Various Artists

The Weekend Starts Here

    On this limited edition 10” you'll hear tunes the Modernist cherished in the early 60's. An ultracool mix of danceable Rhythm & Blues, Hammond Jazz, raw electric Blues from labels like Chess and Excello and something that mutated into Soul in the years to come. Inc tracks by Sonny Boy Williamson, Booker T, Bobby Blue Bland, Mose Allison, Dave Brubeck and more. 


    10" LP Info: Strictly limited to 500 copies!

    Dennis Young

    Synthesis / Electronic Music 1984-1988

      Dennis Young is best known as the percussionist of the New York band LIQUID LIQUID, which is known for their piece "Cavern" from 1983, which in turn became very well known because Grandmaster Flash sampled it and used it as the basis for their hit "White Lines". But Young was more than just a member of the band, he produced plenty of his own music, much of it reflecting his passion for analog electronics. He was fascinated by the pioneers of the genre. In 2016 Bureau B released "Wave", a collection of pieces Young had issued on cassettes between 1985-1988. "Synthesis", by contrast, features tracks from 1984-1988 which have never been previously released.

      The Dean Ween Group

      Rock 2

        Dean Ween - aka The Deaner - recorded the rock2 album at his dedicated studio facility in Lambertville, NJ, across the river from his native New Hope, PA. Here's how the Deaner describes the genesis of this new body of work: "These were written for this sole purpose and recorded with the entire lineup: the best band in the world, Ween -- Claude Coleman Jr., Dave Dreiwitz, and Glenn McClelland, also the other best band in the world, the lineup of the DWG -- Mike Dillon, Bill Fowler, Ray Kubian, Scott Rednor, and the other 50 members and usual suspects.


        Ltd LP Info: Limited edition - 180g vinyl in gatefold sleeve.

        Detroit Swindle

        Flavourism EP (Ft. Pépé Bradock Rmx)

          2018 marks our first step into album territory, releasing the sophomore album “High life” of Heist’s very own Detroit Swindle, to be released end of May. This single features the album cut “Flavourism” with vocals from Seven Davis Jr. Here, the single is presented with remixes by the amazing Pépé Bradock and Boston-to-NYC house duo John Barera & Will Martin.

          Flavourism is as much a throwback track to classic Detroit Swindle territory, as it is a look into their contemporary view on soulful deep house. The vibe is set by Seven Davis Jr.’s distinctive vocals, accompanied by warm ‘side-chained’ pads and a rubbery live synth-bassline. Fans of “The Wrap Around” will definitely feel a nod to that 2012 classic with those Prophet pads. If you’ve seen their live performance with Seven Davis Jr. during Dour festival in 2015 or heard their remix for SDJ’s track “Friends” on Classic Music Company, you might already anticipate a collaboration that works like a charm.

          When deciding on a remixer for this project, the boys wanted to do something special. Ask someone special. And so it happened that they asked Pépé Bradock: someone who stood at the root of European house music and has pioneered in the genre, carefully curating his own style into something that surpasses genres. Here, he delivers both a stunning and deep interpretation of the original, with added harmonies, a touch of lo-fi and his own signature electronics. On top comes the ‘acapella’, stripped from all percussion and leaving the vocal and all of Pépé’s lovely weirdness.

          The single further features US house duo John Barera & Will Martin, who have already released some amazing music on Dolly, or John’s own ‘ Supply records’. Not surprisingly, they deliver a great clubby house cut with some Chicago flavour, dubbing and out the vocal to a basic mantra: “I’ll always keep”.

          Keep an eye out for High Life next month with more collaborations. For now, please enjoy Flavourism.

          Best Regards,
          Heist Recordings.

          Robert Hood

          Clocks / Low Life / Go

            Returning victorious to M-Plant after the Floorplan album and EP takeover, Robert Hood, whose work under his own name has continued to garner equal support with the 'Paradygm Shift' series for Dekmantel, brings the heat with this triple-tracker.

            The original minimal techno master wastes no time with 'Clocks'. There's a sense of urgency as the track builds, looping into its crescendo with waves of staccato hi-hats. Tick tock, tick tock.

            Over on the flip side there's a familiarity in the opening chords of 'Low Life' that will resonate with fans of Hood's work. Instantly recognisable, it's stamped with his ability to bring funk and groove to the colder stomp of techno.

            Final opus, 'Go' brings a spiralling samba tempo to the dancefloor. The punchy drumbeat is interwoven with sweeping cymbals for a highly effective infectiousness, like a call to arms, or better still, the Brazilian call to carnival.

            Sex Judas Feat. Ricky

            Go Down Judas

              It’s the return of the sexual vigilante Sex Judas and his trusted sidekick Ricky. This time in full album mode. Norwegian producer Tore Gjedrem of Ost & Kjex fame, channels his love of comix, bohemia and fascination with human vice, the unspoken, the Red Light districts, the alleys of the mind into his alter ego.

              Sex Judas is no bad character but certainly says what it’s author cannot.

              “I wanted to create a world where any musical idea is possible, wound together by the world and word of Judas, the ultimate sinner, reborn as a child of Venus.”

              Inspiration ranges from Africa to 80’s NYC, from Bohannon to Quasimoto, from Norwegian New Wave to Acid House. With contributions by friends in the Oslo scene as hometown legend Dj Pål Strangefruit Nyhus, composer Ole-Henrik Moe, jazzpianist Bugge Wesseltoft, Sidiki Camara from Mali playing that beautiful Ngoni, and multi instrumentalist Ivar Snuten Winther, the album touches anything from blues, funk, disco and post-punk to IDM, acid house and electronic explorer music.

              DJ Sprinkles & Hardrock Striker

              Skylax House Explosion

                Eight years since A Short Introduction To The House Sounds Of Terre Thaemlitz, and a long, fruitful relationship thereafter, DJ Sprinkles and Hardrock Striker begin a new project, teaming up as SKYLAX HOUSE EXPLOSION (S.H.E.)

                A nod to Thaemlitz’ work as Kami-Sakunobe House Explosion (K-S.H.E.) that started in 2006 – the critically acclaimed album for which, Routes Not Roots, was reissued on Skylax in 2011 – S.H.E. presents a compilation celebrating the run of Skylax Records which started in 2004 by DJ and producer Hardrock Striker.

                Constantly ahead of the curve, whether pre-empting the revival of balearic, poolside vibes, or proto house and electro boogie, he and the Skylax crew have cultivated a sound that looks forward with a respectful nod to the histories of Chicago, Detroit, NYC, and other vital dance cities. The two members of S.H.E. take on a mix either side of the CD, which accompanies a three-piece vinyl compilation featuring previously unreleased music curated by DJ Sprinkles and Hardrock Striker, owner of the label. The compilation will form a template for future projects under S.H.E., which is one in a number of outings partnering Skylax Records and Comatonse Recordings, the label run by Terre Thaemlitz since 1993.

                For years DJ Sprinkles been synonymous with the finest mixes of deep house in existence; setting the absolute bar for early 90s NYC joints on the Sally’s II Tribute Mixtape, revealing the incredibly broad Sprinkles range in the Module Party mix series and most recently in 2013, Where Dancefloors Stand Still, shining a nuanced light on the fuzoku laws in Japan. On the first disc of this mix CD, Sprinkles channels an all at once energetic and subdued sonic pallet – much like her work as Kami-Sakunobe House Explosion (K-S.H.E) – presenting a mix that leans heavily on the sound of SKYLAX RECORDS. Very much the straight up house that the label is known for, but saturated in references to Paradise Garage, The Loft and the ballrooms of Midtown Manhattan – the lens through which DJ Sprinkles has always conveyed the material realities of domination, discrimination and violence. In parts, the mix belies the insistently deeper mood of Sprinkles shows in recent years, but this is by no means an unfamiliar approach; Terre Thaemlitz has always maintained varying guises, genres, dynamics and styles at once, often standing in opposition to one another.

                On disc two, Hardrock Striker draws from his label signees of the more recent past, such as Jason Grove, Octo Octa, Fuckthegovernment.Ltd and Urban Inc. In complimenting the mix from DJ Sprinkles, Striker packs more of a bag for the upbeat parties he is known for in Paris,while not straying to far from “deep” sounds that are allied with his label. The mix features friends from the back catalogue of Skylax as well unheard tracks coming soon on one of three exclusive vinyl releases. Having been a dedicated producer and label-head for two decades – first with Parisonic - collaborating with a vast array of producers, he introduced many of them in the music game such as Simoncino, Nick Beringer, FTG, and Sameed. Here he unearths some overlooked gems from the last two decades, before ending with hiswork on the Peter Black & Hardrock Striker record, Dreamtime. 

                Detroit Swindle

                High Life

                  Detroit Swindle present ‘High Life’, their second studio album due on the 25th May on the duo’s own Heist Recordings. The heart of the album was recorded over a three week period at their Amsterdam studio in March 2017, and the release will coincide with the fifth anniversary of the label.

                  Since forming in 2011, the Dutch duo have carved a unique place for themselves in the scene. Their sound - which merges references from multiple decades into one smooth aesthetic - quickly rose to popularity for its careful blend of soul and rhythm, taking cues from their passion for obscure records, with influences ranging from house and funk to afrobeat and soul. Dynamic live shows and DJ sets afford them a packed touring schedule across the globe, whilst their label Heist Recordings is credited with consistently breaking new artists.

                  The album explores the intersection of live and electronic music, with much of the improvised material left largely untouched to maintain its organic sensibilities. Detroit Swindle describe the album as an "electronic album with a live approach, combining our love for house, ambient and jazzy harmonics, making it a record interesting for the club, as well as a pleasant album to put on at home."

                  ‘High Life’ explores stripped back soul and groove driven house over ten glistening productions. Featured on the album are a sun-drenched collaboration with British singer/songwriter Tom Misch and a deep workout with the vocals of trained gospel singer turned house aficionado Seven Davis Jr. Lorenz Rhode, who accompanies the duo for their live shows, features on the infectious melodies of ‘High life’. ‘Call of the wild’ incorporates none other than Dutch nine-piece brass band.


                  Sleepwalking (Black Man's Cry) / Natural Mystic

                    For the best part of two decades now, South London Afro-Dub dons Soothsayers have been preaching their politically charged good vibrations to a growing and loyal fan base. Their live shows are legendary and vary from off-the-cuff community friendly gigs in Brixton, to festival headline slots and tours across Europe and beyond.

                    Having recently filled London’s Jazz Caf to much acclaim, and in anticipation of their new album, Tradition, out on Wah Wah 45s in June, Soothsayers unleash the second single to be taken from it. It’s a double header of sorts that shows the band’s knack of reinterpreting a cover version or two for the dance floor. Sleepwalking is a take on Fela Kuti’s 1971 classic Black Man’s Cry. It’s a chant of frustration aimed at disenfranchisement from the process and features Afrobeat Ambassador Dele Sosimi on guest vocal duties.

                    It questions if we are sleepwalking into the abyss, and is a revolutionary song about taking power back into our own hands! Although it’s challenging to do justice to a Bob Marley cover, on Natural Mystic Soothsayers cradle the spirit of the originator and turn it upside down, transforming the familiar into a journey back to Africa via their trademark groove. Spiritual jazz flutes and percussion combine with the floating vocals of the mighty Cornel Campbell, while the song’s main melody is emphatically reproduced by Soothsayers horn section to stunning effect.

                    U Brown


                      U Brown’s Repatriation Album includes 8 previously unreleased bonus tracks by Dickie Ranking (aka Snagga Puss)

                      Produced By U Brown, this is available on 180 gram vinyl with the bonus tracks included on a 10” 8 track EP.

                      Lee Scratch Perry & Mad Professor

                      Black Ark Experryments

                        Lee ‘Scratch’ Perry Experryments with his magic, this time with the mighty Mad Professor taking over some of the controls!

                        Black Ark Experryments delivers tracks like ‘Super Ape In A Good Shape’, ‘Jungle Safari’ and ‘Black Ark Experryments’ dubtastically kicked into shape by the likes of William The Conqueror on Bass, Victor Cross on keyboards and trombone legend Rico Rodriguez. Sounds fantastic!


                        Suicida / Apocalipse

                          One of the rarest records in the world, by ‘Os Mutantes’ before they were ‘Os Mutantes’. heavyweight Brazilian Psychedelic Rock and Folk.

                          ‘O’Seis’ are the core members of the mighty and legendary ‘Os Mutantes’ - namely Rita Lee and brothers Arnaldo and Sergio Baptista, accompanied here by Raphael Vilardi, Maria ‘Mogguy’ Malheiros and Luiz Pastura.

                          The record features anthemic, heavyweight, psychedelic rock on ‘Suicida’ b/w deeper, tripped-out MPB-folk on ‘Apocalipse’. Both tracks were written by Rita Lee, assisted by Tobe and Vilardi respectively.

                          The term ‘holy grail’ is a little overused these days perhaps, but this definitely is one. Originally pressed and released by the band themselves in 1966, apparently only a handful of copies are known to exist (sources/numbers vary). The record has changed hands for up to a staggering $5000! Ouch.

                          Various Artists

                          African Scream Contest 2

                            A great compilation can open the gate to another world. Who knew that some of the most exciting Afro-funk records of all time were actually made in the small West African country of Benin? Once Analog Africa released the first ‘African Scream Contest’ in 2008, the proof was there for all to hear; gut-busting yelps, lethally well-drilled horn sections and irresistibly insistent rhythms added up to a record that took you into its own space with the same electrifying sureness as any favourite blues or soul or funk or punk sampler you might care to mention.

                            Ten years on, intrepid crate-digger and Analog Africa founder Samy Ben Redjeb unveils a new treasure-trove of Vodoun-inspired Afrobeat heavy funk crossover greatness, featuring 14 tracks from 1963 - 1980. Right from the laceratingly raw guitar fanfare which kicks off Les Sympathics’ pile-driving opener, the previously unreleased “A Min We Vo Nou We”, it’s clear that ‘African Scream Contest 2’ is going to be every bit as joyous a voyage of discovery as its predecessor.

                            Where some purveyors of vintage African sounds seem to be strip-mining the continent’s musical heritage with no less rapacious intent than the mining companies and colonial authorities who previously extracted its mineral wealth, Samy Ben Redjeb’s determination to track this amazing music to its human sources pays huge karmic dividends. Like every other Analog Africa release, ‘African Scream Contest 2’ is illuminated by meticulously researched text and effortlessly fashion-forward photography supplied by the artists themselves.

                            The scene documented here couldn’t have been born anywhere else but in the Benin Republic, and the prime reason for that is Vodoun. It’s one of the world’s most complex religions, involving the worship of some 250 divinities, where each divinity has its own specific set of rhythms, and the bands introduced on the ‘African Scream Contest’ series and other compilations from that country were no less diverse than that army of different Gods. At once restless pioneers and masters of the art of modernising their own folklore, the mystic sound of Vodoun was their prime source of inspiration.

