Mick Harvey & Christopher Richard Baker

The Fall And Rise Of Edgar Bourchier And The Horrors Of War

    ‘The Fall And Rise Of Edgar Bourchier And The Horrors Of War’ examines the work of a long forgotten World War I poet, Edgar Bourchier, through his poetry as put to music in a concept album. Its release coincides with the 100th anniversary of the Armistice (11 November 2018).

    The works of this long forgotten war poet arrive in 2018 indirectly from the trenches of the Western Front. The wider narrative takes us from Bourchier’s birth in Warwickshire in 1893 through to his final school days and then his pointless death at Passchendaele in 1917, aged only 24. It continues by virtue of the poetry being posthumously published in 1918, adapted into song via a proposed cabaret treatment influenced by the Weimar Republic, through to an Olympia Press reprint of the poems in the 1960s and then onward into the late 80s when The Moon Lepers translated his words into song.

    In 2018, Bourchier’s words were revived when the author Christopher Richard Barker approached Mick Harvey to ask if he could help him recreate the scores that had been discovered for the unrealised cabaret show. Happily, Harvey’s interest was piqued.

    Liela Moss

    My Name Is Safe In You Mouth

      “The act of making this record has felt truly exotic for me by way of its minimalism,” says Liela Moss of her debut solo album. Released via Bella Union, ‘My Name Is Safe In Your Mouth’ more than lives up to Moss’s promise of fresh, bold adventure.

      Sonically spare yet sumptuous in its emotions, elemental power and expansive melodies, the record is a richly felt, vividly-realised trip into the interior from the Duke Spirit singer.

      A serene-to-stormy series of deep dream-pop meditations on devotion and selfhood, creativity and parenthood, it treats unknown territory not as something to fear but as a seed-bed of possibility.

      The Detroit Cobras

      Tied & True

        One of the earliest groups to emerge from the Detroit garage rock scene, The Detroit Cobras developed a reputation as the Midwest's finest (and most distinctive) cover band - while the band members devoted themselves to performing other people's material rather than recycling established hits, The Detroit Cobras dug deep into the well of vintage R&B and primitive rock & roll sides, building an individual identity out of lost classics from the past which they modified to fit their swaggering aural personality.

        Originally released in April 2007, with ‘Tried & True’ The Detroit Cobras practically created a new genre for themselves, delivering the sonic goods to back up some seriously supernatural soulful vocal gifts. Stretching out in the studio like never before and including contributions from top line players like Greg Cartwright, the Cobras created a versatile and formidable wall of Spector sound.

        The Detroit Cobras


          One of the earliest groups to emerge from the Detroit garage rock scene, The Detroit Cobras developed a reputation as the Midwest's finest (and most distinctive) cover band - while the band members devoted themselves to performing other people's material rather than recycling established hits, The Detroit Cobras dug deep into the well of vintage R&B and primitive rock & roll sides, building an individual identity out of lost classics from the past which they modified to fit their swaggering aural personality.

          ‘Baby’ is the third studio album by The Detroit Cobras. It was originally released in November 2004. It features 12 covers of R&B obscurities and one original song, ‘Hot Dog (Watch Me Eat)’.



            Julien Baker, Phoebe Bridgers and Lucy Dacus formed boygenius after booking a tour together but the trio had subconsciously been in the works for longer than that. Through a series of tours and performances together and chance encounters that led to friendships - including Bridgers’ and Dacus’ first in-person meeting backstage at a Philadelphia festival, greenroom hangouts that felt instantly comfortable and compatible, a couple of long email chains and even a secret handshake between Baker and Dacus - the lyrically and musically arresting singer-songwriters and kindred spirits got to know each other on their own terms.

            Black Roots

            Take It

              Formed in 1979, Black Roots exploded onto the Roots Reggae scene in 1981 when legendary Radio 1 John Peel showcased their debut EP on his show, hailing them as one of the best new reggae bands in the UK. Their unique brand of roots reggae drew in people seeking to find a voice that spoke out against the injustices and alienation caused by the pace of political reform introduced in Thatcherite Britain. Black Roots’ uncompromising lyrical content was that voice throughout the 80’s.

              The band went back into the studio in December 2017 to record and produce 22 songs at Portishead’s J&J Studio in Bristol employing the mixing talents of Louis Beckett. The first album from this session, ‘Take It’ is released on the band’s own label Nubian Records.

              They are also performing live again delivering that conscious and uncompromising message with those harmonic vocals backed by a deep melodic roots reggae rhythm that makes them so unique.

              For fans of reggae, roots reggae, Black Roots, Groundation, Steel Pulse, Pablo Moses, Culture, The Abyssinians, Israel, Vibrations, Wailing Souls, Clinton Fearon, The Itals, Nubian Records, Khanti Records.


              Phantom Brickworks (IV & V)

                One year on from the release of ‘Phantom Brickworks’, Bibio returns with two more excursions into the dreamlike environments he invoked with that album.

                Rollover Milano is proud to present Anything Goes -Rollover Edit Service Vol.2. A-Side contains two twilight-Italo-Balearic edits from Rollover DJs and Joseph Tagliabue.

                As the Sun goes down, B-side becomes darker with two deep and groovy reworks from SHMLSS and ETNA.



                  Koen Holtkamp has made a name for himself in his solo recordings and with his duo with Brendan Angeregg, Mountains. Continuing to expand his horizons as an artist and furthering the scope of creative possibilities in electronic music, Holtkamp is debuting on Thrill Jockey as BEAST.

                  ‘Ens’ was crafted leading up to and after the birth of Koen’s first child. The album is a profoundly intimate and heartfelt journey into the composer’s psyche. BEAST reins in his sprawling sound with new resolve, crafting tightly constructed pieces of engaging and ecstatic beauty.

                  “Koen Holtkamp’s primary directive is to make your journey through inner space both safe and enlightening.” - Ad Hoc

                  “[Koen Holtkamp] shows that one can create process live or in the studio and the results point to the same thing: a world worth listening to. At the very least, Holtkamp’s world certainly is. So get to it. (But take your time once you get there.)” - Line of Best Fit

                  As BEAST, Holtkamp has nimbly altered his process of creating dense, immersive music. ‘Ens’ stands as not only the culmination of his newfound methods but also a deeply personal moment. In crafting the graceful and passionate sonic tapestries into compact compositions, BEAST’s ‘Ens’ masterfully melds the earthbound and the ethereal.

                  FORMAT INFORMATION

                  Coloured LP Info: Indies exclusive clear vinyl.

                  Beach Fossils

                  Clash The Truth

                    “Clash the Truth is Payseur evolving, the band shifting in a direction that’s probably unlike what they previously imagined themselves moving toward.” CONSEQUENCE OF SOUND // “Beach Fossils have found a balance that’s better than anyone could have hoped for.” EXCLAIM // Beach Fossils’ sophomore album, Clash the Truth, is modern post-punk triumph that’s left a lasting impression on the music scene it was born out of. After releasing their self titled debut and the beloved EP, What a Pleasure, songwriter and composer Dustin Payseur began recording dissonant and introspective demos reflecting on his southern upbringing and young adulthood in New York. The tracks that would eventually make up Clash the Truth involved Payseur taking his songwriting in a new direction, employing jagged instrumentals, existential lyrics, and socially conscious subject matter. The darker themes of Clash the Truth still come out vibrant through bright guitar tones, locomotive drumming, and Payseur’s inventive home recording techniques. Referencing the sounds of Factory Records releases, New York’s no wave scene, and 90’s avant-pop, Beach Fossils expanded their sound past the perimeters of bedroom dream pop. 

                    FORMAT INFORMATION

                    2xColoured LP Info: Limited clear pink vinyl pressing.

                    Beach Fossils

                    What A Pleasure

                      “These tunes create an interesting dichotomy-- joyous lyrics delivered solemnly… carefully arranged in the way a jazz or classical piece might be.” PITCHFORK // “On What a Pleasure, the carefree, lazy summer day beach pop sound of Beach Fossils has remained intact, just with refinements.” CONSEQUENCE OF SOUND // Brooklyn bedroom pop pioneers Beach Fossils’ stand out EP, What a Pleasure, is being reissued for the first time since it’s 2011 release! Songwriter and composer Dustin Payseur’s upbeat follow up to his band’s self titled debut is a refined exploration of dreamy guitar sounds, lush synth arrangements, and confessional songwriting. Born out of late night jams with his bandmates and long time collaborator Jack Tatum (Wild Nothing), What a Pleasure expanded on Beach Fossils’ sonic landscape and resulted in some of Payseur’s most memorable tracks. The EP has gradually become a cult classic among fans of the band, and many of its songs still work their way into Beach Fossils’ live sets today. 

                      FORMAT INFORMATION

                      Coloured LP Info: Limited edition yellow vinyl pressing.

                      Beach Fossils

                      Beach Fossils

                        “Beach Fossils has purpose and economy. It’s built on cleanly picked single notes stacked over complementary bass patterns and unobtrusive drums.” PITCHFORK // “Piercing post-punk guitar lines are tossed off casually, while Mr. Payseur realizes he doesn’t need to go further than his own subconscious to disappear.” THE NEW YORK TIMES // Beach Fossils’ self titled debut album is a seminal release from the halcyon days of Brooklyn’s underground music scene. Songwriter and composer Dustin Payseur’s home recorded masterpiece captures the naïveté of youth, the anxiety of routine, and the joy of infatuation, though a track list full of layered guitars and heartfelt lyrics. Beach Fossils take inspiration from 60’s jangle pop, 70’s kraut rock, 80’s post punk, to create a sound uniquely their own with this first record, causing a ripple effect on the sound of indie music in the years that followed it. The album is now being reissued for the first time on Payseur and his partner Katie Garcia’s own label, Bayonet Records, including a limited edition green vinyl pressing (500 only). 200 Cassettes made. 

                        FORMAT INFORMATION

                        Coloured LP Info: Limited edition green vinyl pressing

                        Nurse With Wound

                        Play ‘Changez Les Blockeurs’

                          In 1982 The New Blockaders self-released their debut LP Changez Les Blockeurs, an edition of only 100. Steven Stapleton was the very first person to purchase / hear the album and subsequently distributed copies via United Dairies.The LP has since attained a somewhat mythical / legendary status (Record Collector magazine included it in a list of the rarest, most collectable records ever) and 2017 was the 35th anniversary of its original release. In celebration of this, TNB invited Steven Stapleton to rework the original which is now available in all its glory as NWW Play Changez Les Blockeurs. This CD includes a bonus track not on the LP with new artworks by Babs Santini. 

                          Current 93

                          Soft Black Stars

                            We are OverMoon to announce the 2LP reissue of Current 93’s classic SOFT BLACK STARS. Originally released in 1998 in a vinyl edition of just 2,000 copies, and on CD,, this is the first official vinyl reissue since then. Remastered by The Bricoleur, this album contains all the released versions of the album’s final track, “Chewing On Shadows”—the original album track, as well as the 2 different versions used on the expanded CD release of 2004.In a full-colour sleeve, reproducing the original paintings by David Tibet, and a 2-sided full-colour insert. 

                            Mikael Tariverdiev

                            Seventeen Moments Of Spring

                              On broadcast, Seventeen Moments was immediately immensely popular with an estimated audience of between 50 and 80 million viewers for each episode. Crime rates dropped significantly during the broadcasts, city streets were empty and power stations had to increase production to cope with a surge in the demand for electricity for TV sets. It is said that Brezhnev moved meetings of the Central Committee of the Communist Party in order not to miss an episode and that Vladimir Putin’s decision to join the KGB was influenced by watching the series when young. It became the most successful Soviet espionage thriller ever made.

                              It was rebroadcast annually in the Soviet Union and throughout the Warsaw Pact nations, and is still regularly shown in Russia where it remains one of the most popular television series of all time. Without any doubt, the score by Mikael Tariverdiev contributed to this huge success. He wrote it after some initial reluctance to be involved but its popularity catapulted him to national fame. ‘Somewhere Far Away’ and “Moments’, remain some of the best-known and well-loved cinematic songs of the era.

