MAGIC MIX

ALL GENRES

WEEK STARTING 15 Nov

Second in the remix series from A Man Called Adam’s acclaimed "Farmarama" album, this 12inch features spacious deep house earworms from wunderkind Aleksandir, and jazzy vibes from Columbian rising star Felipe Gordon (The FG mix is exclusive to this vinyl release). AMCA rework their own track Michael into a swing laden dub and reedit Aleksandir’s demo and monitor mixes into sparkling big room Balearic.

Aleksandir continues his fine work on Piccadilly faves Blind Jack's Journey and Church with a deep, detailed and uplifting house refix which would sit comfortably next to those early Floating Points 12"s. A Man Called Adam's own dub version of "Michael" is about a summery as it gets, packing poolside beauty and unexpected acid into a the perfect Ibizan day party jam. With trilling pianos, spheric bass and punchy MPC beats, Felipe Gordon's remix is both moody and Moody, while A Man Called Adam's own edit of the Aleksandir edit finds the hidden cosmic power within to turn out a soaring beauty. 

STAFF COMMENTS

Sil says: Laidback deep house remixes for these well seasoned that recently delivered a highly regarded come back LP. These are the different takes from the house towers of the dance music world! Worth a listen.

Elite digger, Redlight runner and Music From Memory man Abel Nagengast takes the controls for the latest offering on Passport To Paradise, sharpening his scalpel and applying expert edit pressure to a quartet of killers from his cavernous vaults. "African Sheikh"  sets our heels in motion with a glorious combination of chanted African vocals, tunnelling acid-boogie bass and the occasional blast of funk organ. If you're looking for a peaktime pearl for your next left-of-centre set, you've just found it. Solid percussion, body moving bass and tribal psychedlia come together wonderfully for a floorfiller which I can hear Harvey, Marco, MDCE, Floating Points, KDJ etc, etc playing - must have! Next up, "Impossible" shocks us with 1000 volts of euro-lectro energy, harnessing crunchy Bobby O synth sounds, body popping percussion and a rolling synth bass to get the party in a headspin. Throw in some perfectly naff vocals and you've found a winner. Onto the B-side and "Confusion" keeps the good stuff coming with a steady 4/4, slick bass work and some suitably wiggy guitar work. Minimal and nocuturnal, this slick bit of street soul utlises gently vocoded vocals and tape chewed synth lines to reach the sleazy synth funk heights you'll hear in the equally dope Avant Garde record on Spacetalk. Next up, "Impossible" sticks with the 80s aesthetic, this time taking us on a slow boat through some strung out fusion delight. Reverb soaked drums, limber bass work and chorus heavy guitars form the perfect backdrop for the breathy vocals and suspicious chimes which lend this number a delightful City Pop mystique. Unsurprisingly, it's all killer, no filler from the Redlight man.

STAFF COMMENTS

Patrick says: Heavy cosmic, Afro killers and Balearic manoeuvres from Redlight man Abel Nagengast here on Passport To Paradise - it sold out in an instant last time out, so make sure you don't nap again.

Acid Mothers Temple & The Melting Paraiso U.F.O.

Minstrel In The Galaxy

    Way back in 2004, ACID MOTHERS TEMPLE & THE MELTING PARAISO U.F.O. released the CD only album 'Minstrel In The Galaxy' on Riot Season Records. The decision to make it CD only at the time was down to the epic title track being almost 42 minutes in length. Fast forward fifteen years and new technologies and we have the first ever vinyl release of this classic album, with a new edited especially for vinyl mix by main man Makoto Kawabata.

    What we said back then ...

    ‘Minstrel In The Galaxy’ is the sound of the newly slimmed down four-piece AMT recorded in their smoke filled basement Studio in Nagoya during summer 2004. The sounds captured on these three tracks are the first post-Cotton Casino AMT workouts. The diminutive beer and cigarettes goddess has upped sticks and moved to the USA to start a new life and plan her solo career. We’ll miss her that’s for sure but we can’t worry about that now, AMT have another ten albums to lay down before New Year.

    The AMT line up for this album features the core trio of Makoto Kawabata (Guitar), Atsushi Tsuyama (Monster Bass), Hiroshi Higashi (Guitar & effects) and new permanent drummer (and ex-Mainliner man) Hajime Koie (Drums). The free jazz style drumming from Hajime has helped give AMT their sense of improvisation back, most of their work is improvised and recorded live to tape which gives that great loose feel they have that takes them off on tangents and makes each new record that little bit different from the last. And with this new studio album I think we can safely say it’s something of a new direction.

    They’re joined on this album by Japanese underground queens AFRIRAMPO, who’ve just finished a tour with Sonic Youth and look set for big things themselves in the near future. Musically this album is a slight departure for AMT, anyone buying it expecting a head-melting riff heavy record are going to be disappointed.

    To these ears ‘Minstrel In The Galaxy’ sounds darker and more stripped down that any previous AMT release. The title track alone lasts a staggering 41 minutes, over the course of which the band take our heads in a few gentle directions before letting rip towards it’s crushing finale. For me it’s the gentle openings that make me tick, I love the way it rolls for what seems like ever just going round and round in your head. You almost expect it to explode way before it does and that my friends is the art of foreplay AMT style!


    FORMAT INFORMATION

    Ltd LP Info: Limited edition 500 only coloured vinyl LP with download code in gloss finished 350gsm board sleeve.

    Âme

    Dream House Remixes (Part II) - Inc. Fango / Marcel Dettmann Remixes)

    Second volume of remixes from Âme's "Dream House" LP, this time round it's Berlin mainstay, Marcel Dettmen, and Venetian rising star, Fango, getting their hands on the dials...

    "No War" is sent tumbling down the rabbit hole with a stuttered beat, heavily reverberated bell bashes and ethereal vox. It's highly punctuated beat perfect for keeping the floor frenetic in the later hours of the session as Fango keenly dusts the stems in his unique prowess.

    "Helliconia" is sent helicoptering into oblivion as MD deploys one of his typically devastating, concentric beats to whip the floor up into a salviating frenzy. The producer remains piloting the ship for finish mission, "Gerne" which gets stripped back to a highly psychedelicized, tek-dub skeleton. Mega.  

    STAFF COMMENTS

    Sil says: With the dancefloor in mind, Dettman delivers a banger revision on the full B side for lovers of techno and house (or tech-house even). The other tracks are slightly less techy, leaning on the minimal side of things.

    Ray Mang teases countdown fans everywhere with his latest anagram, cooking up a ten track double LP of edit excellence while the big blue clock rotates. The inaugural release on fresh stable Keeps Going, and Ray's first LP in a decade, "Dis Go In Ya Pipe" finds the new disco legend in imperious form maintaining total mastery of groove and fx whether he's tackling gospel disco, post-Paisley funk, Fleetwood Mac, Latin, kwaito or dub. Essential listening for disco, Balearic and house heads, this is a house party on a platter.

    STAFF COMMENTS

    Patrick says: New disco hero Ray Mang adopts his latest alias, the hilarious Any Gram and drops a ten track double LP of edit excellence, covering all bases for the dope and diverse DJ. Gospel disco, SA boogie, kwaito, reggae and Fleetwood Mac all come under the scalpel, resulting in a riotous set for the righteous DJ.

    Kicking off a tasty set of reissues from long running bastion of UK electronic music - Warp; comes this amazingly futurist Aphex session from 1995. Recorded for the infamous John Peel Sessions, the twelve contains four tracks culled from the session.

    Starting with the mutant cosmic disco of "Slo Bird Whistle" which in present day setting seems more than at home alongside the current slew of slow EBM music, albeit rife with AFX's child-on-acid hilarity and discord.

    "Radiator" sees that trademark foray into weirdness that would characterize much of this demigod's output through his career. Riddled with disonance, glitchy techno beats and staccato acid squelches, this is self coined 'Cornish acid', true to source.

    "P-String" on side B displays his stadium-tickling, sound-art credentials as a pummelling kick and dark string converge on a monster mix that's full of foreboding and tension. Accompanied by the artist's iconic visuals, these are some of the pieces that would make his live show one of the most feverishly adored on the planet.

    Finally, we get the stoned, student-bedroom afterparty haze of "Pancake Lizard" which effortlessly drifts off into a chemically induced daydream; gentle strings manipulated against baggy breakbeats and a mid 90s grainy hue.... ahh the good old days.

    Classic AFX - back on wax - you know what to do! 


    STAFF COMMENTS

    Matt says: Top drawer Peel session from the Cornish acid pioneer. Kickin' off this monolithic Warp Sessions series in fine style.

    The Band

    The Band (50th Anniversary Edition)

      Released on the 22nd September, 1969, the eponymous second studio effort by The Band is a concept album, with the songs focusing on people, places and traditions associated with an older version of Americana. It was recorded in the pool house of a home rented by the group in the Hollywood Hills which was once owned by Judy Garland, Wally Cox and, at the time the group worked there, Sammy Davis, Jr. According to Robbie Robertson, the location was chosen to give the songs a Basement Tapes–like feel in what was termed “a clubhouse concept.”

      The album includes many of The Band’s best-known and critically acclaimed songs, including “The Night They Drove Old Dixie Down,” which Rolling Stone named the 249th greatest song of all time. The magazine also ranked the album number 45 in their list of the 500 greatest albums of all time. Time magazine included it in their unranked 2006 list of the 100 greatest albums.

      Robert Christgau, who spent 37 years as the chief music critic and senior editor for The Village Voice, declared it better than Abbey Road, which had been released four days following, writing that The Band’s LP is an “A-plus record if I’ve ever rated one.”

      The album is preserved in the National Recording Registry and is also included in the book 1001 Albums You Must Hear Before You Die.

      Beard In Dust

      Edits From The Dust

      After wooing us with the first three installments of his 'mystery' (cough) sub label, Br**ley Z*** (who, what?) returns with the forth volume of this cult series.

      3 no-bullshit disco versions designed for euphoric moments on any dancefloor and avoiding any clichés or over-used anthems.

      Every release has thus far sold out, this one will too with so far no word of any of the series being repressed....

      You know what to do!


      STAFF COMMENTS

      Matt says: Blink-and-you'll-miss-'em! Cult collected edits series from the Rhythm Section camp..

      No. 2 in this essential series for Warp fans old and new. Star signing Bibio's idiosyncratic of pastoral electronic folk, peppered with hip-hop production and soulful vocals made a huge impact when he first came on the scene ten years ago.

      These four tracks, plucked from the artist's expansive discography, highlight the delicate and organic side to this producer beautifully, redolent of rolling green hills and the indelible English countryside, given a modern spin and electric hum. There's no one quite like Bibio, yet his vibrations and inflections are so joyous and accessible to all.

      "Lovers Carvings", surely the EPs highlight sets this tone perfectly - a song based on vocal harmonies that's make Fleet Foxes takes note, delicately picked guitar lines and a gentle percussive thrust carrying it ever forward and into the hearts and minds of its listeners. 


      STAFF COMMENTS

      Barry says: While Bibio has been moving more towards an effervescent distillation of disco and indie-electronics, this session for Warp includes some of his most airy, beautiful pieces, and needs to be heard by anyone with a passing interest in his music. If you don't like this, you don't like Bibio.

      Here we have a celebration of Northern European electronics as Iceland's most famous export (except Findus Crispy Pancakes of course) Björk cooks up a cultural exchange with fellow vikings Karin & Olof Dreijer for a three tracker of ear wrecking energy. On the A-side Karin appears as Fever Ray, handing Björk the stems to xer icy electro winner "This Country Makes It Hard To Fuck". Making excellent use of an abandoned power plant, nearby Tesla coil and clanking assembly line, the former pop pixie hammers out a tough as fuck industrial cut then adds her inimitable vocals as the icing on the toxic cake. Next up, Karin gets to flex xer remix muscles with an epic, ascendent take on "Features Creatures", adding additional vocals, wild synth yelps ('member "We Share Our Mother's Health") and a whole heap of cinematic heft to the cut. Flip it and Karin teams up with xer bro Olof for a reprise of The Knife bringing a suitably techy, tribal and icy electro vibe to the same track. Brought to life with a super cool sleeve design, printed clear outer and retro-metal inner, this 12" nails both sound and vision.


      Blue Bendy

      Suspension

        'Suspension' is the debut 7" from South London's Blue Bendy; a breathless combination of pastoral psychedelia and jaunty post-punk. It is backed by the jaunty, irresistibly catchy ‘As Long As I Get My (Hiss)’, which crosses C86 indie-pop with 90s indietronica. Blue Bendy are six former Goldsmiths students who initially bonded over a mutual love of Stereolab and 90s fashion. In the words of the band themselves: “‘Suspension’ is a profoundly wonky lament about a bridge; a celebration of the monolith on Humberside if you will. It was conceived out of a desire to communicate its enduring status as a symbol of romance, nostalgia and yearning.”

        Third release in Warp's new reissue series and it's another Peel Session from another stalwart of UK electronica - Boards Of Canada.

        Taken from 1998 it features landmark tracks, "Aquarius (Version 3), "Happy Cycling", "Olson (Version 3)" and "XYZ".

        Demonstrating the act's uncanny knack at crafting dreamy, cinematic-cum-fairylike soundscapes, glued together by dusty breakbeats and DIY electronix, tracks like "Aquarius" and "Happy Cycling" are treasured artifacts amongst long-term fans and newbies alike.

        Two experimental tracks decorate side B, smothered in electrostatic and musicality combined, the two elements that would make this act such a formidable force during their heyday and such a well respected addition to British electronic music.


        STAFF COMMENTS

        Matt says: A vital piece of the Boards jigsaw; this late 90s John Peel session is a high watermark of creativity and subtlety from this bastion of UK electronica.

        Our fertile Mancunian soils uncover yet more magic from underneath the paving slabs and gutter grills of our city streets. Jerk It, a new label born out of the clubnight and radio show of same name, inaugurates itself with a precision crafted, garage-house bass hybird from Swedish producer Bobo (Bars Of Beats).

        Opening with the intricately constructed, "And They All Look Like You" - full of darting sfx and cleverly overlocked rhythms, it simmers white hot while machine-code hats and delicate piano notes glide us forward on a slinky plane.

        "Crucifxi" follows with a truck load of bass weight as it delivers a Void-approved journey into spiraling synthetic house goodness that's heavy enough to bridge into more intense moments later. The long breakdowns and wide-spectrum stereo field should ensure this does maximum damage in a club environment.

        Flip and the more hyped up, garage hybrids jostle for attention. "Workin" sounds already like it could be the label / clubnight's theme tune; it's clever ghosted vocal loop a call to arms for the Jerk It mob. Add a stuttered nu-breakbeat riddim, gliding subs & the odd dub siren and you've got yourself a vacuum-tight modern club exercise for all to enjoy!

        Another shuddering, syncopated beat closes off the release; "The Downfall Of Zanzibarland" concluding business with an upfront & street ready merging of electro, techno and bass with pneumatic drums, crisp perx and spectral synth lines; perfect for dancing eyes-wide-shut come 3AM at your local night spot.

        Top stuff here from Boba and the Jerk It cru... 1-2-watch 4 sure... Check! 



        STAFF COMMENTS

        Matt says: Yes lads! Local upstarts Jerk It make the natural transition from clubnight > radio show > label - bringing forth the precision club sounds of Bobo for their debut joint. It's a doozy!

        Bonnie & Klein

        1983 - Inc. Ron Basejam Remix

        Bonnie & Klein return to IIB with a gem of a track. Reminiscent of a lost Alan Parsons' instrumental, "1983" meanders its way through marimbas and warm organ plumes to a lovely guitar solo before the hypnotic synth parts carry us away. Already tried and test at La Torre and perfect for the discerning sundowner.