                            FORMAT INFORMATION

                            LP Info: 2xLP set with a 24-
                            page booklet + download code

                            CD Info: CD with 44-page booklet

                            Half Man Half Biscuit

                            No-one Cares About Your Creative Hub So Get Your F****n' Hedge Cut

                              Famed for making ill-tempered music with a social conscience, Birkenhead band Half Man Half Biscuit, formed in the early eighties, ‘merely as a way of getting through the day’. Quickly picked up by the angst-ridden youth of the eighties, their punk driven, lyrical rants, and protests against all things celebrity and fake, became the unofficial anthems of the underground.

                              FORMAT INFORMATION

                              Vinyl comes with CD version of the album enclosed.

                              Courtney Barnett

                              Tell Me How You Really Feel

                                The Grammy and Brit nominated Courtney Barnett returns with her second album - 'Tell Me How You Really Feel.' It follows her critically acclaimed 2015 debut album 'Sometimes I Sit And Think And Sometimes I Just Sit', and a recent top 10 collaborative record, 'Lotta Sea Lice', with Kurt Vile. One of the most distinctive voices in music, Courtney is known for mixing witty observations with unflinching self-assessment - fast forward to now and although all of the cleaver turns of phrase and an eye for story telling are still there; this new collection of songs see a more serious and outwardly tone capturing the current social landscape yet still retaining moments of intimacy and warmth. As the world becomes more familiar with Courtney Barnett these songs feel comforting and emphatic yet that raw energy and the ability to make the listener think still remain.

                                FORMAT INFORMATION

                                Coloured LP Info: Indies exclusive in gatefold mirror board sleeve. Limited red vinyl.

                                Coloured LP includes MP3 Download Code.

                                Deluxe CD Info: Limited hardback with exclusive 24 pp photo booklet.

                                Jess Williamson

                                Cosmic Wink

                                  A reference to the Jungian idea of synchronicity, or “meaningful coincidences,” Cosmic Wink is as much a reflection on inspired companionship as it is a rebirth. Jess Williamson fell deeply in love, and then her life was uprooted; she left Texas for California, leaving behind the roadworn verses of her previous albums for brighter, bolder songwriting.

                                  The Byrds-ian jangle of album opener “I See The White” airbrushes halos around the brain with an immortal pop hook. When Williamson asks her listener to “tell me everything you know about consciousness,” it’s an invitation down a two lane blacktop, both vessels heading the same direction.

                                  The Rhodes-soaked “Wild Rain” begins with a ghostly air until a swell of synths gives way like the heavens parting. Williamson’s voice emerges from the clouds promising that she will “treasure your patience / from you I learned what it means to make a family.”

                                  Concluding with “Love On the Piano,” Williamson’s new musical and lyrical mind declares “Love is my name now / Love, Darlin” over a revolving acoustic guitar line and lightly pressed upright piano notes. Vulnerability can feel something less vulnerable when love - true, deep love - creates a latticework to hang the frame of our humanity, which in many ways is the message underlying the entire album.

                                  Luke Haines

                                  I Sometimes Dream Of Glue

                                    It started sometime after World War II – in the late 1940's. A convoy of British Special Services trucks had been dispatched to RAF Middlewych, their cargo - 10 tonnes of experimental solvent liquid. Sticky and deadly. The mission – to drop the toxic liquid over Germany and finish the job of carving up Europe for good. The trucks never made it to their airfield destination, coming off the road – most probably helped by saboteurs – some five miles out of London… 'I Sometimes Dream Of Glue' is the next solo concept album by Luke Haines (The Auteurs, Baader Meinhof and Black Box Recorder). Just off the Westway, in the motorway sidings, you can see a small sign. Actually you probably can't see the sign as it is the size of a child's fingernail clipping. The sign says 'Glue Town.' The name of a village. There is little or no documentation of Glue Town. You will not find any information about it on the 21st Century internet. Gluetown is a rural settlement born out of mutation. Of the estimated 500 or so dwellers, no one is thought to be over 2 ½ inches tall. The citizens of Glue Town exist on a diet of solvent abuse and perpetual horniness. The residents only leave to carry out daring night-time 'glue raids' on Shepherds Bush newsagent shops. On a tiny screen in the town centre, an old Betamax cassette of 'Michael Bentine's Pottytime' plays on a loop all day and all night...

                                    Ezra Collective

                                    Juan Pablo: The Philosopher

                                      Synergy in motion, London five-piece Ezra Collective are proving themselves as a harmonious tour de force. Their sound nods respectfully to a classic jazz footprint, celebrating the originators whilst simultaneously carving a path solely their own. Ezra Collective marry the delicate technicalities of jazz musicianship with afrobeat and hip hop, tied together by a sound that’s unmistakably London. Their live show is one of dynamic union; the strength of their partnership shines in performances that are commanding yet sensitive, soulful and pertinently groove-laced. Following a joyous and stunningly cohesive show in May 2016, Boiler Room rightly labelled the group as “pioneering the new-wave of U.K. jazz”. As the genre enjoys a new lease of life that is gaining momentum across the country, Ezra Collective are adding their own fresh and imaginative face to a style that continues to be “as entertaining as it is educational” (Trench). In a year that saw them sell out legendary London venue Ronnie Scott’s not once but twice, 2017 also bought with it the release of their genre-bending second EP, Juan Pablo: The Philosopher . After Ezra Collective took the EP on a successful tour across the U.K and Europe and completely sold out of the vinyl, Juan Pablo: The Philosopher went on to win the accolade of Best Jazz Album at Gilles Peterson’s esteemed Worldwide Awards in January 2018.

                                      Sarah Mary Chadwick

                                      Sugar Still Melts In The Rain

                                        New Zealand multi-instrumentalist and visual artist Sarah Mary Chadwick is not a new face to Melbourne’s music community. After spending a decade fronting the New Zealand formed grunge band ‘Batrider’, Sarah became tired of the collaborative requirements intrinsic to band life and shifted her focus to songwriting independently, drawing inspiration from ‘weird old New Zealand musicians’ and the way they ‘tinker away and work for decades for little to no commercial success’.

                                        Six years and three solo records later - ‘Eating For Two’ (Bedroom Suck Records), ‘9 Classic Tracks’ (Siltbreeze) and ‘Roses Always Die’ (Rice Is Nice Records), Sarah will join fellow songwriters Homeshake, Jaye Bartell and Tim Cohen on Omnian Music Group’s label Sinderlyn to release her fourth solo record Sugar Still Melts In The Rain.

                                        To listen to Sarah’s music is to be an observer to her thoughts on love, death and mental health. Sometimes this anguish bears itself in quiet moments of the record, but more often torment manifests at the break of Sarah’s voice as she sing-shouts painfully self-aware lyrics. Learning that Sarah’s songwriting is thoroughly autobiographical is perhaps more unnerving than the sexually deviant pornographic art that she creates to accompany her music.


                                        We Are Ill

                                          ILL is a genre-defying band which believes in the power of disobedient noise. With a repertoire of precarious pop songs and frequent improvised departures, ILL revel in the right to be weird, exploring the borders between the funny and the sinister, the personal and the political, the mundane and the surreal.

                                          Formed in Manchester in early 2012, the all-female post-punks ILL have released three EPs along with DIY artwork and music videos. Live performance highlights include “A Disobedient Noise” – an improvised piece at Manchester Art Gallery, Supernormal Festival 2015, Sounds from the Other City (Salford), supporting “riot-goths” Jack off Jill in Manchester, Raw Power Festival 2016, the Quietus Festival at WORM, Rotterdam in 2016 and the Great Escape 2017

                                          Idris Ackamoor & The Pyramids

                                          An Angel Fell

                                            Strut presents the brand new album from cosmic jazz travellers The Pyramids, led by saxophonist Idris Ackamoor, ’An Angel Fell’. “I wanted to use folklore, fantasy and drama as a warning bell,” explains Ackamoor. “The songs explore global themes that are important to me and to us all: the rise of catastrophic climate change and our lack of concern for our planet, loss of innocence and separation... but positive themes too, the healing power of music, collective action and the simple beauty of nature.”

                                            Produced by Malcolm Catto of The Heliocentrics, the album was recorded during an intense week at Quatermass studios in London and is one of the deepest, richest works yet from a band reaching their highest creative peak since the early ’70s. Some of the many highlights include the poignant title track depicting a fallen angel in purgatory, outrage and grief on the powerful, hard hitting ‘Soliloquy For Michael Brown’ and the lilting, beautiful album closer, ‘Sunset’.

                                            The Pyramids originally came together in 1972 at Antioch College, Yellow Springs, Ohio where teachers included renowned pianist, Cecil Taylor. After forming in Paris and embarking on a “cultural odyssey” across Africa, the group recorded three independent albums, ‘Lalibela’ (1973), ‘King Of Kings’ (1974) and ‘Birth / Speed / Merging’ (1976) and became renowned for their striking live shows, mixing percussive, spiritual and space-age jazz with performance theatre and dance. After migrating to San Francisco, they disbanded in 1977. 35 years later, the band reunited in 2012 following growing demand for their music from vinyl collectors. German label Disko B released the freeform album ‘Otherwordly’ and in 2016, they released their first album for Strut, the acclaimed ‘We Be All Africans’.

                                            Hugh Masekela

                                            The Chisa Years

                                              The Chisa Years: 1965–1975 (Rare and Unreleased) is a compilation album by South African jazz trumpeter Hugh Masekela. The album consists of 14 rare or forgotten tracks recorded by Stewart Levine and Hugh Masekela from 1965 to 1975 when they ran their own Chisa Records label. Thom Jurek of Allmusic wrote “In sum, there isn’t a weak moment on this entire collection. It’s appeal is wide and deep and one can only hope this is the first of many volumes of this material to appear. BBE Records has done a stellar job in making this slab available.” Dan Nishimoto of the Prefix Magazine stated “The compilation focuses on Masekela’s original idea of “African American Music.” From the early experiments of the Zulus (a group featuring M’Bulu) in mixing doo-wop, rhythm & blues and South African gospel and the mbaqanga/”Grazing in the Grass”-style work of the generically named Johannesburg Street Band to the clearly Fela-influenced Ojah (Masekela’s band in the mid-’70s, consisting of players from Ghana and Nigeria) and the readyfor-primetime belting of M’Bulu, each track reveals a multi-pronged effort to find and challenge the notion(s) of how African and American cultural forms could interact.”


                                              Te Fez Bem

                                                Finally Copenema drops on vinyl. This special limited edition vinyl EP especially for those summer beach bar vibes. The EP includes the much loved Te Faz Bem which became a Balearic classic in Ibiza last summer after DJ Harvey regularly played it at his residency ‘Mercury Rising’ at Pikes . This caught the attention of Pete Tong who played it on his BBC Radio 1 show multiple times.

                                                Deixa Música Tocar (Let The Music Play) on the B side is the second single (currently unreleased) and carries on the same classic Balearic vibe from Te Faz Bem. Super strong remixes from Riccio & Kenneth Bager complete the 12” nicely.

                                                The single representing ‘the other side of Ibiza’ is receiving strong support from Pete Tong, DJ Harvey, Ruf Dug, Peaking Lights, Alfredo, DJ Pippi, Phli Mison, Jon Sa Trinxa and other Balearic inspired DJs and echoes a renewed interest in Latin and Brazilian inspired sounds across the beach bars of the Mediterranean in summer 2017.

                                                Copenema (Copenama = Copenhagen Vs Ipanema) is a collaborative project between artists from Denmark and Brazil with the album partly recorded in the living room of Brazilian star Rodrigo Sha in Rio Di Janeiro, and finished at the legendary Volmers studio in Copenhagen.

                                                Copenema is the latest incarnation of Music For Dreams’ label boss Kenneth Bager in collaboration with artists and friends Rodrigo Sha, Danish composer Troels Hammer and producer Thomas Schultz from Ambala. The lead single ‘Te Faz Bem’ was the last track recorded during the sessions and will be the first single released on Music For Dreams this autumn.

                                                Kenneth Bager said: “The single and album have been recorded as a spontaneous jam session with the intention of having fun in the studio and creating a vibe for the musical creativity to flow. The album is influenced by jazz, electronica, funk, MPB (post-bossa nova urban Brazilian music), flamenco and the new Nordic soul sound, with all the ingredients thrown into a melting pot to create a flow that sounds fresh and offers something new and familiar at the same time. The general feel is intentionally timeless with fair comparisons made to albums by St Germain and Gotan Project.”

                                                ‘Te Faz Bem’ has already been heralded a Balearic classic in Ibiza with weekly support from DJ Harvey at his much celebrated ‘Mercury Rising’ residency at Pikes, Oakenfold’s ‘Generations’ at Pikes too, plus Jon Sa Trinxa, and Kenneth Bager’s own sets at Jockey Club, Salinas. In fact ‘Te Faz Bem’ has become a beach bar favourite across Ibiza and Formentera thanks to its catchy ‘la la la la la lai’ refrain and infectious flamenco handclaps.

                                                Copenema ‘Te Faz Bem’ is getting major support right now from Pete Tong (BBC Radio 1), Worldwide FM, Max Essa, Dr Rob, Peter Visti, Peaking Lights, Phil Mison, Chris Coco, Ruf Dug, DJ Pippi, Willie Graff, Alfredo, Is It Balearic?, Pathaan, George Avolontis, Blank & Jones, Bobby Beige, Nancy Noise, Jonny Rock, Alex From Tokyo, One Million Sunsets, Balearic Mike, Ben Monk, Balearic Ultras, Jolyon Green, Stuart Robinson, and more.

                                                DJ Koze

                                                Knock Knock

                                                  Like all DJ Koze records, Knock Knock exists outside of trend and influence. In fact, it's a step further beyond: absolutely every single thing here, from grooves to voices to handclaps, is otherworldly and unique. Which is not to say it is utterly alien abstraction, mind. There is still disco, there is still soul, there is still techno, there is still hip hop, there is still psychedelia – there are even wafts of easy listening, lost crackly thriftstore record memories and... sort of... indie rock – but though it may sound familiar, it never does what your brain thinks it's going to do.

                                                  Likewise with the voices. More than ever before on Koze's records, there are fascinating, individualist – and well-known – voices through out Knock Knock but again, each of them is rendered strange, drawn into a different reality Bon Iver's ghostly hymnals on “Bonfire” are very recognisably Bon Iver, but the way they twist and merge with synthetic sounds until choir and computer are writhing around one another in bliss are something else. The ever-unique Róisín Murphy, on two stunning tracks, becomes a cyborg funk diva. Speech from Arrested Development delivers luscious and lazy R&B-funk on “Colors of Autumn”, but Koze's warping bass, dubwise echo and alien nature sounds take it to an alternate dimension tropical landscape. Kurt Wagner of Lambchop is a vocoder bohemian, Sophia Kennedy is a sci-fi Weimar cabaret star, José Gonzalez a holographic projection from an old film of South Sea Islands... on it goes, nothing is real, everyone is an inhabitant of Koze-world.