                              The main theme and his piano underscore to that famous café scene where Stierlitz and his wife meet-but-don’t-meet must have surely captured the haunted longings and romantic poignancy of a generation of Soviet citizens who had suffered their own forced separations, displacements, silences and losses. The score presented here follows the narrative arc of the series’ story. It has been re-mastered from transfers made from original tapes in the Tariverdiev apartment in Moscow. The download and CD versions contain three additional tracks never before released – even in Russia - including the much-loved Waltz for Gaby. 

                              FORMAT INFORMATION

                              LP includes MP3 Download Code.

                              Transmaniacon Feat Lydia Lunch And Maya Berlin

                              The Strange World Of Suzie Pellet

                                The Strange World of Suzie Pellet' is a hard rocking concept album featuring a dark, unsettling and mysterious tale of future street dweller Suzie Pellet. A feisty survivor in a ruined world, Suzie is the brainchild of Ian Miller, fantasy/horror artist and novelist. His surreal. nightmarish creations have graced book covers, graphic novels and films, and have given form to the works of HP Lovecraft, Tolkien and many more. Now, one of his own dark gothic characters comes to life. Not unlike Michael Moorcock guiding Hawkwind or Sandy Pearlman, The Blue Oyster Cult, or even a cranked up Moody Blues or Who, Transmaniacon bring Miller'svision to sonic life, aided and abetted by the outstanding vocal deliveries of punk poetess and avant rocker Lydia Lunch (a hind-sighted Suzie) and Maya Berlin (a future 'present-day' Suzie).

                                Sci-fi and space rock has always been present in Transmaniacon, a previous incarnation was XM3a who released the first New Heavy Sounds single, 'Bad Robot Man', an epic 9 min acid rock riff-fest. This was followed up (as Transmaniacon) by 'The Darkening Plain' their first concept piece containing the 25 min classic 'Quintessence of Dust' - bleak, dense, forboding, and heavy. - a sort of Killing Joke/Hawkwind/Pentagram hybrid which featured the first collaboration with Lydia Lunch. But with 'Suzie Pellet' Transmaniacon becomes more a musical collective. The core of the band remains, hard and heavy riffing guitars, overdriven Hammond Organ (and this time synth) but with the addition of Tom (Uncle Acid/Limb) Mowforth on drums they are a groovier, more athletic 70's rock beast. The twin heavyweights of Blue Oyster Cult and Mountain loom large, but this time with the added groove of an an organ-driven Black Mountain. Suzie Pellet is Transmaniacon's first true collaboration with Ian Miller. Miller resurrected his post apocalyptic tale of street survivor Suzie Pellet in a rotten and derelict London-esque urban-scape called Duht. Transmaniacon have taken and expanded Miller's vision into a story in which Pellet herself, describes the dark, underworld, its characters and situations, friends and foes, all in grisly-spoken and sung diary-like, excerpts.

                                Lydia Lunch was an obvious choice for the mature Pellet. A survivor of numerous underground scenes herself from punk and no-wave through noise, avant-rock and, appropriately enough here, spoken word. In 1975 Patti Smith perhaps could have been a young Susie Pellet, in 93 Polly Harvey, but now the role falls to Maya Berlin. With her band, Cold in Berlin delivering equal parts Punk, Doom and Goth over their three highly acclaimed albums (including 'The Comfort of Loss and Dust on Candlelight Records), she was perfect. And Suzie gives her the opportunity to expand her vocal (and theatrical) talents in Grace Slick or Julie Driscoll or even Chelsea Wolfe directions. Step into the nightmare world of Suzie Pellet. 

                                FORMAT INFORMATION

                                Vinyl comes with CD version of the album enclosed.

                                The Prodigy

                                No Tourists

                                  The Prodigy's seventh studio album, 'No Tourists' will be released on their Take Me To The Hospital label via BMG.

                                  In a career approaching 30 unpredictable, uncompromising years, The Prodigy have become that rare artist whose influence can be felt across all walks of life. Continually defining (and re-defining) electronic music, the band have clocked up a staggering 6 number 1albums, played to many millions around the world, and remain as relevant and respected as ever.

                                  Though much has changed in the musical and social landscape, what remains a constant is The Prodigy's resolute focus on following their own path, their own way. This, perhaps, is the true meaning of 'No Tourists', and in 2018 the anger, urgency, and irrepressible spirit of The Prodigy has no doubt never been more needed.

                                  FORMAT INFORMATION

                                  Coloured LP Info: Limited clear purple vinyl edition.

                                  This is the original Arcade Fire demo EP recorded in August 2003 in a barn in Maine, and featuring an earlier line up of the band (Win Butler, Régine Chassagne, Dane Mills, Brendan Reed and Myles Broscoe). It was produced by Richard Reed Parry, Win and Régine, and was originally only available at shows.

                                  The EP features an early version of fan favourite “No Cars Go”.


                                  Leaves Turn Inside You

                                    The Unwound album that ended all Unwound Albums. Recorded in a moudering farmhouose basement at the crest of the new century, Leaves Turn Inside You is the no-wave response to Spector’s wall of noise call. Infinite layers of choppy guitar stabs and bridge scrapes, guttural bass thronk, thrift store synths, and monotone chanting wash over suffocating rhythms to deliver the wrld’s only choral grung LP. Remastered from the original analogye tapes and pressed on heavy weight vinyl for the discerning noise-nik.

                                    Thought Gang

                                    Thought Gang

                                      By the time Twin Peaks’ second season had aired and Fire Walk With Me had just begun principle production, Thought Gang had been born. The esoteric jazz side-project of David Lynch and Angelo Badalamenti evolved from the seeds of Twin Peaks’ trademark slow cool jazz and blossomed into more experimental pastures: horizonless vistas of acid-soaked free-jazz, laced with spoken word narratives and sprawling noisescapes. Fire Walk With Me’s soundtrack would ultimately showcase two preliminary tracks (“A Real Indication” and “The Black Dog Runs at Night”) from a full-length album that wouldn’t see release for two-and-ahalf decades. Beginning in May 1992 and continuing throughout 1993, the bulk of the remaining material for the album was recorded in pieces, and dove-tailed into a string of contracted sessions for other Lynch-Badalamenti projects.

                                      In the years following, fragments and working versions of Thought Gang material would make appearances in everything from a Lynch-helmed Adidas commercial to scenes in Hotel Room, Mulholland Dr., Inland Empire, deleted scenes from Fire Walk With Me, and most expansively utilized in Showtime’s third season of Twin Peaks. “Frank 2000” and “Summer Night Noise,” as well as an alternate instrumental mix of “Logic and Common Sense,” would score scenes from season three and aid in defining the show’s distinctly experimental, noisetilted soundtrack.

                                      “It’s sort of like jet-fueled jazz in a weird way…but it’s all based on stories,” says Lynch. “It’s Modern Music.”

                                      Those two words seem to efficiently capture both Thought Gang’s essence and distinctively genre-less genre. Quite often music that finds release beyond its decade of creation experiences a bit of an aural patina resulting from the process of marinating in the ether of time. Perplexingly, Thought Gang retains a contemporary quality difficult to quantify. Fittingly, the resulting album somehow still sounds “modern” and will continue to remain “modern,” decades upon decades after is creation.

                                      FORMAT INFORMATION

                                      2xColoured LP Info: “Steel” coloured vinyl.


                                      Themes For An Imaginary Film

                                        The neon lights that decorate a dive bar’s window cast a vivid reflection in rainwater on the pavement outside, as steam rises from deep beneath the ground. A slow pan across the scene, past alleys cast in shadow, twilit corners & glass doorways streaked with the mist of humid bodies fuming inside: the camera catches the denizens of an unnamed city, studying faces heavy with secrets too sad to bear. Cut to the motorway. Sleek cars barrel through the night. Sirens moan. Engines rev. You’re behind the wheel, over the edge as the credits roll.

                                        This film does not exist — but the soundtrack does. Symmetry is Johnny Jewel & Nat Walker, & Themes For an Imaginary Film is their two-hour cinematic opus pokus, a sprawling score for a movie that screens only in your mind. A “conceptual tangent between Glass Candy, Chromatics, Mirage, & Desire’s more abstract sides,” as Jewel himself describes the project, Symmetry is a vigorous, electric, restless exploration of ideas on the bleeding edge of instrumental sound. Analog synthesizers roll and crest, drums collide, keys cascade clear & crystalline. These themes evoke the phantasmic images that inspired them: urgent and ethereal, sinister & romantic. It’s a neo-noir epic of pink fog & femme fatales hidden behind rain drenched windshields after dark.

                                        Dan Mangan

                                        More Or Less

                                          "More Or Less" is Dan Mangan’s fifth album. His new music is about witnessing birth, and in some ways rebirth. It’s about feeling disconnected from a popular identity and becoming acclimated to a new one. It’s about raising kids in a turbulent world. It’s about unanswerable questions and kindness and friendship and fear.

                                          Dan Mangan worked with some incredible people who have made many of his favorite albums. In between recording sessions, he’d listen to Van Morrison’s Astral Weeks and Nick Drake’s Pink Moon.

                                          In short, his album is: more sparse. Less meticulous. More kids. Less time. More direct. Less metaphor. More discovery. Less youth. More warmth. Less chaos.

                                          Charles Mingus

                                          Jazz In Detroit / Strata Concert Gallery / 46 Selden

                                            The radical discovery by Amir Abdullah of 5 two-track master tapes in the care of Hermine Brooks – widow of innovative Detroit drummer Roy Brooks – of the Charles Mingus Quintet recorded live in Detroit at Strata Concert Gallery is cause for some serious celebration. These electrifying recordings took place during Mingus’ week-long residency in February 1973. They were broadcast live by drummer/producer and broadcaster Robert “Bud” Spangler for WDET FM – a public radio station dedicated to jazz – from Kenny and Barbara Cox’s multi-purpose home for Strata Records at 46 Selden. Entrance to the gig was $5 dollars in advance and $6 on the door.

                                            By the early Seventies Mingus’ militant musings, volatile character and hugely innovative musical offerings had already earned him global notoriety. He’d played with the Bird, Dizzy, Max Roach, Duke Ellington and had released universally acclaimed albums as a leader like ‘Blues & Roots’, Oh Yeah’ and ‘Black Saint & The Sinner Lady’. This gig – one of a Jazz In Detroit series that also included Keith Jarrett, Tribe and Herbie Hancock – took place a few months after the release of Mingus’ “third stream” masterpiece ‘Let My Children Hear Music’.

                                            The music on these tapes is blazing. According to the late Roy Brooks, the band – which included himself and fellow Detroit trumpeter Joe Gardner - had not long returned from playing two tours in Europe. Fresh to the quintet was stellar pianist Don Pullen and listening to these recordings Pullen’s church-driven power, blues sensibility and harmonic sophistication perfectly complements the bassist’s own vision. On tenor saxophone we have the soulful and innovative John Stubblefield. Like Pullen he was a recent recruit. Unfortunately, the saxophonist’s time with Mingus lasted a mere 5 months: “I got in a fight with Mingus and I shouldn't have done that. After that, I couldn't get arrested in New York." Ironically, when Sue Mingus formed the Mingus Big Band in 1992, to perpetuate her husband's legacy, Stubblefield emerged as a talismanic presence in the ensemble until he passed in 2005.

                                            Thanks to BBE, 180 Proof Records and Strata Records we can now tune in to WDET-FM and transport ourselves back to Detroit ’73, and get a taste of the furious energy and compositional sophistication of a unique and modern master at work in the most intimate of settings.


                                            Lit / Sickening & Deplorable

                                              Of the single, lead singer Matthew Crossan says: “The song was written around the time when the news was covering the injustice in America, when Keith Scott was ‘shot down in Charlotte’ for no apparent reason. The song is also about the on-going refugee crisis, it’s morally important for people to help people, and you never know when you yourself may need help.” Punky, powerful and gritty with political punchiness, ‘Bomb Scare’ is an anthem for the youth of today and a comment on the world we currently live in.