        Ron Basejam excels on his remix, upping the tempo and delivering an awesome yacht-disco bomb full of flamboyance and flair but keeping true to that sophisticated soundsystem tweakin' aesthetic that edges most of his productions ahead of the also-rans. Sweeeet.


        STAFF COMMENTS

        Sil says: Balearic as genre ain't dying just yet and here is proof of it. Two soothing and mellow tracks on Is It Balearic - no pun intended that deliver the vibes you need to kickstart your weekend.

        Bonnie Prince Billy

        I Made A Place

          Bonnie “Prince” Billy stays busy - in the past five years he has released albums of previously-recorded songs by Susanna Wallumrod, Mekons, Merle Haggard; even himself) and a collaborative record with Bitchin Bajas! The only thing he hasn't done is a new album of Bonny originals - in case you weren't counting, 2011's Wolfroy Goes To Town was the last one. That's from the first half of the Obama presidency, for chrissakes!

          Things happen for reasons that are often bigger than ourselves and outside of our control. They happen suddenly or they happen slowly - but they always happen one day at a time and day after day. Here's Will Oldham, on the confluence of marketplace, values, aesthetic and process that slowly built new album I Made A Place:

          "In recent years, the whole world of recorded music, in the way that such music is conceived, perceived, recorded, released and distributed, has been atomized. I tried holding my breath, waiting for the storm to pass, but this storm is here to stay and its devastation is our new landscape. What else is a person to do except what he knows and feels, which for me is making records built out of songs intended for the intimate listening experiences of wonderful strangers who share something spiritually and musically? I started working on these songs thinking that there was no way I was going to finish them and record and release them. This was a constructive frame-of-mind that protected the songs until this frightening moment when we let go of them and give them to you."

          The world has changed. Some things will never change. Some are gone forever. Thankfully, this isn't one of them: the wait for new Bonnie “Prince” Billy is now on a timer. What's more, the new single drops a bit of Apocalypse WOW. Picking up in a sense where last year's "Blueberry Jam" left off, "(At The) Back of the Pit" considers what to do with the things we love when it comes time for the death (and therefore, rebirth) of our painstakingly-built'n'kill't world. It's an affirming country jam: elegiac early moments give way to jaunty roots-rock strides, a horn section soulfully charting the long rays at the end of the day as well as the first rays of the new rising sun as they light on all our hopeful tomorrows.

          STAFF COMMENTS

          Barry says: I think it's probably hard for someone as resolutely productive as Mr. Billy to reach the moment in a songs creation where it feels like there is no more work to be done. Fortunately for us, these delicate, tender country ballads finally reached the light of day, and we're all the better for it. As brilliantly produced and perfectly balanced as any of his previous work, whilst being more focused and melodic. Gorgeous stuff.

          FORMAT INFORMATION

          Coloured LP Info: Indies only deluxe edition on transparent red vinyl.

          David Bowie

          Conversation Piece

            CONVERSATION PIECE is a five CD box set tracking David’s early development throughout 1968 and 1969, via his home demos, BBC radio sessions, studio recordings with guitarist John ‘Hutch’ Hutchinson and the experimental music and mime group, Feathers. The collection also celebrates the 50th anniversaries of the release of the ‘Space Oddity’ single and David’s second album, David Bowie (aka Space Oddity). The set contains twelve previously unreleased tracks/demos from the period as well as a brand new mix of the Space Oddity (aka David Bowie) album by longtime Bowie producer/collaborator Tony Visconti. The new mix of the album now features the title track of the boxset ‘Conversation Piece’ restored to the tracklisting in its initially intended position before it was originally dropped due to time constraints of vinyl.

            The 120 page hardback book accompanying the box features exclusive memorabilia from the personal collection of David’s former manager, the late Ken Pitt, as well as from the David Bowie Archive®, and includes photos by Ray Stevenson, Vernon Dewhurst, David Bebbington, Ken Pitt, Alec Byrne, Tony Visconti and Jojanneke Claasen. The sleeve notes have been written for the release by Bowie experts Mark Adams, Tris Penna and Kevin Cann along with contributions from David’s lifelong friend George Underwood, Tony Visconti, Vernon Dewhurst, Dana Gillespie and John ‘Hutch’ Hutchinson

            FORMAT INFORMATION

            Box set Info: 5CD + 120 page Hardback Book

            FREE SHIPPING This item has FREE UK shipping!

            David Bowie

            Space Oddity - 50th Anniversary Edition

              50th anniversary edition of Bowie’s seminal album featuring a brand new mix by original producer Tony Visconti, and a new die cut O-card.

              The vinyl will be randomly distributed worldwide with a mixture of hand-numbered labels; numbers 1 to 1969 on silver vinyl numbers and 1970 to 2019 on gold vinyl, with the remainder being black vinyl.

              Originally released 14th November 1969, the sophomore effort from Bowie was a big turning point from his 1967 debut. The album most famously introduces the character of Major Tom in ‘Space Oddity’ which would go on to be one of his most enduring classics.

              The new mix of the album now features the title track of the boxset ‘Conversation Piece’ restored to the track listing in its initially intended position before it was originally dropped due to time constraints of vinyl.


              FORMAT INFORMATION

              LP Info: 180g Gatefold w/ Die Cut O-card.

              CD Info: CD w/ Die Cut O-card.

              Billy Bragg

              Best Of Billy Bragg At The BBC 1983 - 2019

                Best Of Billy Bragg At The BBC 1983 - 2019 is a compilation of classic performances at the BBC from the early 80s through to the present. The album, fully remastered and featuring many previously unreleased tracks, includes selected highlights from sessions for John Peel, David Jensen, Janice Long, PhillJupitus, Bob Harris, Tom Robinson & more, and offers a fascinating chronological perspective on the development of one of the UK’s most beloved entertainers. The collection draws from all corners of Billy’s catalogue and features, among many gems, his signature song ‘A New England’ (later covered to huge acclaim by Kirsty MacColl), ‘Levi Stubbs’ Tears’, and his workers’ anthem ‘There Is Power In A Union’, with a couple of atypical covers thrown in, namely John Cale’s ‘Fear Is A Man’s Best Friend’ and ‘A13’, his personal psycho-geography take on ‘Route 66’. All of these and more paint a picture of a British national treasure plying his trade at a British institution and making the world a better place in the process

                Brainstory

                Buck

                  Produced by Leon Michels. Toured with Chicano Batman. Planned touring with Lee Fields & The Expressions. What is Buck? Buck is a state of mind, a way of life, a demeanor that gets you through the good times and the bad. If you ask Brainstory, It is also the energy that permeates their debut album. Kevin, Tony, and Eric are a trio of brothers bounded by blood, fate, and a small town with nothing to do. Their story begins in the long lost lands of the San Bernardino Valley, in the twilight zone known as Rialto, California: An arid wasteland of boredom and empty lots. Through punk rock and skateboarding they found temporary liberation from the local monotony.

                  However, it wouldn’t be long before a hunger for more led them to explore musical realms beyond that of the hardcore punk they admired. After stints at music school and steady disappointment trying to navigate their local jazz scene they moved to Los Angeles and Brainstory was born. Through a introduction from Chicano Batman’s bassist, Brainstory caught the ears of Big Crown head honchos Danny Akalepse and Leon Michels. Shortly thereafter they were on their way to Queens, to record at The Legendary Diamond Mine with Michels at the helm. An instant chemistry yielded 10 songs in 10 days and now Brainstory has gifted the world with one hell of an introduction to all things Buck. Highlights include the sublime slow burner, “Dead End” which was the A-side to their first 45 on Big Crown that sold out in a matter of days. With Kevin’s sublime falsetto floating atop Tony and Eric’s unflappable and unmistakable backbeat, this tune has become a favorite with the ballad heads, the low-riders, and the slowie collectors. “Breathe” showcases another side of their sound taking a page out of the Shuggie Otis playbook and flipping the script with some stoned out west coast swag. Kev and Tony’s father, Big Tone, an accomplished performer himself, steps in on “Peter Pan” to sing lead vocals over a chorus of friends and family. Bassist extraordinaire, Tony, takes over lead vocal duties on “Sorry”, a smoked out, G Funk groove that is just waiting to be sampled. These guys have come a long way from their self released EPs and opening tours with Chicano Batman. Their musical growth is undeniable, and taking their California sunshine vibes and mixing them with Michels’ NYC aesthetic has proven to be an amazing combination. It’s a debut record that pulls influences from so many genres seamlessly it’s hard to nail down. Call it Funk, call it Rock, call it Soul, but over here at Big Crown HQ, we’ve decided to call it BUCK. 

                  FORMAT INFORMATION

                  Coloured LP Info: Clear w/ translucent purple and yellow splatter vinyl

                  Molly Burch

                  The Molly Burch Christmas Album

                    On this collection of holiday songs, Austin chanteuse Molly Burch does Christmas with a twist. Quite an omnibus, the album features classics like “I’ll Be Home for Christmas” and “Auld Lang Syne” alongside heartland hits like “Hard Candy Christmas” and “Snowqueen of Texas”.

                    “This is the most fun I’ve had making a record yet,” Burch says. And you can hear that joy on tracks like ABBA’s “Happy New Year” as well as a playful cover of Wham’s “Last Christmas” with two special guests: actor / comedians John Early (Search Party, Wet Hot American Summer) and Kate Berlant (Sorry to Bother You) add a blithe intro and backing vocals throughout.

                    Recorded by Will Paterson (RF Shannon, Jesse Woods) and Jarvis Taveniere (Woods, Martin Courtney, Purple Mountains), the album also features two beautiful originals penned by Burch to add to your holiday canon. “I hope it’s a Christmas album for people who love Christmas music and people who don’t love Christmas music. May these songs welcome in a fresh new year and many warm, happy nights.”


                    STAFF COMMENTS

                    Barry says: It's November.

                    The first set of remixes of Calm’s By Your Side got plenty of props for sound quality as well as their ability to get people grooving. Now the label serves up some more remixes, this time from legendary figures Mark Barrott (international Feel) and My Friend Dario.

                    Up first is Barrott, the long time slow motion master whose downtempo, ambient, new age and electronic fusions very much set out the Balearic template way back in the nineties. ‘Space Is My Place’ (Mark’s Re<>Imagination to the Sacred Heart Center) is an enchanting and tropical reworking with exotic percussion and liquid drums that gentle sway to and fro like a raft at sea. It’s another escapist, transportive track from Barrott that takes you to the other side of the world.

                    My Friend Dario returns to Hell Yeah after his exquisite Calamari Fritti EP late last year with more of his worldly infused sounds. His Etna Vision of ‘Shadows and Lights’ is a glistening affair with loosely jumbled drums and romantic keys that ring out into a balmy night sky. It’s musical and blissful as always with this artist.

                    Once again here Hell Yeah have come through with your most essential summer sounds.

                    STAFF COMMENTS

                    Patrick says: Piccadilly's Balearic LP of 2018 continues to extend its ecstasy with a second volume of remix joy. This time round Mark Barrott of International Feel fame cooks up a cosmic chugger with all manner of chakra aligning idents and trippy blips, while My Friend Dario (best name in music?) goes deep and dreamy with an expansive house mix which shifts gears through nuanced congas, meditative breakdowns and energetic acid.

                    Award-winning bassist Daniel Casimir and vocalist Tess Hirst release their debut album via pioneering London-based record label Jazz re:freshed

                    Following the success of Daniel Casimir's critically acclaimed debut EP 'Escapee' which featured Hirst on vocals and fellow rising stars on the scene Moses Boyd, Joe Armon-Jones and Shirley Tetteh, this album - 'These Days' is inspired by the duo's London surroundings, delivering thought-provoking lyricism, neo-soul and modern jazz

                    Casimir, a former Birmingham Conservatoire student, has collaborated with Julian Joseph, Jason Rebello, Benet McLean, Lonnie Liston Smith, Nathan Facey, Shane Forbes, Chihiro Yamanaka, Ashley Henry, David Lyttle, Nubya Garcia, The Tracey Quintet (Meantime Jubilation), Tom Harrison (Unfolding In Tempo), Jasmine Power (Stories And Rhymes), Camilla George and Art Blakey Jazz Messenger saxophonist, Jean Toussaint

                    Named Young Jazz Musician of the Year by the Musicians' Company in 2016, Casimir has received plaudits for his arrangements and recital, while Hirst has made a name for herself with her vocals on the jazz circuit having moved between London, Leeds and LA to hone her craft. What sets Hirst apart as a musician is not only the originality of her music but her perspective of herself as an artist. She is an Ethnomusicology Graduate of SOAS and her writing style walks us through her upbringing in West London and down the halls of academia

                    Casimir and Hirst fuse traditional jazz sounds into beautiful compositions, narrating their way through a political and cultural landscape across these twelve tracks. The frenzied groove heavy'Security' addresses the need to trust one another and how we protect ourselves personally, while the rich atmospherics of 'Freedom' combined with Hirst's vocals, explore liberation and the rejection of duty - from a female perspective.

                    At the heart of 'These Days', Casimir plays with a passion and power that resonates throughout each composition. His knack for complex chord changes are highlighted in 'What Did I Do', bringing an energy and enthusiasm to the track while Hirst decries our changing capital. Elsewhere, references to John Agard's poem 'Listen Mr. Oxford Don' in 'The Magic Money Tree', explore the past and its relevance to now while a re-imagining of Charles Mingus' 'Fables Of Faubus' further ensures this theme remains central to the essence of the album.

                    Daniel Casimir and Tess Hirst have already received radio support from BBC Radio 3, BBC Music Introducing and Jazz FM, along with coverage in the London Evening Standard and Jazzwise Magazine

                    'Don't Let Them' interpolates elements of 'Fables Of Faubus' written by Charles Mingus (c) 1959. Published by Jazz Workshop Inc. Administered by BMG Rights Management (UK) Ltd. Used by permission. All rights reserved.

                    'Interlude 1', 'Interlude 2' and Interlude 3' contain excerpts of 'Listen, Mr. Oxford Don' (c) John Agard 1985 reproduced by kind permission of John Agard c/o Caroline Sheldon Literary Agency Ltd

                    Chaos In The CBD

                    Come Together EP

                    Peckham-based DJ and producer duo Chaos In The CBD's In Dust We Trust has quickly become an essential label here at Piccadilly. Each release sells out quick with little hype or furor - simply just hunted down by house heads in the know, of which we know there are plenty!

                    Release no. 8 is no exception to the now standard, one track per side formular. "Come Together" is electric and tantalizing from start to finish as it deploys gated pad sweeps and big proggy atmospheres alongside their usual tribal-tinged drum exercises.

                    "Digital Sound" really pushes the tribal inflections, building itself around a hypnotic percussive rhythm subtly enhanced with technoid stabs for a truly heady vibe out in the dance.





                    STAFF COMMENTS

                    Matt says: The Peckham pair return with the essential series and once again they provide sonic gold for deep house heads across the globe. TIP

                    The Chemical Brothers

                    Out Of Control - 21 Minutes Of Madness Mix

                    "Out Of Control (Secret Psychedelic Mix)" forms part of a suite of remixes Tom and Ed prepared back in 1999 to complement their era-defining "Surrender" album. Unreleased at the time, they were recently unearthed when archive work began on the expanded 2019 20th anniversary box set editions. Of the five "Secret Psychedelic Mixes" on the new set the aptly titled" Out Of Control (21 Minutes Of Madness)" takes the "Surrender" classic and transports it to all kinds of interesting places. To commemorate the anniversary release, a strictly limited one-sided white label copies of this mix have been pressed. First come first served!