                                                  And that's what is crucial here. Koze is a world-maker. You don't get to chose how you hear his music – you enter his world or you don't, that's it. And that's why individual influences, whether it's the trippy German techno that's always rippled through is albums or the beat-scene abstract hip hop that he incorporated into his DJ-Kicks mix in 2015, are all but irrelevant. Though he'd never compare himself to anyone else, Koze only makes sense in the way that other world-builders do, from Bowie to Sun Ra, Outkast to Kate Bush. And Knock Knock is far and away his greatest statement of that. It's an album that came together slowly and steadily, his working processes arcane and mysterious in their steady accumulation of sound and inspiration. It's so complete and bursting with detail and consistency from every micro-second that you'd swear it was meticulously planned – but there was no masterplan, do desire to create a definitive artefact: the record itself decided when it was ready. And now it is ready, the most perfectly constructed portal into that other world, you had better be ready too!

                                                  FORMAT INFORMATION

                                                  2xLtd LP Info: Double vinyl plus bonus 7".


                                                  Love Kills (Harry Romero Remix) / Be Mine (Mark E)

                                                  The RMX/RBN project saw Robyn invite some of her favourite artists in dance music from across the globe to remix key tracks from throughout her career. This is the second twelve from this week's slew and one of five separate remix packages. I have to say, this one made me smile - Subliminal superstar DJ Harry Romero is enlisted for "Love Kill", dropping both and remix and a dub - I guess Robyn had just as much fun dancing to this cat back in the day as we did here in Manchester - so she got him in to remix her tunes! Choo chooo! On the flip is another house star, Mark E, who get busy deploying on of his faithfully drugged-up and drawn out remixes. Similar in vain to his iconic "E-Version" series, Mark squashes elements of the original under a highly elastic, rubbery soundbed, deploying some tasteful grain delays while Robyn's lush vocal echoes nonchalantly from the recesses of the mix. Mega!


                                                  Indestructible (The Black Madonna Remix) / Main Thing (Mr Tophat Remix)

                                                  Second one this week, and the forth (if you're counting) record to come from Robyn's much celebrated RMX/RBN project; this time round its the turn of house and techno royalty The Black Madonna alongside the lesser known but equally impressive Mr Tophat. TBM delivers a searing electronic house cut, utilizing the vocal with majestic results. Mr Tophat takes time out from deliver stadium-slaying tech-house cuts for some relaxed, conga-driven dream-pop with a nice, floor-friendly chug to it. Top stuff!


                                                  Dancing On My Own / With Every Heartbeat - Cassius & Joakim Remixes

                                                  Robyn's RMX/RBN project continues as Cassius and Joakim step up for the third installment of the series. Cassius deliver a highly electrified and emotive version, draping Robyn's evocative vocal part across a thoroughly technoid sound palette, but still allowing the natural arrangement and craftsmanship of the song plenty of room to shine. On the flip they make it an all French affair as Joakim contributes a killer remix, playfully skirting around the electro-pop foundations it was build on and adding shed loads of extra instrumentation - so much so it even warrants a dub - excellente!


                                                  Hang With Me (Axel Boman Remix)/ Stars 4 Ever (Zhala & Heal The World Remix)

                                                  The RMX/RBN project saw Robyn invite some of her favourite artists in dance music from across the globe to remix key tracks from throughout her career. One of five remix twelves this one features Swedish house superstar Axel Boman and Zhala & Heal The World - a new project with very few details to announce at present (this is, infact, their only work to date). As you'd expect, the Boman version is suitable techy - intricate percussion nuances working in tandem with Robyn heavenly and angelic vocals for a beautifully sympathetic remix which shudders and shakes with electrical goodness throughout. Zhala & Heal The World stict more to the OG, taking cues from Robyn alongside Sia and La Roux - stadium filling electro-clash shimmer with cataclysmic waves of cloud bursting goodness. Nice!

                                                  Palta & Ti

                                                  Palta Og Ti På Den Tolvte Ø

                                                  Seemingly drawing from a slightly different well of influence from that seen across their prolific back catalogue, the Aarhus duo – going by the less common shroud of Palta & Ti – have hereby woven together a stylistically varied yet tonally concentric 3 track EP. Having produced a wealth of some of the most lovingly referential and consistent music of recent times, the tracks making up “Palta og Ti på den Tolvte Ø” are slightly harder to pin down to exact genre markers. Each song is busy yet never overcrowded with elements; building concise and playful grooves which if forced we would say positions them somewhere in the ambient space between jazzy-improv-house and dubby, hypnotic electronics. That’s as absolute in adjectives as we would ever care to be...

                                                  Expertly crafted both technically and musically, we are more than excited to be able to present this to you as our fifth installment

                                                  The Modulator AKA Freddy Fresh-Slider
                                                  Freddy Fresh Delivers a sonic piledriver of unparalleled intensity with this big room stormer! Christening the first Dance Sacred release Mr. Fresh demonstrates cunning, prowess & wisdom.

                                                  Acid Jakal - Cosmic Bump
                                                  Known to certain beings as a highly sustainable fuel source for both intergalactic & interdimensional time/space travel. The sonic structure Dr.Turbo has developed allows for extreme gain with maximum galactic resonance, many have reported loading this formula into the mix gives them enough momentum to sonically bump them into the next nebula & beyond.

                                                  Mucci Gain - Slow Punk
                                                  Debut Track from Dance Sacred's premier sonic prodigy Mucci Gain. Cold calculated, sonic articulation crafted with clean laser precision.

                                                  Another fine non fascist product from the U.S. of A!

                                                  Forest Flame is the debut solo effort of the Texas-based Shea McGilvray. His previous works have been featured in compilation and remix releases on labels such as Echovolt, Shimmering Moods, and Bokhari’s Swamp Tapes.

                                                  Already getting support from Best Available Technology and DJ Seinfeld

                                                  Hunee presents a collection of his favorite dancefloor cuts from the '70s till now. Going from afro to disco to techno, "Hunchin' All Night" holds a wide spectrum of songs - tracks by the wonderful Boncana Maïga, Pat Thomas, Black Beat Niks, Kenny Larkin, Larry Heard, Mappa Mundi and many more.

                                                  Hunee, aka Hun Choi, is a Korean Berliner who has been invovled in music since a very young age. After working in record stores and studying musicology he resided in Amsterdam, where he released his debut album "Hunch Music".

                                                  Unlike a lot of comps in this style, There's a hi-tech, timeless aesthetic to his track selection which also refuses to play it safe. Instead of Ned Doheny we find Larry Heard, while Mappa Mundi takes the place of Steve Miller b-sides. There's a reason he's one of the most celebrated and in-demand DJs across the globe right now... take a look into the crates of one of the best in the scene. 

                                                  STAFF COMMENTS

                                                  Sil says: Superb selection of obscure dance tracks covering the many genres that Hunee deploys when behind the decks. A bit for every one. You do need this one.

                                                  Father John Misty

                                                  God’s Favorite Customer

                                                    Written largely in New York between Summer 2016 and Winter 2017, Josh Tillman’s fourth Father John Misty LP, ‘God’s Favorite Customer’, reflects on the experience of being caught between the vertigo of heartbreak and the manic throes of freedom.

                                                    God’s Favorite Customer reveals a bittersweetness and directness in Tillman’s songwriting, without sacrificing any of his wit or taste for the absurd. From “Mr. Tillman,” where he trains his lens on his own misadventure, to the cavernous pain of estrangement in “Please Don’t Die,” Tillman plays with perspective throughout to alternatingly hilarious and devastating effect. “We’re Only People (And There’s Not Much Anyone Can Do About That)” is a meditation on our inner lives and the limitations we experience in our attempts to give and receive love. It stands in solidarity with the title track, which examines the ironic relationship between forgiveness and sin. Together, these are songs that demand to know either real love or what comes after, and as the album progresses, that entreaty leads to discovering the latter’s true stakes.

                                                    God's Favorite Customer was produced by Tillman and recorded with Jonathan Rado, Dave Cerminara, and Trevor Spencer. The album features contributions from Haxan Cloak, Natalie Merring of Weyes Blood, longtime collaborator Jonathan Wilson, and members of Misty’s touring band.

                                                    FORMAT INFORMATION

                                                    Coloured LP Info: Limited Edition Indie Exclusive - Purple vinyl + limited edition sleeve with foil ‘tears’


                                                    Modeselektion Vol. 04

                                                      “Modeselektion Vol.04” brings together an utterly enthralling and 100% exclusive collection of 17 free-thinking and boundary-pushing tracks from exciting upstarts such as rRoxymore, Skee Mask and Sarah Farina to exalted visionaries Peder Mannerfelt, Vatican Shadow and Modeselektor themselves who present their first new track since 2015. It’s a direct reflection of Modeselektor’s genre-defying DJ sets week in, week out around the world which, at its heart, celebrates invention, innovation and hybridity combined with a hearty commitment to moving dancefloors. Indeed, this has been the ethos from the inaugural release in the Modeselektion series in 2010.

                                                      “The choice of tracks is influenced by our thirst for effective dance music. After almost four years of touring with Moderat, we really felt the urge to dedicate ourselves again to what made us.”


                                                      Modeselektion Vol. 4.3

                                                        “Modeselektion Vol.04” brings together an utterly enthralling and 100% exclusive collection of 17 free-thinking and boundary-pushing tracks from exciting upstarts such as rRoxymore, Skee Mask and Sarah Farina to exalted visionaries Peder Mannerfelt, Vatican Shadow and Modeselektor themselves who present their first new track since 2015. It’s a direct reflection of Modeselektor’s genre-defying DJ sets week in, week out around the world which, at its heart, celebrates invention, innovation and hybridity combined with a hearty commitment to moving dancefloors. Indeed, this has been the ethos from the inaugural release in the Modeselektion series in 2010. 

                                                        The album is released as a two disc CD, and for vinyl fans it is available as four individual 12” EPs, this being the first of the four.


                                                        Modeselektion Vol. 4.4

                                                          “Modeselektion Vol.04” brings together an utterly enthralling and 100% exclusive collection of 17 free-thinking and boundary-pushing tracks from exciting upstarts such as rRoxymore, Skee Mask and Sarah Farina to exalted visionaries Peder Mannerfelt, Vatican Shadow and Modeselektor themselves who present their first new track since 2015. It’s a direct reflection of Modeselektor’s genre-defying DJ sets week in, week out around the world which, at its heart, celebrates invention, innovation and hybridity combined with a hearty commitment to moving dancefloors. Indeed, this has been the ethos from the inaugural release in the Modeselektion series in 2010. 

                                                          The album is released as a two disc CD, and for vinyl fans it is available as four individual 12” EPs, this being the first of the four.


                                                          Modeselektion Vol. 4.2

                                                            “Modeselektion Vol.04” brings together an utterly enthralling and 100% exclusive collection of 17 free-thinking and boundary-pushing tracks from exciting upstarts such as rRoxymore, Skee Mask and Sarah Farina to exalted visionaries Peder Mannerfelt, Vatican Shadow and Modeselektor themselves who present their first new track since 2015. It’s a direct reflection of Modeselektor’s genre-defying DJ sets week in, week out around the world which, at its heart, celebrates invention, innovation and hybridity combined with a hearty commitment to moving dancefloors. Indeed, this has been the ethos from the inaugural release in the Modeselektion series in 2010. 

                                                            The album is released as a two disc CD, and for vinyl fans it is available as four individual 12” EPs, this being the first of the four.


                                                            Modeselektion Vol. 4.1

                                                              “Modeselektion Vol.04” brings together an utterly enthralling and 100% exclusive collection of 17 free-thinking and boundary-pushing tracks from exciting upstarts such as rRoxymore, Skee Mask and Sarah Farina to exalted visionaries Peder Mannerfelt, Vatican Shadow and Modeselektor themselves who present their first new track since 2015. It’s a direct reflection of Modeselektor’s genre-defying DJ sets week in, week out around the world which, at its heart, celebrates invention, innovation and hybridity combined with a hearty commitment to moving dancefloors. Indeed, this has been the ethos from the inaugural release in the Modeselektion series in 2010.

                                                              The album is released as a two disc CD, and for vinyl fans it is available as four individual 12” EPs, this being the first of the four.



                                                                FORMAT INFORMATION

                                                                Coloured LP Info: Indies exclusive metallic silver vinyl.

                                                                Jim James

                                                                Uniform Distortion

                                                                  The GRAMMY® Award-nominated frontman of My Morning Jacket, Jim James, has announced the release of his third studio album, Uniform Distortion.

                                                                  Uniform Distortion was produced by Jim James and Kevin Ratterman at Louisville, KY’s La La Land, with Ratterman also serving as recording engineer. All songs were written by James, who is backed on the album by bassist Seth Kauffman (Floating Action) and longtime touring drummer Dave Givan, with backing vocals provided throughout by Dear Lemon Trees’ Leslie Stevens, Jamie Drake and Kathleen Grace.

                                                                  “The name of my new record is Uniform Distortion because I feel like there is this blanket distortion on society/media and the way we gather our ‘news and important information. More and more of us are feeling lost and looking for new ways out of this distortion and back to the truth…and finding hope in places like the desert where I write this now...finding hope in the land and in the water and in old books offering new ideas and most importantly in each other and love.” says James.



                                                                    Comprised of 12 tracks, named ‘Essential One – ‘Essential Twelve’, each song on the album is based around the word ‘essential’

                                                                    Recorded in just under two weeks, Essential was created using the gear they didn’t use for their celebrated 2017 LP From Deewee, which was recorded with the band in one take.

                                                                    The band elaborate: "When we were approached to make an Essential Mix for the BBC in May 2017, we chose to do what every sane human being would do, we decided to lock ourselves into our studio for two weeks and make an hour of new music based around the word 'Essential', instead of preparing a mix of already existing music. The product of this otherwise unwise decision is something we ended up being very proud of and is now being released on the piece of plastic you’re are currently holding in your hands."

                                                                    Family Affair Records inaugural release steps out of the shadows bearing a quadruplet of vibrant edits by the faceless Yondo.

                                                                    Re-imaginings of 80’s club staples by Mary Jane Girls & Evelyn Champagne King and 90s R&B-sides by SWV & Lucy Pearl breathe new life into some familiar jams while keeping their essence - all updated and re-birthed for 2018.

                                                                    This record is a bow and your ass is the arrow, aimed directly at the dancefloor.

                                                                    Hand screen-printed and hand-stamped with vibrant fluoro solvent ink. Get it while you can cuz it ain’t ever coming back.

                                                                    Family Affair Records is a record label started by Raj Chaudhuri (Livin’ Proof / NTS / Boiler Room). Artwork by Mason London.

                                                                    FORMAT INFORMATION

                                                                    Ltd 12" Info: 12" + screen printed sleeve

                                                                    Sarah Louise

                                                                    Deeper Woods

                                                                      “Sarah Louise’s music is spiritually and tangibly set apart from her peers’, her 12-string compositions culled from birdsong and rivers as well as the sacred drone of Appalachian folk music.” - NPR Music (Songs We Love)

                                                                      Praised by Pitchfork as “one of the most exciting figures in solo guitar music,” masterful 12-string guitarist and vocalist Sarah Louise integrates elements of drone, spiritual jazz and minimalism into her compositions.

