musicians. Together, they conceived a show based on the composite life story of the daughter of a black slave called Maria. Nascimento wrote music to Brant’s lyrics and “Maria Maria” was premiered in the main theatre of the Belo Horizonte Palacio das Artes that year. The music on ‘Maria Maria’ was performed by an impressive group of young musicians who are today household names in Brazilian music, including Nana Vasconcelos (percussion and effects), Toninho Horta (guitars) and Paulo Moura (sax). Several vocalist including Naná Caymmi, Fafá de Belém, Beto Guedes, and Milton himself, had hits in years to come with reworkings of these songs.

                                                                                              Various Artists

                                                                                              London Is The Place For Me 8

                                                                                                Volume 8 of London Is The Place For Me is titled Lord Kitchener In England 1948-1962 and is devoted to the great calypsonian Lord Kitchener.

                                                                                                Various Artists

                                                                                                London Is The Place For Me 7

                                                                                                  Calypso, Palm-Wine, Mento, Joropo, Steel & Stringband overflows with diverse musical styles, including steel band, stringband, calypso, joropo and mento.

                                                                                                  Various Artists

                                                                                                  London Is The Place For Me 7 & 8

                                                                                                    The latest volumes in this highly acclaimed “London Is The Place For Me” series - Volume 7 & Volume 8 are presenting the music of the Windrush generation: the post-war, London recordings of West Indians and West Africans, in the first wave of modern migration to Britain. Volume 7 - Calypso, Palm-Wine, Mento, Joropo, Steel & Stringband overflows with diverse musical styles, including steel band, stringband, calypso, joropo and mento. Volume 8 - Lord Kitchener In England 1948-1962 is devoted to the great calypsonian Lord Kitchener.

                                                                                                    Various Artists

                                                                                                    Mogadisco - Dancing Mogadishu

                                                                                                      After being blown away by a few tunes - probably just as you will be after listening to this - Samy Ben Redjeb travelled to the infamous capital city of Somalia in November of 2016, making Analog Africa the first music label to set foot in Mogadishu. On his arrival in Somalia Samy began rifling through piles of cassettes and listening to reel-to-reel tapes in the dusty archives of Radio Mogadishu, looking for music that ‘swam against the current’. The stars were aligned: an uncovered and unmarked pile of discarded recordings was discovered in a cluttered corner of the building. Colonel Abshir - the senior employee and protector of Radio Mogadishu’s archives - clarified that the pile consisted mostly of music nobody had manage to identify, or music he described as being ‘mainly instrumental and strange music’. At the words ‘strange music’ Samy was hooked, the return flight to Tunisia was cancelled.

                                                                                                      The pile turned out to be a cornucopia of different sounds: radio jingles, background music and interludes for radio programmes, television shows and theatre plays. There were also a good number of disco tunes, some had been stripped of their lyrics, the interesting parts had been recorded multiple times then cut, taped together and spliced into a long groovy instrumental loop. Like everywhere in Africa during the 1970s, both men and women sported huge afros, bell-bottom trousers and platform shoes. James Brown, Stevie Wonder, Marvin Gaye and The Temptations’ funk were the talk of the town. In 1977, Iftin Band were invited to perform at the Festac festival in Lagos where they represented Somalia at the Second World Black and African Festival of Arts and Culture. Not only did they come back with an award but they also returned with Afrobeat. While Fela Kuti’s ‘Shakara’ had taken over the continent and was spreading like wildfire throughout Latin America, it was the track ‘Lady’ that would become the hit in Mogadishu.

                                                                                                      Mogadisco was not Analog Africa’s easiest project. Tracking down the musicians - often in exile in the diaspora - to interview them and gather anecdotes of golden-era Mogadishu has been an undertaking that took three years. Tales of Dur-Dur Band’s kidnapping, movie soundtracks recorded in the basements of hotels, musicians getting electrocuted on stage, others jumping from one band to another under dramatic circumstances, and soul singers competing against each other, are all stories included in the massive booklet that accompanies the compilation - adorned with no less then 50 pictures from the ‘70s and ‘80s. As Colonel Abshir Hashi Ali, chief don at the Radio Mogadishu archive - someone who once wrestled a bomber wielding an unpinned hand-grenade to the floor - put it: ‘I have dedicated my life to this place. I’m doing this so it can get to the next generation; so that the culture, the heritage and the songs of Somalia don’t disappear.’