                                              Ian William Craig


                                                Eighteen months on from his last new release, Vancouver-based singer / composer Ian William Craig returns with an album-length release that collects together eleven new tracks. Entitled 'Thresholder', the record sees Craig return towards the smudged and scoured beauty of his 2016 opus, 'Centres', a record which was universally acclaimed, making many end-of-year lists – including the likes of Rolling Stone, Uncut, The Wire, The Quietus, The 405 and Drowned In Sound. 'Thresholder' is released on vinyl and digital formats, with the former packaged in gorgeous inner / outer sleeve artwork from Ian. Besides as the often-quoted William Basinski reference point, the music here recalls the visceral media-decay of early ‘00s operators like Fennesz, Belong, Desormais, Philip Jeck or Pimmon. 'Idea for Contradiction 2' Is like a massively overdriven or sandpaper-scoured version of Brian Eno's 'An Ending' or some shredded Colin Stetson stem. The ending of ‘And Therefore the Moonlight’ - is reminiscent of Sigur Rós (who are fans and recently invited Ian to play their Norður og Niður festival in Reykjavik); whilst ‘Sfumato’ exists in the same dimension as The Caretaker's haunted ballroom with its reverb-drenched and occluded distant vocal. Elsehwere 'The Last Wesbrook Lament' might recall Animal Collective's 'Loch Raven' with the percussion erased. Craig signs the record off on 'More Words for Mistake', a track that seems to define itself through absence, with the spirit of old machinery rattling away as we emerge from the record's 38-minutes scoured and anointed. 


                                                Friendship Music

                                                  Fat Possum and Julian Casablancas' Cult Records are partnering to release NY Punks Surfbort record, "Friendship Music". Surfbort, a four-piece punk band from Brooklyn, New York made up of David Head, Alex Kilgore, Sean Powell and led by Dani Miller, channels inspiration from the 80’s punk scene to produce rousing, explosive music. Surfbort’s live experience is visceral and confrontational. Their feedback-strafed, guitar-shredding punk music says no to a digital age full of intolerance; they radiate love and friendship. All are welcome in the SURFBORT FREAK FAMILY! In the last three years they have supported acts such as The Dickies, Thee Oh Sees, Fat White Family, White Fang, Martin Rev, The Garden, Tijuana Panthers, The Mystery Lights, Tomorrows Tulips, Sunflower Bean, DIIV, GOGGS, The Dune Rats, Leftover Crack etc, Meatbodies, Ex-Cult, Hinds among others…

                                                  Umit Aksu Orkestrasi

                                                  Bermuda Seytan Ucgeni

                                                    Zel Zele launches with a reissue of a holy grail 7” by Umit Aksu Orkestrasi - a band formed by Turkish pianist, composer and arranger Umit Aksu. Originally released in 1975, “Bermuda Seytan Ucgeni” is an outstanding experimentation of forward-thinking jazz-funk played by some of Turkey’s most talented musicians.

                                                    “Bermuda Seytan Ucgeni” is the musical adaptation of The Bermuda Triangle, also known as the Devil’s Triangle. A whirlpool leading into a jazz/funk piece with playful horn section, funky bass-line and drum breaks, almost sounding like an adventurous Blaxploitation soundtrack. A daring sax solo comes into play by the second minute that sets the ship on fire. Just when you think that must be it, starts the synthesiser havoc; chaos, alarms, whirlwind all goes off as the mystery of the triangle unfolds.

                                                    Bogaziçi Köprüsü “Bogaziçi Köprüsü” meaning Bosphorus Bridge, is the name of the first bridge in Istanbul that connects the Asian and European sides of the city. The track was released 2 years after the bridge was built. It starts with a car engine which is about to take a nostalgic and playful ride through the Bosphorus Bridge. Melodic, synth led tune that reminds us of early Italian library recordings.

                                                    This record is the last to be written in our humble bedroom studio in Edinburgh, it deals with the usual theme of two 20-something overgrown emotional sad boys. Stress, trust issues and of course, dirt from Hawaii. Outside of this odd, brotherly-love project, we have also made music under solo pseudonyms (DJ Küsse/Ami K) so keep your ears open for that. We’re going to keep doing what we do best in the hopes that it pleases you as much as it pleases us. Right now, bye now, keep ‘er lit. Hi & Saberhägen.

                                                    Garagen Uwe


                                                    Balayage is Garagen Uwe’s first release on the Berlin-based label Beatbude. It’s a two-hits-
                                                    single that comes with stickers and a business card, in case you wanna do business.

                                                    Recorded at Miami Nice Studios (GER). Mastered by Kelly Hibbert (CRC). Thanks to Juri
                                                    Bader, Leo Hilsheimer, Philip Lawall and Sebastian Gieck.

                                                    Meg Baird & Mary Lattimore

                                                    Ghost Forests

                                                      Musical conversations between Meg Baird (Espers) and Mary Lattimore are intimate, fluid, effortless and spontaneous. They’re filled with the euphoria of creation and, at times, they articulate hard truths and tangled emotions with an ease only trusted friends can manage. The songs alternate between extended ethereal instrumental excursions, gauzy and dreamy pop, blown-out Bull of the Woods heavy haze, and modern re-imaginations of epic traditional balladry all while touching on the strange and otherworldly places between these stations.

                                                      Sun Kil Moon

                                                      This Is My Dinner

                                                        This Is My Dinner was written during Sun Kil Moon’s November 2017 European tour. The album was recorded November 18, 2017 at TAPF Studio in Copenhagen and December 7, 8, 9, 2017 at Hyde Street Studios in San Francisco. The album includes versions of AC/DC’s “Rock ‘N’ Roll Singer,” The Partridge Family’s “Come On Get Happy,” and John Connolly’s “Chapter 87 of He” set to music. Musicians include Tony Scherr, Jim White, Scott McPherson, Ben Boye, Ramon Fermin, Chris Connolly and special guest Jordan Cook.

                                                        Various Artists

                                                        Captured Tracks CT10

                                                          To celebrate 10 years of Captured Tracks, the label have created two budget-priced vinyl samplers that showcase now-classics from a roster of vibrant and varied artists. Plus, they've thrown an exclusive or two in to sweeten the deal. Ya’ll remember that supergroup called Shitfather? 

                                                          FORMAT INFORMATION

                                                          LP 1 Info: Volume 1

                                                          LP 2 Info: Volume 2

                                                          Durand Jones & The Indications

                                                          Durand Jones & The Indications Live Vol. 1

                                                            In 2012 Durand Jones left his small-town in Louisiana, alto saxophone in tow, for the Jacobs School of Music at Indiana University. “Being a singer was never part of the plan,” Jones admits. But soon enough he found his way in front of a rowdy rock-n-roll band belting out a rambunctious rendition of “Dock Of The Bay,” to a basement full of drunken undergrads. That rowdy band unfolded into The Indications which includes founding members Aaron Frazer (drums, lead vocals) and Blake Rhein (guitar).

                                                            Inspired by a handful of dusty and obscure 45s bearing names like The Ethics, Brothers of Soul and The Icemen, The Indications set out to make a record steeped in heavy drums, blown-out vocals, and deep grooves. Gathered around a Tascam 4-track cassette recorder and a case of Miller HighLife, the group spent their Sunday evenings recording into the early hours of the morning. The result is their modern soul masterpiece Durand Jones & The Indications (Dead Oceans/Colemine Records).

                                                            With comparisons from Charles Bradley, Lee Fields to Al Green, this young band are now at the forefront of 60’s soul revival. Their sweaty, fiery live shows have earned them a reputation for giving it their all each night which can be witnessed on Durand Jones & The Indications Live Vol. 1. Available for the first time on limited translucent blue vinyl, the album includes tracks from their debut and deep cut soul covers fans have become accustomed

                                                            FORMAT INFORMATION

                                                            Coloured LP Info: Translucent blue vinyl.

                                                            Pavo Pavo

                                                            Mystery Hour

                                                              Pavo Pavo is the recording project of Oliver Hill and Eliza Bagg. On their acclaimed 2016 debut, Young Narrator in the Breakers, Eliza’s effervescent soprano was compared to “a lovelorn alien reaching out from the farthest reaches of the galaxy” (Pitchfork), and the elegant, symphonic arrangements were described as “weightless pop that sounds like it was beamed down from a glimmering utopian future.” (Stereogum).

                                                              The album began as a means to process the breakup and became a feedback loop, influencing the alchemy of their separation process and informing their new roles in each other’s lives. Recurring sounds and instruments act out the shifting storylines of these characters across the album: Oliver’s pitch-shifted vocals and high melodic synths are a distorted, imperfect replacement for Eliza’s floating soprano voice, and cascading strings are an intentional soundtrack for romantic melodrama.

                                                              The tone is set by the album’s title track and lead single, a tightly built pop song driven by orchestra and choir into a celestial fadeout: I realize love is to see every side of you / but mon cheri I'm designed to be unsatisfied.

                                                              At the heart of the music is the openness with which the duo continues to sing together, revealing their unshakeable friendship. The record is a meditation on relationships from different angles: “Goldenrod” ends the album with a duet about loss, the expressiveness of the two voices garbled to make them sound uncanny, almost inhuman. “Close to Your Ego,” (Hold me close to your ego / and I’ll hold you close to mine) is more oblique, about the difficulty of reconciling intimacy with sense of self.

                                                              Their journey began at Yale University, where the duo both studied music – they met playing in the same string quartet. Since that time, Eliza and Oliver have become prolific and vital collaborators at the intersection of classical, experimental and pop music. As a soprano, Eliza has worked closely on new music with Meredith Monk, Julianna Barwick, John Zorn, Caroline Shaw, and Ben Frost. Oliver has arranged strings for tracks by the Dirty Projectors, Helado Negro and Wet, and is a member of Kevin Morby and Vagabon’s touring bands.

                                                              The album draws thematic inspiration from a wide range of media: Ingmar Bergman’s Persona to choreographer Pina Bausch, painter David Hockney, and multi-media artist Alex da Corte. Photographer Natalie O’Moore’s album cover depicts Eliza and Oliver in turbulent conversation at the beach, resembling a film still to mirror the album’s narrative drama.

                                                              “The beach is an image that keeps coming back to us – the edge of the world, with the possibility of exiting it,” Oliver says. “The idea for this cover is that it builds on the Young Narrator cover, with two figures casting long shadows on the beach. That cover was a collage and this is a photograph, the hi-res, come-to-life version.” 

                                                              Little Dragon

                                                              Lover Chanting

                                                                Little Dragon wanted to bring new music into the world that has an airy and fun lightness to it. “For all the lovers out there, chant along! Dance for peace and unity in this world of madness!” declare the band. Lead singer Yukimi Nagano adds that the EP is about, “The force of love. Not only between two people but the force of love in this universe as the ultimate ecstasy. Whether that is while you’re dancing at a disco forgetting where you are or just staring at the moon on a clear night, it can be anything. A swim in the ocean, a glance at a stranger--it’s a personal individual thing. Call it what you want but we have all felt it. So, embrace the great mystery of everything that your brain can’t grasp and lose track in the most beautiful sense.”

                                                                The story behind the track’s origins is as idiosyncratic and left-of-centre as you would expect from a band that have spent their career consistently playing by their own rules. "It started with Fred searching for a wedding march inspired by a Swedish prog funk folk keyboardist called Merit Hemmingson”, explain the band from their Gothenburg bunker. “Erik got inspired by the track and started singing! After Erik wrote his vocal verses Yukimi got a bit worried about his lyrical abilities and stepped in to add her part on the song. Håkan flew to Germany to record a beautifully tuned clavinet. Once the clavinet was recorded Fred and Erik added their flavour with some drums and deep synth bass. For all the lovers out there, chant along! Dance for peace and unity in this world of madness. “

                                                                The ‘Lover Chanting’ EP showcases the forward-facing, pioneering spirit that has cemented Little Dragon’s status as one of the most universally adored outfits working today. From early collaborations with Gorillaz, SBTRKT, Kaytranada & Flume through to recent tracks with Faith Evans, Raphael Saadiq and the previously mentioned BADBADNOTGOOD and Vic Mensa collaborations earlier this summer, Little Dragon have continued to be at the forefront of the collective music consciousness, consistently inspiring existing icons alongside a whole new generation of emerging artists. The band have also continued a longstanding tradition of working with some of the most exciting creatives across the arts. Having collaborated extensively with IB Kamara (i-D, Dazed, Vogue) and David Uzochukwu (Dior, FKA Twigs, Nike) on previous album ‘Season High’, the band worked with exciting newcomer Vicki King on the imagery for the forthcoming campaign.