                                                                      Her Thrill Jockey debut ‘Deeper Woods’ is her first album to prominently feature her voice. Louise enriches her warm singular vocal sound with a lush variety of instruments as well as layers of harmonies that together create a tapestry of texture.

                                                                      ‘Deeper Woods’ features performances by Louise’s House And Land bandmate and Steve Gunn collaborator Sally Anne Morgan, as well as drummer Thom Nguyen and Jason Meagher (Black Dirt Studios), who also mixed the album.

                                                                      Louise has toured extensively over the past year both solo and with House And Land. 2018 will see an appearance at Pickathon Festival as well as continued touring.



                                                                        Featuring Can members Holger Szukay & Jaki Liebezeit.

                                                                        Phew started her career as Aunt Sally (legendary rock/punk band in japan one&only album released on vanity records) then she has released the single “finale/urahara” which is produced by ryui-chi sakamoto on pass records.
                                                                        After that, between jan to feb in 1981, Phew recorded this album at Conny Plank’s studio.

                                                                        Legendary Can members Holger Szukay & Jaki Liebezeit joined the recording as well as Yoshitaka Goto (Founder of Pass Records and he has produced Ryuichi Sakamoto’s b-2 unit), this album sounds the collaboration album of Can and Phew….

                                                                        Can’s german rock sound and phew’s vocal which is almost poetry reading fits perfectly and made very unique worldview.

                                                                        it’s masterpiece from japan!


                                                                        Choose Life

                                                                          Apostille is a man who’s torn through enough sound-systems to know the difference between gesture and meaning. Alongside running his own acclaimed DIY record label NIGHT SCHOOL RECORDS , Glasgow native, Michael Kasparis has spent the last few years making forays into the realm of hardcore punk with his groups Anxiety and The Lowest Form.

                                                                          Throughout all this, his solo electronic venture, Apostille has continued to evolve with each twist and turn of the world. What started off as a quest to whip up a mood and force that into a song has steadily become more of a mission in communication.

                                                                          His audacious 2015 debut album ‘Powerless’ self-released through Night School set the template by hooking up his honest delivery to some manic expositions in electronic pop. At once minimal and courageous with intent to connect, Apostille songs race off with unchecked abandon, skittering drum machines, thick walls of sequenced synth and decidedly elastic basslines. The resultant live shows, noted for their frenzy and ragged vision, soon left Kasparis wanting to reach out in a more imaginative way than through volume and conflict

                                                                          FORMAT INFORMATION

                                                                          Ltd LP Info: Limited randomly packed black or red transparent vinyl.

                                                                          Zuider Zee


                                                                            An early/mid-1970s group that sound like a hybrid between T-Rex and Big Star, might sound like a band that should be universally adored but Memphis’ Zuider Zee have remained something of an untapped curiosity.

                                                                            Until now. With this first time release of the album Zeenith, recorded between 1972 and ’74 and featuring all previously unheard tracks, the band should no longer be a boxed-up mystery.

                                                                            Prior to Zeenith, Zuider Zee’s 1975 self-titled LP was the only record out there that existed. Released on Columbia, it was hailed as a true great power pop record of the time by groups such as Cheap Trick. “Rick Nielsen called me one night,” Zuider Zee’s Richard Orange recalls. “He was asking about why weren’t we bigger and doing as well as they were. He said: “Man, you’re so damn good, do you know where I have your phone number? I have your number right beneath John Lennon’s number. Fuggin’ John Lennon, Richard!’

                                                                            Despite love from such bands and a later line-up of Zuider Zee even supporting the Sex Pistols at the Taliesyn Ballroom in Memphis in 1978; “Sid Vicious stumbling around out of his gourd. It was very unremarkable, the whole event.” remembers Orange – and with Columbia never even releasing a single for radio, Zuider Zee never quite took off and dissolved into the ether of cult band land. However, an untold chapter of the group’s history has now been unearthed as Light In The Attic’s ability to pluck gold from seemingly nowhere continues on this release.

                                                                            Comprised entirely of previously unreleased tracks, Zeenith is an album in which sugar-coated glam stomp nestles up alongside Mersey beat and where rousing power pop, crunchy rock and a undercurrent of pop-peppered psychedelia all merge seamlessly.

                                                                            Childhood pals Richard Orange and Gary Simon Bertrand had matriculated in late ‘60s Lafayette pop-psych outfit, Thomas Edisun’s Electric Light Bulb Band, before joining forces with Kim Foreman and John Bonar. Zuider Zee’s tale wasn't always destined to be that of a mysterious cult band but they did face some difficulties in from the off, as they found when they moved from Jackson, Mississippi to their new adopted home of Memphis. “When we first rolled into town, we were completely unknown,” says Orange. “We couldn’t get a gig at any of the clubs for what seemed like at least a year or even longer. We were very different from bands in the South. We never covered any Southern rock; apart from The Allman Brothers who we all thought the world; and as we grew into ourselves we didn’t sound anything like southern rock.”

                                                                            It was Orange’s work ethic that kept the band driven and focused though through such tough times. “I can honestly say that there is one thing Zuider Zee shared with The Beatles experience,” he says. “We played for years in the crappiest most disgusting, dangerous and depressing places, and we played anywhere from 5 to 7 hours, 6 days a week for years.”

                                                                            A group led by such a hard-working and determined individual is glisteningly apparent on this release. Zeenith feels like a band at that magical juncture between a group perfecting their craft whilst still driven by wide-eyed optimism, youthful energy and a sense of fun that radiates throughout every note played. Ultimately, this was at the core of Zuider Zee’s aims. “Most important is to have fun whilst you’re up there doing it [on stage] because people will feel that joy; it’s electric and contagious and they will react to it.”

                                                                            Something that still feels pertinent over 40 years since it was created.

                                                                            FORMAT INFORMATION

                                                                            Coloured LP Info: Indies only limited gold vinyl.

                                                                            Brian Eno

                                                                            Music For Installations

                                                                              Musician, producer, visual artist, thinker and activist Brian Eno first came to international prominence in the early '70s as a founding member of Roxy Music, and immediately followed with a series of critically-praised and influential solo albums. His visionary production includes albums with David Bowie, Talking Heads, Devo, Laurie Anderson and Coldplay, whilst his long list of collaborations includes recordings with John Cale, David Byrne, Grace Jones and James Blake. Less widely discussed although equally notable and arguably even more prolific are his visual experiments with light and video. These are the fertile ground from which so much of his other work has grown, they cover an even longer span of time than his recordings, and have in recent decades paralleled his musical output. These highly-acclaimed works have been exhibited all over the globe - from the Venice Biennale and the Marble Palace in St. Petersburg to Beijing’s Ritan Park and the sails of the Sydney Opera House. ‘Music For Installations’ is a collection of new, rare and previously unreleased tracks, all of which will be available on vinyl for the first time. All of the material was recorded by Eno for use in his installations covering the period from 1986 until the present (and beyond). Over this time he has emerged as the leading exponent of generative music worldwide and is recognised as one of the foremost audio-visual installation artists of his time. Designed by Brian and long-time collaborator Nick Robertson, this beautifully bound package comes with a 64-page booklet featuring rare and unseen exhibition photographs and a new essay written by Eno. 

                                                                              FORMAT INFORMATION

                                                                              FREE SHIPPING This item has FREE UK shipping!

                                                                              Frank Turner

                                                                              Be More Kind

                                                                                Frank Turner has announced details of his forthcoming seventh studio album. Be More Kind will be released on May 4th through Xtra Mile Recordings/Polydor Records. Months after the release of Songbook, a career-spanning retrospective which also saw reworked versions of tracks from across the past decade, Be More Kind represents a thematic and sonic line in the sand for the 36-year-old. It’s a record that combines universal anthems with raw emotion and the political and the personal, with the intricate folk and punk roar trademarks of Turner’s sound imbued with new, bold experimental shades.

                                                                                Gaz Coombes

                                                                                World's Strongest Man

                                                                                  World’s Strongest Man is the magnificent third solo album by Gaz Coombes. Inspired variously by Grayson Perry’s the Descent of Man, Frank Ocean’s Blonde, Californian weed, British woodlands, unchecked masculinity, Neu! and hip hop (and a whole lot more besides), it’s a truly remarkable collection of eleven deeply personal songs each set to expansive, addictive melody.

                                                                                  FORMAT INFORMATION

                                                                                  Coloured LP Info: Gatefold Sleeve Pink Coloured Indies Exclusive.

                                                                                  Leon Bridges

                                                                                  Good Thing

                                                                                    Columbia Records release the eagerly anticipated follow up to the brilliant, Gold certified debut album, "Coming Home".

                                                                                    This is a x10 song album, available on LP Vinyl & standard CD.

                                                                                    The record was produced by Ricky Reed, Niles City Sound & Bridges himself, with the album having more of an R&B feel. 

                                                                                    Los Supremos

                                                                                    Atiza Y Ataja

                                                                                      The only album released by Los Supremos, "Atiza y ataja" (1971), was the debut recording for Edulfamid Molina Díaz, aka Piper Pimienta, who would soon make his mark as Fruko's lead singer and later with The Latin Brothers and his own orchestra. Grounded firmly in the Cuban style of La Sonora Matancera, with a prominent piano and crisp trumpet sound augmented by an additional double sax section, Los Supremos were also influenced by the NYC salsa dura and bugalú of Willie Colón, while managing to include coastal Colombian tropical music like cumbia and currulao, throwing in some improvised descarga jamming as well, making for a varied and hard-edged mix for one of Discos Fuentes' first, and finest, forays into making salsa records. Presented in facsimile artwork and pressed on 180g vinyl. Part of Vampisoul's reissue series of classic Fuentes LPs.



                                                                                        Blurt was founded in Stroud, UK, in 1979 as part of the post-punk movement by poet, saxophonist und puppeteer Ted Milton along with Milton's brother Jake. Most of Blurt's compositions feature simple, repetitive, minimalistic guitar and/or saxophone phrases, but they can also explore more abstract musical territories, often serving as an atmospheric backdrop for Ted Milton's existentialist poetry. The music has been described as Dada-Avantgarde-Jazz or Paranoid Jazz-Mutant Funk. Practically impossible to pigeonhole. Poppycock was released on the band's own Toeblock label in 1986 and features song classics such as Man To Fly and Down In The Argentine.

                                                                                        Detroit producers Omar S & Brian Kage team up to bring you “Thru the Madness EP.”

                                                                                        “Thru the Madness” has all the elements of a classic dance music collaboration. The tune showcases Omar S raw and funky analog bass playing and drum programming combined with Brian Kage signature warm melodic synth lines and chord structures. The clever use of a catchy 90’s vocal sample helps solidify and unify the composition.

                                                                                        “Thru the Madness (Honk & Nik Mix)” takes a deeper approach by adding a deep Detroit-style DX pad, Nile Rodger-esque funk guitars parts, and vintage drum breaks that will keep the party moving into the late night hours.

                                                                                        Like Dutch & Dillon from Predator, some times you gotta “Get Thru the Madness!”

                                                                                        J Dilla


                                                                                          The previous 3 volume series is now compiled as a compact 2LP. The late, great J Dilla is rightly celebrated as one of the greatest hip-hop producers of all time, in part because his ear for music was so diverse and expansive. As Dilla’s mother Ma Dukes explains, “He didn’t come with a limited capacity, and real producers produce, produce, and produce. “There are no formats for genius workers...just non-stop creations.” Now, a fresh batch of those creations will be made available to the world for the first time, in the form of the latest official J Dilla release, Dillatronic. Presented by Ma Dukes and compiled by DJs Alien Villainz (fellow Detroit natives who worked closely with Dilla), Dillatronic contains over 40 rare instrumentals that showcase Dilla’s undeniable electronic influences.

                                                                                          J Dilla’s music was impacted by the diverse musical history of Detroit - the birthplace of Techno and one of the most important cities in the history of electronic music. “You can hear it in songs like ‘Raise It Up’ for Slum Village or ‘Make It Hurt’ for Busta Rhymes,” says Young RJ (Dilla’s protégé and member of Slum Village). “The Detroit influence is part of what gave him an edge in production.” With today’s music sounding more electronic than ever, Dillatronic has a shockingly contemporary feel. “These tracks are still ahead of their time sonically,” explains RJ. “The things producers are doing now, Dilla did that 15 years ago.” 

                                                                                          Martha return with their second album. Produced again by MJ from Hookworms, the album explores the difficulties in staying political, staying passionate and staying punk over the course of eleven expertly crafted pop songs. Hailing from Pity Me near Durham, Martha play energetic, impassioned power pop with intricate vocal interplay and lush four-part harmonies, informed by 90s indie rock and contemporary garage punk. The band is comprised of J. Cairns (guitar), Daniel Ellis (guitar), Naomi Griffin (bass), and Nathan Stephens Griffin (drums). All four members sing and write the songs. Daniel and Nathan also play in Onsind, while Naomi also plays in No Ditching.

                                                                                          Their debut album “Courting Strong” came out in 2014 and was included in NPR's top 50 albums of that year, winning them the epithet “One of Britain's best rock bands”. If the band’s first album, 'Courting Strong', was about punks growing up, then 'Blisters In The Pit Of My Heart' is about grown-ups staying punk. It's an album about trying to stay creative and passionate and making the most of everything in spite of the many obstacles that get in the way. It's about finding strength and solace in friendships, love, and taking motivation from the people in your life who really inspire you. Taking inspiration from such likely and unlikely sources as The Replacements, Heart, Billy Bragg, Thin Lizzy, Cheap Trick, The Go-Gos and Radiator Hospital, the album bursts into life with “Christine”, “a love song filtered through the messiness of anxiety and night terror” that takes inspiration from “Threads”, the British TV drama of the 1980s about nuclear war, and is followed by the rousing “Chekhov's Hangnail”, with backing vocals from Ellis Jones of Trust Fund. The catchy “Precarious (The Supermarket Song)” finds romance in the washing powder aisle, while “Goldman’s Detective Agency” shows the band’s playful side as they re-imagine 19th century anarchist Emma Goldman as a private eye vanquishing corrupt cops and politicians.

                                                                                          Nearly every song here is a potential single, from the infectious “Do Whatever” and “11:45, Legless In Brandon” to outsider anthem “The Awkward Ones” and the Billy Bragg / Coronation Street-referencing “Curly and Raquel”. The album concludes with “St Paul's (Westerberg Comprehensive)”, a song about being caught up in the toxic culture of a Catholic comprehensive school. “It’s for the kids who had the guts to be queer at school and for those who didn’t figure themselves out until they got out of school.

                                                                                          FORMAT INFORMATION

                                                                                          Indies Exclusive LP Info: Indie store only coloured vinyl is Blue with Orange splatters.