                                                                                                      Royal Trux

                                                                                                      Cats And Dogs

                                                                                                        Cats and Dogs, the fourth Royal Trux album, was originally released in 1993 to critical acclaim; it was also the first indication that Royal Trux could do more than whip up a tornado of distortion. A little less focused than Thank You, it still has its moments of splendor, especially when it sounds as though it's going to fall apart and, suddenly, comes back together

                                                                                                        Randy Miller

                                                                                                        Hellraiser III: Hell On Earth - OST

                                                                                                          For the third Hellraiser film, Randy Miller replaced Christopher Young for music duties, expanding on the already established themes of both Hellraiser & Hellbound his score is dark, sombre and laden with doomy atmospheres. An excellent score to round out the original Hellraiser trilogy. 

                                                                                                          FORMAT INFORMATION

                                                                                                          2xLP Info: Hellraiser III comes complete with a gold foil slipcase that has room to house both Hellraiser & Hellraiser II.

                                                                                                          Wojciech Golczewski

                                                                                                          Tonight She Comes - OST

                                                                                                            Tonight She Comes lays an important spine to the pulsating backtrack of Matt Stuertz’s movie. The music manages to stay true to the retro aesthetics of the genre it pays homage to whilst at the same time keeping a synthwave appeal. Golczewski’s distinctive compositional style is omnipresent throughout the forty-three minutes of the album. Dark and organic, the electronic sound of Wojciech Golczewski’s Tonight She Comes Original Soundtrack has the strength to come alive even outside the pictures. It works horrendously well as a score for your autumn commute through the dusky urban sprawl.

                                                                                                            FORMAT INFORMATION

                                                                                                            Coloured LP Info: 180g red vinyl.

                                                                                                            Jeff Parker

                                                                                                            The New Breed

                                                                                                              Classic creative bop melodies and golden era beat memories woven into a vibrant new thread of psychedelic soul jazz. The New Breed received “Best of 2016” honors from NPR Music, Observer, New York Times, Los Angeles Times, Aquarium Drunkard, and Bandcamp.


                                                                                                              Hoshina Anniversary

                                                                                                              Sagano B/w Haru Wa Akebono

                                                                                                              Hoshina Anniversary is conquerer of the mind, creating the most beautiful sound, other than silence. This is his first offering for the ESP Institute. Side A’s 'Sagano' is fairly representative of the Hoshina sound — raw organic samples and instrumentation, of traditional Japanese origin, mercilessly bent and tweaked to suit the needs of his obsessively precise arrangement. Midway through the track, we’re bewildered by his demonic breakdown on the Rhodes, which daringly tags the bassline and strings into a synchronized trio of jazz-funk noodles, and he even throws in a key change before dropping us back into the main hook for the duration of the dance. It's a major flex, and indeed makes an impression. On side B’s 'Haru Wa Akebono', Hoshina displays an alternate and equally significant side to his songwriting, merging optimistic twinkles and arpeggios with slightly detuned dry percussion for an overall uneasy vibe, not dissimilar to early video game aesthetics or circuit-bent toys. Across both sides, there lies an unhinged overtone, such that we feel one small step from spiraling deep into a demented quicksand, a freak-out where hallucinations get the better of us. Initiating a breadth of releases planned with the ESP Institute, this single summarizes a few of Hoshina’s most compelling modes, and though there is a whole circus yet to unfold, we hold his cards close, no spoilers before the main act. These two songs will have you drinking moon juice and dancing naked at the Mardi Gras.

                                                                                                              STAFF COMMENTS

                                                                                                              Patrick says: Fans of boundary pushing house and oddball dance music might recognise Hoshina Anniversary from his breakout 12" on Safe Trip earlier this year. Here the Tokyo based producer cooks up a bouncy banger for the A-side and a proper cosmic cruiser on the flip, instantly attaining five mushrooms out of five in our new Piccadilly scoring system.