                                                                'I Want To Be With You…But Sometimes Life Becomes Too Real…I Want To See The Things In My Heart I Know I Feel'.

                                                                The opening track is a love song written from the perspective of the camera, asking to be held up to see the world through the eyes of its user. Chromatics’ dense electronics are anchored by the intimacy of Ruth Radelet’s vocals. Framed by negative space, this is pop music from the blurry hours. She softly sings, 'I write a song in my head, pretend that I’m lying in your arms'. The music is minimal & bare, layered with sparse percussion. The Camera EP features unreleased material, including a haunting take on Dear Tommy’s title track & the midnight mood of "Flashback To Forever".

                                                                STAFF COMMENTS

                                                                Matt says: Chromatics turn their daze to the auto-tuned neo-tropicalia-R'n'B that seams to be the commercial sound of the Summer and deliver it in effortless style.

                                                                FORMAT INFORMATION

                                                                Ltd LP Info: 3rd Edition pressed on 180-gram cherry red vinyl

                                                                Ltd 12" Info: Ivory white vinyl.

                                                                Du Blone (Beth Jeans Houghton)

                                                                Lung Bread For Daddy

                                                                  Du Blonde may sound like a band, but in fact it is, and always has been, the work of just one person. Beth Jeans Houghton.

                                                                  Her new album Lung Bread For Daddy delves even deeper into self sufficiency, seeing Beth take the reigns on production, instrumentation, album artwork and direction of music videos. This project is entirely her own. “I know exactly what I want my record to sound like and apart from drums, I have the ability to play all the instruments, so I did” Houghton states.

                                                                  True to form, the first peak of the new album is the self directed video (Houghton has also made videos for Ezra Furman, Red Hot Chilli Peppers and LUMP) for lead single 'Buddy' which also stars a bathtub, 3 bottles of vegetable oil and 37 packets of spaghetti.

                                                                  Lung Bread For Daddy sees a meeting in which Beth’s previous two albums, 2015’s ‘Welcome Back To Milk’ and her debut ‘Yours Truly, Cellophane Nose’, take a seat at the table and make amends. Veering wildly between proto-punk, psych rock and the wholesome song writing of the 1970’s, taking the listener on a journey through the landscape of her past. It is an honest and often uncomfortable look into the life of a person who’s experiences have been touched by a myriad of characters, homes across continents, periods of extreme loneliness, mental illness and a search for an understanding of personal identity. “My lyrics are always autobiographical. I have to be able identify with what I’m singing, and telling my story is therapeutic”.

                                                                  Houghton's insatiable thirst for creation on her own terms has seen her take charge of every aspect of Lung Bread For Daddy including the brutal self portrait that adorns the cover of this record. Painted from a photograph taken during one of her lowest points, the image depicts Beth devoid not only of makeup, but self worth and confidence. “I look tired and pretty much destroyed, which is a feeling I’ve known many times over; in the aftermath of relationships and that of making a record. Lyrically the album is very naked so I’m carrying on the nudity of my previous album covers, only this time it’s emotional instead of physical.”

                                                                  FORMAT INFORMATION

                                                                  Coloured LP Info: Sunflower yellow vinyl.



                                                                    This Was The Follow Up To The "Healer/Witness" White Label 12 Inch & The Last Recordings Chromatics Made Before Ruth Radelet Joined The Band. Archival Reissue Originally Recorded 2004-2005 In Portland. Out Of Print For Over A Decade. LP Includes Unreleased Outtakes & Alternate Mixes From The Original Tapes. Recorded During The First Experimental Studio Period For Chromatics That Would Would Eventually Become The Sound Of The "Night Drive" Album.

                                                                    FORMAT INFORMATION

                                                                    Coloured LP Info: Gatefold LP pressed on 180-gram ivory vinyl.

                                                                    Bendik Giske


                                                                      The performance artist and saxophonist’s mesmerizing debut takes listeners on a true journey through the euphoria and wanderlust of nights spent clubbing—using little more than his voice, saxophone, his instrument of choice, and more than a few well-placed microphones.

                                                                      Giske finds a natural home in Smalltown Supersound as he cites Lindstrom’s arpeggio sounds and Evan Parker’s circular breathing as references, both of whom have released on the label. By combining the two extreme sides of the scale, he seamlessly fuses freeform jazz and club music. “I take the building blocks of electronic music and play it live—without layering or looping, to the best of my ability. All the faults of being human come through. It’s an exercise in something impossible: to be a machine.”

                                                                      Surrender as a verb is a key concept to Giske’s debut and the word itself takes on multiple meanings to him. “I consider myself a queer performance artist—the queer perspective is always there,” he states.“In gay culture, we have the terms ‘top’ and ‘bottom,’ with ‘bottom’ referencing an act of surrender and trust. Creating these repeating structures, relying on muscle memory for these sequences, and seeing what happens—it’s also an exercise in the act of surrender."

                                                                      With breath, steel and muscle Giske is transmuting his clubbing experience through the saxophone.


                                                                      On Reflection

                                                                        It’s easy to eye collaborative records between two established artists with either a weary sigh or a degree of cynicism. In an age where a track or record seems to perform better directly in relation to how many artist names are on the digital byline, it can often feel like engineered circumstance or a desire to exponentially boost appeal comes before any natural create endeavour. In the case of ‘On Reflection’ however – the new record by Derwin Dicker AKA Gold Panda and Jas Shaw, one half of Simian Mobile Disco, the venture, under the moniker Selling is rooted in a long-standing friendship and prior creative history.

                                                                        In Mirrors

                                                                        Escape From Berlin

                                                                          Escape from Berlin is the last surviving nitrate print of a film thought lost to time — a bleak noir fantasy on the outer limits of sound. Its after-hours tenor has the beautiful blur of a night spent in the gutter, a confrontation with despair long past last call. Defiance in the face of suffering. Curtains of texture and electronic noise drape the walls.

                                                                          Recorded in deep isolation on location at Nite Prison in Vancouver, the album plays as a dizzying singular collage. Acutely focused on texture & the negative space between moments, composer & poet Jesse Taylor is the anchor in a revolving cast of cameos. For this album, his partners in crime are Suzanne, Hiromi Inada, & Andrew Grosvenor on clarinet. As enigmatic & fleeting as reflections in a hall of mirrors, these themes are fractured & textural. Taylor ambitiously asks us to look beyond the mirror…through to the other side. We imagine Phillip Glass playing chess with William Burroughs while Klaus Schulze slaves over a droning synthesizer in the corner. We hear vapor trails from Coltrane, Carpenter, & Amon Duul. This debut is a glance at one of the most varied artists on Italians Do It Better’s roster. Johnny & Jesse have been collaborating behind the scenes since 2003. Distilled in a process strengthened by time from Portland to Montreal…Los Angeles to B.C. In Mirrors blurs the imaginary lines between genres. Opening with a sultry Stevie Nicks cover & closing with 14 minutes of expansive aural fusion. Perhaps Taylor’s good friend, Joey Casio said it best…”Change the channel, this one is the mirror.”

                                                                          FORMAT INFORMATION

                                                                          Coloured LP Info: 180-gram grey marble vinyl.



                                                                            B-side features the unreleased “Lady” (On Film) which contains the 3rd vocal verse that was never released on “Kill For Love,” plus the extended 15 minute disco version of “Looking For Love”.

                                                                            FORMAT INFORMATION

                                                                            12" Info: Pink champagne coloured vinyl.


                                                                            The Only Ones

                                                                              Persian-American cryptic electronic ingenue Farah can’t be solved or explained. She makes dreamy, archly somber disco tunes that somehow sound both spontaneous & immaculate, painstaking & off-the-cuff. Crooning laconically — sometimes in English, sometimes in Farsi, but always with the taste of a woman too cool to betray anything as vulgar as emotion. “Come, come, come, come, come, come, come” she commands on “The Only Ones”, the chant a wanton incantation. It’s difficult to tell if the majestic synths that swirl around her are in harmony with the spirit or its counterpoint.

                                                                              B-Side “Baby Girl” delves into a chorus of Persian idiom: “Dooset daram,” she sings, or “I love you” in the Iranian expression. The song has the air of enigma — another of Farah’s dance floor mysteries. The instrumental tracks that bookend the record are its atmospheric framing device. Enter the maze.

                                                                              FORMAT INFORMATION

                                                                              12" Info: 180-gram pink champagne vinyl.

                                                                              Reto A Ichi (AKA Prefuse 73)

                                                                              The Lapse Of The Exchange / Alone Moving Often

                                                                                A hustle. Reto A Ichi is a sonic tabula rasa for Guillermo Herren AKA Prefuse 73. There are identifiable elements of the artist you already know - an uncanny sense for rhythm, an ability to shape samples and frequencies like clay, an affinity for the subtle changes of repetition - yet this is first and foremost music born from the need for silence. There is no easy entrance point or index for the listener.

                                                                                The first album, The Lapse of Exchange, is the sound of life as heard from a small Chinatown window in downtown Manhattan, the thunder of populism on the horizon. The album opens with music that reflects the inherent tension between the life of the artist - the self-doubt, the late nights, the aspirations - and the world outside - the hustle and bustle of a city that never sleeps, the wars abroad, the politicians at home. It's a tension felt in the repeating, circling keys of "Let The Pianos Freeze", the pulsating rhythms of "No Juntos", or the call and response of pitched vocal samples in "A Sword In The Rain". Ultimately it all becomes too much for our unwitting hero: the car horns outside the window, the 24 hour news cycle, the early stages of an election that tears down any remaining semblance of normality. Reto A’ichi can no longer grasp his humanity or connect to that of people around him.

                                                                                With the walls closing in, he packs his small life and escapes. This change in situation is reflected in the second half of the album, with tension giving way to a rush of emotions: modulated elation on "All Regrets", sweeping melancholy on "Tuesdays Always Awful", and soaring hope on "Broad Plant Pt.2". On Alone Moving Often, the second album, we find Reto A’ichi away from the city, lost in the vastness of empty summer houses and the complications that solitude brings. Sitting in the prison of his own quiet, Reto A’ichi seeks to capture the essence of silence: the compositions are stripped back further ("Pforever Reto"), the instruments given prominence ("So Contra"), and the chaos of the city replaced by the cacophony of nature ("Criminality"). To be alone, one must learn to constantly move in both work and purpose. As the rest of the record unfolds, Reto A’ichi comes to realize that nothing is ever truly quiet and that to run from the world is to simply find yourself in another part of it. A sense of acceptance for these unsettling realities is reflected in the music, from the harsher tones and frequencies that resonate throughout "Noise Counter Melody" and "Ghost Arpeggio" to the heavy stroke of the keys on "Alone Moving Often" and the haunting drone of "Mountainside Hillside".

                                                                                FORMAT INFORMATION

                                                                                2xLP includes MP3 Download Code.


                                                                                Call The Void

                                                                                  The self-recorded and self-released LP 'Call The Void' has a diverse palette of sonics and themes, having been influenced by the endless motion of the city, otherworldly nights, and brutalist architecture. It’s a utopian and romantic record; Lusts are more interested in being part of a developed and progressive future than being caught in a dystopian mire. The album is hopeful rather than despairing, but there are also explorations of darker themes.

                                                                                  ‘Call of the void’ (or ‘l’appel du vide’ as it was initially inspired) covers concepts of artificial intelligence, the fragility of mental health, gothic futurism, nostalgia, and the void itself. It’s also evolved from the bands travels across the UK, Europe, and the US, as well as their experiences living in London, the tracks have taken inspiration from a range of new sounds, visuals, and encounters such as Andrei Tarkovsky films Stalker and Solaris, Mikhail Bulgakov’s The Master and Margarita, Francis Bacon paintings, as well as Grimes, Tame Impala and William Basinski.

                                                                                  Utilising the haunting, reverb-drenched production of classic 80’s post-punk as well as the glistening sheen of the iconic synth-pop the decade is so famous for, Lusts explore a rich soundscape of Lynchian ambiance amongst their poppier hooks. There’s a layer of experimentation here too, whether it’s Andy drawing from the themes of Jean Baudrillard’s America for the single ‘lost highway’ or James introducing a rhythmic pattern by tapping pint glasses, inspired by Steve Reich’s minimalistic approach, for ‘joy in a joyless place’.