                    STAFF COMMENTS

                    Matt says: Crowning glory of one of their best LP's extended and tweaked for maximum dancefloor enjoyment. Sounding as crucial and killer as it did twenty years ago.

                    Choir Of Young Believers

                    This Is For The White In Your Eyes

                      Even though This Is for the White in Your Eyes, the full-length debut by Danish collective Choir of Young Believers, is teeming with instruments--voices, pianos, synthesizers, banjos, an orchestra’s ransom in strings and French horns--it’s not the arrangements that dominate so much as the images they conjure. Snow-flecked moun-taintops, deserted city streets, ghost-filled churches, a final kiss between estranged lovers--this is the emotional terrain trod by Jannis Joya Makrigiannis and his Choir of Young Believers. This Is for the White in Your Eyes is an album of orchestral indie-pop, but its artistic scope extends beyond melody and harmony: Choir of Young Believers paint cinematic tableaux, with Jannis cast as the silvery-voiced narrator.

                      Jannis produced This Is for the White in Your Eyes with his old friends and collaborators Anders Rhedin and Fridolin, constructing cavernous sound-worlds around his own skeletal guitar and piano compositions. (“I don’t have a computer, so I almost never record demos,” Jannis says.) The song cycle begins on a somber note with the lonely piano atmospherics of “Hollow Talk,” a dirge that builds towards a climax of machine-gun snares and sneering children’s choir.

                      It’s followed by the soaring balladry of “Next Summer” and the anthemic single, “Ac-tion/Reaction.” Jannis’ voice is something to behold--a reverb-slicked, bell-like tenor in the Neil Young mold--and his golden pipes haunt the album, floating over “Un-der the Moon” like a celestial body, riding the thundering piano notes of “Claustrophobia,” and rippling on the horizon of the country-tinged “Why Must It Always Be this Way.” And yet, for all of the record’s orchestral gran-deur, there’s an icy Nordic remove running through This Is for the White in Your Eyes that keeps the overflowing emotions in check. In Choir of Young Believers’ hands, even the sweetest melodies carry a hollow, solitary mood that lingers long after the music has stopped.

                      City People / 20 Below

                      It's All In The Groove / A Lil' Tribute To The Moody Black Keys

                      Motor City Drum Ensemble raids the 1990s Mancunian house vaults for this 2016 reissue of this 1996 Rainy City EP.

                      Massive round these parts back in the day, City People's 'It's All In The Groove' is just that: a jazz-funk infused house groover with syncopated toms, bumpin' bassline and keyboard flares. On the flip 20 Below's 'A Lil' Tribute To The Moody Black Keys' pays homage to Kenny Dixon Jr with its funky Detroit garage sound, while 'Jus' Nite Groovin'' offers some jazzy chords over funky house beats.

                      MCDE says "We are happy to announce our first reissue 12" on MCDE Recordings, a record from Manchester deep house label Rainy City Music (written by Irfan Rainy & Rex Leon in 1995), that we have been working on licensing for over a year now; a record that had been a secret weapon of DJs such as Theo Parrish, Marcellus Pittmann, Mike Huckaby, Jeremy Underground and myself - arguably one of the finest house music 12"s to ever come out of the UK. To mark the 20th anniversary of the original release, we have carefully remastered the tracks from the original DAT tapes and only slightly modified the original cover artwork. Its All in the Groove baby! "

                      The Clash

                      London Calling: Special Sleeve

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

                        FORMAT INFORMATION

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

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

                        The Clash

                        London Calling: The Scrapbook

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

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

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

                          The highly anticipated debut album from Glasgow three piece Cloth. An impeccable collection of angular alt-rock tracks, cut through with deep electronic grooves. The album was recorded at revered local studio Chem19, and features singles ‘Demo Love’, ‘Old Bear’ and ‘Tripp’. Prior to release, the band have already attracted nationwide praise in 2019. Vic Galloway named them one of his ‘25 Scottish Artists to Watch in 2019’, Huw Stephens included them on his BBC Radio 1 Introducing ’Tips for 2019’ show, Tom Robinson invited them to play a session on his BBC 6Music show and they played the BBC Music Introducing stage at Latitude. Cloth are twins Rachel Swinton (vocals, guitar) and Paul Swinton (guitar), and Clare Gallacher (drums). 

                          FORMAT INFORMATION

                          Coloured LP Info: Limited white vinyl.

                          Coloured LP includes MP3 Download Code.

                          This 1961 Impulse album was particularly notable for Coltrane’s use of the expanded sound provided by a ‘big band’ with trumpets, trombone, baritone sax, Eric Dolphy’s bass clarinet and flute, and (most unusually) French horns, euphonium and tuba. Overlaying this backing is one of Coltrane’s great quartets with Messrs. Tyner (who, with Dolphy, did the arranging), Workman and Jones. The album’s centrepiece is the extended Coltrane composition, ‘Africa’. The tune’s luscious arrangement provides hints of Ellington, Gil Evans and even Charles Mingus in the brass harmonics and ensemble dynamism that Coltrane manages to coax from these players.

                          Elsewhere, the other Coltrane original, ‘Blues Minor’, provides another trademark blast of tenor pyrotechnics from the man who hardly lets up for the tune’s seven-and-a-half minutes. By comparison, Coltrane’s version of Greensleeves is a relatively restrained affair, in effect, mimicking the man’s superlative version of My Favourite Things recorded the previous year, with its jaunty soprano sax theme, but given an added dimension with its ‘big band’ accompaniment. Finally, there’s ‘Song Of The Underground’, a traditional song recorded at the same session and included here as a bonus track.

                          FORMAT INFORMATION

                          Coloured LP Info: 180g orange vinyl.

                          As we head towards the end of 2019, the CoOp Presents crew unleash a heater for the cold months, and a very warm welcome to the label for Danvers, with an EP entitled 'Light Movements'.

                          Joe Danvers has been building a diverse catalogue of dance music over the past several years, including releases on FINA Records, Boogie Cafe and Wotnot (his debut release also featured mixes from the likes of Joe Armon-Jones & Warren Xcince). Aside from his solo efforts, Danvers makes up 50% of Kassian, who in turn have dropped releases on Phonica White & Heist Recordings, as well as a series of highly-acclaimed remixes. Their debut track 'The Premise' was nominated as "Track of the Year" at Gilles Peterson's Worldwide Awards.

                          These various projects have been shown support far and wide from selectors such as Bradley Zero and Detroit Swindle, whilst Danvers & Kassian have been booked for parties across Europe this past Summer. Danvers is also co-founder of Curve Records, along with Luke Campion & Mike Wilkin of Fact / Vinyl Factory.

                          So to the EP - 4-tracks demonstrating Danvers' flair for eclectic bruk boogie. 'Devotional' kicks off the set, featuring the soulful vocals of Natalie May atop a rhode-laden bubbler. The EP's title track 'Light Movements' follows and is a more stripped-down affair, with big kicks and synth stabs. Next comes 'The Flex', inspired by Selectors Assemble runnings - a tasty stepper with a huuuuge b-line. Finally closing out the EP on a deeper jazzy vibe we have 'Calmer' featuring the don T. Williams.

                          Expect more big things from Danvers and from the CoOp Presents crew in 2020. In the meantime, get this one on your speakers and watch for the movements. Standardly essential business.

                          Dead Meadow

                          Feathers - Reissue

                            Feathers is the fifth album by the time Washington, D.C. based rock band Dead Meadow. It was released in 2005 by Matador Records on CD and LP now about to reissued by Xemu Records under license by Matador Records. The upcoming release will be an exact copy of the original double vinyl and CD packages with original art and masters. In addition to the reissue this new product will include a "demo rarities CD' that will be included additionally in both the CD and LP releases. This demo CD will include outtakes from the 2004 recording session as well as demos with different song structure/ arrangements and even a couple tunes that were axed off the final album. The fourth full-length studio album by Dead Meadow, was the first to include an additional guitar player with Cory Shane. Previously as well as for the majority of the band's career the DC to LA transplants have been a power-trio at essence. This departure in line up wasn't the only other noticeable difference the band was also shifting from pure 60's-70's heavy psych sounds to a more gentle and layered new-psych sound almost more influenced by dark Brit-pop and early new wave bands like the Cure and Stone Roses but through their own hazy interpretation. The different approach shocked current fans and gained lots of new ones as well as garnering solid underground praise at a much needed and delicate time of Dead Meadow's career. Revered and as equally hated this divisional record would be a landmark in the band's history and important piece of the puzzle that has kept the boys rocking and relevant. 

                            Jamael Dean

                            Black Space Tapes

                            20-year-old jazz prodigy Jamael Dean’s debut is the latest edition on Stones Throw Records. ‘Black Space Tapes’ is co-produced, compiled and sequenced by Carlos Niño, internationally celebrated producer, composer, arranger and DJ. At age 15, Jamael played with Kamasi Washington on his 2018 album ‘Heaven And Earth’ and toured as part of Thundercat’s trio. Jamael’s music reflects the dual influence of his contemporaries in the Los Angeles scene and that of jazz ancestors including Sun Ra, Alice Coltrane, Herbie Hancock and soul jazz drummer Donald Dean - who is also his grandfather.

                            Deathcrash

                            Slumber / Bones

                              deathcrash are a melodic post-hardcore band from London. Bearing influence from Chemikal Underground's output, the band play between moments of introspective lyricism and quiet tunefulness, and grinding, distorted guitars.

                              Disco Bits are back with 4 more essential edits aimed at late night dancefloors. The smooth early 80's production of Goldie Alexander kicks things off, with "Show You My Love" edited with a rising crescendo, before breaking into that all-too-familiar chorus. A tasty and succinct chop of this disco classic.

                              Next up, a staple of 70's disco that has been neglected in recent times. Here reworked with a modern disco beat and an arrangement highlighting all the best parts of the original. Still curious? I'm sure Ruffy or Moon will be able to fill you in...

                              "Make You Dance" sees the firm venture into dark, sleezy, electro-disco / proto-house territory, utilizing the exquisite vocals of Sweet T for extra umph!

                              Finally, Neneh's reimagining of Cole Porter for the 90's is given an edit that adds funk guitar and percussion to the original's unmistakable bassline, bringing the vocal performance and stark message into focus on "Under My Skin". Excellente! 


                              STAFF COMMENTS

                              Sil says: Four slabs of disco edits with a house twist on the titled track. Do not overlook this one!

                              The unassailable DJ Shadow finally returns to our humble shelves with an ambitious and exceptional double album, "Our Pathetic Age", once again on Mass Appeal. "Our Pathetic Age" is the result of an intensely creative period that found the hip-hop and electronic innovator delving further into original composition and experimentation. The first half of Our Pathetic Age features 11 new instrumental works that balance some of Shadow’s most menacing sounds with beams of hope, including his first fully composed orchestral piece. Mindblowing swathes of synth heft surge to trap percussion, sci fi sequences and distorted jukes, or else jazzy syncopation carries nebulous melodies into the upper atmosphere.
                              The second half of Our Pathetic Age is a full album of vocal collaborations, ranging from Run The Jewels, Nas and Dave East to Sam Herring, Paul Banks and Wiki, Inspectah Deck, Ghostface Killah and Raekwon. Shadow notably reunites with his early Solesides collaborators Lateef The Truthseeker and Gift of Gab (Blackalicious). It also features St. Louis MCs Rockwell Knuckles and Tef Poe, fellow Bay Area musicians Fantastic Negrito and Jumbo is Dr.ama, and Brookyln MC Stro. Full track list with collaborators is below.

                              "More than anything, I try to get a sense of the mood of society as a whole. The subtle signals that humans send each other, the way people behave, their frustrations and ebbs and flows. In my part of the world, people are scared. There's rampant homelessness, and a real fear of falling into generational poverty. People are addicted to, and addled by distraction; they're angry and confused, and disaffected by their own governmental institutions. There's songs on the record that are inspired by this energy and seek to harness it, to make sense of it. In some cases, there's attempts to salve the wound; in others, the songs merely observe but don't offer solutions. I want the album to reflect the times we live in, a signpost in the ground to mark the era...Our Pathetic Age." - DJ Shadow.

                              The album was produced by DJ Shadow, and the album art was created by Paul Insect, who also designed Shadow’s The Mountain Will Fall and Outsider covers.


                              Dog In The Snow

                              Vanishing Lands

                                Bella Union introduce Dog In The Snow, the moniker of Brighton-based artist Helen Ganya Brown. Dog In The Snow’s Bella Union debut is ‘Vanishing Lands’; an imposing, haunting and luminous collection of songs in the darker spaces between dream-pop, art-rock and electronica, lifted by euphoric melodies, ravishing vocals and absorbing lyrics.

                                ‘Vanishing Lands’ was initially created at Brown’s home in Brighton before co-producer Rob Flynn helped her add shifting, impressionistic swathes of colour, from the ominous chords that open ‘Light’ to the vocal eddies that close ‘Dark’.

                                Brown wrote 8 of the 10 songs in a 3-week spell after a period of “strange dreams.” She recalls: “Dreams in black and white. I found myself in a dreamland and discovered it was being destroyed. I chose ‘Vanishing Lands’ as an album title because it sounded suitably desolate, and lent the songs a feeling of cohesion.”

                                FORMAT INFORMATION

                                Coloured LP Info: LP pressed on clear vinyl and includes digital
                                download code.

                                The Durutti Column

                                Fidelity

                                  Les Disques du Crepuscule presents the first ever vinyl release of Fidelity, the 1996 studio album by cult Manchester ensemble The Durutti Column.

                                  Originally released by Crepuscule on CD only in April 1996, Fidelity featured 10 tracks written and performed by Vini Reilly, with occasional guest vocals by Eley Rudge. In addition to Vini’s trademark guitar stylings, the album showcased sleek electronic textures and programmed beats.

                                  This 2019 vinyl re-master features two bonus tracks: My Only Love was originally released in 1995 on a covermount CD with a specialist guitar magazine, while experimental piece The New Fidelity was issued on a Portuguese compilation album from 1992 called Hare, Hunter, Field.

                                  Limited to just 1000 copies, this special double disc edition pressed in clear and blue vinyl features brand new cover artwork by Crepuscule design director Benoit Hennebert, based on a portrait by Vini Reilly of filmmaker Carol Morley.

                                  EYE is back. Metamujer marks the third installment on the Knekelhuis label and the latest chapter in Laurène Exposito’s life. Recorded on various locations ranging from the Swiss mountains to the chalky coasts of Brittany, "Metamujer" is an 8-track ode to salty love and closeness to nature, a tribute to a modest lifestyle à la Henry David Thoreau. Far from being praise for self-sufficiency, this new LP is deeply influenced by Laurène’s environment. We can hear Korg MS-10 created synthetic waves (Sanatorium) and birds (Luscinia), but one can also catch her singing in Italian, one of 3 languages spoken in Switzerland. Still minimalist and yet more aesthetically diverse, her new sounds are on the edge of EBM and synth pop, between classic minimal wave tunes and rustic ballads on acid.

                                  STAFF COMMENTS

                                  Patrick says: It's been a cracking couple of months for fans of coldwave, minimal wave and superior synth pop, and the latest LP from EYE is another chilly killer. At times she edges into EBM with 4/4 aggression, at others she embraces the bontempi cosmic of Wendy Carlos or late 70s Sheffield.