                                                                                                              Belters storm the dancefloor one more time with a quartet of killers from their Lithuanian pal Zoé Zoe. Internet heads may recognize 'Kalista' from the label's Dekmantel podcast, and now that standout track gets its vinyl debut.
                                                                                                              We're in Italo heaven on the A1, as Zoé Zoe combines octave bass, fx soaked spoken vocals and heartswelling chords into a totes emosh bit of mid-set melancholy. The electronic enjoyment continues with the blorpy sounds of "Quark", a chance meeting between a square bass, sonar bleep and acid line which certainly tickles this DJs pickle. Flip it for more feels via the aforementioned internet breaking "Kalista", a deep space acid serenade for a sci fi love story and the clinking, clanking mechanical madness of "Hubble Deep Field", a B2 secret weapon if ever I've heard it.


                                                                                                              Circa Waves

                                                                                                              Sad Happy

                                                                                                                An album of our times, ‘Sad Happy’ is formed of two diametrically distinctive sides – the first half of the record contains the Sad tracks, the latter the Happy tracks. Released on March 13th via Prolifica Inc / [PIAS], the album will be available on CD, standard single LP and a limited edition gold 2LP where the album is physically split in to Sad and Happy LPs.

                                                                                                                Lead single ‘Jacqueline’ is unveiled today as the first taste of ‘Sad Happy’. Listen here. An infectious, Soweto flavoured groove, ‘Jacqueline’ is another bold slice of bright, life-affirming pop from the pen of Kieran Shudall, who is establishing himself as one of Britain’s most prolific young songwriters. With it’s infectious chorus and refrain of ‘Good times are coming around the bend’, Jacqueline is at once instantly recognisable and also another bold sonic leap forward for Circa Waves. It’s a song that’ll sit effortlessly amongst a setlist already brimming with anthems.

                                                                                                                ‘Sad Happy’ was written and produced in full by Kieran Shudall, and mixed by Grammy winners Dan Grech-Marguerat and Matt Wiggins. Today’s album announcement comes a little over six months after the release of April’s Top Ten Charting UK Album ‘What’s It Like Over There’. The prolific nature of Kierans’ writing, coupled with Circa Waves relentless appetite for playing live and their own label imprint, are cementing the Liverpool four piece’s reputation as one of the UK’s most dynamic and exciting bands.

                                                                                                                Nada Surf

                                                                                                                Never Not Together

                                                                                                                  With their ninth studio album, Nada Surf—Matthew Caws, Daniel Lorca, Ira Elliot, and their longtime friend and collaborator Louie Lino—continue pursuing their humanistic vision of the world through hooky, catchy rock songs with sharply drawn, yet tenderly felt lyrics. Never Not Together, is a wide-ranging collection of songs that revel in the group's ability to evoke and reflect grand and intricately wrought emotions, whether through sweeping guitar solos or hushed-whisper vocals.

                                                                                                                  Drive-By Truckers

                                                                                                                  The Unraveling

                                                                                                                    Drive-By Truckers’ 12th studio album and first new LP in more than three years – the longest gap between new DBT albums – THE UNRAVELING was recorded at the legendary Sam Phillips Recording Service in Memphis, TN by GRAMMY® Award-winning engineer Matt Ross-Spang (Jason Isbell, Margo Price) and longtime DBT producer David Barbe. Co-founding singer/songwriter/guitarists Mike Cooley and Patterson Hood both spent much of the time prior doing battle with deep pools of writer’s block. “How do you put these day to day things we’re all living through into the form of a song that we (much less anybody else) would ever want to listen to?” says Hood. “How do you write about the daily absurdities when you can’t even wrap your head around them in the first place? I think our response was to focus at the core emotional level. More heart and less cerebral perhaps.”

                                                                                                                    The songs that eventually emerged are among Drive-By Truckers’ most direct and pointedly provocative, tackling the myriad horrors of our new normal through sincere emotion and unbridled heart. Indeed, “Armageddon’s Back in Town” takes a whirlwind joyride through the whiplash of events we collectively deal with each day while the concluding “Awaiting Resurrection” dives headfirst into the despair and pain roiled up by these troubled times.

                                                                                                                    “The past three-and-a-half years were among the most tumultuous our country has ever seen,” says Hood, “and the duality between the generally positive state of affairs within our band while watching so many things we care about being decimated and destroyed all around us informed the writing of this album to the core.

                                                                                                                    “While a quick glance might imply that we’re picking up where 2016’s AMERICAN BAND album left off, the differences are as telling as the similarities. If the last one was a warning shot hinting at a coming storm, this one was written in the wreckage and aftermath. I’ve always said that all of our records are political but I’ve also said that ‘politics is personal’. With that in mind, this album is especially personal.”