                                                                                  “The album is about the feeling of standing on the edge of something high up and getting the urge to jump” they tell us, “it’s not necessarily about a death wish, more, paradoxically, it’s about wanting to live and how the mind has strange ways of expressing that. We felt like it’s a really accurate reflection of what we want to achieve musically - some of what we create could be seen as being quite dark thematically, but there’s a positivity to what we do, there’s a light there even in the darkness, and we want to uncover and explore that.”


                                                                                  Cyber EP

                                                                                    The debut release of UK DJ duo “Secretsundaze” on Mule Musiq. James Priestley & Giles Smith delivered two modern deep house versions and one melodic ambient version. It’s all-round for house music lover.


                                                                                    Time Tourist - Reissue

                                                                                      New edition of the second B12 album, originally released by Warp in 1996. It continues the sleek, Detroit-inspired sci-fi techno moves of their Electro-Soma era, but ties the tracks to a playful concept in which the tracks are presented as an educational soundtrack designed by the 22nd-century company “B12 Systems”. Housed in an evocative Designer’s Republic sleeve based on a classic Trevor Webb airbrush painting, the sleevenotes riff on a dystopian future society looking back at the primitive past and includes references to such genre touchstones as Blade Runner, Philip K. Dick and Star Wars. For the new vinyl edition the original “B12 technology times” sleevenote has been re-designed as a standalone booklet insert, and there is an A5 sticker sheet of future corporate logos from the Time Tourist universe. The download card includes 4 previously unheard alternate versions of tracks from the album.

                                                                                      FORMAT INFORMATION

                                                                                      2xColoured LP Info: Comes with booklet, sticker sheet and d/l card including 4 previously unheard alternate versions.

                                                                                      2xColoured LP includes MP3 Download Code.

                                                                                      Moonshoe set their sights south of the border, shining a light on a collaboration between two vanguards of the Melbourne underground - Ziggy of 30/70 and Analogue Attic alumni Matthew Hayes. This EP bridges both their sounds while retaining a flavour all of its own, and Hayes’ spacious production affords their ideas room to breathe. The result combines disparate influences from jazz, ambient techno, house music, and broken beat to form a musical vernacular that feels singular to these two.

                                                                                      King Gizzard & The Lizard Wizard

                                                                                      Willoughby’s Beach EP

                                                                                        Willoughby’s Beach EP is King Gizzard & The Lizard Wizard’s first EP, originally self-released in 2011 and limited to 350 hand numbered copies. The reissue features new artwork re-imagined by Ican Harem and comes on red(ish) coloured vinyl.

                                                                                        King Gizzard & The Lizard Wizard


                                                                                          Oddments is KG&TLW’s fourth studio album released in 2014. It features a collection of “odd” songs recorded between 2007-2014 and was originally limited to 500 copies. The 2018 reissue features a re-designed gatefold of original artwork by Jason Galea, and comes on grimace purple coloured vinyl.

                                                                                          King Gizzard & The Lizard Wizard

                                                                                          Float Along - Fill Your Lungs

                                                                                            Float Along – Fill Your Lungs is the band’s third full-length LP released in 2013 and includes the psychedelic fan favourite “Head/On-Pill”. The reissue features a double-sided fold out poster and comes on Easter-yellow coloured vinyl.

                                                                                            King Gizzard & The Lizard Wizard

                                                                                            Eyes Like The Sky

                                                                                              King Gizzard & The Lizard Wizard

                                                                                              12 Bar Bruise

                                                                                                12 Bar Bruise is the debut full-length album by KG&TLW originally released in 2012 and limited to 500 hand numbered copies. This reissue includes new artwork reimagined by Jason Galea and comes on doublemint green coloured vinyl.

                                                                                                Idles / Heavy Lungs

                                                                                                Danny Nedelko / Blood Brother

                                                                                                  Idles returned this year with their highly acclaimed, Top 5-charting second LP - 'Joy as an Act of Resistance'. Produced by Space and mixed by Adam Greenspan & Nick Launay (Arcade Fire, Yeah Yeah Yeahs, Kate Bush), ‘Joy as an Act of Resistance’ takes aim at everything from toxic masculinity, nationalism, immigration, and class inequality - all while maintaining a visceral, infectious positivity.

                                                                                                  Now Idles have teamed up with Heavy Lungs for this split 7".

                                                                                                  Heavy Lungs feature the legendary Danny Nedelko as their frontman – made famous by IDLES’ pro-immigration anthem ‘Danny Nedelko’, which features on the 7”. He is a close friend of the band (and Ukranian immigrant). ‘Blood Brother’ is a new track by Heavy Lungs. The song is about Idles’ Joe Talbot. 

                                                                                                  Algebra Mothers

                                                                                                  A-Moms + Algebra Mothers

                                                                                                    The Algebra Mothers/A-Moms were formed by four like-minded misfits/artists/musicians/friends (Gerald Collins, Ralph Valdez, Diana Balton and Kirsten Rogoff) from Detroit’s Cass Tech High School. They made their professional debut in 1977 and in 1979 they released the weirdly incredible Strawberry Cheesecake b/w Modern Noise 7” on their own Aftertaste Records (TMR re-issue imminent). They played around Detroit and the country with everyone from Destroy All Monsters and Sonic’s Rendezvous Band to Pere Ubu until 1984.

                                                                                                    Several decades later, Third Man Records contacted head Mothers Gerald Collins (Jeecy and The Jungle) and Ralph Valdez (former WDET Disc Jockey) and discovered they were sitting on at least an album’s worth of home studio demos and live recordings. Now we proudly present to you “A-Moms = Algebra Mothers” LP, 14 never before heard tracks recorded between 1977-1984 in various home studios and clubs. It will be their first release in nearly 40 years and only their second release ever.


                                                                                                    Cookie Zoo

                                                                                                      For the last decade, and almost secretly, Carwyn Ellis records have meant the greatest news for people who love pop with no labels, nor affiliations. People who, after a record-hunting afternoon, enthusiasticly arrives back home with findings like Françoise Hardy LPs from the Vogue era, Arthur Verocai, Broadcast reissues, an Alessandro Alessandroni soundtrack, Meic Stevens' "Outlander" and an original, mint condition, O'Jays' "Back Stabbers" LP.

                                                                                                      Ellis has proved to be plenty of tools and talent to sum up, in forty minutes, all the magic of the best pop music recorded in the last fifty years, very well absorved and excitingly mixed, and steeped by a magic and pastoral halo from his native Wales.

                                                                                                      Before Edwyn Collins decided that Carwyn had received much less attenction than what he deserved, and supported in his label AED two wonderful records like "Good Music" (2012) and "Temari" (2014), Ellis had already recorded the "Magic Lantern Show" EP (2009), the acclaimed by Shindig magazine, "Box" (2010); and this first album, "Cookie Zoo" (2008).
                                                                                                      A debut, after his thirties, where we can find all his personal universe. "Cookie Zoo" is linked to "Dere Mewn", one of the most beautiful songs recorded in the United Kingdom in the last decade. An unique flower living in a botanical garden, filled with brilliant songs of all possible colours.

                                                                                                      The White Stripes

                                                                                                      The Complete John Peel Sessions

                                                                                                        At both our Nashville and Detroit locations as well as a record store near you, we present the first-ever official release of The White Stripes Peel Sessions on 2 stuffed-to-the-brim discs.

                                                                                                        Capturing Jack and Meg at the precipice of international renown in the hubbub of “White Blood Cells," their two live sessions with famed BBC DJ John Peel are arguably the best document of the White Stripes at that time. Having been widely bootlegged since their initial broadcast in 2001, these recordings are enjoying their first authorized release in celebration of their 15 year anniversary.

                                                                                                        FORMAT INFORMATION

                                                                                                        2xColoured LP Info: *** LAST COPY ***
                                                                                                        Packaged in an old style tip-on gatefold sleeve, coloured vinyl: with one record red, one record white vinyl.

                                                                                                        2xLtd LP Info: Old-style tip on gatefold jacket, printed inner sleeves, 180 gram black vinyl.


                                                                                                        Live In San Francisco

                                                                                                          Here we have OCS - recorded Live, at The Chapel, San Francisco, CA in December 2017 to be exact. OCS played four shows in California last December, raising funds for charity, and also enabling OCS to play out the tracks from the (then) recently released album "Memory of a Cut off head". Bandleader John Dwyer assembled his ensemble for these shows with players from the album and current Oh Sees members also, including Brigid Dawson, Emily Elkin, Eric Clark, Heather Lockie, Heidi Maureen Alexander, Paul Quattrone, Tim Hellman, and Tomas Dolas.

                                                                                                          The shows sold out in a trice, and thankfully one of the San Francisco shows were recorded by Eric Bauer, Dwyer mixed the record and it was passed onto old friends the Austrian Label ROCK IS HELL (Oh Sees fans will note early releases by Thee Oh Sees appeared on Rock is Hell a whiles back).

                                                                                                          Initially released (and long sold out) as a silk screened 4 LP set with some incredible artworks by Elzo Durt (he did the art for the Carrion Crawler / The Dream EP ).. Dwyer /Rock is Hell decided to make a more widely available 2LP version. 

                                                                                                          FORMAT INFORMATION

                                                                                                          2xLtd LP Info: Heavy weight black vinyl offset printed thick cardboard slip-in cover offset printed thick cardboard innersleeves download codes included shrinkwrapped.

                                                                                                          Laura Gibson


                                                                                                            It is her best record, and also her strangest.

                                                                                                            Goners, the fifth album from acclaimed singer-songwriter and multi-instrumentalist Laura Gibson, found its name in the first line she wrote in the bleak beginning of 2017:

                                                                                                            If we’re already goners, why wait any longer, for something to crack open

                                                                                                            That line became a lyric in the title track. It also became a sort of mantra. “I’d known for a long time that I wanted to make a record about grief. In some ways, every song I’ve ever written has something to do with grief. This time around, I felt compelled to stare into the abyss. Goners seemed an apt title because it speaks of both the future and the past. The word is used for two types of people: those who lose themselves in the ones they love, and those whose deaths are imminent.”

                                                                                                            It is Gibson’s best record, and also her strangest. There are hauntings and transformation, odd birds and harbingers. Women become wolves, men metamorphose into machines, ghost-children wave in the rearview mirror, a scar becomes a vessel for memory. Her lyrics are populated with sharp objects: a needle, a thistle, a sickle, a scythe, claws and animal teeth. “I wanted the songs to feel like fables, to unfold with dream logic.”

                                                                                                            Much of Goners explores the loss of her father as a teenager, and her wrestling with the decision of whether or not to become a parent herself. “My days are charged. Potential future grief forces me to reckon with past grief. These were two points on a map of grief. I wanted to explore the territory between them.”

                                                                                                            Gibson co-produced the songs with engineer and friend John Askew, with whom she’d also collaborated on her 2016 album, Empire Builder, in his Portland, OR, studio. They began as simple demos, but Gibson kept returning to the studio to tinker, until she realized these demos had become a record. She ditched her guitar on half the songs and instead played piano and Wurlitzer. “There was a lot of experimentation, stacking vocals and using tape loops to transform sounds. We were landing on arrangements that seemed impossible to recreate and so we kept moving forward.”

                                                                                                            She enlisted a number of long time collaborators, including guitarist/synth extraordinaire Dave Depper (Death Cab for Cutie), drummer and found-sound percussionist Dan Hunt (Neko Case), and stand-up bassist Nate Query (the Decemberists); then built horn and woodwind arrangements with Kelly Pratt (St. Vincent and David Byrne, Father John Misty) and imaginative string parts with Kyleen King (Stephen Malkmus, Case/Lang/Veirs).

                                                                                                            It marks the first record Gibson made after completing a MFA in writing, and her language has never felt more alive, her storytelling sharper, her imagination looser. “I wanted to aim for wildness in my lyrics, not perfection. Trauma and grief are far messier than the stories we make of them. Despite this, we will forever keep telling our stories to each other.”

                                                                                                            FORMAT INFORMATION

                                                                                                            Coloured LP Info: Indies exclusive dark green vinyl.