                                                                                          Rickard Jäverling

                                                                                          Album 3

                                                                                            Rickard Jäverling, born and raised in Borlänge, Sweden, and now living and working in Stockholm is a wayward and productive musician. Besides releasing material under his own name, Jäverling is/has been part of constellations such as Dödens Dal, Liljor and Jäverling <> von Euler. Album 3, released on Höga Nord Rekords is his third solo album. Album 3 breathes psychedelia, dub, Swedish folk, “progg” and continental vintage electronic music. The songs on this album are in a way like a compilation of short stories rather than chapters in a novel. The common factor in this album is Jäverlings’ exquisitely worked out melodies and the warm, round production but the songs can, due to the rich storytelling qualities of each one of them, almost be regarded as small albums of their own! The music made by Richard Jäverling is an embrace, a relative with a house by the Swedish west coast or a day off, midweek in April. This album is inviting and calming but also as solid and mighty as a Dalecarlian beech tree. 

                                                                                            Pictish Trail

                                                                                            Who's Comin' In?

                                                                                              2017 proved a huge year for Pictish Trail which ended in Johnny Lynch announcing he’d signed to Fire Records alongside Jane Weaver, Death And Vanilla, Noveller, Hater and Modern Studies. Seeing in the new year supporting Belle And Sebastian on tour across Europe and following a sold-out show at this year’s Celtic Connections, Pictish Trail releases ‘Who’s Comin’ In’ on black disco sleeve 12” vinyl on 25th May 2018.

                                                                                              Taken from ‘Future Echoes’, ‘Who’s Comin’ In’ gets remixed by Joe Goddard (Hot Chip, The 2 Bears). Here blissed out celestial tones stretch this gorgeous track into an eight-minute dance floor banger that has a ‘trip-hop subtleness bridged with a Caribou feel’ (Clash). The 12” also includes a remix of the same track from KT Tunstell. The critically acclaimed psych-pop record, ‘Future Echoes’, bursts with beautiful melodies, harmonies and lyricism with sublime production from collaborator Adem Illhan and additional production and mixing from Rob Jones (Sweet Baboo, Slow Club). 

                                                                                              John Foxx


                                                                                                The original 10-track album was remastered from analogue tapes back in 2014, along with various B-sides. A few tapes full of instrumental music from the session were also set aside for remastering but these revealed further discoveries, including alternative mixes and the song ‘Miss Machinery’ - a mutant, electro-punk twist on Foxx B-side, ‘20th Century’. Meanwhile John Foxx assembled his notebooks from the period which included lists of possible track titles that have now been used for the unreleased material on this album. Some of the notes were also scanned for the artwork, along with previously unseen photos as well as rare drawings and illustrations by the artist.

                                                                                                Jonathan Barnbrook (regular Foxx collaborator and Bowie’s Blackstar designer) worked on the new reissue design as the project grew to 49 tracks across 3 CDs. This includes the 15 instrumentals on CD3 which collectively sound like a lost electronic soundtrack with echoes of Quatermass, BBC's Radiophonic Workshop and the dark DIY electronics of Thomas Leer and Robert Rental. *Clamshell box includes 3CDs *6 art cards inside the CD box *Previously unreleased tracks *40 page booklet features previously unseen photos and rare drawings and illustrations by John Foxx *2014 remaster of Metamatic album from analogue tapes *Every B-side, out-take and unreleased track has been taken from the best possible source and (re)mastered over the last 4 years.

                                                                                                Sound Voyage

                                                                                                En Route To Thailand

                                                                                                  After blowing everyone's mind with the post-kraut Thai fusion of their "Golden Garuda" 7" a couple of years back, Munich duo Sound Voyage unleash their debut LP in lavish form. Super limited, handstamped with gold leaf and boasting the kind of free form exotic experiments you'd die for, this is the tits. Alongside previous hits "Golden Garuda" and "Super Molam", Tom & Niko take us to the potion shop with the post minimal funk-pulse of "Schattenspiel", drop into super groovy market place dub via "Muay Thai Seven" and switch into dub techno mode for the SAE meets BC stylings of "Bangkok Echo"...And that's only naming a few - you need this record!

                                                                                                  FORMAT INFORMATION

                                                                                                  Ltd LP Info: limited Edition of 222 , heavy 180gramm 12" Vinyl, cover handstamped with 24k Gold Leaf, protective inner & outer sleeves, incl info sheet & sticker.

                                                                                                  Bark Psychosis

                                                                                                  Codename : Dustsucker

                                                                                                    Following the reissue of ‘Hex’ in late 2017, Fire Records reissue Bark Psychosis’ second studio album ‘///Codename:Dustsucker’ (2004) “which finds the band in remarkable form” (Pitchfork). Arriving ten years after the band disbanded, the long-awaited and criminally overlooked follow up brings with it an evolution of their sound. Their experimentations are layered with blissed out electronics, shoegaze, post-rock and jazz are still at its fore as are Sutton’s crystalline vocals. Languid and brooding, the soundscapes are dark and sustained while their “trademark cocoon of limpid, rippling guitar figures and jazzy adornment is buffeted by sharp leftward turns” (Uncut). Recorded in Graham Sutton’s East London DustSuckerSound studio between 1999 and 2004, it features contributions from Talk Talk sticksman Lee Harris and ‘found drumming’ from ex-band member Mark Simnett. 

                                                                                                    Fonda 500

                                                                                                    I Heart Fonda 500

                                                                                                      Almost a decade in the making, lo-fi pop pioneers Fonda 500 are back with their magnum opus, I (heart) Fonda 500. A sonic mixing bowl of influences, genres and styles, the album finds the band at the peak of their inventive power, flitting gloriously from epic intergalactic soundscapes to scuzzy sunshine pop, from ice-cool electronica to moments of lowest-fi acoustic tenderness.

                                                                                                      Available on a beautiful gatefold vinyl, complete with temporary tattoos, as well as CD I (heart) Fonda 500 is released in May. Fonda 500 were formed early in the 2000s, bursting onto the musical landscape with a series of critically acclaimed and hugely influential albums, backed up by a legendary live show, which magically brings to life their borderless imaginations. Their first album 8 Track Sound System was hailed by the NME as ‘the brightest new dawn in ages’, and Album of the Week by the Sunday Times, and was followed up with a succession of albums and EPs which skirted the boundaries of multiple genres and influences, whilst remaining timeless, immediate, accessible and joyous.


                                                                                                      Saboteurs Of The Sun

                                                                                                        London heavy contingent Limb set the controls for the heart of the sun with their third record on New Heavy Sounds. Saboteurs of the Sun sees Limb hurl themselves skyward to discover new worlds within the riff–time continuum. Building on their previous two records, which positioned Limb in the thick of the UK heavy fuzz scene, the band now move beyond their sludge–doom origins to explore a cosmos of bubbling synthesizers, screaming organs, ecstatic choirs and galaxies of wild unidentified sounds. Vocalist Rob Hoey says, “We’re not a band that wants to get complacent. For our third record, with the wider world around continuing to fall apart, we wanted to address big, grand themes. And to do that, we had to broaden our sonic palette.” That’s not to say that Saboteurs of the Sun jettisons any of the stomp and swagger that Limb have made their own.

                                                                                                        The grooves, the power and the chops are all there in spades – helped by a masterful production from Russ Russell (Napalm Death, At the Gates, etc.). Each of the 10 songs that make up this record is a vignette, telling a story that could have sprung from the mind of sci-fi visionary Philip K Dick – tales of reckoning with a world that is incomprehensible. Tracks like ‘Wych Elm’, ‘Curse Tablet’, ‘Man on the Outside’ and ‘Truth Be Damned’ explore myth and murder, combining a latent violence with the same sense of melody and listenability you’ll find in bands like Torche.

                                                                                                        ‘Death in Absentia’ and 'Survival Knife’ take an industrial turn, smashing against both the sturm und drang of Killing Joke and a krautrock propulsion. The effect is that we find ourselves lost in a ruined world, contemplating humanity’s death-drive and mechanised brutality. ‘The Astronaut’ follows up with a Floydian paean to the fragility of life and the endlessness of space. The album ends with the experimental ‘100 Years’: a cosmic warning wrapped within a plaintive space sea shanty. This is a record about the destruction that humanity continues to wreak on Earth,” adds Hoey. “It looks to the stars for an alternative — but the thrills and wonders of space travel ultimately fail to provide a better future, and the dream comes crashing down.” Saboteurs of the Sun is ambitious and thoughtful, boldly bucking the system and revealing something new with every play.

                                                                                                        But most of all, it is the sound of a band bursting free from the world that made it, unapologetic and unafraid of what it might find. After tours across Europe and the UK with acts like Black Moth and Vodun, gracing the stages of Desertfest, Hammerfest and Into the Void, Limb’s live set looks to go into interstellar overdrive with Saboteurs of the Sun. 

                                                                                                        Tracyanne & Danny

                                                                                                        Tracyanne & Danny

                                                                                                          Tracyanne & Danny is a new collaborative project between singer-songwriters Tracyanne Campbell (Camera Obscura) and Danny Coughlan (Crybaby). Tracyanne hails from Glasgow, Scotland. London-born Danny is based in Bristol, England. Their paths first crossed in 2013 when introduced by mutual music industry pals.

                                                                                                          Tracyanne dug Danny’s Crybaby album (released on Helium Records) and invited him to open some Camera Obscura shows in the UK. Mutual artistic respect led to the swapping of song ideas, but tentative plans to work together were set aside while Camera Obscura wrote, recorded, released, and promoted their fifth album Desire Lines. Following the death of Camera Obscura’s Carey Lander, all band activity stopped. Time passed. Tracyanne and Danny revisited the idea of collaborating. A pool of songs were honed and crafted. On the suggestion of their manager (and Teenage Fanclub drummer) Francis Macdonald, they recorded at Clashnarrow, a studio in Helmsdale in the highlands of Scotland owned by the esteemed Edwyn Collins.

                                                                                                          Sessions took place throughout 2016 and 2017. Edwyn co-produced along with engineer and multi-instrumentalist Sean Read (Dexys). They had the use of Edwyn’s vintage gear (including the guitar pedal which features on his global hit “A Girl Like You”) as they invoked a range of shared influences: The Roches, Dion, Lou Reed, The Flamingos, Serge Gainsbourg, Santo & Johnny, and The Style Council. Edywn pops up with a guest vocal on first single “Alabama,” an intentionally “joyous” tribute to Tracyanne’s late friend and band mate Carey Lander. Tracyanne & Danny is not a diverting curio or a wee stop on the road to someplace else. It is a shared artistic aesthetic, forged over time. They have figured out how to fit round each other and work together, creating a rewarding musical synergy. 

                                                                                                          FORMAT INFORMATION

                                                                                                          Coloured LP Info: (Indie stores only) Limited opaque red LP + 7"

                                                                                                          Coloured LP includes MP3 Download Code.

                                                                                                          LP includes MP3 Download Code.


                                                                                                          Something Special / Why I (Discomix)

                                                                                                            Following on from their critically acclaimed second album Imaginary People (championed by the likes of David Rodigan, Huey Morgan, Gideon Coe & many more) seminal UK Dub outfit Resonators return to conquer all with their latest offering.

                                                                                                            Something Special launches headfirst into a hypnotising 4/4 stepper, complete with earth shaking bassline and haunting saxophone lines. Meditative energies run through the dub laced ether, delayed vocals reverberating in the distance. On the flip side Why I (Discomix) moves into more introspective, half time territory, drifting slowly through space. Elevating consciousness and disconnecting from reality.

                                                                                                            Resonators are without a doubt one of the most powerful and highly regarded dub outfits in the UK, taking all the influences of original Jamaican sounds and riddims, and bringing it forward into the sounds of here and now. With a plethora of new songs under their belt and a further EP scheduled for release later in the year, as well as what’s becoming a very healthy catalogue of crowdpleasers from their last two albums, Resonators are touring the UK and Europe throughout spring and summer.

                                                                                                            Various Artists

                                                                                                            Heads Records - South African Disco-Dub Edits

                                                                                                              Off the back of the recent Gumba Fire compilation, Soundway selects more sure-fire disco burners: a 4-track, dancefloor-orientated EP drawing from the Heads label out of South Africa.

                                                                                                              The Heads label lasted a brief two years between 1982 and 1984. Started and run by the late South African producer and singer Emil Zoghby, it released only a handful of records before folding.

                                                                                                              The early 1980s in the country was a time when disco was starting to fade into what was becoming known as Bubblegum: pop music aimed at the black population of South Africa.

                                                                                                              William Mthethwa and his backing band the Young Five started off in the late 1970s and throughout the 1980s Mthethwa became a big star not only within his native Sotho community but all over South Africa. As with many of his releases, “You Turn Me On” was produced by the renowned engineer and producer Peter Moticoe. This was a big, meaty, classic early 80s disco jam that appeared on a 12” only, featuring a long instrumental dub version on the B-side. New York’s JKriv takes elements of the vocal and dub and reworks them into a condensed dancefloor winner.

                                                                                                              Adaye were a Heads studio outfit featuring Tom Dollar on vocals, and selected here is their typically 1980s track “Turn it Up” which saw some success in the charts. The Manyane cut “Thabong” fuses traditional Sotho music with electronics, synths and drum machines - a popular style at the time.

                                                                                                              Sofrito’s Frankie Francis gives both the Adaye and Manyane tracks the cut-up treatment focussing heavily on the spaced-out weirdness of the dub versions but adding nothing other than a fine ear for an edit.

                                                                                                              To complete the set we include “Picnic”, another in-demand track from the Heads archives that was originally the flip side to the track “Picnicing” (featured on Gumba Fire) by the mostly instrumental studio outfit Starlight. They recorded one album and a series of 12s that included classic covers of American and Italian disco cuts.

                                                                                                              Sean Khan

                                                                                                              Palmares Fantasy Featuring Hermeto Pascoal

                                                                                                                For his third album for Far Out Recordings, London based multiinstrumentalist and one of Europe’s finest saxophonists Sean Khan ventures to Rio de Janeiro to collaborate with iconic Brazilian polymath Hermeto Pascoal.

                                                                                                                Taking its title from the escaped slave settlement ‘Palmares’ in the Northeast of Brazil during the 1600s, Palmares Fantasy is Khan’s utopian jazz message for the world, and features Azymuth drummer Ivan ‘Mamao’ Conti, bassist Paulo Russo, guitarist Jim Mullen, and guest vocals from Brazilian chanteuse Sabrina Malheiros, and Cinematic Orchestra frontwoman Heidi Vogel. Like Hermeto Pascoal, Sean Khan is a self-taught musician. Never able to afford his original dream of studying at Berklee, and having been turned away from Guildhall School of Music for being ‘too raw’, he became disillusioned with what he saw as the exclusivity, elitism and dangerous institutionalisation of the jazz world. Yet Sean’s love for music and the drive to create never faltered. Hermeto Pascoal, the man Miles Davis once dubbed “the most impressive musician in the world”, is a similarly independent artist. A true maverick whose ingenuity and freedom from conventional restraints is so great that he has essentially conceived his own musical language, made him the dream collaboration for Sean.