                                                                                                                    The remarkable songcraft found on THE UNRAVELING receives much of its musical muscle from the sheer strength of the current Drive-By Truckers line-up, with Hood and Cooley joined by bassist Matt Patton, keyboardist/multi-instrumentalist Jay Gonzalez, and drummer Brad Morgan – together, the longest-lasting iteration in the band’s almost 25-year history. The LP also features a number of special guests, including The Shins’ Patti King, violinist/string arranger Kyleen King (Brandi Carlile), and North Mississippi All-Stars’ Cody Dickinson, who contributes electric washboard to the strikingly direct “Babies In Cages.”


                                                                                                                    Squarepusher

                                                                                                                    Be Up A Hello

                                                                                                                      After a 5 year hiatus that has seen him delve into a range of diverse musical projects, Squarepusher will return with a long awaited album Be Up A Hello, out on the 31st of January. Fans can enjoy a taster as the double-A side 12” Vortrack will be released on the 6th of December, featuring Squarepusher's Fracture Remix which already caused a stir when it was dropped into his brain-melting breakbeat and jungle set for Warp's 30th anniversary NTS takeover in June.

                                                                                                                      With this new album, Tom Jenkinson (Squarepusher) has returned to using a bewildering array of vintage analogue and digital hardware, the same equipment that first helped him develop his sound in the early '90s. Something of a 180 degree turn, these synths, effects units and even a Commodore Vic20 are in complete contrast to the tools he used to create 2015’s Damogen Furies - cutting edge software that Tom developed over the course of 15 years. The result is Be Up A Hello, an album that is celebratory with rinsing breakbeat tracks such as Nervelevers and Terminal Slam - classic floor fillers - as well pieces loaded with visceral atmosphere and melody in Squarepusher’s inimitable style. Darker moments such as Vortrack and Mekrev Bass illustrate Tom's continuing fascination with finely balanced psychological overload. As such, Be Up A Hello gives a nod to the mayhem, joyousness and abandon of the DIY Essex rave scene that was a strong determinant in Tom's work. 

                                                                                                                      Boniface

                                                                                                                      Boniface

                                                                                                                        The self-titled debut from Canadian solo artist Boniface is a catalogue of their most formative coming-of-age experiences, each moment captured in diary-like detail and set against a magnificently sprawling backdrop. Throughout the album, the musician/producer otherwise known as Micah Visser reflects on falling in love and facing heartbreak whilst struggling with identity, never failing to find an ineffable beauty within all the pain. The result is a body of work both bracingly honest and powerfully exhilarating—an emotional journey that Visser encapsulates as “taking little detours and exploring the times when everything feels perfect.”

                                                                                                                        Growing up in Winnipeg, Visser wrote the songs for the album at home throughout their late teens and early twenties, after shifts at the local coffee shop and lost nights in the city. This intimacy has been preserved on Boniface, with the songs largely recorded in the room they were written, with Visser’s brother Joey and longtime collaborator Micheal Dunn also on hand. The trio eventually travelled to London to finish up work with producer/engineer Neil Comber (Charli XCX, M.I.A., Glass Animals) who helped bring Boniface’s lavish arrangements to full and dazzling life.

                                                                                                                        While the catharsis documented on Boniface is undeniably raw, Visser points to a certain touchstone behind the making of their full-length debut: a mission of gently encouraging others to embrace total vulnerability. “There’s so much negativity in the world, and it’s easy to get caught in that cycle of being closed off and negative too—and then projecting that onto other people, and just continuing the cycle,” says Visser. “I’ve found that in my personal life, pushing myself to be more open helps other people to open up as well, so then it becomes a cycle of positivity instead. And I know that it’s really scary to do that, but hopefully opening up in my music will help people to feel safe. I’d love for people to hear these songs and feel inspired, like they can do anything they want with their lives.”


                                                                                                                        FORMAT INFORMATION

                                                                                                                        Deluxe LP Info: Red coloured vinyl.

                                                                                                                        Prins Thomas

                                                                                                                        Graut (Fango Remix)

                                                                                                                          No long story to tell... I wanted to make something I could play at peaktime and then I went and asked 3 mighty producers whose stuff I adored if they would like to make a version each unleash these bea(s)ts.