                                  Shana Falana

                                  Darkest Light

                                    Shana Falana returns with a new album, continuing where her Team Love output left off. Described playfully by its maker as ‘druggy music by sober people,’ Shana Falana’s Darkest Light is as full of mystery, contrast, and paradox as the title would suggest. The Kingston, New York songwriter and record maker works her own deep niche in the psych-rock, shoegaze, and ethereal punk neighborhood. On Darkest Light, she converts all that weird, magical, and occasionally nasty energy into authentic messages of personal empowerment, rebirth, and redemption.

                                    RIYL: The Black Angels, PJ Harvey, Alvvays, Black Belt Eagle Scout

                                    FORMAT INFORMATION

                                    Coloured LP Info: Indies exclusive random multi-coloured vinyl. Each copy is unique.

                                    Kompak answer the prayers of the thinking-techno massive and deliver a vinyl reissue of The Field's legendary first album "From Here We Go Sublime". Originally rolled out in 2007, this much acclaimed full-length debut from a man who quickly became the biggest star in the Kompakt sky, arrived in regular CD edition and an accompanying 12" sampler – but never a full vinyl release. After the long-sold out 2014 limited edition reissue for Record Store Day, Kompakt welcome "From Here We Go Sublime" back as a double LP in gatefold vinyl. 

                                    Here's our review from 2007:

                                    The Field ride on an unerring pulse, layering swathes of beautiful ambience, swirls of twangled guitars and spatters of interference on top of a thump of kick drum (although not really a kick drum, more a rendered down low end pass on the sample sources). Making a sound of Boards of Canada meets Panda Bear at the Kompakt Coffee Shop. Even managing to slap a chunk of the Flamingos in at the end for good measure. All this making for a not usual dance music album, still enough momentum for your mangled mind yet with a distinct otherworldliness in the editing of the sounds.

                                    The Berlin-based collective Radiant Love is responsible for a luminous bimonthly rave roaming throughout the city for the past year or so. Apparently, and expectedly, this debut 12" from the camp represents the parties infectious and flammable mood perfectly!

                                    Previously grabbing us by the short and curlies through an inspired 12" on his own label, Pear, Fio Fa returns with more of his playful, skitty and expert productions. "You Think" glides in on a sublime techy plane, tiny vocal snips and hi-tech atmosphere taking you head first into your most favourite and futuristic nightclub. Simmering around its grooves effortlessly before allowing a huge air drop to gather intensity in the latter stages, this is wind-tunnel techno like you've never heard it before.

                                    B-side track, “Kayaki” is a contagious shuffle of cowbell and triangle, stutter clap and a splinter of MC vocal. Frenetic AF once again and perfectly skipping between fast house and funky techno for repeat spins across the global dance village. Fia Fa's grasp of dynamics is impeccable - happily letting you groove away to a mesmerizing loop on repeat for a a few minutes before suddenly switching tact and re-capturing your attention; poise and style rarely come this sexy in the field of techno!

                                    Roping in some extra hype points, D. Tiffany is drafted into remix "You Think". The on-trend producer delivers one of her sci-fi tinged rave-breaks hybrid and hits the big warehouse jugular nicely, bursting open a rich vein of wobbly goodness across the speaker stacks.

                                    Best dance release of the week bar none! - Recommended. 


                                    STAFF COMMENTS

                                    Matt says: Simply humongous. Fia Fa is in serious danger of becoming my favourite producer at the moment! Miss at your peril!

                                    The debut album from the American female trio, originally released in 1973 on the Philly Groove Label. This classic example of the Philadelphia sound features the anthemic title track alongside the hit singles ‘Smarty Pants’, ‘Newsy Neighbors’ and Northern Soul classic ‘This Is The House’. After a long time out of press, this excellent LP is reissued on 180g heavyweight vinyl, with printed inner sleeve and original artwork.


                                    Ella is the most celebrated of divas, and she dominated the jazz scene for over fifty years, from her first hit A-Tisket, A-Tasket in 1938 to her gradual retirement from the stage in 1989 due to illness. She left her signature on every jazz universe to which she contributed. The Essential Works 1956-1959 throw light on her talents as a performer of the greatest standards, with songs written by Cole Porter, Irving Berlin, George Gershwin and Rodgers & Hart. Ella succeeded in making popular melodies her own, most often songs taken from musicals that she transformed into as many pearls of vocal jazz. The four sides of this album bring together the indispensable inner soul of Ella Fitzgerald's recorded work.

                                    Fleetwood Mac

                                    Before The Beginning - 1968-1970 Rare Live & Demo

                                      Two recently discovered live recordings from 1968 and 1970 from Peter Green’s Fleetwood Mac and will be released as a 3CD Boxset on 7 June 2019. The set will include rare band images and a brand new essay. Vinyl formats are on triple heavyweight discs, Volume One, the 1968 recording, contains early incarnations of some of the bands most loved and famous songs including ‘Madison Blues’ and ‘I Need Your Love So Bad’ from the blues era and ‘Long Tall Sally’ and ‘Willie And The Hand Jive’ from the Rock ‘n’ Roll College of Music. Volume Two will feature the 1970 recording and will also feature demos and rarities of classic tracks including ‘Oh Well’, ‘Green Manalishi’ and the bands first UK number one ‘Albatross’.

                                      Flying Lotus

                                      Presents INFINITY Infinitum - Maida Vale Session

                                      We skip across BBC studios to Maida Vale for the next installment of Warp's TX reissue series.

                                      Four tracks from FlyLo's stupendous "INFINITY INFITITUM" session, recorded in 2010. Starting with "MmmHmm", suspended on elevated chords and with his punchy, meandering bass sound resplendent throughout; it's a celestial and urgent affair all at once.

                                      "Golden Axe" is a showcase of musicianship - with highly accomplished bass solos and moody brass journey throughout woodland moods and into enchanted realms.

                                      Side B sees dancefloor-ready cut, "Tea Leaf Dancers" skip over woodblocks and fluttering organ lines with Andreya Triana's distinctive and sensual vocal delivery more than bolstering the sum of the track's worth.

                                      "Drips", the most electrified and experimental of the set dazzles the listener with wide-spectrum synthlines, wild saxophone and rampant bass and drum interplay. Add a fully accomplished jazz group and you've got yourself a high watermark, free-jazz staple for the 22nd century.

                                      Detailing an artist mid-flow state and still in his ascention, this 2010 selection show us how skilled and inventive this new force of modern jazz was, and still is nine years later. Mammoth! 


                                      Fragile Self

                                      Fragile Self

                                        Fragile Self are electronic duo Anil Aykan and Jonathan Barnbrook · already known for their grammy award winning design for David Bowie’s Blackstar and The Next Day album covers · they have now formed their own musical project combining visuals, music, electronics and live performance · already with a following in design this is a natural evolution and new audience for them.

                                        Benedikt Frey makes an anticipated return to the ESP Institute. After leisurely toying with themes around this fourth release with the label, which follows his 2017 debut album 'Artificial', a dense nihilistic fog seems to have enveloped his creative process and undoubtedly informed his frame of mind. The approach here is perhaps more minimal than the artist’s previous endeavors — reducing music to skeletal loops, allowing their character to develop and fluctuate over the course of each piece — a confidence that exemplifies an artist hitting their stride, but in no way does he rely on the trope of “less is more”. Whereas a minimalist embellishes the importance of elements through their isolation and negative space, Benedikt fills every facet with granular measures of sound and sifts them, in a cyclical motion, through his spectral arrangements. The title 'Cells' speaks to the unadulterated path from which Frey cultivates complex gestures utilizing limited means — stretching singular organisms to their furthest limits, breaching their brink of stability and inciting cancerous mutations — proving time and again his mastery of tonal nuance and fearless embrace of distortion. Each of these four songs deliver a despondent poetry, predominantly abstract, but occasionally complimented by verbal commands from dystopian futures, such as the blanketing repetitive chants in 'Interlinked' that conjure images of labor, assembly lines and infrastructural erosion, or the intercom punctuations throughout 'Substance B' that refer to the “world’s future” which, when juxtaposed over such dark melodies and gritty drums, allude to science fiction, Film Noir and a post-apocalyptic existence. As the winter approaches, the melancholy grows very real, and we swoon.

                                        STAFF COMMENTS

                                        Patrick says: Benedikt Frey has been smashing it of late, producing one of my favourite 12"s of the year in typically low key fashion. Here he brings his dark, EBM tinged synth slap to ESP across four detailed club tracks. On the A-side, 'Interlinked' is abrasive and break-led, while 'Pilot' is slow, low and subby, keeping the tension high throughout. Flip it for the steely motorik groove of 'Substance B' and my personal favourite the 85BPM grind of 'Pedal To The Metal'.

                                        DJ Soopasoul has previously breathed new life into tracks by Croatian producer Funky Destination, so it's little surprise to see him putting his spin on the Osijek-based artist's latest missive. He does a terrific job, offering up vocal and instrumental versions of "Come Back To Me" rich in long, tension-building intros, fuzzy funk horns, bass-heavy grooves, swirling orchestration and hard-wired guitar riffs. While the instrumental version is tidy, our pick of the pair is undoubtedly the A-side remix. 

                                        Lee Gamble

                                        Exhaust EP

                                        "Flush Real Pharynx" is the title of sound designer / artist / composer and DJ Lee Gamble’s new three-part album for Hyperdub. The triptych loosely explores three stages of the 'Semioblitz' - the aggressive onslaught of visual and sonic stimuli of contemporary cities and virtual spaces. From "In A Paraventral Scale" (the first part of the triptych released at the start of 2019) the coil springs out into the straight-up choked semioblitz of part 2 - "Exhaust’". Gone are the serpentine dopplers and seductive supercar engines. "Exhaust"’s neon-charms coalesce into an MDMA rush of Boston Dynamics dog barks, hypnotic voices and imploding motion sculptures. From the backfiring splinters of "CREAM" through disorientating photo shutter snare patterns of "Shard", "Exhaust"'s sultry voices take you for a 300mph ride down the psychedelic high street stitching together clashing strands of club soundscapes on its way. "Exhaust" engages in a world well and truly with us right now - explosive, chaotic, unpredictable, contradictory, intoxicating, hyper-colourful, blown-apart and disturbingly engaging in its surreality. It’s Gamble’s ‘Gully Automated Music Concrète’, sounding out from a high rise overlooking the Ballardian motion-sculpture of a collapsing motorway system. 

                                        STAFF COMMENTS

                                        Matt says: If the sound of internal sonic systems being driven to the point of collapse, combined with a post-rave sensibility is your thing, then you can do far worse than Lee Gamble. The long-serving artist is on point on his latest audio mission.

                                        Gang Starr

                                        One Of The Best Yet

                                          Gang Starr is undoubtedly one of the most revered, beloved and influential groups in Hip Hop. Over the course of their distinguished career, they became a cultural institution and a brand you could ultimately trust. With a handful of indelible classic albums on their resume, DJ Premier and Guru’s catalogue has not only persevered but mastered the test of time. Simply, Gang Starr did not follow trends, they created them. Though they never “officially” disbanded after the release of their last project (The Ownerz 2003), Premier and Guru still remained infinitely connected to each other even as they embarked on solo paths.

                                          Premier winning three Grammy’s along the way and assisting in turning fast rising artists such as Nas, Jay-Z, Notorious B.I.G. and many others into rap royalty; and his imprint included work with artists such as Drake, Christina Aguilera, Kanye West, Dr. Dre, Snoop, Mac Miller, The Game, Ludacris, Maroon 5, Common, Mos Def, Rakim, KRS-One, Janet Jackson, D’Angelo, DJ Khaled, Joey Bada$$, Royce 5’9, Twenty One Pilots, and Miley Cyrus; all of which spoke to his diversity and ability to traverse genres

                                          In turn, Guru would go on to release his own quartet of highly influential Jazzmatazz projects

                                          In the interim, fans always clamored for another Gang Starr album. Though there were whispers and murmurs over the years, nothing ever panned out and the possibilities of that project being willed into existence seemingly grew more remote as the years passed by. After Guru tragically passed away in 2010 the hope seemed to vanish altogether. The one person who refused to give hope was DJ Premier.

                                          One Of The Best Yet is many things. Yes, it’s the first new Gang Starr album in sixteen-years and it is a historic event to be celebrated and rejoiced, but it symbolizes much more than that. One Of The Best Yet further cements Gang Starr’s legacy. This literal gift of an album not only harkens you back to Gang Starr’s seminal work of the past, but it re-establishes their impact in a modern-day perspective.

                                          German percussionist Kolja Gerstenberg supplying some funky fresh house music for Vogel's long established Lumberjacks In Hell imprint. Previously releasing on Suol and Smile For A While, the producer combines his love of drums with some classic house music tropes - deep organ lines, chopped soul vox and of course, the all important bite and swing of the MPC!

                                          Moods range from bright and breezy to deep and moody across the four tracks which do away with any superfluity and get straight down to business on each and every cut. Disco-indebted cut, "Want You" is sure to be the big crossover hit, but the other three are gonna do plenty of damage to.

                                          Lumberjacks ride again!




                                          The Gonks

                                          Five Things You Didn't Know About The Gonks

                                            The lyrics to The Gonks instrumental track “I’m Dead” say it all. In the tradition of the Tronics, the Subsonics, the Gories and going back to the Dixie Cups, The Gonks arrive with a seventeen minute record of ten songs hacked down to the bare minimum, led by teenager singers Ave Lynch on drums and Sami Perez on bass, who tell the tale of lonely trams, lone wolfs, midnight loners, very alone types, loners, double loners and lonesome alone folk. If Leonard Cohen wrote songs about getting hit by a car for bubble gum bands, or Jonathan Richman wrote heartfelt songs about his mom for The Shaggs, one would have The Gonks. Produced at Studio Bonk by Sonny Smith of Sonny & The Sunsets for his new label Rocks In Your Head Records, this band eschews the glossy over-shiny pop that pervades the rock ’n’ roll world these days and reject all the crooningover-quasi-prog-rock of late and go minimal. “Am I just a sewage pipe, living in the dirt? Sometimes I feel like I might burst, but I’ll just leak a little first....” from the titular single “I’m A Leaker” explains where these damaged loners are coming from.

                                            Chicago-based contemporary electronic musician Steve Hauschildt has composed panoramas of synthesized sound for over a decade. First within his former band, Emeralds, an American touchstone of 2000s home-recorded psychedelic noise music, and later across a steady and critically-acclaimed stream of solo releases spanning ambient techno, arpeggiated electronica and post-kosmische styles utilizing synthesizers, computers, and digital processing. In 2018, he extended a collection of rich, visceral tracks titled Dissolvi, his first release on Ghostly International and his most collaborative work to date. Just a year later, Hauschildt returns with Nonlin, an album that’s freer, leaner, and looser, both structurally and conceptually; less linear compared to its predecessor, but still captivating. Developed and recorded in several studios during and around the edges of tour — Chicago, Los Angeles, New York, Tbilisi, and Brussels — this material emulates an alienating encounter with a smattering of places, a replicant of culture shock, a solitary and stark experience with uncanny environments, melody and dissonance as oblique locales.

                                            Nonlin finds Hauschildt evolving his palette of tools, integrating modular and granular synthesis. The improvisatory and generative nature of modular systems, when paired with his signature grid-oriented and hand-played techniques, guides these compositions slightly out of line to hypnotic effect. Opener “Cloudloss” permeates the mix with an unsettling smog, which reappears and all but engulfs “A Planet Left Behind.” On cuts like “Attractor B” and “Subtractive Skies,” pockets of air rest between sequenced pulses, whose crumpling and flattening folds build into a restrained rapture of crisp frequencies and milky reverb-swallowed coruscations.