                                                                                                                ‘Moment of Collapse’ is Sean’s poetic study on the uncertainties of modern day western civilisation, delicately presented by the gorgeous vocals of Heidi Vogel and drenched in lugubrious strings and Alice Coltrane-esque harp. The two covers on the album are of Hermeto’s own ‘Montreux’ (on which Hermeto plays solos on a teapot and a pint of water), and an uplifting soulful jazz-funk take on Milton Nascimento & Lo Borges MPB classic ‘Tudo Que Voce Podia Ser’ featuring the vocals of pioneering nu-bossa voice Sabrina Malheiros. The recording sessions for the album were part of an intensive and hugely productive eight-week excursion to South America for Far Out boss Joe Davis in the summer of 2016, which also saw the sessions for Azymuth’s Fenix and a forthcoming album from Uruguayan fusion legend Hugo Fattoruso.

                                                                                                                Vive La Void

                                                                                                                Vive La Void

                                                                                                                  Vive la Void is the new solo project of Sanae Yamada, co-founder and keyboard player of Moon Duo. Yamada wrote and recorded the self-titled debut album over roughly a two-year period, during windows of downtime in Moon Duo’s substantial touring and recording schedule. The dense, shape-shifting atmospheres of the seven songs grew out of late-night basement experiments in the layering of synthesizer tracks, a process that also led to meditations on the changeable nature of memory and perception. The result is an undulating blend of ethereal swirl, low end thrumming, and electric crackle, buoyed by Yamada’s understated but captivating vocal melodies and her striking lyrics.

                                                                                                                  “The lyrics were a way of reckoning with my own memories and also of trying to process my reactions to the human situation,” Yamada explains. “I wanted the voice to have a kind of ghostly quality, to emerge from and recede back into the song, or to pass over it like weather. It’s one of many layers of sound, which are meant to blend together in such a way that on one listen you might hear one thing, and on another listen you might hear something else, so the music seems to change even as it stays the same.” Yamada has spent the last decade as a working musician, moving between semipermanent home bases whenever she isn’t living in a tour van. In some ways, then, it feels inevitable that Vive la Void became a meditation on the strange rhythms of long-term touring, constant relocation, and the accompanying stream of brief but compelling encounters. It’s a testament to her empathy and creativity that these songs feel both specific and universal, familiar yet tantalizingly unknowable.

                                                                                                                  “I feel like the movement of life in the sphere of consciousness is this process of trace-leaving,” Yamada reflects. “Wherever we go, whomever we interact with, whatever we touch, we leave and absorb these invisible traces, this residue of memory that lingers. I wanted the sonic textures of this record to explore that state of being there and not there, of something being with you but not tangible.”

                                                                                                                  FORMAT INFORMATION

                                                                                                                  Coloured LP Info: Purple & Green Marble LP

                                                                                                                  Various Artists

                                                                                                                  W2NG 89.9fm

                                                                                                                    In the wake of 2017’s Seafaring Strangers: Private Yacht, Numero is proud to present another addition to the soft rock cannon: W2NG. Set your FM dial to smooth and sail away with 42 minutes of uninterrupted easy glide, pontoon rock, and whispery disco. Featuring unreleased burners from Gary Hyde, Love Transfusion, Marshall Titus, and Phillips, alongside scarce cuts from Nannette, Greenflow, Jim Spencer & Son Rize, Larry Sanders, Kettner & Shawe, Orphans of Love, and Lion, W2NG is sure to surprise even the most devout boat shoe enthusiast.

                                                                                                                    FORMAT INFORMATION

                                                                                                                    Coloured LP Info: Blue vinyl.

                                                                                                                    Various Artists

                                                                                                                    Alex Attias Presents LillyGood Party!

                                                                                                                      'LillyGood Party!' is the brand new BBE compilation from highly respected Swiss DJ Alex Attias. Taking its name from a party he runs in his native Lausanne, LillyGood has gradually evolved into a radio show and even a label, now on its 4th release. Refecting the music he plays at the clubnight, ‘LillyGood Party!’ is packed with funk, disco, deep house and boogie bullets from across the globe. “The idea is to present not only rare or difcult tracks to fnd, simply good grooves for people to play out, or listen to at home.” From rare Japanese disco gems, through spiritual jazz, to genre defying sounds from broken-beat cohorts Kaidi Tatham and Dego, LillyGood Party! takes a unique trip inside the musical mind of one of dance music’s true nonconformists.

                                                                                                                      Alex Attias got his start in back in ’88 playing funk, house, jazz, and disco, as well as producing under various monikers such as Mustang, Freedom Soundz or Beatless. Moving to London in ’97 he started his ‘Visions’ label and found himself at the epicentre of the emerging West London ‘Broken Beat’ scene which grew around his studio at Goya. Releases on People, Planet E, Ubiquity, Neroli, Archive and Compost followed, as well as remixes for Incognito, 4Hero, Ennio Morricone, Sun RA, Art Blakey, Roni Size and Laurent Garnier among others.

                                                                                                                      Middle Kids

                                                                                                                      Lost Friends

                                                                                                                        Australian trio Middle Kids announce their eagerly-awaited debut album, Lost Friends, out May 4, 2018. Hannah Joy, Harry Day and Tim Fitz bring back their knack for haunting hooks, lyrical poignancy and irresistible indie rock appeal that critics praised in their self-titled first EP. This radiant collection of new songs conjures melodic nostalgia for some of songwriting's very best, rich in heartfelt build and beautiful simplicity.

                                                                                                                        Lost Friends is the kind of album that sucker-punches you in the gut, revealing its nuances only after repeated listens. The songs’ edges are jagged, the production clean, stray imperfections imbue warmth and a human touch. Middle Kids craft classic hooks and riffs that tangle up in your brain like licorice and choruses that linger long after the song has faded. And they’ve bonded over a greater sense of what their music should accomplish.

                                                                                                                        “In a time where a lot of division is growing, we want to be part of the conversation that unites people around certain ideals that are universal, like hope and love,” says Hannah Joy. “That’s so much a thread throughout this album: Even though things are tough, it’s worth believing in something good and in the idea that we can heal. And in some ways, I wanted the music to be beautiful and a respite from what’s going on.”

                                                                                                                        FORMAT INFORMATION

                                                                                                                        Coloured LP Info: Indies exclusive lilac coloured vinyl.

                                                                                                                        Lucrecia Dalt


                                                                                                                          Lucrecia Dalt’s Anticlines is a volume of bodily and geological substrates within poetic theory and sound. It is a place where skins and minerals dissolve and commingle, where gaseous subterranean leaks inflate lungs, where brain cavities echo interplanetary waves bent from passing through atmospheres.

                                                                                                                          A former geotechnical engineer from Colombia currently residing in Berlin, Dalt’s concern with boundaries and edges shape the lyrics and music of Anticlines, her sixth album. Paying careful attention to pace, breath, and texture, Dalt microtonally shifts the distance between speech and song while using traditional South American rhythms to support her contemporary electronic composition.

                                                                                                                          Lucrecia arrived at the atmosphere of Anticlines after several months of studying and creating new patches for the Clavia Nord Modular, forming a rhythmic feedback flow with it, a Moogerfooger MuRF, and her voice. The overall effect of cavernous space backdroping Dalt’s intimate vocal phrasing rewards contemplation, supported in the physical formats of Anticlines by a lyric booklet documenting Lucrecia’s collaboration with Australian artist Henry Andersen.

                                                                                                                          The album opens with “Edge,” bordering on a pathological circlusion of self upon other. The lyrics depart from the Colombian myth of El Boraro, an Amazonian monster who turns its victims insides to pulp before sucking them dry and inflating their bodies like balloons to lifelessly float away. “Tar” ponders human dependence on earth at the boundary of the heliopause, where to inhale might be like breathing tar. Dalt’s distant and obscured vocals end with, “we touched only as atmospheres touch.”

                                                                                                                          The sonic rise and fall of “Analogue Mountains” is inspired by martian traces found in Antarctica embedded by meteorite ALH84001, suggesting that “we might well be living in mountains transferred from Mars.” The steadily winding music on “Concentric Nothings” descends with the lyrical exercise of dissolution “let my touch be indistinct and instinctive.”

                                                                                                                          Interspersed with the lyrical pieces of Anticlines are instrumental interstitials that demonstrate preceding concepts — as if to say, “this is what antiforms sound like, and this is what the universe’s indifference sounds like.” Dalt’s ongoing experiments with visual artist Regina de Miguel support these ideas, their practice allowing the objects of their attention to slip in and out of being.

                                                                                                                          Mystic of matter, Lucrecia Dalt has previously performed and worked with Julia Holter and Gudrun Gut, her slippery spoken word and performative nature recalling the work of Laurie Anderson, Robert Ashley, Asmus Tietchens, or Lena Platonos. While touching stones, The Thing by Dylan Trigg, Cascade Experiment by Alice Fulton, and Wretched of the Screen by Hito Steyerl are but a few formative scripts that support Dalt’s exploration of the betwixt and between.

                                                                                                                          In preparing a live set for Anticlines, Dalt plans to stage an uninterrupted configuration, like a kind of alienated lecture, aiming for “gestures that create tensions with non-existent objects.” Dalt intends “to provide meaning and a place for the listener to meditate or relate to the concerns and ideas” she presents.

                                                                                                                          Dalholt & Langkilde

                                                                                                                          Sur Plus

                                                                                                                            Copenhagen label Music For Dreams release yet another brilliant debut album, this time by the Danish duo Dalholt & Langkilde. The album has a wonderful warm summery vibe, with slick smooth production, hypnotic groove baselines, live guitars & vocals.

                                                                                                                            The sultry French spoken word vocals on opener ‘Charite’, ‘Sur Plus’, ‘Tranquille’ ‘& Je M’appelle Spacy’ certainly channel the spirit of Serge Gainsbourg & Max Berlin which compliment the euro flavour to the overall production of the album.

                                                                                                                            There is a jam like feel to most of the tracks on the album - The Moonboots faves "Bonne Nuit" and "Doucement" both sounds like a Durutti Column /Vini Reilly session made in Copenhagen.

                                                                                                                            Demise Ducha provides the vocals on tracks ‘Disco Disco’ & ‘Afrique’. Demise’s ethereal voice brings an almost Cocteau Twins feel to the tracks combined with the sweet African (soukous) guitar licks and floaty bongo rhythms are sure to propel these tracks into balearic classics on the white isle.

                                                                                                                            The album also features the track ‘Versaire’ with Copenhagen friend Emil Breum (The Swan & The Lake) soft sax tempered with atmospheric synth combine to wonderful soundscape effect, a summery 95 BPM chugger!

                                                                                                                            After releasing their debut single ‘Charite’ in 2015, and ’Sur Plus’ which featured on last years acclaimed Jockey Club (Ibiza) Sunset Sessions #4 compilation, the duo (Mads & Frederick) have been busy in the studio crafting this debut album to be released on Kenneth Bager’s Music For Dreams label.

                                                                                                                            Dalholt & Langkilde first met when Frederik came to view a room for rent at Mads' apartment. After five minutes they clicked and were roomies. Mads was already an experienced DJ and Frederik had played at parties with a live band, but neither had any experience making their own music. The first track ‘Charite’ was born in the summer of 2014. Charité was and old idea Mads had, that he would like Frederik to try out ... some first takes later in a gloomy dark basement studio and Charité got its first airplay at Kenneth Bagers radio show at Sonica, Ibiza.

                                                                                                                            The Duos main goal is to make people relax and enjoy, with or without a balearic sunset ...

                                                                                                                            The Body

                                                                                                                            I Have Fought Against It, But I Can’t Any Longer

                                                                                                                              Absolutely no one makes music like The Body. On their follow up to 2016’s acclaimed ‘No One Deserves Happiness’, the Portland duo of Lee Buford and Chip King conjure the sublime from the unexpected by turning their compositional approach on its head.

                                                                                                                              The Body continue to defy the constraints of what it means to be a ‘heavy’ band, seamlessly combining diverse influences for an utterly singular sound. The album’s contributors include Kristin Hayter (Lingua Ignota), Michael Berdan (Uniform) and Ben Eberle (Sandworm), as well as frequent collaborator Chrissy Wolpert (Assembly of Light Choir). Production was handled by Machines With Magnets (Lightning Bolt, Battles).

                                                                                                                              The Body transcend musical boundaries. Their ambitious creativity shapes their bleak worldview into propulsive, affecting, and even danceable music often drenched in distortion.

                                                                                                                              “A decibel clashing cavern” - NPR Music

                                                                                                                              “Sounds like a rave in a collapsing black hole.” - Metal Hammer

                                                                                                                              “A riot of sound so aggressive it would make John Zorn blush” - Pitchfork

                                                                                                                              Emma-Jean Thackray

                                                                                                                              Ley Lines

                                                                                                                                Rising star of the UK jazz scene, repped by Gilles Peterson and Theo Parrish among others.

                                                                                                                                The trumpet player and multi-instrumentalist recorded the entire mini album single-handedly in her home studio.

                                                                                                                                Inspired by Madlib, Art Ensemble Of Chicago and Fela Kuti.

                                                                                                                                “One of the UK’s most exciting new jazz artists.” - RBMA

                                                                                                                                “One to watch.” - London Evening Standard

                                                                                                                                Artwork designed by Jack Greeleyward and Emma Jean Thackray.

                                                                                                                                The Sea And Cake

                                                                                                                                Any Day

                                                                                                                                  The Sea and Cake return to their roots, crafting refreshingly intimate pop songs, elegantly arranged on their first new album in six years.

                                                                                                                                  The Sea and Cake deliver a refreshingly intimate collection of elegantly arranged, singular pop songs. For over two decades and 11 albums, The Sea and Cake have honed a sound all their own, comprised of delicate, intertwining guitar patterns, syncopated rhythms and airy melodies. Masters of subtlety, their compositions have continually evolved - through minute alterations in texture, unusual approaches to lyrics and creative production choices.

                                                                                                                                  ‘Any Day’ is testament to The Sea and Cake’s artistry, song craft, and utterly unique sound. The results are intimate songs that speak to the searcher in all of us. Through shifting instrumentation and sonic exploration, the band invites you into a world that is both familiar and unexpected.

                                                                                                                                  “The Sea and Cake occupy an indie rock niche all their own.” - Pitchfork

                                                                                                                                  “After [over] 20 years as a band, The Sea and Cake is still creating vital, evolving music.” - Chicago Tribune

                                                                                                                                  “... theirs remains an abstract, liminal brand of pop, with Prekop’s vocals as delightfully gossamer, and his lyrics as intriguingly impressionistic as ever. Long may they run.” - Mojo



                                                                                                                                    Decisions are a new punk band from New York City and this EP is their first official release.

                                                                                                                                    The house punk band of Bushwick’s socially conscious bastion The Silent Barn, Decisions craft songs that rail against yuppies (‘Gatekeeper’), creeps (‘Trapped’) and the gentrification prevalent in New York’s 5 boroughs.

                                                                                                                                    While these tracks range from fast ultra-catchy punk bangers to sprawling hard rock developments (‘Rusted Shut’), there is not a wasted note on these four tracks and we bear witness to a new band with a the rare quality of an incisive attack whose message is entirely of the moment.

                                                                                                                                    In their short career Decisions have played with the likes of Parquet Courts, Palberta and KAG.