                                                                                                                          prins thomas, asker november 2019

                                                                                                                          Prins Thomas

                                                                                                                          Bringing Mum To Panorama Bar

                                                                                                                            No long story to tell... I wanted to make something I could play at peaktime and then I went and asked 3 mighty producers whose stuff I adored if they would like to make a version each unleash these bea(s)ts.

                                                                                                                            prins thomas, asker november 2019

                                                                                                                            Prins Thomas

                                                                                                                            Anything For You?

                                                                                                                              No long story to tell... I wanted to make something I could play at peaktime and then I went and asked 3 mighty producers whose stuff I adored if they would like to make a version each unleash these bea(s)ts.

                                                                                                                              prins thomas, asker november 2019

                                                                                                                              Fat Tony And Taydex

                                                                                                                              Wake Up

                                                                                                                                When he's not busy laying down tracks with A$AP Rocky and Das Racist or hosting shows for VICE Fat Tony kicks back with close bud and producer Taydex spitting close to the bone, observational bars. This, his first release on Carpark records will be out in February next year in time for his support with Black Midi and Blackalicious. "A reliably funny, incisive, trend-dodging alt-rapper" - Pitchfork. For Wake Up, Fat Tony invited a cast of talented peers, including Sophia Pfister, Negashi Armada, Dai Burger, Clarence James, and Revenge Wife, to spit verses on the album. The record’s lead singles “Godly” and “Get Out My Way” show the musical and conceptual range the album has to offer. Fat Tony hopes that the creative risks taken on the album gesture a leap forward in his discography while retaining the charisma and sincerity his fans know him for.

                                                                                                                                Nigerian-American rapper and entertainer Fat Tony’s fifth studio album, Wake Up–a collaboration with producer Taydex–is saturated in the candid confidence that has carried him through his tenure in underground Hip Hop. Wake Up is an anthemic return to form after 2018’s 10,000 Hours. Inspired by quietly groundbreaking rap records like De La Soul’s Buhloone Mindstate and Ghostface Killah’s Supreme Clientele, Wake Up shows Fat Tony widening the scope of his storytelling while maintaining his light-hearted and selfreflective demeanor. Taydex’s instrumentals provide a colorful and turbulent backdrop to Fat Tony’s anecdotal and satirical verses. The record is due February 7, 2020, and is his first with Carpark Records, building on the momentum Fat Tony has made in the few years since moving away from his hometown of Houston, TX. Fat Tony (born Anthony Lawson Jude Ifeanyichukwu Obiawunaotu) initially collaborated with experimental producer taydex on the tracks “Swervin” and “Ride Home” from his sound-expanding LP MacGregor Park. “I had such a good time working with him that I decided to invite him to co-produce a song called ‘Poet’ from my last album.”

                                                                                                                                Fat Tony explains. “After that, I just decided, let’s make an EP together.” The pair began recording a five-track EP in December 2018 at Taydex’s studio, which would lay the groundwork for Wake Up. Fat Tony and Taydex put the project on pause for about three months while Fat Tony was living in New York and co-hosting Viceland’s late-night variety show VICE LIVE. After the show ended in April 2019 Fat Tony flew back to LA and spent a month and a half with Taydex recording new tracks and elaborating on what they had already started.

                                                                                                                                “I thought it would be more interesting to make it an album than an EP, and that the time we spent apart before making the second batch of songs would make it a more interesting and diverse body of work.” By the end of the second session, Fat Tony and Taydex had created a complex collage of sounds, stories, and references that flexes the MC’s growth as a writer the producer’s masterful assembly. 

                                                                                                                                FORMAT INFORMATION

                                                                                                                                Coloured LP Info: Limited Neon Yellow LP


                                                                                                                                Latest Pre-Sales

                                                                                                                                99 NEW ITEMS

                                                                                                                                Thanks for stopping by Jayne and thank you for the kind words. https://t.co/59aJeGxNlL https://t.co/X5I278utak
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                                                                                                                                More copies of this fabulously outragous CD have just landed... Georgia 'One Mind' https://t.co/JoCrrZHvkR https://t.co/gfvhNKWS91
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                                                                                                                                Two coloured vinyl albums from two fantastic artists here which were both released this year. Girl Ray @G1RLRAYhttps://t.co/0kQ4FNVa6W
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