                                            The album’s title track and centerpiece logs on to a foreign network, a fractured percussion signal that modulates and stutters into static amidst curious melodic sparkling in the hazy bandwidth. “Reverse Culture Music” casts an elegant and brooding stream of strings, pizzicato and churning bow from Chicago cellist Lia Kohl, against chiming minimalist synth frameworks. A surprising pattern emerges in the taciturn systems at work. Hauschildt continues to expand his already horizon-wide repertoire, here exploring the effects of corrupting coordinates; a flight subject to the collapsable abilities of time in remote spaces, a smearing of the axis to elegiac ends.


                                            STAFF COMMENTS

                                            Barry says: Another outstanding LP from the ever-reliable Steve Hauschildt here, and his first for Ghostly. This time we go further down the ambient seam he's been exploring of late (though Tragedy & Geometry and Sequitur had hints of airy ambience, they were essentially propulsive kosmische music), with slowly evolving walls of sound twisting around the overriding melodic theme, going almost full circle towards his work in Emeralds.

                                            FORMAT INFORMATION

                                            Coloured LP Info: Super limited “Liquid Mercury” colour (silver suspended in transparent vinyl).

                                            Headland

                                            What Rough Beast

                                              Headland is a collective of Australian musicians that compose, record and perform soundtrack music for surf films in various forms. The group leader is Murray Paterson, an old surfer himself, who in between wrangling two red-headed boys, finds time here and there to record bits and pieces of guitarbased music. Mostly he heads to Nashuaville where his longtime colleague from a previous life in arts education, Les Dorahy, has set up a small recording studio in the old Booyong General Store, situated in the Byron Bay Hinterland. Whenever friends visit their part of the world, they drop past and join in. Most of the music remains instrumental but this new album is a collection of songs. One of Murray’s comrades from his days with Tex Perkins and The Dark Horses is Joel Silbersher. Joel has been a longtime Headland collaborator–playing bass and guitar–but while recording material for the new album, vocal melodies kept finding their way into Murray’s instrumentals. Soon there seemed enough of a coherent lyrical theme to build an album around. There’s a song about installing a dishwasher. There’s one about a soccer ball filled with blood, and one from the point of view of a lizard. The topic of love among the elderly gets a look in, and there’s a drone called Face in the Sky, which is about a face in the sky.

                                              There is some nice instrumentation touches here too with cello (Tahiti Jones), pedal steel (Danny Widdicombe), double bass (Melissa ‘Curly’ Hunt), violin/melotron (Amanda Brown – GO BETWEENS), percussion (Luke Peacock) and organ (Whitey White) fleshing out the core band of Paterson, Silbersher, accordionist Les Dorahy and drummer Brock Fitzgerald. During the recordings, a good friend of the band, Australian rock legend Spencer P. Jones sadly departed. One of his melodies and lyric was dovetailed to a Paterson instrumental and Ode to Death Trip became an emotional tribute to mark his passing. A couple of other covers appear on the album. There is a surprising, acoustic rendition of Motörhead’s Deaf Forever and a version of John Sebastian’s Darlin’ Be Home Soon. This last is a relic from 2007 when following a hard-drive meltdown at Nashuaville, the only remaining recording of a late night jam was an unedited headphone mix. It seems though, it was impossible to exclude this from the collection.

                                              There’s still enough of the spacious Australian land- and seascapes to satisfy fans of the previous Headland albums (sound/track 2013, Cosy 2015, True Flowers from this Painted World 2017), journeys through a sonic architecture centred around the motion of the ocean and it’s meeting with the coastline. But a narrative of loss and longing sits on the surface here: Silbersher’s voicing is an emotive thread that breaches at all the right times. There are references to the likes of Alex Chilton, Nick Drake and Daniel Lanois but Christian Pyle (Prawn & Spanner Studio) brings a sensitivity to the mix so that any references float rather than reveal themselves in bold relief. What Rough Beast marks the development of an ensemble and documents a sense of meaning embedded with the tone of place.

                                              STAFF COMMENTS

                                              Barry says: A beguiling mixture of Red House Painters style expansive morose rock and brittle, jazzy acoustic stuff. Flickering guitar and soaring ambience bring to mind expanses of land and weightless dreaming. Thoroughly lovely and always surprising.

                                              Originally formed in 2013, around the songwriting between guitarist Chris Killen and bassist Peet Earnshaw, Hot Shorts quickly picked up local attention, leading to two BBC 6 Music sessions for Marc Riley and support slots for Jeffrey Lewis, Trust Fund, The Lovely Eggs and Ezra Furman.

                                              In 2016 they expanded to a four piece, with the addition of drummer Lara Williams and guitarist Joel Nicholson. The new line-up were invited by Drenge to perform as part of their Tramlines showcase event in Sheffield (Eoin from Drenge also tweeting out around the time that Hot Shorts were his "favourite band of the past 5 years"), and later that year joined the bill at the Los Campesinos! curated 'Us vs. Them' festival in Leeds. Shortly after this, the band released the track 'Metaphor for (Something)' as part of cult label Art is Hard's postcard singles club series.

                                              Recorded and mixed this year at Manchester's Big City Jack's studio, I Understand & I Wish To Continue is the band's peppy second album which ably follows on from where the band's excellent 2017 self-titled debut album left us. It is twenty nine minutes of cascading hook-laden pop precision from one of Manchester's finest breakout bands of recent times. An assured and engaging affair, the record is ten tracks of 90's tinged slacker anthems and the occasional luxury indie lament, deftly arranged and crafted by the band over the last two years.

                                              Unsurprisingly, for a band featuring two published authors, the lyrics on this album take centre stage. Songs like 'Lostprophets Tattoo', 'Don't Stop Me If You've Heard This One Before', and 'I Found You on Myspace' are keenly observed vignettes which blend knowing pop cult humour, keen social observations and the occasional dollop of self introspection. It's a wonderful, lyrically savvy album, designed to leave the listener feeling amused, discerning and invited firmly in on the joke.

                                              Chris says of the writing on the record, “Pretty much all of the songs are either about feeling really old and embarrassing and/or music from my past...the songs are mostly.. about being slightly too old and British to still be into 90s alt rock as much as we are, but there is also one about being afraid to go to space on there and also one about a cat”.

                                              STAFF COMMENTS

                                              Barry says: YES! New outing from Manc faves, Icecapades and it's a corker. Joel from over't road and a trio of talented folks who I don't know smash out a brilliantly wry, cleverly placed set of off-kilter snarling college rock and Blue Album era melodies with skill and grace. Absolutely worth your time.

                                              Imperial Wax

                                              Bromidic Thrills / Bloom & Wither

                                                Imperial Wax comprise of the last and longest serving members of The Fall.

                                                Formed in 2018 – Dave Spurr, Keiron Melling and Pete Greenway joined forces with singer and guitarist Sam Curran to forge a unique sound infusing garage punk, krautrock, rockabilly, post punk and more.

                                                Smith told the band to continue after his death as he rated them as his best line up.


                                                FORMAT INFORMATION

                                                Ltd 7" Info: Limited red vinyl.

                                                After a two year hiatus, Fasaan return with an EP from the local one-man-band that is Inre Kretsen Grupp. Gems of carefully melted down new wave, dub, aor and boogie sit confidently together on this EP which marks the debut of keyboardist and multi-instrumentalist Martin Blomberg. 
                                                We're in a future primitive dream on opener "Loggia", as an exotic new age dancers unwinds at boogie pace over a steady drum box rhythm. Marimbas, funky hooks and digi-pan pipes brim with tropical warmth and lead perfectly onto the humid dub of "Campo Santo" and its echo drenched guitar licks. Over on the flip, the titular "Dorisk Ordning" drifts through new wave, dub and chamber pop like a lost Vini Reilly collab brought back to life by Stroom. Finally "Dubbad Dougong" nails that coastal dub sound we adore at Piccadilly, calling to mind Domenique Dumont, Peaking Lights or A Vision Of Panorama. 

                                                STAFF COMMENTS

                                                Patrick says: Finally Fasaan are back! The label's 12th release is the first for one man band the Inre Kretsen Grupp, who displays a mastery of melody, drum programming and production across four dreamy downbeat jams brimming with dub, wave and Balearic flavours.

                                                Jack Medley’s Secure Men

                                                Secure As Fuck

                                                  Jack Medley passed away on 6th May 2019 aged 41. He was a legendary promoter and personality at Brixton’s Windmill and friend/fixer in the early years for the Fat White Family and subsequent spin offs The Insecure Men, WarmDuscher and also Madonnatron. All bands performed at and helped promote his celebratory wake “MegaRave” at The Windmill Brixton 26th May 2019, much of which is now available on social media. A permanent mural of Jack adorns the wall of the Windmill’s smoking room aka Jack (Medley)’s “Reggae Shack”. The album was hatched from an experimental ketamine induced recording session posted on bandcamp by Medley following which he teamed up with producer Dom Keen (Holy Magick, Dark Horses, Death In Vegas) as a writing team to create a driving, chaotic and hypnotic album opening with “Sauly” a cheeky apology to his pal Saul Adamczewski for the “homage”. Within 5 days of Jack’s death, a GoFundMe campaign organised by Brixton Windmill regulars WarmDuscher, Madonnatron and La of Reprezent FM had raised sufficient to finance the production of a short run of pink and black splatter vinyl LPs now being released on Blang Records, also home to Medley’s UK Antifolk family and favourites Milk Kan, David Cronenberg’s Wife, Corporal Machine & The Bombers and Lucy’s Diary. A unique collectable for which proceeds go to Music Minds Matter. 

                                                  FORMAT INFORMATION

                                                  LP Info: 12" Splatter Colour Vinyl LP.

                                                  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.

                                                    Joi Noir

                                                    Celeste

                                                      Joi Noir are a euphoric alt-cult-rock band hailing from Russia. The band who have been compared to the Banshees – mainly due to the presence of enigmatic Russian chanteuse Olga Gallo – released their new album Celeste in January 2019. The album already feels like a classic - like something you’ve had knocking around the house for years. 
 Both hailing from Russia, Olga and Igor Plotnikov met in Moscow and moved to Pointe-Noire, Republic of Congo – hence the Noir in their moniker – before decamping to Kuala Lumpur, Malaysia where they conceived and recorded the outline of Celeste. “The album encompasses the celestial, the divine, the earth and humankind,” says Olga, who has a BA in Psychology and much experience working with teenagers with drug and alcohol problems. “Did God create man or vice versa? It is about the relationship between all these things.”

                                                      Together these disparate, perhaps incongruous, geographical but essentially human elements make up Joi Noir and their wonderful album, Celeste. 
 Produced by Stephen Hague (Pet Shop Boys, New Order) – “I was attracted to her voice and the demos reminded me of the Banshees, Pixies and Pretenders” – and the band themselves, Celeste showcases eleven songs including Wild Way Hope - featuring Hague on bass and synth - lead single, Mercury, Crashers – about others crashing your dreams - and Sample and Hold, a song about ordering a sex doll online.

                                                      Bagpuss, dear Bagpuss

                                                      Old fat furry cat-puss

                                                      Wake up and look at this thing that I bring

                                                      Wake up, be bright

                                                      Be golden and light

                                                      Bagpuss, Oh hear what I sing

                                                      12th of February, 1974, and for an audience of small children at 1:45pm, a life irrevocably coloured by the wayward wonderings of one saggy cloth cat. Some 44 years later and Earth Recordings opens the door to Bagpuss & Co. once again, revealing for the first time the original music in all its newly-mastered splendour.

                                                      The 32 tracks that make up the main body of the compositions are – like all good folk music – a patchwork of traditional pieces, half-remembered tunes and pure improvisation. It's testament to Sandra Kerr and John Faulkner's musicianship that the recordings work so well, not only within the context of the television episodes, but as an album in its own right. Of the recording, Oliver Postgate (in his exquisite autobiography 'Seeing Things') says: "Between them Sandra and John could play every sort of instrument from a mountain dulcimer to an Irish fiddle. They knew and could sing every tune in the world and didn't bother with written music, except as a last resort. They were exactly suited to Gabriel the Toad and Madeleine the Rag Doll and in those roles were happy to play whatever music and sing whatever songs would be needed."

                                                      Those songs manifested themselves as reworkings of familiar tunes ('I Saw A Ship'; 'Row Your Boat'; 'Bucket's Burning'), takes on traditional ballads ('Brian O'Lynn'; 'The Frog Princess'; 'Weaving Song'; 'The Old Woman Tossed Up in a Basket') and delicious flights of fancy ('The Bony King of Nowhere'; 'Turtle Calypso'; 'Uncle Feedle'). The counterpart to Madeleine and Gabriel's more polished ditties are the interludes from the mice; a raggle-taggle chorus that accompanies the creatures' efforts of help (with the mice once famously going on strike when they were not permitted sang as they worked). Again, Postgate muses: "Once I had worked out a few episodes I would make a very rough list of the bits where I though music would be appropriate. I would send it to [Sandra and John] to think about. Then we would borrow a fairly silent room in a remote house and, taking the various articles that we intended to celebrate with us, would spend a happy day with a tape recorder, thinking up and recording whatever songs and tunes came to mind."

                                                      The outtakes provide an intimate – and often very humourous – insight into the trio's work ethic, if it can be called such a thing. (By all accounts they sound as though they're having a very jolly time indeed.) Highlights include alternative opening words and end music, as well as Postgate sound-checking in character as Bagpuss. This never-before heard audio provides a real treat for fans (and indeed those new to the Smallfilms stable) – affirmation again to the enduring quality of these special recordings, and the beloved programme that inspired them.

                                                      "An accidental classic of the folk-roots underground that we never dared hope we’d hear with such clarity." -Stewart Lee.

                                                      And so their work was done.

                                                      FORMAT INFORMATION

                                                      Coloured LP Info: Ltd edition PINK vinyl repress.

                                                      Peter King

                                                      Omo Lewa - Reissue

                                                        Super-funky business from Nigerian-born multi-instrumentalist, Peter King; fuses funk, jazz and highlife vibrations. ‘Omo Lewa’ follows his ‘Miliki Sound’ album, also available on Mr Bongo. Recorded in London, originally released in 1976 by Orbitone, this is one of his finest records.

                                                        It makes sense that Antoinette Konan’s eponymous album features nothing more than her ahoko on the cover. The deceptively simple traditional percussion instrument transformed Ivory Coast’s Baoulé music scene when Konan deployed it against a roaring electrified backdrop of synth, bass guitar and drum machines. Released in 1986, the album is a veritable UFO of instrumental force and contemporary pop sensibility landing in a boiling pot of diverse, creative characters inhabiting Abidjan, Ivory Coast (Côte d’Ivoire). Known as the “Queen of the Ahoko” among Ivorians, Konan singlehandedly put the central-Ivorian instrument on the map when she gave it a 20th-century re-introduction. The three-piece wooden idiophone is handmade from a thin, ribbed, flexible stick, against which a smaller chunk of wood is rhythmically scraped.

                                                        A hollow nutshell held in the non-scraping hand amplifies and manipulates the resulting overtones. Despite the ahoko's diminutive appearance, Konan and her powerful voice have remained at the forefront of Ivorian music for decades now, in an extremely diverse country—approximately 70 indigenous languages—with a competitive, internationally-recognized music industry. Music plays an important role in Baoulé cultural life, heard and seen in festivities, funerals and more. They are the largest ethnic group in Côte d’Ivoire and descend from Akan peoples who migrated from presentday central Ghana. Baoulé vocal music is characterized by polyphony, melodies built on parallel thirds and call-and-response. All of this can be heard in Konan’s music. Konan’s fingerprints are all over Antoinette Konan, she says, as it was meant to be a highly personal recording. She wanted to portray the suffering, injustice, frustrations, humiliations, personal career struggles, experience of child birth and poverty she sees in society. Taking on the producer role for the first time, Konan was the architect of her dancefloor-ready neo-traditional sound. But crucial to the recording was arranger Bamba Moussa Yang. A creative and versatile musical mind who was known for his work with legendary Ivorian singer Ernesto Djedje, Konan met him in 1986 after she had already released two albums.