                                                                                                            Etienne Jaumet

                                                                                                            8 Regards Obliques

                                                                                                              In a time when Jazz music is entering a contemporary renaissance and exciting the ears and minds of new audiences, Zombie Zombie's Étienne Jaumet offers us his unique, idiosyncratic take on the sound with the sprawling “8 Regards Obliques”, his 3rd solo album with the Versatile label.

                                                                                                              Jazz requires a certain freedom of technique, interpretation and improvisation that already matches Jaumet’s own production style and sonic aesthetic as well as his playful approach towards music. The eight pieces that make up the new LP were very quickly recorded; Jaumet let himself be carried away by the atmosphere without focusing too much on fine details or the laborious aspects of the composition process. The finished article is a spontaneous collection that stands out, a true mirror image of the creative process adopted by the artist. Not surprisingly, spontaneity is one of the characteristics already present in his music, in both his recorded output and his live happenings, where he leaves much room for freedom and improvisation.

                                                                                                              “8 Regards Obliques” was recorded at the Versatile studio in less than 3 weeks with quite a basic set up: TR 808, selected synthesizers, vocals and of course the saxophone, which is a constant presence also in his previous albums. For the mix Etienne has again appealed to the maestro I:Cube, a central figure of the Versatile story and a prdigious engineer and artist in his own right. He immediately understood that it was necessary to keep the spontaneous side alive and to not over-produce the pieces or over-edit them, being constantly mindful to retain the power in the sound and in the frequencies. From Sun Ra with “Nuclear war”, Miles Davis in “Shhh / Peaceful” or “Theme from a symphony” by Ornette Coleman to “Caravan” (already quoted by many jazzmen), Etienne enjoyed revisiting classic masterpieces and paying tribute to his inspirations. He allowed himself only one personal and original composition, “Ma révélation mystique”.

                                                                                                              Various Artists

                                                                                                              State Of The Union - Bob Stanley & Pete Wiggs Present

                                                                                                                By mid-1968 there was a growing consensus that something had gone horribly wrong with the American dream. The nation’s youth had loudly made their feelings clear, but now the older, pre-Beatles generations began to look at the country – with urban riots, Vietnam, and the assassinations of Martin Luther King and Bobby Kennedy – and wonder what the hell was happening. This album includes rare classics (The Beach Boys’ ‘Fourth Of July’), lost masterpieces (Roy Orbison’s seven-minute ‘Southbound Jericho Parkway’), and forgotten gems by some of the biggest names in the business (Elvis Presley’s ‘Clean Up Your Own Back Yard’).

                                                                                                                Reactions to America’s existential crisis ranged in subject matter from divorce (Frank Sinatra’s ‘The Train’) and the break-up of the nuclear family (The Four Seasons’ ‘Saturday’s Father’), to eulogies for fallen heroes (Dion’s ‘Abraham Martin and John’), sympathy for Vietnam vets (Johnny Tillotson’s ‘Welfare Hero’), the church’s institutional racism (Eartha Kitt’s intense ‘Paint Me Black Angels’), and even questioning the ethics of the space programme (Bing Crosby’s terrific ‘What Do We Do With The World’).

                                                                                                                Compiled by Bob Stanley and Pete Wiggs, State Of The Union follows on from their highly acclaimed English Weather and Paris In The Spring compilations. With clear parallels between today's fractured country and the USA fifty years ago, this is a fascinating condensation of what Americans were thinking when they turned on the TV, or the radio, or simply walked down Main Street in 1968.

                                                                                                                FORMAT INFORMATION

                                                                                                                Coloured LP Info: 180g blue vinyl double LP.

                                                                                                                NOW WE’RE WELDIN’. Dixon Avenue Basements Jams launches it’s sub-label Neutralizer, a new outlet for the dirtier end of their tastes, with four honkin’ jam rolls from Belfast’s own Carlton Doom, purported to be the adult alias of a feral child featured in the infamous 2002 documentary, “Wild Child”. Despite many attempts (at an apparent two million pound cost) by the state to “civilise” him, Monsieur Doom has never really shaken off the untamed environments that shaped the absolute weirdo he is today: a steady diet of house bricks, diesel and boursin cheese translates into a primitive and powerful approach to modern machine music, at once referencing the dirty frolic of classic Hague / Glasgow manoeuvres, upcycling all that old shite to reflect a far more harrowing take on the desolate, post-sensible future we’re wishing into existence. BenzodiAcid and the rhythm of hard industry, stitched together with a dod of good ‘eld fashioned mechanical funk and strong will to fuck it all off. Perfect for listening to whilst chowing down on a city pigeon kebab on the dried-up banks of the River Lagan, but actually even more suitably placed through the undulating cones of an oppressively loud sound system in the basement of a telesales unit. Thoroughly optimistic vistas all round.

                                                                                                                But we’re not here to sugar coat it for ye - Neutralize your own stinking life xx

                                                                                                                Luxury Hits is an open-hearted love letter to possible futures. Trans-temporal projection through pop music for dancefloors. The music is about breaking through the limitations of our surroundings, not through escapism but defining a new reality on our own terms and breathing it into existence.

                                                                                                                The record is a tropal soup of sonic utopias - balearic, acid, italo, synthpop, psychedelia - served in the mercurial bowl of HERE AND NOW.

                                                                                                                Free Love is the latest manifestation of Scottish duo Suzanne Rodden and Lewis Cook (FKA Happy Meals) - a continuation and progression of their utopian dance pop experiments released on Night School Records and Optimo which have seen them shortlist nominated for Scottish Album of the Year and performing across the globe. Touring across Europe supporting Liars and The Flaming Lips, and with festival shows as far as Austin, Moscow and Bangalore, the band have become notorious for their sensual live ceremonies. Using a table of all-hardware electronics, Free Love harness a charismatic chaos and unpredictable energy that sets them apart as one of the most exciting artists of 2018.

                                                                                                                FireScope welcomes back Sweden’s Bauri (Martin Abrahamsson) for his follow-up EP titled Vinkelvolten II.

                                                                                                                With the seasons turning, these 5 tracks from Bauri match the oncoming cooler climates perfectly. Delicate crystalline notes and ethereal melodies waft past on an autumn or winter’s day, with the stepping crunch and idiosyncratic shuffle of gravel underfoot the only indication of the passing of time in the tracks. Imbued throughout are a sense of calmness, beauty and ease.

                                                                                                                A slow autumn hike, the crisp and cold ‘Hertsi’ is well-paced and subtle in its storytelling, revealing a forest clearing here, or a hint of the surrounds beyond there, never with any rush or unnecessary drama.

                                                                                                                From its glitchy predecessor, ‘Vinkelvolten II’ continues the plot where the first left off, offering richer tones and depth in maturity and emotional expression, pairing a soul-drenched electroish bassline with crunchy, grainy beats and a sprinkling of light toms.

                                                                                                                The 90s throwback ’Cocoon’ is a capsule of a different era gone past, a slower paced groove and sustained synths painting a mysticized, fantasy world inhabited by imaginary creatures.

                                                                                                                The gently cascading vibrato and ringing arpeggiated notes of ‘Wobbly Rhodes’ brings the EP to its mountainous high — a breathtaking panorama for the eyes and ears.

                                                                                                                The lucid ’Tuesdaydreaming’ floats around like a lo-fi afternoon daydream, layer upon layer of a mental hallucination looping in and out, drifting between different worlds.

                                                                                                                Finished in glorious green and black splatter vinyl with exclusive full colour artwork by Catherine Prendergast AKA Cellar Door.

                                                                                                                Omar S Feat. Simon Black

                                                                                                                I'll Do It Again

                                                                                                                Omar-S introduces Detroit's newest diva on the scene, Simon Black with an X-Rated 12" for the real freaky types. In line with some of the definitive vogue house tracks of the past, "I'll Do It Again" will become future ballroom staple. On the flipside, "Freaky Type" Black slows it down and steams it up with some nasty vox over a beat produced by FIT Siegel. High kicks and hand snaps all around!

                                                                                                                Indifferent Dance Centre

                                                                                                                Flight & Pursuit

                                                                                                                More stunning archival UK post punk from Ransom Note sub-label Outer Reaches
                                                                                                                The b-side track is definitely for those of you who felt the recent Lifetones, This Heat reissues. 

                                                                                                                No mystique, no manifesto...’

                                                                                                                ‘Chichester’s first homemade single...’

                                                                                                                ‘It’s a Sunday there’s a cricket match outside on the village green, it’s sunny. Everyone is happy or totally confused’

                                                                                                                Hot on the tattered heels of ‘Terminal Tokyo’ - the reissued cult UK DIY single by Garage Class and the inaugural release on Outer Reaches - arrives ‘Flight & Pursuit’, another overlooked revelation of provincial post-punk, this time by Indifferent Dance Centre. A four-piece from Chichester, a quiet Cathedral city in West Sussex, the group consisted of Lizzy Dowling (vocals / lyrics), Christopher Binns (guitar), Ashley Barrett (bass) and Douglas Barrett (drums / guitar & bass when required)

                                                                                                                Without, as Dowling declared, ‘Martin Hannett, Paul Morley, Postcard or Factory’ to lend credibility to their venture and without the means to splash out on studio time this was a line-up that came together on one Sunday in August 1981 at their local Lavant Village Hall to capture ‘Flight & Pursuit’ and ‘Release’, two recordings of beguiling, impeccably restrained, reclusive music that possess a discretely epiphanic and timeless quality.

                                                                                                                In their expression of a self-contained world they reveal a group that rests within the same self-made, economical and rarefied continuum as the Marine Girls, Young Marble Giants, AC Marias, Anna Domino and The Raincoats. Indeed, it’s not hard to imagine both ‘Flight & Pursuit’ and ‘Release’ holding their own on something like the epochal Cherry Red compilation ‘Pillows & Prayers’ released a year or so later. In many ways they could’ve improved it. However, beyond points of comparison and in speaking of greater significances they stake their own claim.

                                                                                                                Although both songs are drawn with the same plain and pure freehand as many of their DIY-inclined contemporaries, IDC were an ephemeral force unto themselves. On ‘Flight & Pursuit’ a lowercase impetus of softly insistent, regulatory drum machines and alternately agitative / poised runs of guitar and bass revolve around one another, combining to form something elegiac and introverted yet strangely driven and ridden with angst. Dowling’s vocals have an air of grace and assurance that betrays traces of small-town ennui and jaded nihilism (‘We’re neither here, we’re neither there, following a path that’s leading us nowhere...’) yet they’re as stoic and beautiful as any of the more florid luminaries found on 4AD et al.

                                                                                                                The sense of space that lies between everything is striking too, a mark of expanse that comes to the fore on the fierce and funereal skulk of ‘Release’, where a monochrome, haunted permutation of dub is accentuated by sounds of wind, noir-ish eviscerations of guitar and thumped percussion. Passages of melodica – played by Dowling - resound in the thickets of it all too, invoking Augustus Pablo if, instead of ‘East of The River Nile’, he were caught between reinforced concrete and overcast skies. All the signs then, of a record made on its own terms, are here. Both ‘Flight & Pursuit’ & ‘Release’ were made in the midst of a ‘happy chaos’, on a day which IDC recount as one where demands for ‘more echo!’, the sound of whirring black effects boxes – courtesy of their producer Alan Williams - and of offhand laughter all ran across one another. Recorded live in only a few takes they both indicate a level of modesty, candour, independence and intuition that proved to be the defining traits of both the music IDC made and the outlook they adopted. With only ‘Flight & Pursuit’ compiled on the Hyped To Death CD compilation ‘Messthetics #108: South Coast D.I.Y. '77-81’ back in 2011 the original 7” vinyl has begun to command inflated prices in the usual places. With this reissue on Outer Reaches that state of play is thankfully redressed. As it goes the ‘Flight & Pursuit’ 7” was the only physical release they put out into the world on their own appropriately named Recluse label. Nevertheless as a solitary piece of output, it’s a stunning accomplishment that has only improved with time. One record is all they needed.