                                                                                                                                    Freddie Gibbs & Statik Selektah

                                                                                                                                    Lord Giveth, Lord Taketh Away

                                                                                                                                      Originally released back in 2011, Lord Giveth, Lord Taketh Away, saw Freddie Gibbs team up with legendary East Coast beat maker Statik Selektah. The project was recorded in a single day, with the sessions being broadcast out on U-stream. Across the seven track EP, Gibbs showcases his hyper technical gansta rap flow, stepping out of his comfort zone rapping over some classic NYC boom bap production. The EP features guest spots from Trae The Truth, Smoke DZA, Termanology and more.

                                                                                                                                      Omerta Inc. will be bringing this collaborative project to vinyl for the first time. As well as featuring the seven tracks from the original project, the vinyl release will include two bonus tracks, Crushin’ Feelings and Carry On featuring Joey Bada$$.

                                                                                                                                      Baby Huey

                                                                                                                                      Hard Times / Listen To Me

                                                                                                                                        Baby Huey drew comparisons to Otis Redding, but a fatal heart attack in 1971 prevented him seeing the fruition of a successful career and the actual release of this Curtis Mayfield penned song. An original pressing on Curtom originally sold for over £300. “Hard Times” has been sampled over 50 times by artists including A Tribe Called Quest, Lil Wayne, Biz Markie and The Chemical Brothers. “Listen To Me” has been sampled by Eric B & Rakim, Wu-Tang Clan. Public Enemy, Grandmaster Flash and many more. This is the first time these tracks have been released in the UK

                                                                                                                                        Various Artists

                                                                                                                                        Burning Britain: A Story Of Independent UK Punk 1980 - 1983

                                                                                                                                          Burning Britain is the sequel to 2016’s acclaimed 4-CD Box Set Action Time Vision, which documented the independent Punk revolution of the late Seventies.

                                                                                                                                          Burning Britain is the first-ever box set to properly tell the story of the early Eighties independent Punk scene – nicknamed UK82 - when the music went underground and thrived outside of the major label framework.

                                                                                                                                          With 114 tracks, this longform 4-CD box set follows previous, acclaimed compilations from Cherry Red dedicated to Post-Punk (To The Outside Of Everything), Goth (Silhouettes And Shadows), Mod Revival (Millions Like Us), etc.

                                                                                                                                          The 64-page booklet includes authoritative band biogs and an insightful foreword by respected Punk commentator Ian Glasper (author of the book Burning Britain, which inspired the title of this box set).

                                                                                                                                          Big names from the early days of Punk (The Damned, Angelic Upstarts, UK Subs, Cockney Rejects, The Adicts, The Lurkers, Chelsea) are joined by all the key bands from the next wave, including The Exploited, The Anti-Nowhere League, Discharge, Blitz, G.B.H., The Toy Dolls, Vice Squad, The Business, Peter & The Test Tube Babies, Poison Girls and Conflict.

                                                                                                                                          Biffy Clyro

                                                                                                                                          MTV Unplugged (Live At Roundhouse London)

                                                                                                                                            Although their live shows are best known for their electrifying and explosive energy, Biffy Clyro have often demonstrated that their songs possess an added poignancy when stripped back to their essence. Now the band can announce details of their first acoustic album, ‘MTV Unplugged: Live At Roundhouse London’ on May 25th.

                                                                                                                                            Recorded at London’s famous Roundhouse venue on November 8th last year, the set represented the UK relaunch of the iconic MTV Unplugged series. Biffy Clyro follow in the footsteps of influential rock bands who had previously performed as part of the series, notably Nirvana, Pearl Jam and R.E.M.

                                                                                                                                            The set is rich with favourites from the Biffy catalogue. ‘Machines’ is already long established as a highlight of the band’s live shows as Simon Neil performs accompanied by a single acoustic guitar, while the likes of ‘Many of Horror’, ‘Re-arrange’ and ‘Medicine’ are all natural fits for an Unplugged performance. Yet the band also flourish with stripped-back performances of songs that were more aggressive and dramatic in their original form, such as ‘The Captain’, ‘Black Chandelier’ and ‘Bubbles’.

                                                                                                                                            The album also presents some special treats for Biffy fans. A stunning take on the Beach Boys’ classic ‘God Only Knows’ is an undoubted highlight, while a brand new original song is also included in the shape of ‘Different Kind of Love’.

                                                                                                                                            Steven Adams & The French Drops

                                                                                                                                            Virtue Signals

                                                                                                                                              Anger seldom sounds as enticing as it does on Virtue Signals. Steven Adams’s first with his new group, The French Drops is an album that rails against the iniquities of the world and meshes the personal with the political, without ever smacking the listener around the head. Adams (former songwriter/singer/guitarist with The Broken Family Band and Singing Adams) can’t help but be witty and empathetic even as he rages, and the fury is wrapped inside his characteristically sweet melodies.

                                                                                                                                              The album’s tone is set from opening track, “Bad Apples”, a song addressing flag-waving, aggressive patriots. The lyrics are alternately playful and oblique, in the spirit of songwriters like John Lennon or Britt Daniel from Spoon. Where Adams aims to remove ambiguity and play with metaphor, as with “Ex Future”, the opacity of his writing means he doesn’t descend into cliche.

                                                                                                                                              Following a few years of performing and recording solo, Adams says he wanted to put together “a band where everyone was following their noses. I’ve been calling the shots for ages now, and now I can lean on these people, make more noise. It’s fair to say we share a lot of the same thoughts and feelings about the state of the world. But mostly we talk about food.” Laurie Earle (Absentee, Dan Michaelson & The Coastguards, Wet Paint) plays guitar with a loose, intuitive touch; Michael Wood - who had played bass with The Singing Adams - switches to keyboards here, while Daniel Fordham (drums) and David Stewart (bass) from The Drink complete the band.

                                                                                                                                              Produced by Ben Nicholls (Nadine Shah, Cara Dillon). Mixed by acclaimed producer and engineer (and Hudson Records supremo) Andy Bell. Adams tours the UK through May and the summer.

                                                                                                                                              For fans of: Field Music, Pavement, Spoon, Grandaddy, Teleman.

                                                                                                                                              Palace Winter


                                                                                                                                                Nowadays is the much anticipated follow-up to Palace Winter’s acclaimed debut album.

                                                                                                                                                Palace Winter are Copenhagen-based Australian Carl Coleman and Dane Caspar Hesselager. Their debut single was released in 2015, followed by an EP and in the summer of 2016, their debut album, ‘Waiting for the World to Turn’ had arrived. All released via Copenhagen-based label Tambourhinoceros.

                                                                                                                                                The support that followed was widespread. Number 1 on Hype Machine and overwhelming reviews from heavy hitters like The Guardian, NME and Line of Best Fit. Radio support came from Guy Garvey, Lauren Laverne and Tom Ravenscroft at BBC 6 Music, KCRW, KEXP, Norway’s P3 and Denmark’s P6.

                                                                                                                                                The band have successfully brought their cinematic psych-pop to the stage. With an increasing number of sold out live shows under their belts, fans have not been left disappointed by their hypnotic and mind-blowing live sets. Having already supported Noel Gallagher and played Guy Garvey’s Meltdown, Roskilde, Green Man, Sziget in Budapest, Latitude and Secret Garden Party, amongst many others, Palace Winter are well placed to blow the roof off 2018.

                                                                                                                                                Chuck Cissel

                                                                                                                                                Don't Tell Me You're Sorry / Do You Believe

                                                                                                                                                  Chuck Cissel, from Tulsa, Oklahoma, recoded just two albums in 1979 and 1982 respectively, both for Arista at the time and reissued together on CD by Expansion in 2014. He is best known in disco circles for ‘Cisselin’ Hot’, but over the last two decades has become renonwned for “Don’t Tell Me You’re Sorry” in northern and crossover soul circles. Today it is his most sought after record, original copies worth £150. The track is also written about in Richard Searling’s new book “Putting The Record Straight”.

                                                                                                                                                  In demand northern/crossover soul record. Original copies exchange hands for £150

                                                                                                                                                  Katie Von Schleicher

                                                                                                                                                  Glad To Be Here

                                                                                                                                                    "Glad To Be Here" / "Party Dawn" is the first material the Brooklyn-based songwriter has shared since her critically acclaimed debut album, Shitty Hits, last year. Katie said the following about the tracks: "On a break from touring this winter I went alone to Maryland, where I am originally from, and made these two songs, taking the gear I’ve very happily accrued since making my album Shitty Hits. I built a fire, I set up my gold drum kit, I saw a ton of stars and felt smushed by silence, and it was lonely, so I made these songs. “Glad to Be Here" is where I find myself right now. “Party Dawn” is tied to Maryland, to my friend and our adolescence. Both are a bridge toward the subject matter of my next record. Back in New York, my collaborator Adam Brisbin (Sam Evian, Jolie Holland, Buck Meek) contributed guitar and bass, and Julian Fader (Ava Luna, Frankie Cosmos, Nadine, Palehound) mixed it."



                                                                                                                                                      Fromtheoldtothenew was originally released in 1996 and is the second full length on Peacefrog from Steve ‘Stasis’ Pickton.

                                                                                                                                                      Growing up as a teenager in East London, break-dancing and writing graffiti with B12’s Mike Golding, Steve

                                                                                                                                                      Pickton’s musical education moved along a familiar path, from hip-hop to Electro and onto Techno. Schoolinghimself in music theory and purchasing a sampler Pickton set about making his own music.

                                                                                                                                                      Releasing on a whose who of seminal UK electronic labels including A.R.T., Likemind, Otherworld and B12 under various pseudinums Pickton’s UK take on lush Detroit melodies fused techno, funk, hip-hop, dub, blues and jazz into a dense concoction all of his own making.

                                                                                                                                                      Fromtheoldtothenew saw Pickton slip off his earlier techno shackles and head for uncharted electrconic waters.

                                                                                                                                                      The echo chamber dramatics of Gun and wayward lurch of Ale House Blues were a long way from Detroit, while few tracks have demonstrated the sheer breadth of electronica more dramatically than Utopia Planetia. All in all it's more jazz, less tech without losing the soul.

                                                                                                                                                      Chris Brann

                                                                                                                                                      Deep Fall

                                                                                                                                                        Growing up in Atlanta, Chris Brann discovered house and electronic music by the somewhat longwinded way of getting sent tapes from Europe. He began assembling a home studio but it wasn't until 1994 that he began his music career in earnest and formed Wamdue Kids with DJs Deep C, and Udoh.

                                                                                                                                                        In 1995 they released the classic Higher on the Acacia label, which led to the Wamdue Kids signing to Peacefrog and the release of their seminal debut album These Branching Moments. Following the success of this the next year Chris released his first solo album Deep Fall, reflecting a different direction to that of his productions with Wamdue.

                                                                                                                                                        Deep Fall originally released in 1997 is delicious collection of deep tech-house. Stand outs are the aptly named title track with beautiful synth washes and a single mournful modulated violin at its centre and theemotional Journey To The Centre which if it doesn't move you then nothing will.

                                                                                                                                                        The Buttertones

                                                                                                                                                        Midnight In A Moonless Dream

                                                                                                                                                          The first word of the album says it all: 'Bang!' On their new album Midnight In A Moonless Dream the Buttertones dig deep and discover something dark. Where their previous album Gravedigging played like the soundtrack of a good spaghetti-western heist movie, Midnight moves to the dark cityscapes of '70s New York and tells the story itself - a perfect and intricate crime executed by a crew of professionals under cover of night; a biting sound befitting of CBGB's while staying true to their LA roots. There are echoes of Suicide and Bauhaus, nods to the spirit of sax and violence that powered the Deadbeats. Midnight is music made for dancers but also for doomed romancers that will appeal to fans of The Cramps, The Gun Club, Car Seat Headrest, Black Lips, King Tuff, Thee Oh Sees, Ty Segall,
and Parquet Courts. Released on Innovative Leisure, the LA label that also brought you the Allah-Las, BADBADNOTGOOD, Hanni El Khatib, Nick Waterhouse, and more.

                                                                                                                                                          For fans of The Cramps, The Gun Club, Car Seat Headrest, Black Lips, King Tuff, Thee Oh Sees, Ty Segall, Parquet Courts

                                                                                                                                                          Black Moth Super Rainbow

                                                                                                                                                          Panic Blooms

                                                                                                                                                            The long overdue 6th album by Black Moth Super Rainbow. "Panic Blooms" is a fucked up and bleeding account of depression and the shadow side of human frailty, full of gorgeous warped melodies that exist as their own genre, somewhere between late 90s Warp Records, dub, and chopped and screwed codeine drip. It’s not drug music, it’s dragged music, oozing through the muck of the present moment, past mutating the present, demon melodies filtered through the vain search for light. This is why Pitchfork claimed BMSR mastered the balance between the grotesque and beautiful. Spin hailed their “consistently great records of mind-altering, sugar-coated, vocoder-heavy psychedelic pop.” Stereogum saluted their “excellent haze.” Encoded in a syrupy fog, TOBACCO’s lines stab with more ferocity than ever before. From the first track, the knives are out and slashing with chimerical violent imagery: mouths bleeding from razor blades stashed in tangerines and the ominous sensation of feeling haunted. There are sunset curses and diseased plants, sunburn fevers and doomsday downgrades, pink apocalyptic suns and sinister omens. It’s reminiscent of the phrase used to describe surrealism: as beautiful as the chance encounter of a sewing machine and an umbrella on an operating table.


                                                                                                                                                            Wonder Trail

                                                                                                                                                              Mercury shortlisted band Dinosaur continue to surprise and impress with their remarkable new album ‘Wonder Trail’. Dinosaur’s second album is as electrifyingly different as anyone who knows Laura Jurd’s track record would expect. Never one to be labeled, the fearsomely talented and multiple award-winning Jurd has a Miles-like way of taking her work and tuning it to illuminate a vast array of musical worlds. She’s done orchestrated and meticulously composed; jazz rock grooves; electronic minimalism; mainstream jazz and now, with her new album, Wonder Trail, and band Dinosaur, keyboard maestro Elliot Galvin to the fore, she’s plundered the synth-pop of the 1980s for a new sound. But this is not gratuitous borrowing, or any kind of hipsterish, retro post-modernism. For one, these are very current sounds (Broen’s an indie band with similar reference points that comes up in conversation). And for two, Jurd and Galvin use the poptastic-ness of the keyboard sound as a sort of tin opener to get into all kinds of serious musical areas - improvisation, vocodered strangeness, strutting rockishness, bucolic folkiness. But, as with any proper stylistic amalgam, the whole is greater than the sum of the parts.

                                                                                                                                                              Eleanor Friedberger


                                                                                                                                                                In contrast to her 2016 lauded album New View, which Eleanor arranged and recorded with her touring band, Rebound was recorded mostly by Eleanor alone with assistance from producer Clemens Knieper. The resulting album is an entirely new sound for Eleanor, exchanging live instrumentation for programmed drums, a Juno synthesizer, and muted guitars, creating a sonic landscape where influences range from Stereolab and Suicide to Lena Platonos and Yellow Magic Orchestra. In addition to a new sonic palette, Rebound takes significant inspiration from Eleanor’s time spent in Greece. Half-Greek herself, Eleanor frequently traveled to Greece to see family, but decided in 2016 to really immerse herself in the culture. Rebound is the incredible next step in a lauded, brilliant recording career by one of the most prolific, daring independent artists of our time. From her days spent in The Fiery Furnaces, creating melodically off-kilter, idiosyncratic mini-epics, to her three acclaimed previous solo albums, Eleanor Friedberger continues to create exactly what we need to hear when we need to hear it.