                                                        Yang brought a touch that matched Konan’s expectations, she says, because he knew her work so well. As she reflects on her long career today, Konan remembers Yang as her favorite arranger. Over the years Konan’s popularity grew to the upper echelons of Ivorian society: Ivory Coast’s first president Felix Houphouet Boigny’s would regularly invite Konan to perform at official ceremonies with foreign dignitaries. Through her charity and advocacy work on behalf of female musicians, Konan is still a force in the country’s music community. You can see her performing or speaking on television and around the country all the time—yet she still maintains several entrepreneurial projects in the farming sector. Konan has recorded more than 15 albums so far and plans more recordings soon

                                                        Apollo XXI is the debut album from Steve Lacy - best known as the guitarist of space-soul band The Internet. At the ripe age of 20, the Grammy-nominated Compton native already has a veteran’s resume; he was Wired Magazine’s Tech Visionary, Time Magazine’s Most Influential Teen, produced-written-featured with Solange, J Cole, Vampire Weekend, Blood Orange and produced some of Kendrick Lamar’s DAMN on his iPhone. He’s also toured the world with his band mates The Internet, given a TED Talk, worked extensively with Louis Vuitton on behalf of Virgil Abloh (including walking at the LV Paris Fashion Week show) and now releases his debut album on his own terms. The most purely glorious song is Playground, whose one-chord rhythm guitar jangles as if announcing the arrival of swallows, ice cream and Love Island all at once, and is met by a limber falsetto top line worthy of Sly and the Family Stone.

                                                        Jeffrey Lewis & Voltage

                                                        Bad Wiring

                                                          Jeffrey has received jaw-dropping praise from practically every major news and music outlet over the years, as well as awed testimonials from the likes of David (Silver Jews) Berman, Jarvis (Pulp) Cocker, Ben (Death Cab For Cutie) Gibbard, Will Oldham and others… and this new album “Bad Wiring” makes it completely clear why. In all of indie-rock there is no force like Jeffrey Lewis. Although mostly recognized for his lyrical skills (as well as his illustration/comic book skills), the secret weapon in Lewis’s arsenal has been his slow evolution from DIY folkie in the late 90s to barn-burning indie-rock live sensation.

                                                          New band name The Voltage is a bit of a slight-of-hand, as the musicians are the same bassist, Mem Pahl, and same drummer, Brent Cole (also of the Moldy Peaches), that Jeffrey has been touring the world with for the past four years as “Jeffrey Lewis & Los Bolts.” But Jeffrey continues his tradition of using a new band name for each release… and as Jeffrey says, “everybody knows most good bands have a ‘v’ in their name… Velvets, Nirvana, Pavement, Vaselines, Violent Femmes, Camper Van Beethoven, Modern Lovers, etc!” Recent Jeffrey Lewis band names like “The Rain”, “Los Bolts” and “The Voltage” are also in reference to the fact that Jeffrey’s middle name is Lightning, the result of being born on the Lower East Side in the 1970s to hippie parents. It was almost his first name but got moved to the middle name when he was born!

                                                          The album was recorded and produced in Nashville by Roger Moutenot, the man responsible for producing all of the classic Yo La Tengo albums. Moutenot, who also worked on Lou Reed’s “Magic and Loss” album, and Sleater Kinney’s “Hot Rock” album was definitely the right man to capture these twelve new Lewis songs in the studio. As Lewis explains, “As an experience of working with a producer, it was a dream come true. I obviously worship a number of the records Roger had produced in the past, so I specifically sought him out. The fact that he’s in Nashville was just accidental, we would have traveled to record with him anywhere. Now when people hear we made our album in Nashville, everybody’s like, oh, I guess this is your country album…”

                                                          With the endlessly creative musical variety on display from Jeffrey Lewis & The Voltage, and Lewis’s writing as sharp as ever, “Bad Wiring” could be the greatest album of Jeffrey’s 18-year career. Having one solid band line up for a few years in a row has certainly helped. Keep an eye out for a couple other interesting Jeffrey Lewis projects to be released in 2019: Jeffrey’s new giant-size comic book issue (Fuff #12) and Jeffrey’s first book Revelations in the Wink of an Eye: My Insane Musings on Watchmen from Conspiracies to Stupidities. But mostly look for Jeffrey Lewis & The Voltage to be playing at a venue near you, on their UK pre album-release tour in September!


                                                          STAFF COMMENTS

                                                          Barry says: With one eye on a mind-bogglingly huge range of genre influences, Lewis manages to craft a sound entirely unlike anything you've hard before. Old school jangly indie sits comfortably alongside punky riffs and Lewis' trademark American twang, giving more than a hint of the attitude and drive of 90's college rock without the pomp and cheese that comes along with it. A singular talent, and possibly his best LP yet.

                                                          FORMAT INFORMATION

                                                          Dinked Edition LP Info: Exclusive Pale Blue vinyl.
                                                          Exclusive Die Cut cover.
                                                          Bonus 7” (2 additional tracks ONLY available on Dinked Vinyl).
                                                          Artworked inner bag.
                                                          Sticker Sheet insert.
                                                          Numbered Edition of 550.
                                                          Download card.

                                                          Coloured LP Info: Poppy Red coloured LP.
                                                          Sticker Sheet insert.

                                                          Stone-cold vintage Peel session here from early UK 'bleep-techno' pioneers LFO; whose 1990 visit to John's infamous studio forms the basis of this sixth volume of Warp's 'TX' series.

                                                          Listening to "Take Control", you'll easily recognize the blueprint that would see Mark Bell and Gez Varley regarded as innovators across dance music. "To The Limit" combines space-aged synths with jack claps and diva vox then associated with the acid house scene taing over England.

                                                          "Rob's Nightmare", an apt name for the creeping darkness opening the B-side, preceeded their first album, "Frequencies" and seems, to all intents and purposes to be receiving its first wax outing here - all rejoice!

                                                          "Lost World" concludes the set with more idiosyncratic beats n bleeps from the Leeds pair. I have to admit I don't really know where this one begun itself, but it's sounding substantial in this Peel session occurrence.

                                                          Essential stuff for any LFO devotee and another sterling addition to the Warp catalogue - check! 


                                                          Lone continues to thrive on his newly established label, Ancient Astronauts, with its second release of the year, "Not Seeing Is a Flower".

                                                          Steering towards a new studio album from the Nottingham-based producer, the three-track EP takes its name from a Japanese idiom (見ぬが花), which suggests that reality cannot compete with imagination. Lapping at varied shades of the psyche, "Glyphic" kicks things off with a heavyweight tribal techno cut inspired by Cutler’s experiences at Bass Coast festival this summer, fusing 303 acid with sweltering piano lines and otherworldly vocals for a transcendental dancefloor experience. The senses are heightened with title-track "Not Seeing Is A Flower", which reaches beyond reality with slowly spoken samples effortlessly melting into a lush ambient techno backdrop reminiscent of early work from The Future Sound Of London, Orbital, and The Black Dog. Finally, "Boketto" sees Lone embrace the same tone of downtempo trip-hop detailed on his albums "Lemurian" and "Reality Testing" with rolling percussion and meditative chimes drawing close on some of the producer’s most lavish work to date.


                                                          STAFF COMMENTS

                                                          Sil says: Always pushing gender boundaries in music. This is a top notch belter with some harrowingly beautiful artwork.

                                                          Eschewing the ‘love song industrial complex’ that dominates the airwaves, for Meatraffle it is the political, the platonic, the comradeship of the struggle that provides true artistic grist. This is a band you can get behind, they’re honest and down to earth, and while the world grows increasingly hostile it’s reassuring to know that there’s a group of people out there who get it, address it and want to change it. They’ve found the sweet spot between sincerity and humour, without taking themselves seriously they garner a lot of respect.

                                                          Meatraffle have a self awareness, they know what it is to live in a changing, unequal society. But they know how to counteract it too, by calling it out. Their lack of pretence is a breath of fresh air in a stagnant, money-obsessed world, and they shout about worker’s rights, sexism, capitalism and the shoddy state of politics in a way which truly captivates and engages their audience.

                                                          Weatherall opts to take the message deep into the the dubosphere, channeling the spirits of Jamaica via bars-long tape delay, melodica snippets and a heavy blast of ganja smoke! Watch yer bassbins on this digi-dub monster folks!

                                                          MixHell meanwhile hit the airwaves of an alternative galaxy, their alien pop sensibilities rife throughout the angelic choruses and warbled verses of "Meatraffle On The Moon". Anthemic yet fragile and broken, it's the perfect anti-anthem of our times....



                                                          STAFF COMMENTS

                                                          Matt says: Wevvers shines a hydroponic light on upcoming act Meatraffle, while MixHell provides a light boogie-pop rubdown that should surely see these rising stars garner tons of radio play.

                                                          Milky Chance

                                                          Mind The Moon

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

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

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

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


                                                            This 1956 Atlantic album by the highly influential and revolutionary jazz musician, composer and arranger Charles Mingus is generally recognised as the man’s first attempts at recording music according to his principles of individual player improvisation within Mingus’ own defined framework, comprising both musical definition and, equally importantly, feel. What is also particularly notable about this album and, in particular, in its legendary title piece, is that it is possible to detect (in the composition and playing) Mingus’ conception and belief that all forms of music, in particular jazz and classical, should be fused into a single form, a concept that he would take to its ultimate conclusion on his later masterpiece, The ‘Black Saint And The Sinner Lady’.

                                                            According to Mingus’ liner notes, the title song is a ten-minute tone poem, depicting the rise of man from his hominid roots (Pithecanthropus erectus) to an eventual downfall due to “his own failure to realize the inevitable emancipation of those he sought to enslave, and his greed in attempting to stand on a false security.” The song’s title translates into “Upright Ape-Man”, which holds a dual meaning with “upright”, referring to Mingus’ bass. Includes a live version of album track ‘Love Chant’ recorded at Cafe Bohemia in New York in December 1955.

                                                            FORMAT INFORMATION

                                                            Coloured LP Info: 180g mauve vinyl.

                                                            Mojo

                                                            Issue 314 - January 2020

                                                              A BUMPER SEASONAL PACKAGE, pairing a deep dive inside the genius of Leonard Cohen (plus the exclusive story of the posthumous new album, Thanks For The Dance) with our indispensable Review Of The Year, featuring the 75 Best New Albums of 2019, best reissues and the best releases in specialist genres – all presented in a handy and stylish additional book. The covermount CD is a comprehensive Best Of 2019, including tracks by Nick Cave, Underworld, Sharon Van Etten, Bill Callahan, Cate Le Bon and Fat White Family. Also in the issue: Ginger Baker – the full story; Brittany Howard’s solo breakout; the birth of Madness; Beck’s back pages; and Fontaines DC’s brilliant year. Not to mention: Springsteen, Hendrix, Nilsson, Lana Del Rey, Paul Butterfield, Jaz Coleman, Mark Hollis, Weller’s avant garde EP… and Ivor Cutler. Plus: Officially The Greatest Christmas Albums Of All Time!

                                                              Kelly Moran, one of the more recent and avant garde of Warp's signings eschews the dancefloor in favour of something more freeform and dare-I-say-it, thought-provoking on this new session.

                                                              Recorded specifically for Warp's 'TX' series, the five tracks here show off the composer's multi-instrumental and classically trained ear perfectly. "In Parallel" and "Helic 2" are both transmitted acoustically, and demonstrate advanced skill on both harp and piano compositions.

                                                              "Interlude 1" opens side B with a tranquil moment of eastern mystery, before "Love Birds" opens up a bouquet of staccato wind chimes. Enchanted and completely ethereal, it's like your stood in a magical mood garden full of Elven-sorcery and sprite-like figures.

                                                              "Radian" concludes, a heart wrenchingly powerful solo piano missive with suspended organ drones as underlay.

                                                              A breathtaking piece of modern classical mixed with atmospheric electronica and a standout piece from the series. Recommended. 


                                                              STAFF COMMENTS

                                                              Matt says: A really strong session from Kelly who shuns convention and delivers an arresting piece of modern classical greatness. If like me you know little of this artist, this is an excellent insight!

                                                              Volume.... seven I think we're up to know in this thorough and expansive Warp 'TX' series - made up of sessions old and new from a plethora of Warp's flagship acts.

                                                              Another newer addition to the ranks, Mount Kimbe records a brand new session for the label comprised of four tracks: "You Look Certain", "Delta", "Marilyn" featuring Micachi and "Made To Stray".

                                                              A far cry from Dominic Maker and Kai Campos's dubstep-indebted beginnings, "You Look Certain" and "Delta" contain technicoloured, spiraling, almost psychedelic leads - buzzsaw synths, purring organs and motorik drums propelling the tracks forward at a rate of knots.

                                                              "Marilyn", one of the duo's biggest tracks, is re-done achieving new levels of intimacy through a slightly stripped back and live sounding arrangement. Finally "Made To Stray" from 2013's "Cold Spring Fault Less Youth" closes off the EP with one of their more introspective, yet vastly gigantium pieces. 


                                                              STAFF COMMENTS

                                                              Martin says: Some of my favourite Mount Kimbe tunes all reproduced on this vital Warp session. These alternative takes are just as good as the originals making this set an imperative release for fans of this unique act.

                                                              Second release on Mister T and it's a highly electrified trip into Brazil as Mundo edits up another veritable selection of his country's disco musica...

                                                              "Jangada" opens proceedings with a fiery workout containing flanged guitar chops, vocal chants and chorused bass, encapsulating the in-the-pocket grooves prevalent across the continent.

                                                              "Infernal" takes a step back further in time stylistically, tapping up that original late 70s vibe perfectly with its heavily orchestrated arrangement and emotive chord changes; again further elevated with a fabulous vocal section.

                                                              "Melo Do Camelo" canters in with all the buzz of the party, an electric arpeggio and 4/4 disco drums perfectly highlighting the south American vocal inflections and buoyant keyboard work. If you've ever caught the legend that is Neil Diablo DJ'in in recent weeks - you'll already be familiar with this catchy jam!


                                                              STAFF COMMENTS

                                                              Sil says: Three heavily Brazilian cuts quantized and curated just for you. Digging for edits seems to never stop!

                                                              Mysticisms' reissue Nail's timeless debut release, "Cassiopeia". Appearing on the DiY Collective's "Strictly 4 Groovers" compilation album for Warp Records in 1993, the original appears as a stand alone at last and is backed with a specially created 2019 remix. Starting in 1989 and centered around Nottingham, the collective, also known as DiY Sound System, were a focal point for the burgeoning house scene in the Midlands. Promoting an alternative take on post-acid house's creeping commercialisation, DiY kept to simple ethos of good music and a good party and were at the forefront of the new Free Party movement. Alongside parties, the collective set up a studio and label and young Neil Tolliday was introduced by in-house engineer Damian Stanley. Nail was born and during studio downtime, the 18 year old wrote "Cassiopeia" around the S1000 sampler, Juno 106, Oberheim Matrix 1000 and Roland SH101. "Cassiopeia" became the stand-out inclusion on the compilation and rightly, is still highly prized. Fitting in and outside the deep house vibe DiY were known, it fuses elements of ambient and even (early) trance, with a beautiful arpeggio and vocal sample atop simple, but killer bassline and claps. Tolliday's 2019 remix is a fitting accompaniment, a cleverly constructed, rock solid house interpretation that again, highlights that expansive, proggy, proto-trance flavour that came out of the ashes of acid and later fuelled the entire Goa-trance scene.