                                                                                                                Kurt Wagner & Gregor Schwellenbach

                                                                                                                Flotus Movements

                                                                                                                  In 2016 Week-End Festival invited Lambchop’s Kurt Wagner to perform songs from his album FLOTUS in new version with musicians from Cologne. Here are two songs he did with Gregor Schwellenbach recorded live at Stadthalle Köln-Mülheim Maybe that is something unique to Cologne, a good balance between the human and the machine. (…) This was an idea to find people particulary from Cologne, I think that there is a scene here. Just parachuting me in and seeing what will happen, you know. It's all about finding people who think alike.“

                                                                                                                  Morgan Geist


                                                                                                                    Originally released in 1996, the 6-track REMnants EP was only the second record produced by Morgan Geist for his own Environ label. Now beautifully remastered, this heretofore hard-to-find EP is crammed with Geist's early influences: from intricately-programmed Roland orchestras that echo his early techno releases on Metamorphic to jazz- and R&B- listening tracks that would later inform the sound of his debut album.


                                                                                                                    The Premise EP - Inc. DJ Nature Remix

                                                                                                                      The Premise EP delivers three originals, each with a hint of soulful, old-school New York House, but with a fresh style and unique character. Finishing the EP is an eccentric and vibey DJ Nature remix. This release marks the start of a new musical path for the duo and we hope they have a lot more music to share with the world. The title track “The Premise” has a special meaning for them: It’s named after the London studio/café ‘The Premises’ where they had their first studio sessions together following a chance meeting at a Peckham party they were both playing. The track is a moody but high-energy jam filled with Rhodes licks, vocal chops and some lovely string work. “Bad Habit” kicks in a bit harder but finds a nice balance again with a prominent piano, accompanied by some guitar chops and a soulful vocal.

                                                                                                                      The energy is kept high with a loopy bassline and a mix of cowbells and toms... wait for the acid line to hit to really feel this one! The flip holds two versions of Love 4:2. The original is probably the darkest track of the ep with a heavy-as-hell bassline. The track stretches out over nine minutes with various vocal, percussive and synth elements taking place to support the vibe. The second version of this track comes from the skilled hand of DJ Nature. He’s been busy digging in his own archives; recently re-issuing old Nature Boy tracks to much success. Luckily, we’ve managed to push his buttons with this track and the remix he delivered is classy as can be. He goes for a similar approach in terms of speed and energy, but takes a sharp leftfield turn with a syncopated bassline and some twisted and tangled work on the keys.

                                                                                                                      Ishmael Ensemble

                                                                                                                      Severn Songs 2

                                                                                                                      Multi-instrumentalist/DJ Pete Cunningham and cohorts AKA Ishmael Ensemble, present ‘Severn Songs 2’ – the second in a 7” vinyl trilogy inspired by Bristol, its surrounding regions and, as the title suggests, the River Severn.

                                                                                                                      ‘Severn Songs 2’ sees Cunningham slip into a nostalgic haze, throwing back to his formative years in Bristol’s late noughties scene, but cast through a prism of jazzwise electronica; surely the furthest apple of influence to fall from the Hessle-Hotflush tree.

                                                                                                                      'Tunnels’ begins with a flurry of drums before being enveloped by sub-bass pressure, like stepping directly into a basement club in full flow. As the track climaxes, saxophones sweep the air like green-spoked lasers overhead, creating a contrast of pinpoint clarity against the background atmosphere. Though sonically well outside Bristol’s dubstep legacy, it accurately portrays the smudged perception of a peak time rave.

                                                                                                                      On the flip, we find the more introverted 'First Light', wherein the group downshift from the buzz of a bustling room to the hum of one’s head as dawn breaks. It is a moment of spacious solitude shared only, as Cunningham pictures it, with “swans fighting over polystyrene chip boxes” in the canal below.

                                                                                                                      Never one to miss a beat in either sense of the phrase, Cunningham has once again littered canny references to compliment the reverential music. The sleeve art captures birds through an obscured lens, nodding to the river Avon and overall milieu that inspired ‘First Light’; and for native Bristolians especially, the A-side will evoke a fertile period, full of vital music, communal escapism, and the maze of basements and tunnels where it blossomed.

                                                                                                                      Overall, Pete’s ability to thread this thematic needle gives a descriptive tenor to the group’s wordless sound, elevating the music at once to something more personal and more resonant –and leaving soon-to-be-answered questions about where ‘Severn Songs’ will flow to next.

                                                                                                                      Joe Cleen is back with his second EP, following the vibe of his previous one, providing mesmerizing anthems like Show me your Dimension & And this is that have the undeniable spark to bring everyone together on the dancefloor.

                                                                                                                      We need on the flip is one of those rainy days house best friends…
                                                                                                                      That track you listen to on repeat in the train on the way back from that amazing night in the club.

                                                                                                                      We’re of course extremely proud to have the Don, Glenn Astro, give his touch of playful deepness & Detroit grittiness to it to make the package full as you’re used to from Jazz Cabbage

                                                                                                                      Herbie Hancock

                                                                                                                      Chameleon / Watermelon Man

                                                                                                                      Major Keys is a brand-new audiophile label focusing on fully licensed reissues of jazz classics, pressed on 12” for a fuller, louder version compared to the original album cut. What better way to kick of the series than housing Herbie Hancock’s imitable ‘Chameleon’ and ‘Watermelon Man’, loud and proud on either side of a 12”.

                                                                                                                      They don’t get much more iconic than ‘Chameleon’. Nestled on the incredible 1973 ‘Head Hunters’ album it’s a 16-minute exploration of legendary jazz funk – having all the sensibilities and solos of a jazz record, yet grounding its rhythms in funk, soul and R&B. Even, as its title suggests, morphing from a low slung slow jam into a full-on, fast paced spiritual gem. Lock in for one of the most iconic basslines around courtesy of Paul Jackson, alongside some of the sweetest synth and Rhodes playing you’re likely to hear from Herbie, all tied together with Harvey Mason’s mythical drumming. Sampled the world over by the biggest and the best this is a truly timeless and hugely influential piece of music.

                                                                                                                      On the B side, the equally intriguing ‘Watermelon Man’. This version, again taken from the Head Hunters LP, differs from the Blue Note bop ’62 original, with Hancock developing it into a jazz fusion expedition. Bill Summers top and tails the track with a style of beer bottle blowing imitating a type of whistle playing found in Central African Pygmy music, giving a unique flavour to Hancock’s jazz funk stylings that focus on the rhythmic interplay between each instrument. From Dilla to Digable Planets, Madonna to Massive Attack it’s a classic that’s sampled time and time again for good reason.

                                                                                                                      Take The Time EP presents a collection of works by Jackson Almond that have been years in the making.

                                                                                                                      Produced through experimentation with a medley of old analogue gear, the EP is built with a library of sounds completely unique to Jackson.

                                                                                                                      As a result, these tracks are drenched in hazy, warm vibes that you won't hear anywhere else.

                                                                                                                      Jon Lucien

                                                                                                                      Lady Love / Love Everlasting

                                                                                                                      The infamously velvet tones of Jon Lucien get a much welcomed official remastered, reissue - with the original ‘Rashida’ 7” e.p., that contained four of Lucien’s tracks, now split into two 7”s for a louder, more refined pressing of each song.

                                                                                                                      First up, ‘Lady Love’, with it’s bossa nova inspired style, drawing every last drop of emotion from Lucien’s infamously voluptuous voice. Once dubbed by Herbie Hancock as “the man with the golden throat”, it’s easy to see why - Lucien’s rich baritone evoking dreams of summer sunsets, glistening blue seas whilst wrapping you up in a blanket of warmth and tenderness that few can rival.

                                                                                                                      On the B side – ‘Love Everlasting’, another of Jon Lucien’s bossa nova leaning tracks, swells with jazz flutes, plucked acoustic guitars and a soul drenched string section to compliment Lucien’s beautifully calming tones.

                                                                                                                      With the original Rashida 7” exchanging hands for over £150 on Discogs, here’s a chance to get Jon Lucien’s golden-throated voice in the collection without raiding the savings.


                                                                                                                      Dance Your Life Away - Inc. Andrew Weatherall Remix

                                                                                                                        Andrew Weatherall meets audiobooks downtown

                                                                                                                        Those of us with a penchant for musical and spiritual psychogeography - 'believers in the laws and specific effects of the geographical environment' - will locate the exact root of this anthem of high abandon in the building which stands on the corner of White Street and Cortland Alley in the Manhattan borough of New York. The neighbourhood: Tribeca. This is where the vibes will be felt the strongest.

                                                                                                                        Times were tough then, the late 1970’s / early 1980’s. The squares were being taken seriously again. Menacing horror-show bigotry was rife. Sound familiar? And this was the place, home to the Mudd Club, that the post-punk art head freaks went to escape the crap and express themselves - create timelessness - flick the finger - look sharp - show off - have a bit of a laugh.

                                                                                                                        And dance their lives away.

                                                                                                                        Back to the present: It was inevitable that Andrew Weatherall would collaborate with audiobooks. They come from the same place. Trace their lineage and you’re back in Tribeca. Anya Phillips is on the door. James Chance is on the stage. Lizzy Mercier-Descloux is on the dance floor. and Karen Finlay is looking pretty fucking dangerous. Again.

                                                                                                                        Weirdly, depressingly, the current political landscape is a mirror image of those times and the freaks are having to look out for themselves once again. This song is one for the freaks. For the outsiders. Its message is one of liberation.

                                                                                                                        And that message is: Lose your shit. Stay free. Dance your life away.

                                                                                                                        FORMAT INFORMATION

                                                                                                                        Ltd 12" Info: 500 pressing, stamped white label.

                                                                                                                        Altin Gün’s take on the Erkin Koray classic, lifted from their LP On (just back in stock!) and pressed on 45. Backed with a previously unreleased instrumental, Vay Dünya.

                                                                                                                        Various Artists

                                                                                                                        Nouvelle Ambiance : Sounds From The Pan-African Paris Underground

                                                                                                                        Paris - Brazzaville - Kinshasa - Abidjan - Douala.

                                                                                                                        A celebration of the underground Pan-African music scene centred around Paris in the 80s featuring never-before-reissued productions and dancefloor sure-shots taking in new forms of dancefloor-ready Rumba, Bikutsi, Soukous, Boogie and more.

                                                                                                                        In the early 80s a perfect storm of social, technological, political and cultural developments brought about a unique music scene centred around Paris, away from the major labels and pop charts. Musicians, ideas and styles flew between the small independent studios and labels of the French capital and Francophone Africa and the Caribbean, experimenting with new technology and drawing in a dizzying array of influences to soundtrack clubs, bars and radio stations.

                                                                                                                        Comes with 28 page magazine format booklet featuring previsouly unpublished photos from the archives of photographer Bill Akwa Bétotè as well as interviews with producers Cyriaque Bassoka and Rigo Makengo, musicians Michel Alibo, Denis Hekimian & John Jongos and Studio Caroline owner Jacky Reggan.

                                                                                                                        “In a dreamlike fictive and windswept Brittany, hippy pirates and wild women more or less inspired by Gérard de Nerval fight it out in a theatre, the magic of which brings to mind Cocteau, and where musical improvisation has an important role: this is Noroît, a cursed film which was never released in cinemas at the time (1976), directed by the great Jacques Rivette, where Jean-Cohen-Solal, his brother Robert and Daniel Ponsard can be seen and heard playing. The scene is every bit as inventive as that featuring the Art Ensemble Of Chicago in Les Stances à Sophie!

                                                                                                                        The same magic and invention can be found on this first album by Jean Cohen-Solal: Flûtes libres. A magic which can be keenly felt on "Quelqu'un", a long contemplative mantra which takes up the whole of the B side and which anticipates the future collaboration in the mysterious universe of Jacques Rivette.

                                                                                                                        Jean Cohen-Solal studied flute from all angles, and became one of the great French virtuosi, along with Michel Edelin who at the time was with Triode. This was a period (1972) when flutists were very popular with the public, most of whom had been influenced by Roland Kirk, including Ian Anderson in Jethro Tull. Jean Cohen-Solal tells a different story, richer and centred on the instrument itself, using the magic (yes, that again) of overdubs.

                                                                                                                        Perhaps Paul Horn rather than Roland Kirk could be an influence, but stripped of a classical background which was too audible and a tendency for easy listening. In fact, in terms of comparison, "open music" by Bob Downes would be the closest to the electroacoustic experiments of Jean Cohen-Solal, who, by the way, was also close to the GRM and Bernard Parmegiani for whom he occasionally provided sound sources.”