                                                              Nicholas' own Ringrose label first rose to the surface back in 1998, and the highly sought-afterLow End Theory Pt. 112" amassed something of a cult following amongst eager heads over the years. Intrigued by the refined analog grooves he had left behind, we dug through his back catalogue and found him perfect for the off-kilter, soul-enriched and sample heavy sound our label and parties are all about.

                                                              After requesting tracks from Mark we ended up with a wide selection to sift through and quickly reached the conclusion that the music would be best represented as a complete body of work. While it took time to craft the perfect selection, we feel this LP best represents the diversity and skill Nicholas has at his fingertips. The fact he refrains from tethering himself to one sound accentuates the colour and personality that identifies his music.

                                                              The live, jammed out feel is equally matched by his experimental ideas, perhaps best manifested on uptempo swinger "This Jazz", but still his direct understanding of groove drives the LP forwards at all times. The energy levels ramp up to the techno pulse of "Ginger Giraf" at times, while elsewhere a sweet and serene mood calms the pace down on "Old Sole", but the finish on the music is consistently organic and hand-played, holding everything together naturally whatever the tempo.

                                                              The energy and sheer musicality that spills out of the ten tracks selected for this album is hard to resist, shedding a much-deserved light on jazzed-out house music that came dangerously close to never seeing the light of day.

                                                              In 1984 post-industrial obscurists O Yuki Conjugate had completed their first album "Scene In Mirage". At a turning point in their development, they released one side of their electronic sound, one side of their ambient. They had a choice of a musical route forward. They chose to pursue ambient / fourth world music and garnered a reputation for that particular sound. Now, 35 years later, they have come to reflect on their choice. What would have happened had they taken the electronic route? What would they sound like now? OYC decided to retrace their steps and imagine life as another OYC, the Ocean Youth Club. "Divided Self" is the result. "Divided Self" is thus a highly conceptual release, not just a clever disguise for their burgeoning electronic activities. Ocean Youth Club have performed live only once, in Barcelona where they supported the other OYC. They were immediately invited to do a release on Spanish label Hivern Discs. "Divided Self" is the Ocean Youth Club's first outing into electronica. It shows an exciting disregard for the convention of remixing, being an unapologetic four variations on a theme. "Divided Self" is a collaboration of current OYC members Roger Horberry and Andrew Hulme with the legendary producer Colin Potter, who jointly share the mixing and producing credits. Recorded at Colin's IC Studio live in a day, "Divided Self" was a semi-improvised work that took a couple of attempts to get into the groove of before the tape rolled and it was committed to the digital realm. The only regret is that real tape wasn't used on the day. Next time! Ocean Youth Club may be conceptual, but it's also an open and playful entity. Ocean Youth Club would like to invite anyone over the age of 50 to join them in unmaking music. The future is bright; the future is youth.

                                                              STAFF COMMENTS

                                                              Matt says: Wonderful, rich, thick, duck-down blankets of sound from O Yuki Conjugate's co-conspirators. RIYL: Shorelights, Seahawks, Ghostride The Drift, Huerco S etc.

                                                              John Dwyer and his Oh Sees (aka OCS) reissue the "Suck Blood" album on his own Castle Face imprint. Produced by Kelley Stoltz using all green energy (no joke), the album serves as a half-way point between the band's "Cool Death Of The Island Raiders" album and their most recent material. Thee Oh Sees are the underground punk rock of 2009!!

                                                              FORMAT INFORMATION

                                                              Ltd LP includes MP3 Download Code.

                                                              In an era of increased nationalism and xenophobic bullshit, Antinote reach out to make their first French-Russian connection. Olga is from Moscow. She introduced herself to the label after Dominique Dumont's show in Paris, winter 2018. Zaltan et al immediately fell in love with the song 'Mojno' and step by step built up a nice collection of tracks which became the "1905" LP! Very active in the electronic music scene, she’s spent the last ten years releasing music, performing, recording & DJing as well as being busy with her tech-project Playtronica (with them she's created 3 controllers with which you can play scales on people, objects and colors). Across the "1905" LP she utilises some DIY devices such as Yamaha sampler vss-33, voice glitcher from the Russian company “Naked Boards” and organelle synth that creates this synesthetic tone in “ready when you are”. Besides dreamy pads and dancy beats Olga is ironically singing on Russian about her daily routine, in a positive way. There's no sadness and melancholy in the dark snowy days, where even the full moon or retrograde-mercury don’t even bother you ...if you are in harmony with mother nature's 5 elements.

                                                              STAFF COMMENTS

                                                              Patrick says: Contemporary cold wave, icy electro-pop and melodic minimal wave from Russia's Omma here, who works her magic in the same vein as Carla Del Forno, Epsilove and fellow Antinote fam Domenique Dumont.

                                                              Brooklyn's Daniel Lopatin has had one hell of career, practically dominating the new synth experimental movement since his casette debut in 2007. For Warp's eighth release in the 'TX' series we skip continents to LA, with Oneohtrix Point Never's 2018 session for KCRW radio is documented here.

                                                              As per the format now, four highlights are lifted from the session and presented here for our enjoyment. "Love In The Time Of Lexapro" is a long standing favourite live performance by our man, and this particular instance is a dream on the ears - musical, tectonic and cataclysmic all at once.

                                                              "RayCats", taken from the "Age Of" LP is an experimental number comprised of rhythmic nuances such as singing bowls, wind chimes and 'perc frog' scrapes before being decorated with some skilled synthesizer work - bright leads, lysergic swirls and emotive washes all centering in on this wonderful slice of futuro-exotica.

                                                              "Toys 2" shows off all dazzling flamboyance of 5D charisma of the artist's impressive synth array. Not a million miles away from James Ferraro's new new age masterpiece: "Farside Virtual", it highlights this transitional and momentous period, proto-vapourwave when Lopatin and friends were regarded as heroes of the Nu World, their bright optimistic synthscapes an escape from the hatred and separation that began to sweep through society. 


                                                              STAFF COMMENTS

                                                              Barry says: Whilst Lopatin's work has gone from filmic ambient synth work (Rifts, Returnal) to more glitchy, beat based mayhem (Garden Of Delete), he's always maintained a focus on richly textured layers of synth pads and a slowly shifting instrumental weight. This 2018 session perfectly displays his unbeatable grasp of the fine balance between dynamics and weight, balancing the impassable mountain of sound with micromelodies and barely perceptible atmospheric movement.

                                                              Peter Major aka Opolopo is an extraordinary producer that barely puts a foot wrong. With releases on prestigious labels such as Quantize Recordings, Z Records & Papa Records, Local Talk have been waiting patiently, cap in hand, for his return to the label.

                                                              Opening track "You Can Make It" features the soulful vocals of Pete Simpson and flutters in on a very smooth and sensual palette. The instrumental fits Pete's vocal perfectly, and as the arrangement peaks, we're taking on a dazzling journey.

                                                              On the flip there are two versions of "Lamprey Love", a track with expansive warmth and jammed-out riffs, not far from Larry Heard or Chez Damier.

                                                              No matter if you choose the Bouncy Mix or the original, Opolopo has done what he does best and offers up some brilliance for house music lovers across the globe.




                                                              Katy J Pearson

                                                              Tonight

                                                                A hazy dusk falls on a crossroads somewhere between Gloucestershire and Bristol. A wooden signpost points in two directions: good ol’ fashioned country heartache to the left; effortless pop hooks to the right – and underneath, cross-legged on still-warm car bonnet, sits Katy J Pearson, strumming an acoustic guitar as she spins a tale of blossoming dancefloor romance.  ‘Tonight’ is the product of scrapping everything and going back to basics – Katy’s first outing as a solo artist after a joint project with her brother ran its course. Writing for her own enjoyment and “no longer writing songs for men in suits, or trying to impress them”, the springy riffs and sweet, upbeat melody of ‘Tonight’ were gently coaxed into being in Katy’s home city of Bristol, in her own time and on her own terms; the antithesis of the fast-paced, surreal and London-centric blur of her previous musical career.

                                                                The first of a handful of songs written during solo sessions at community artist space Island Studios, ‘Tonight’ was later recorded with Ali Chant (PJ Harvey, M. Ward, Perfume Genius, Gruff Rhys) at his studio, Toy Box. Its premise is classic and universally relatable: the meeting of two people, be it in a club or anywhere else, and how they are made instantly more vulnerable by their romantic spark. With its wheedling strings and warm production, ‘Tonight’ sounds more tinged by the South Western states of America than the South West of England. But any country inclination is happily accidental, says Pearson - it just kind of happened. “People said I was sounding quite country and I hadn’t even realised - my eyes were opened!”

                                                                For its physical 7” release, the fizzing anticipation of new love captured on ‘Tonight’ is perfectly counterbalanced with a tender and soulful B-side ballad – a cover of M. Ward’s ‘Poison Cup’. Though similarly romantically-inclined with a softly-country-round-the-edges vibe, ‘Poison Cup’ sees Pearson strip instrumental accompaniment way back, allowing her striking voice to take the front seat, and further cementing the message: here is Katy J Pearson in her most undiluted form.


                                                                Phenomenal Handclap Band is back on Toy Tonics with remixes by Superpitcher & Ray Mang! The New York indie disco crew delivers their third song to the Berlin dancefloor label. Their last 2 Toy Tonics singles, Judge Not and Jail, have already made big waves with heavy rotations in the sets of people like DJ Harvey, Artwork, Gilles Peterson, Keinemusik and many others. Now they are back with another surefire smash: "Remain Silent"
                                                                The Phenomenal Handclap Band from New York has been known for a couple of funk-driven releases before, but also for supporting or collaborating with such giants as Bryan Ferry, Marcos Valle and Nile Rodgers & Chic .
                                                                The band, based around multi instrumentalist and producer Daniel Collás, is releasing this new single in advance of their new album on Toy Tonics in 2020. This is just a warm up!




                                                                STAFF COMMENTS

                                                                Sil says: Worth its full price for the Superpitcher rendition (both vocal and dub). A 10 out of 10 in my books. You sooo need this.

                                                                London's seminal electronica act Plaid are subject to Warp's 'TX' reissue series, focusing on their second Peel session from 1999.

                                                                Sounding decidedly fresh and futuristic, even by today's standards, "Housework" kicks off the EP beautifully. Centered around a rotating sub bass, technoid perx accentuate the stereo field while tense synths occupy the recesses. Wet and wild electronix from Andy Turner and Ed Handley who would later go on to record under a variety of pseudonyms (The Black Dog, Atypic, Balil etc) before reforming as Plaid in more recent times. Here we see the duo's obvious love of the new techno sound emanating out of America and Europe, and keen for them to put their own mark on the genre.

                                                                Downbeat, slightly melancholic and with a more dusty, sample-based palette; "Kiterider" amply demonstrates that the duo were also more that capable of making evocative downtempo soundscapes that perfectly sat alongside other UK acts like Boards Of Canada, DJ Shadow and the growing popularity of instrumental hip-hop.

                                                                "Elide" seems unique to this session and I'm unable to find it recorded under any other instance, It's a quirky and frenetic outing which references Lemon Jelly and Air France in many aspects with its quick paced breakbeats and blue sky chord progression.

                                                                "Lazybeams" is the last highlight to be lifted from the session; a slow-motion drizzle of electronic elements ricocheted and twisted through a series of complicated outboard processes as the duo show of their impressive technical abilities whilst still remaining true to their musical and mellifluous aesthetic. True excellence from this well celebrated British act. 


                                                                STAFF COMMENTS

                                                                Matt says: The intriguing and beguiling world of Plaid is thoroughly explored on this Peel session from 1999. There's no-one quite these cats, here you'll see why!

                                                                Pumarosa

                                                                Devastation

                                                                  From the very first beat of ‘Fall Apart’, anyone familiar with Pumarosa can tell that a transformation has taken place. With a fast drum’n’bass inspired tattoo beating urgently beneath a sawing riff and a wide, synthesised expanse, this is a dramatic evolution from the band’s more guitar-driven debut, ‘The Witch’.

                                                                  Digging deeper into electronic influences ranging from Aphex Twin and Autechre to old jungle tunes, the shock of ‘Fall Apart’ mirrors the irreversible shift in Pumarosa’s own circumstances: shattering diagnoses, new beginnings and a strange optimism - the promise of what can be built only after total annihilation - all fed into a record that feels like an exhilarating affirmation of life.

                                                                  Learning to ‘Fall Apart’ may not have come easily to Pumarosa, but what’s emerged in ‘Devastation’ is an album about transformation on a more cellular level. First came the chaos: on the week ‘The Witch’ was released, the band’s lead singer Isabel Muñoz-Newsome was diagnosed with cervical cancer, with the resulting surgery and recovery totally changing her relationship to her body (and how to write about it).

                                                                  Inner-band relationships also evolved following the departure of bassist Henry, which further energised Pumarosa to explore new spaces in their already-expansive sound. The band took the work to producer John Congleton in LA, whose production on the likes of St Vincent and Swans helped convince them he could bring these songs and life-changing experiences into existence. They were joined in the album recording by Tool’s Justin Chancellor who, after becoming a fan of the band from their debut, provided driving bass performances in his inimitable style.

                                                                  ‘Devastation’ is a powerfully uplifting album that confirms Pumarosa as one of the UK’s most inventive and ambitious bands. Songs work through questions of mortality and the pain of love while revelling in sexuality: what it feels like to ‘Fall Apart’, what it takes to carry on, and what it means to be alive.


                                                                  STAFF COMMENTS

                                                                  Barry says: It doesn't surprise me that Devastation has a host of guests providing exactly what i'd expect them to. That rolling driven bass sound? Yep, Justin from Tool. The gloomy, but immediate production? That's right, It's John Congleton, Swans' producer, and adding that all to Pumarosa's own brand of arty percussive electronic indie, you have the superb, heartfelt triumph that is Devastation.

                                                                  The Raconteurs

                                                                  Broken Boy Soldiers - 180g Vinyl Reissue

                                                                    The Raconteurs consist of Jack Lawrence (bass), Patrick Keeler (drums), Brendan Benson (guitars, vocals, keys) and Jack White (guitars, vocals, keys). The seed was sewn in an attic in the middle of a hot summer when friends Jack White and Brendan Benson got together and wrote a song that truly inspired them. This song was ‘Steady, As She Goes’ and the inspiration led to the creation of a full band

                                                                    FORMAT INFORMATION

                                                                    Ltd LP Info: 180gram vinyl with a copper-embossed gatefold tip-on jacket.

                                                                    The Roots

                                                                    Things Fall Apart - 20th Anniversary Deluxe Edition

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

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

                                                                      FORMAT INFORMATION

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

                                                                      Saint Petersburg Disco Spin Club

                                                                      Live Sessions Vol. 2 - Inc. Auf Togo Meets Becker & Mukai Remix

                                                                      Emotional Response presents the final recordings of the Saint Petersburg Disco Spin Club, a loose band alias of Kirill Sergeew aka Kito Jempere. Principally active for just a few years, these recordings were never finalised - lost as such, until now. 
                                                                      Growing out of Kito's productions, the 8-piece band, including friends Lipelis (Public Possession / Animals Dancing) and Sergey Lipsky (Simple Symmetry), was developed to create live transformations of his music.
                                                                      The EP captures SPDSC at their peak; working with a desire to experiment via live improvisation. "Can't You See Me", their version of an earlier studio release, morphs the original's melodic 4/4 in to an expansive, surround sound slo-mo Balearic funk experience for the heavens.
                                                                      This is backed with a remix by Auf Togo Meets Becker & Mukai. After EPs on Leng, Aug Togo, aka Clement Cachot-Coulom and Sasha Crnobrnja (In Flagranti), previously teamed up with Jean-Gabriel Becker and Susumu Mukai (Zongamin), for an acclaimed EP on SaS Recordings. Their remix sensually creeps up, skilled musicianship creating a warm dub, as soothing bass and laid back vocals float to sunset horizons.

                                                                      As finale, "Simple Customers" is an 11-minute whirl of lazy, psychedelic beauty. The interplay between bass, drum and guitar is water tight, letting vocals shine to some latter day anthem. A fitting epitaph, a band at ease, confident and as one, these proved to be their last output before Kirill regrouped as today's Kito Jempere Band.

                                                                      STAFF COMMENTS

                                                                      Patrick says: The finest dubby funk and low slung disco here from Kito Jempere and pals. The A-side is a flurry of infectious bass and trippy tape echo, followed by an arp-ed up cosmic remix from Auf Togo, Becker and Mukai. Switch to the B-side and things get faaaar out on a maggot brain tip. Big hit!

                                                                      As the series draws to a close, no Warp anthology would be complete without Seefeel, Mark Clifford, Daren Seymour, Justin Fletcher, and Sarah Peacock's iconic, post-rock-electronica group who would make a mark on the early days of Warp records. Bridging guitar-based dream pop and shoegaze stylings with the downbeat, ambient techno and electronica they'd form a unique and characterful landmark on the mid 90s horizon, signing to Warp after early murmurings on independent label Too Pure.

                                                                      This final volume of this epic Warp series digs the bands Peel session from 1994 and is comprised of "Rough For Radio", "Starethrough", "Vex" and "Phazemaze". Side A drifts through their fuzzy shoegaze electronica and into their slightly claustrophobic blankets of beats, instruments and texture wrought with blackened circuits. Side B opens with the mournful techno of "Vex" before the gloopy static swamp of "Phazemaze" completes the selection with an experimental piece worthy of John Peel's cult sessions....

                                                                      What a way to end the series! Pheewwwee. Gotta get 'em all!!


                                                                      STAFF COMMENTS

                                                                      Matt says: Like label mates Plaid, Seefeel's world is that of mystery, exploration blurred boundaries. Existing in liminal and hallucinatory plains yet guided by a humane and sympathetic outlook. This final edition of Warp Session finds the band in exquistive form.

                                                                      Recorded in 1982 but never released "Feel It" is a moving slice of digital reggae. In addition to the vocal there are three dub mixes which are perhaps the earliest available examples of Rob Smith productions. These recordings may be seen as the start of Rob's illustrious career which includes Smith & Mighty, Three Stripe, More Rockers and RSD. The dub mixes in particular with their sparse instrumentation and use of a drum machine's programmed beats foreshadow the UK digi-dub scene pioneered by artists such as Nick Manasseh and The Disciples as well as labels including Conscious Sounds and Riz. Released via the impeccable Reggae Archive, this 10" pressing sound super clean and should be a welcome addition to any reggae collectors box... Recommended!

                                                                      FORMAT INFORMATION

                                                                      Ltd 10" Info: 10" limited edition of 500 copies.

                                                                      Skylark And The Scorpion

                                                                      Skylark And The Scorpion

                                                                        From the haunting haze of strings to the melodiously plucked harp, then the ethereal female voice that soars like a siren call, beseeching a lover to stay, Skylark & The Scorpion simultaneously tug at the heartstrings and nourish the soul. Their sweeping soundscapes swell, soothe and seduce like the titular lovers. Destined to be together forever, but fated to be separated ‘til eternity, their tale of doomed romance is the stuff of classical tragedy.

                                                                        Contributions come from ambient music composer Roger Eno (brother of Brian, who added piano and accordion to the mix) and orchestral arranger Nell Catchpole (on violin/viola), with additional contributions from Tim Harries (double bass), Jamie Spencer Smith (guitars), Fontane Liang (harp) and Nick Foot (percussion). Producer / songwriter Webb, who also plays the cornet, then completed the album by adding brass arrangements, before sending the results to celebrated producer Ben Hillier for mixing.

                                                                        To commemorate the album’s announcement, Skylark and the Scorpion are also revealing a 40-minute short film that accompanies the entire record, making this an extraordinary artistic AV project. Weather The Storm (the film) was shot in Shetland and features both band members.

                                                                        Snow Patrol

                                                                        Reworked

                                                                          'Over a 25 year career, Snow Patrol have carved out a unique place for themselves. Since their 1998 debut, 'Songs for Polarbears', the band have racked up an impressive number of critical and commercial accolades, including over 17 million global album sales, 1+ billion global track streams, 5 UK Platinum Albums, an Ivor Novello award and have been nominated for a Grammy and Mercury Music Prize. 'Reworked' includes three newly-recorded songs, as well as 13 re-envisioned versions of classic songs, and celebrates Snow Patrol's 25th anniversary as a band. Reworked is a collection of Snow Patrol’s classics reimagined for the band’s 25th anniversary. CD and a Heavyweight black double vinyl format housed in reverse board gatefold sleeve with download code. 

                                                                          FORMAT INFORMATION

                                                                          2xLP includes MP3 Download Code.

                                                                          Sokratis Votskos Quartet

                                                                          Sketching The Unknown

                                                                          Linking the ancient and the modern across time and space, the Sokratis Votskos Quartet presents Sketching the Unknown – a modern jazz journey into the folk and modal music of ancient Greece.

                                                                          Playing rich original compositions, the Quartet draw freely on Greek and Balkan folk sources, jazz idioms, and the classical makams of the near East. Returning to ancient Greek modes such as Dorian, Phrygian and Lydian, a fresh perspective is brought to the modal style that was popularised by Miles Davis, John Coltrane and Herbie Hancock. Expertly versed in musical theory, the pioneering jazz players that adapted these modes for the new jazz of the late 1950s and 1960s worked in full knowledge of their ancient Greek historical origins. The musical freedom offered by these ancient scales helped them take their music to a higher level as they laid the groundwork for the spiritual moment in jazz.

                                                                          On Sketching the Unknown, the Sokratis Votskos Quartet brings that process full circle, linking today's jazz back to the ancient modes and microtonal folk music of Greece and the Near East. Deep modal jazz sounds from an ancient source!





                                                                          Local Talk is back again with a fantastic album from Soulphiction who drops a timeless selection of house tracks across 3 pieces of beautifully packaged vinyl...

                                                                          Dusty grooves and soulful emotion form the foundation of this triple-pronged release, which also takes influence from jazz, hip-hop and Afrobeat. Comparisons could be drawn with DJ Nature, Mr. G and much of Detroit's 'third wave' (Theo, Kenny etc) as "U'll Like It" and "Luve Yaselves" shuffle outta the starting blocks with loose percussion and a moody outlook. "Speedswing" has that introspective jazz infero roaring through its core while "Jus Listen" treads a more delicate and cerebral line into electro-jazz experimentation.

                                                                          A brilliant curveball comes via the final track, "Work That"; a strange footwork hybrid with sweeping textures and crazy sample programming.



                                                                          Oliver Spalding

                                                                          Novemberism

                                                                            “Novemberism” is the debut album of 23-year-old UK artist Oliver Spalding. As with his debut EP “Unfurl” (2017), the album was written and recorded with producer Ed Tullett (Novo Amor). Built around Spalding’s staggeringly beautiful voice, the record is full of melodic, immediate songwriting and arresting electronic production. Asked about his choice of title, Spalding explains, “To be melancholy all year round is to suffer from Novemberism.” And indeed, these 11 tracks are woven together with a common thread of heavyheartedness. Even the more upbeat songs, like title track “Novemberism” and “Bow Creek”, which drive and glisten with intoxicating pop hooks and 80s era synths, recall the darker undercurrents of classic New Order.

                                                                            Says Spalding, “The album focuses on a certain period of time in my life and the things that happened around me. My honesty in songwriting is key. The aim of this album was to be raw and emotional. Emotions are scary and no one wants to face them, and that’s what I wanted the album to feel like - something that is uncomfortable but also beautifully revealing. Synthesizers feature heavily across the record, including single “Bow Creek”, where iridescent synth stabs and lush strings wash over a hazy, late-night London. “I’m a huge Roxy Music fan”, says Spalding, “I love Brian Ferry’s work and take inspiration from the Prophet synth sounds on the 80s Bruce Springsteen records. Opener “Athamé” explodes the record into life with a barrage of saxophone and cymbals, before settling down to “Xanax”’s addictive delayed guitar lines and Spalding’s world-weary vocals. The slow, dark R&B simmer of “Her Crescent” reflects in the dark, ethereal pool of Björk-influenced soundscape “Emissive”, and the quietude of the delicate, piano-led heartbreaker “Golden” gives room to breathe after the gloomy electronic cacophony of “AIBM”. Elsewhere in the album, “Unreal” sees Spalding’s gossamer, spine-tingling falsetto soar to the heavens, and epic power ballad “Everglades” lifts Spalding’s voice to its towering, affecting peak, bringing the album to a close with a shudder of thundering drums. 

                                                                            FORMAT INFORMATION

                                                                            Coloured LP Info: limited to 500 copies on 180 g white vinyl with a free album CD inside plus a colour printed inner jacket and a lyrics sheet insert.

                                                                            Vinyl comes with CD version of the album enclosed.

                                                                            Sports Team

                                                                            Fishing

                                                                              The first single to be taken from their forthcoming debut album, due for release early 2020. 

                                                                              Snap this up they're gonna fly!

                                                                              Squid

                                                                              Town Centre

                                                                                The hotly tipped post-punk, disco-funk phenomenon Squid are back with a new EP called ‘Town Centre’ on vinyl via Dan Carey’s Speedy Wunderground label, the first EP from the legendary singles label. ‘Town Centre’ is a perfect distillation of everything they have done so far, making good on the angular funk of ‘The Dial,’ the disco-punk of ‘Houseplants’ the ambitious songwriting of ‘Terrestrial Changeover Blues’ and through to their more ambient-leaning early work.

                                                                                Kicking off with the ambient sprawl of ‘Savage,’ Squid are instantly revelling in the uncertainty and ambiguity found in the searching out of ideas and have created something that feels meditative yet active, capturing their alluring chaos but presenting it in a totally different manner. Next up, the propulsive, guitar-led ‘Match Bet’ was written at guitarist Anton Pearson’s parents house in Norfolk and spawned from an open tuning fingerpicking pattern that sparring partner Louis Borlase had been developing after being inspired by the Don Edwards track ‘Coyotes’ in Grizzly Man.

                                                                                On ‘The Cleaner,’ Squid are at their angular best, the lyrics are inspired by moving to London and trying to adjust to the pace and lifestyle of the city. The track is bursting with ideas, and there’s a clear energy and determination within the band to embrace different musical styles, deftly. ‘Town Centre’ closes with ‘Rodeo,’ a cinematic track that features an observational monologue from Ollie Judge. Percussion and keys wunderkid Arthur Leadbetter says of the track: “The song is a story for us. One that feels like your on a movie set while the camera is rolling, but the lead actor has lost the plot and split his mind between those closest to him.”

                                                                                For ‘Town Centre’ the band once again team up with producer du jour Dan Carey and emerge with a powerful, intensely angular collection of songs that recall the finest corners of late 70s post-punk alongside a propulsive motorik drive and glimmers of early noughties disco whilst expertly making it all their own.

                                                                                Dan Carey on Squid. “I love Squid so much. To record with them is such a joy - the room is a sea of ideas and enthusiasm without any clashes of ego; every suggestion is given full attention. This , combined with their musicianship results in beautifully inventive music, underpinned by a hard steady groove and topped with lyrics that are important and surreal.”

                                                                                Aside from his brief inclusion on Light in the Attic’s "Kankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980-1990" (compiled by Empire of Signs’ Spencer Doran), Horizon presents this work outside of Japan for the first time.

                                                                                Remastered from original tapes in cooperation with the artist .

                                                                                Almost completely unknown in the west, Masahiro Sugaya has been composing and producing music since the 1980s in an exceptionally wide range of fields and practices. From arrangements for musical acts like the acoustic guitar duo Gontiti to acousmatic diffusion at spaces like Paris’s Groupe de Recherches Musicales (GRM), Sugaya’s reach is almost exhaustive in its breadth, but it was in the 80s bubble-era kankyō ongaku scene that he first found his musical voice. Horizon, Volume 1 presents a window into these works, culled from Sugaya’s early scores for experimental Tokyo theatre group Pappa Tarahumura.

                                                                                As a teenager, Sugaya would visit the avant garde hub of record/book shop Art Vivant run by Satoshi Ashikawa of Sound Process, guided by Ashikawa’s recommendations into the worlds of experimental composition, jazz and ethnographic music. It was there he also met musician Yoshio Ojima—the two would become close friends and contemporaries, working within a circle of Tokyo musicians that also included Midori Takada, Hiroshi Yoshimura and Satsuki Shibano. Ojima, an early adopter of new musical technology, would introduce Sugaya to the possibilities of composing with computers, synthesizers and samplers, which would become a trademark in Sugaya’s early works. Surprisingly, the sound sources on Horizon are entirely digital, showcasing Sugaya’s ability to organically recreate complex musicianship approaches via keyboard using hyper-realistic samples. Much like Ojima and Yoshimura’s work, the results eschew electronic music’s usual coldness for something more warm and inviting, the feeling of a human in deep conversation with technology.

                                                                                Flourishing within the boom of experimental theatre subsidized by corporations during the bubble economy, Pappa Tarahumura forged a unique dream-like style that merged performance art, modern dance and fantastical installation-like stage sets. Sugaya fashioned multiple soundtracks for their productions in collaboration with director Hiroshi Koike, the first two of which, The Pocket Of Fever_ (熱の風景) and Music From Alejo_ (アレッホ – 風を讃えるために), he self-released in 1987 on cassette, handing them out at Tarahumara performances. The third, The Long Living Things (Zoo Of The Sea) (海の動物園) followed in 1988 as a CD on Yukio Kojima’s ALM records. 


                                                                                Donna Summer / Earth Wind & Fire With The Emotions

                                                                                I Feel Love (Patrick Cowley Mega Mix) / Boogie Wonderland

                                                                                In 1982, Donna Summer’s I Feel Love - which had re-defined dance music on its original release in 1977 - was remixed by Patrick Cowley and became a huge dance floor anthem once again. The extended “Mega Mix” version, running to over 15 mins, has long been celebrated as one of the most essential dance music cuts of all time and now, for the first time since its original release, we are proud to reissue this amazing track as a 12” single. And to make this the best 12” single you could ever own, we have coupled I Feel Love with another towering classic of the genre.

                                                                                From 1979 we present the full 8-minute plus version of the breath-taking Boogie Wonderland by Earth, Wind and Fire with The Emotions. One of the best loved disco tracks of all time - and in its extended version here - not only is it a huge floor filler but it’s also a truly euphoric celebration in music.

                                                                                I Feel Love the Patrick Cowley Mega Mix, and the extended version of ‘Boogie Wonderland’ together for the first time on one 12” single. Two essential anthems for every music collection


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