                                                                                                                        "At the crux of American-born, Shanghai-based producer Eli Osheyack's debut album, Sadomodernism, is a question of agency. Borrowed from film theory, the album title was originally coined by writer Moira Weigel to describe a waning European art house tradition that vehemently rejects 'naïve pleasure'—the tranquilizing comfort of conventional cinematic narrative, like mainstream Hollywood—and opts for violence and pain, with the aim of shaking audiences out of cinematic manipulation and into their own position vis-à-vis the malaise of contemporary life. Echoing the work of sadomodernist auteurs, Osheyacks's Sadomodernism is a deeply political project with critical ambitions. The smashing and blending of genres, from techno, industrial, noise and gabber to ballroom and metal, even opera, and spontaneous percussion arrangements, sometimes mixed with distorted spoken word, do not mean to please, but provoke through disorder and chaos. Laden with Brechtian alienation affects, Sadomodernism interrogates the notion of autonomy in contemporary music, club culture, and social-political life."

                                                                                                                        Mana is pleased to finally present Pomegranates by Nicolas Jaar as a double LP, with new mastering by D&M. The sleeve is designed by David Rudnick, with labels by Stéphane Jourdan and a new insert created by Jaar collaborator and friend Maziyar Pahlevan.

                                                                                                                        Longer and slower-releasing than his other albums, Pomegranates often parallels the cinematic epic on which it’s based (Նռան գույնը), with ideas pursued over long timelines and across dark landscapes, assembling elements and moods from the aesthetic and folkloric landscapes of Armenia. Jaar’s identity is perceived within this, folding in his heritage as Palestinian and Chilean as he attempts to build a musical architecture outwards that frames as much of the mess and sprawl of life as possible; using a language that investigates the movement and fluctuation of his own artistic career and character similarly to the film’s tracing of the coming of age of the young poet, Sayat-Nova.

                                                                                                                        At times, Pomegranates feels profoundly intimate, as though looking through the archive of a friend’s music and discovering the accent and common currency that lives within each of these tracks. Much of Jaar’s most elegant and touching melodic work is nestled here, its power residing in its simplicity and willingness to speak to the heart and not the mind of the listener.

                                                                                                                        In the text document included in the first freely distributed version of the album in 2015, Jaar writes that the album was conceived during a moment of change, and that the pomegranate became an icon that heralded that passage of time. The physical publication of Pomegranates closes one door whilst opening another, keeping promises and marking a significant point in the career of an artist who restlessly reinvents himself, with a document that illustrates a common language of lyricism, freedom, and emotional resonance that links his many paths and projects.

                                                                                                                        Originally out in 1983, Love Power is co-produced by Fabian Cooke (from Itopia) and Lloyd Bullwackie Barnes, with assistance from Prince Douglas. Cooke plays most of the instruments himself, with his drumming centre-stage, though Ras Menelik puts in a brilliant shift on congas, and backing vocals are by Sugar Minott and the Love Joys. Cooke’s own well-crafted compositions are joined by covers of Irene Cara and the Four Tops, infectiously bridging roots, lovers and synthy, soulful eighties boogie.

                                                                                                                        Betrayed is solid-gold, signature Wackies. He’s My God is a tasty sip of low-slung, grooving gospel-reggae. Evoking Michael Jackson, the jamming album-closer Drums is top-notch disco-reggae, opportunely poised for revival.
                                                                                                                        Terrific stuff, full of personality, charm and in-ting hybridity.

                                                                                                                        Deep, rootical lovers, darkly seething with one-step-at-a-time hurt and steely, vengeful self-esteem. Hypnotic, stripped and desolate, with implacable drums and bass, dubwise from the start, the production is classic, unmistakable Wackies, featuring Fabian Cooke’s scattered, abrupt organ stabs and minimal guitar-work, Ras Menelik’s masterful nyabinghi drumming, and harmonic commiseration by Sugar Minott and the Love Joys (with a strangled sob at intervals). Over six minutes, the extended mix is different to the Love Power LP; and the additional dub, released here for the first time, is unmissable for its extra rawness and dubbed-out emptiness. Plus thirteen minutes of blissful disco-reggae on the flip: two contrasting dubs of the Giorgio Moroder/Irene Cara/Flashdance cut from Love Power, both previously unreleased and a bit sick.


                                                                                                                        Let Me Put It In Your Ear / In My Life

                                                                                                                          After ending his tenure with The Spinners, Rodney Stepp returned to Indianapolis to lead a new band with a spirited sound: Rapture. Rapture's roots stem back to Indianapolis in the 1970s when the music scene was teeming with a number of soul musical acts – But none was more widely acclaimed than Rapture. Original group members Harry Eaton, Drums - Lonnie Williams, Guitar, Rodney Vorhis, Bass, Tony Hayes, Percussion, Greg Russell, Guitar, Herman Walker Jr., Trumpet, Pheldon Jay Majors, Trombone, Rodney Stepp, Keys each brought a rich resume of musical experience and passion to Rapture. These musicians all started their careers as teenagers, playing in popular local bands including the Diplomats, the Sonic Sounds, the Implements, and the Soul Perfections. And most went on to play behind top artists like The Spinners, Leroy Hutson and Betty Wright

                                                                                                                          In 1978, Rapture auditioned for a production deal on the newly revived American Recording Company. Leaving behind families and jobs to pursue their dreams, the band members embarked for California; however, within six months, the band's projects were shelved and the group members returned to Indianapolis, performing for another two years before disbanding.
                                                                                                                          Now fast forward to 2018 and Super Disco Edits takes great pleasure in resurecting the music of Rapture.

                                                                                                                          Claremont 56 continues to champion new, previously unheard talent with “Ready To Die”, the stunningly beautiful and catchy debut from Bel AKA Charlie Bell – a young, Liverpool based singer-songwriter, musician and producer who has a huge future ahead of him. “Ready To Die” is an emotion-rich chunk of catchy, loved-up Balearic pop with heart-aching, gut-wrenching lyrics about unrequited love, Bell’s debut is as catchy, infectious and heartfelt as anything the label has released to date – as proved by Lauren Laverne’s decision to champion the record on her BBC 6 Music show.

                                                                                                                          Such was his love for the song, Murphy decided to remix it for release, completing extended vocal and instrumental versions that enhance the track’s sun-kissed, glassy-eyed appeal. Both mixes are magical, with the vocal version in particular capable of making the hairs on the back of your neck stand to attention. Bell’s impassioned vocal and breezy acoustic guitar playing naturally takes centre stage, with the track’s sweeping synth-strings, toasty bass and a few trademark Murphy flourishes – think well placed delays and fluid electronics – on hand to amplify the song’s bittersweet mood. The beautiful and beguiling quality of Bell’s musicianship and Murphy’s subtle remix comes to the fore on the equally beautiful instrumental version.


                                                                                                                          Terrorize My Heart (Disco Dub)

                                                                                                                            Following up on their debut full length release, 79.5 drops a new and revamped version of their dance floor classic "Terrorize My Heart (Disco Dub)". A tune that leaves no room for gray and finds the ladies of 79.5 walking the line between vulnerability and forthrightness. Setting out with admonishments of love and infatuation that are quickly checked by the bluntness of women who’ve lived in the Big Apple for years, “is it her or is it me, that’s how it’s gotta be”. Remixed and remastered with a new intro for the DJs, producer Leon Michels and engineer Jens Jungkurth managed to take an already smash of a tune to a higher level. For the B side we enlisted one of underground hip hop’s brightest stars, Tall Black Guy. His “Bounce Remix” of “Terrorize My Heart” is just that. The Detroit producer takes the tune to a different level and turns it into a monster of a head-nodder. Loose drums and chord stabs provide backing track while vocal samples through out keep the track super hype. An easy dancefloor killer for the Hip Hop / R&B jocks

                                                                                                                            El Michels Affair Feat Lee Fields

                                                                                                                            Never Be Another You (Reggae Version)

                                                                                                                              For years, Lee Fields has been asking for and patiently waiting on a reggae rhythm to sing over. To bring this dream to fruition, EMA teamed up with frequent collaborator and reggae enthusiast, Nick Movshon, and busted out this version of the Lee Fields & The Expressions' instant classic, Never be Another You. The A side is the vocal version of the tune; EMA cut a killer interpolation of the original and had Lee lay down the vocals like only he can. The result is right on time for summer, a feel good side that can hold court right next to the classics. The B side finds Michels manning the boards for a proper version of the tune. Echoes, drop outs, and reverb flourishes all dancing through the mix in proper reggae style. 

                                                                                                                              Pere Ubu

                                                                                                                              Final Solution

                                                                                                                                A very limited repress, 1000 copies only for the world. The phenomenal “controversial” single from 1976 that kick started Ohio’s reaction to punk rock. “Belying the frightening soundscape was a definite, playful humor, both in the wordplay and in the specific complaints.” All Music // A bleak and morbid worldview based on a Sherlock Holmes’ story that ensured the new wave and the cold war would collide in post punk acrimony. Listed on Rate Your Music as “anxious, misanthropic, futuristic, noisy, male vocals, suicide, rebellious, alienation”. A must have piece of American music history from a band who reinvented music in their own image. A limited edition pressing recreating their second self released Hearpen single, sounding just as revolutionary and inspirational many moons later. “Like much of Ubu's early music the sound of the bleak industrial wasteland that was Cleveland, OH, in the '70s

                                                                                                                                John Zorn

                                                                                                                                Salem 1962

                                                                                                                                  Julian Lage, Matt Hollenberg, Trevor Dunn, Kenny Grohowski.The Devil Bid Me Serve Him * Spectral Evidence * Tituba * Witness to an Invisible World * Spell Bound * Malleus Malleficarum * Dark of the Moon * Under an Evil Hand * Sarah Good * I Will Not Write In Your Book Though You Do Kill Me! The second studio CD by Zorn’s incendiary new instrumental quartet Insurrection presents a remarkable suite evoking the tragic reign of terror in the Early American settlement of the Massachusetts Bay Colony commonly known as The Salem Witch Trials. The music is both intense and hauntingly beautiful, touching upon aspects of Possession, Magic, Witchcraft, Hysteria, Tragedy and Transformation. Tighter than ever, this dynamic instrumental quartet performs brilliantly in this spellbinding followup to their eponymous first release. Featuring some of the most insane guitar fireworks ever, Salem 1692 is no less than a musical reign of terror. 


                                                                                                                                  Not Fade Away / I Wanna Be Your Man

                                                                                                                                    **Cover of classic Rolling Stones 7”** We asked a few of the bands we've worked with over the years to come up with a cover version of one of their favourite 7" singles. The interesting thing is that they also had to do the original b-side as well. That made it a lot trickier and a few fell by the wayside but we've ended up with a great set of seven singles.

                                                                                                                                    Echo Ladies

                                                                                                                                    Echo Ladies

                                                                                                                                      Their mixture of guitars, synths and drum machines is more like a Venn diagram of your favourite bands and records. At various points you can hear The Cure’s ‘Disintegration’, The Jesus And Mary Chain’s ‘Automatic’, New Order and A Place To Bury Strangers’ total sonic annihilation, but crossed with the soaring indie-pop melodies of The Radio Dept, Alvvays, Camera Obscura and even a little bit of Saint Etienne. 

                                                                                                                                      FORMAT INFORMATION

                                                                                                                                      10" Info: Gold vinyl version

                                                                                                                                      Echo Ladies


                                                                                                                                        Cocteau Twins guitar legend Robin Guthrie has reworked one of the highlights of the Swedish shoegaze trio's acclaimed debut album 'Pink Noise'. He's taken the ‘Disintegration’-meets-slightly-out-of-focus-Saint-Etienne of the original and turned it into a classic indie-pop song – like Lush, The Primitives or even Strawberry Switchblade, with some nice Cocteaus-style bits in the background.

                                                                                                                                        On the flipside, there's an audacious cover of David Bowie's 'Rebel Rebel' (which often features in their live sets). They slow the song right down and turn it inside out, only adding the famous guitar riff as a synth motif near the end. 

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