                                                                                                                                                                Melody's Echo Chamber

                                                                                                                                                                Bon Voyage

                                                                                                                                                                  Melody’s Echo Chamber’s second album finally arrives more than five years after Melody Prochet’s debut, and it’s certainly been worth the wait. Bon Voyage is a mind-blowing mini-opus full to the gunwales with surprises. It’s a capricious trip that builds majestically upon what Pitchfork in 2012 called “enchanting, psychedelic-tinged pop with just the right amount of thematic darkness”. Made up of seven expansive new tracks, it marries Melody’s breathless soprano to the wildest sonic excursions, always pinned to an emphatic, clattering groove.

                                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                                  Coloured LP Info: Heavyweight violet 180g vinyl, comes with bonus phenakistiscope insert.

                                                                                                                                                                  LP Info: Comes with bonus phenakistiscope insert.

                                                                                                                                                                  Holger Czukay & David Sylvian

                                                                                                                                                                  Plight & Premonition Flux & Mutability

                                                                                                                                                                    Instruments abandoned to the earth and woods David Toop

                                                                                                                                                                    A spiralling winter ghost, translucent fabric, muddied and twisted, discarded net curtain perhaps, lies among leaf tangle and the crocodilian forms of tree fragments, reminiscent of antique spirit photographs of ectoplasm. In 1988, the year that Plight & Premonition was first released, I recorded a conversation with David Sylvian. He spoke of his ability to create atmospheres: “I like photographs that capture a moment. The mood that they create changes with your mood – with the mood of the viewer. They are static but they can create different kinds of emotion within you. That’s a good description of an Auerbach painting. It’s like movement frozen within a framework. That’s what is visible.” He also spoke of fishing in the dark, searching within fluid movement, the frame ambiguous, nothing visible.

                                                                                                                                                                    “But all the same,” wrote Andrey Tarkovsky, “I have a feeling that there must be other ways of working with sound, ways which would allow one to be more accurate, more true to the inner world which we try to reproduce on screen; not just the author’s inner world, but what lies within the world itself, what is essential to it and does not depend on us.”

                                                                                                                                                                    This speculative thought is taken from the ‘Music and noises’ section of Sculpting In Time, Tarkovsky’s collected notes on cinema first published in 1986. A few paragraphs earlier in the same section, the sense of a radical quest, a rethinking of sound, is established with the following passage: “It may be that in order to make the cinematic image sound authentically, in its full diapason, music has to be abandoned. For strictly speaking the world as transformed by cinema and the world as transformed by music are parallel, and conflict with each other. Properly organised in a film, the resonant world is musical in its essence – and that is the true music of cinema.”

                                                                                                                                                                    There were no thoughts of cinema, screens or abandoning music in the winter of early 1986 as David Sylvian arrived in Köln, ostensibly to contribute (though never to record) a vocal for “Music In the Air”, the final track on Holger Czukay’s Rome Remains Rome LP. Bare trees lined the route from Köln airport to Can’s studio, a mattress-lined converted cinema in Weilerswist. Outside: the “cake-layered earth, patches of dirtied snow, trickles of water, the dried, dusty remains of autumn.” An Anselm Kiefer landscape, bitter cold defying the studio heaters. 1986 was the beginning of glasnost but as I listen again to “Premonition (giant empty iron vessel)” I divine in its shortwave chatter, ominous ground bass and rolling mist of cycling chords the Cold War slipping away – an elegiac urgency flexing between hope and dread.

                                                                                                                                                                    This is one way to hear it, the hindsight strategy. On its release in 1988, delayed by record company recalcitrance, the emotional effect was, as I recall, more personal, more wrapped up in the floating bliss of it, its yearning and searching. Then there was the history that might give it context, a brief history comprised only of approximations: Jon Gibson’s Visitations, Basil Kirchin’s two Worlds Within Worlds LPs, Alvin Curran’s Songs and Views From the Magnetic Garden, Brian Eno’s On Land and from 1969, Canaxis 5 by Technical Space Composer’s Crew (actually Holger Czukay with Rolf Dammers). All of these records were beatless, atmospheric, using techniques that we would now describe as sampling, all uncertain of a place within established categories of music unless they claimed new territory for themselves, as with Eno and ambient. As records, they opened windows to the sounds outside and the sounds inside, rendering the distinction meaningless.

                                                                                                                                                                    Plight & Premonition, Flux & Mutability, both titles are predicated on instability. Meanings are equally mutable, perhaps the beginning of a spiritual journey, a climate of uncertainty, the experience of improvisation, a door opening (that may quickly close again). That first nocturnal session in the Can studio began unconsciously, or at least without initial awareness that music was being made, Sylvian enjoying the opportunity to play a pump organ, then growing aware of a slippage in the room as Czukay played orchestral samples through the fold back system: “I fell into a trance.” Ethereal sounds looped through the space. He moved to the piano, searching for something concrete. After ten or fifteen minutes he found it, only to hear Czukay tell him to move on: “He’d only wanted the process, the uncertainty, the ambiguity of the searching out of ideas.” The night wore on; as soon as fixity or some compositional motif crept in, so the machines would be taken out of record, as if establishing an equilibrium between the transience of making and the indelibility of recording.

                                                                                                                                                                    They stopped shortly before dawn. Later the following day they listened, feeling they had touched on something: “A form of music that seemed to have been created while we were absent by instruments abandoned to the earth and the woods, sounded by the coarse winter elements.” Another evening’s work ensued, this time they were acutely aware that awareness had to be treated with caution. The presence of the ‘musicians’ needed to flicker at the edge of absence; the imperative of the method being evocation rather than composition. Working alone, Czukay made headway with “Plight”, adding more material, a minor piano motif, flute samples, transitioning between sections with audible cuts, those trademark edits of his which jolted new worlds into being. “Premonition”, on the other hand, is heard as it was played, layered and spontaneous with no edits.

                                                                                                                                                                    Flux & Mutability was recorded in the same studio after what Sylvian describes as his dispiriting solo tour of 1988. The setting had changed: a new mixing console, a recording engineer, new lighting: “Everything was brighter.” Jaki Liebezeit played a high-pitched, handheld drum (harmonized down in pitch), Michael Karoli added his guitar to the numerous guitar overdubs played by Sylvian and Czukay. Faced with instructions to reduce harmonic variations and expression, Marcus Stockhausen played incisive, poised flugelhorn. The feeling is clearer, more ‘musical’, perhaps more satisfying for those who like to have a road to follow.

                                                                                                                                                                    But Plight & Premonition, Sylvian says, is one of the few works that he could actively return to and objectively enjoy as a listener. From the influence of film, musique concrète, and his admiration for Foley artists he was able to build a sense of non-linear narrative. The legacy can be heard in more recent recordings, such as When Loud Weather Buffeted Naoshima and Playing the Schoolhouse. “These are direct descendants of what was unearthed over a period of two nights,” he says, “animated by a primal spirit, in a converted cinema on the outskirts of Köln, over thirty odd years ago.”

                                                                                                                                                                    All quotes from David Sylvian unless otherwise indicated.

                                                                                                                                                                    Jeremy Enigk

                                                                                                                                                                    Return Of The Frog Queen

                                                                                                                                                                      Jeremy Enigk performed with legendary indie rock band Sunny Day Real Estate from 1993 to 2000. He was their singer, songwriter, and one of their guitarists. In 1996, following Sunny Day Real Estate’s first breakup (which lasted from 1995 to 1997), Enigk released his first solo album, Return of the Frog Queen.

                                                                                                                                                                      Return of the Frog Queen represents a major shift from the sound of Sunny Day Real Estate. The album features a 21-piece orchestra backing Enigk as he performs striking, dramatic, chamber-pop compositions that demonstrate the full breadth of Enigk’s talents as a singer, musician, and songwriter. The album was produced by Greg Williamson, who also produced Sunny Day Real Estate’s 1998 comeback album, How it Feels to Be Something On.

                                                                                                                                                                      Return of the Frog Queen has been out of print since its original 1996 pressing. This reissue includes the original album, remastered in 2018, plus digital bonus tracks from Enigk’s 1996 live session on Seattle radio station The End.

                                                                                                                                                                      FORMAT INFORMATION

                                                                                                                                                                      Coloured LP Info: Initial pressing is purple vinyl.

                                                                                                                                                                      Coloured LP includes MP3 Download Code.



                                                                                                                                                                        Lump was born of good timing and predestined compatibility. It began when Mike Lindsay – a prolific, Mercury prize-winning producer – was introduced to Grammy-nominated, Brit award-winning singer-songwriter Laura Marling after her show supporting Neil Young in London.

                                                                                                                                                                        Lump is a heady blend of wonked-out guitars, Moog synths and pattering drums, set against droning, coiling clouds of flutes and voices. The lyrics are inspired by early-20th-century Surrealism and the absurdist poetry of Edward Lear and Ivor Cutler - a bizarre but compelling narrative about the commodification of curated public personas, the mundane absurdity of individualism, and the lengths we go to escape our own meaninglessness.

                                                                                                                                                                        The composers are keen to stress that LUMP is a creation that passed through them, and they look upon it parentally. It is their understanding that, now it has come into being, LUMP is the artist, and it will continue to create itself from here on. Lindsay and Marling will assist it as necessary.


                                                                                                                                                                        Attack Of The Grey Lantern

                                                                                                                                                                          21st Anniversary edition of the debut album from Mansun. Newly remastered.

                                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                                          4xDeluxe CD Info: Deluxe book set with 3 CDs and a DVD in a 72-page hardback book featuring the iconic 'roses' cover art. Re-mastered by Jon Astley (The Who, The Rolling Stones, Led Zeppelin, Anathema) The first CD contains the original album, the second is packed with previously unreleased demos, rarities and outtakes from the Mansun archive, and the third features BBC Radio 1 session tracks from '95 and '96 that have not been available since they were on air. The DVD boasts the album's first ever 5.1 surround s



                                                                                                                                                                            It’s a familiar story: fledgling singer does soul-sucking day job in order to fund their real passion during the nocturnal hours. Except Mattiel Brown, Atlanta’s rising star, is a rare exception to this time-honoured tradition: a fulfilled creative by day and night, albeit in different contexts. “It’s like I have two full-time jobs: designer and musician,” she says, humbly hip to her good fortune.

                                                                                                                                                                            During office hours, Brown works as an ad designer and illustrator at MailChimp, a position she’s enjoyed for four years. “I work with a great video production team, in a great studio. Luckily, they’re a company that encourage side gigs.” Out of office hours, Brown swaps the design studio for the stage, a softly-spoken, chilled-out design nerd turned rock & roll belter, performing bold, vintage soul as Mattiel (pronounced ‘maa-TEEL’).

                                                                                                                                                                            Brown grew up on a five-acre farm in rural Brooks, Georgia, the only child of a Detroit native. “My mom bought the farm in the early ‘90s. She had – still has – horses, so I learned to ride western-style when I was 6, 7 years-old,” (a skill Brown nods to in her cover art). “We had a vegetable garden and chickens. My mom would sell sheep’s wool and eggs. Before that, she’d been a professional set decorator working on films. She’s a really driven, creative person. I definitely inherited my work ethic from her.”

                                                                                                                                                                            As an adolescent, Brown delighted in the ‘60s folk and pop of her mother’s limited vinyl collection: Donovan, Peter Paul and Mary, and Joan Baez. As an adult, relocated in neighbouring Atlanta, she’d sing along to the radio on the long drives to work: Screamin’ Jay Hawkins, Andre 3000, Dylan, Marc Bolan, Sister Rosetta Tharpe, and Jack White.

                                                                                                                                                                            When Brown first began jamming with InCrowd, the Atlanta-based song-writing and production team behind her dynamite eponymous debut, she had no real designs on making a whole album and no game plan beyond the fun of “creating something out of nothing.” She said, “That process is always pretty astounding to me, and doing it with other people is even better.” But her producers, Randy Michael and Jonah Swilley, knew a good thing when they heard it: Brown and InCrowd had chemistry.

                                                                                                                                                                            InCrowd’s founders, both skilled multi-instrumentalists, met in 2014, as session musicians touring with soul man Curtis Harding. Michael – an experienced player who’d co-written with Harding and racked up impressive session spots with the likes of Bruno Mars, and The Next Day-era Bowie – played guitar, while Swilley ¬(producer, writer and performer since age 9 and younger brother of Black Lips bassist Jared) played drums. On the road, they bonded over a mutual love of vintage R&R and ‘90s rap. “We discovered we both loved The Beatles as much as Jay-Z, Dylan as much as the Arctic Monkeys,” remembers Swilley. Back in Atlanta, once the Harding tour had wrapped, the pair formed a band, Black Linen, writing reverb-washed guitar music inspired by Tarantino soundtracks, by way of ‘60s Cambodian psych. Brown knew Michael from his days in The Booze, a popular local act who’d tour with OK Go before their demise. She’d kept track of him, aware that they shared a musical kinship. “[Randy] was the only person I knew who was into the music I was into.” When she reached out, asking to cut a Donovon cover record at Michael’s garage-turned-studio, Toco Electric, he was dubious. “I thought she'd have this little, whispery voice, you know? But she blew me away! She sounded like ‘60s-era Cher doing Dylan or something. I just knew she’d be perfect for the Black Linen stuff.” “We knew immediately that we wanted to work with her,” Swilley concurs. By then, around 2014, InCrowd were deep on a ’50s Leiber and Stoller bend, says Michael: “The Coasters, The Drifters, all that good stuff.” Bored with Atlanta’s “ultra cool” enclaves, they’d built their own scene, says Michael. They’d put on and promote reviews-style gigs, a 12-man strong house band (“our very own Wrecking Crew”) backing various InCrowd vocalists. “We were just making it happen, doing it ourselves.”

                                                                                                                                                                            In the studio, Michael cut InCrowd records live, no overdubs, feeding everything through a rare analogue Peavey soundboard. “That’s how InCrowd rolls. What you hear on our records is everyone playing and singing together, in the same room, at the same time. We cut it right there, as it happens, and its either magic or its not.”

                                                                                                                                                                            Mattiel’s process was just so: InCrowd supplied the instrumental compositions – raucous, swinging medleys frilled with organs and brass – while Brown provided vocals and lyrics, the latter often written freestyle, in situ. “That’s where the parallels between music and design really happen,” says Brown. “Your limitations – time, space, expense – push you to be as creative as you can with what you have.”

                                                                                                                                                                            The resulting collection of songs, set for a UK release this May via Heavenly following a U.S. release via Burger Records late last year, is a dynamite salvo of retro-inspired rock & soul, from the gun-slinging stomp of “Whites Of Their Eyes,” to the string-laden self-affirmation of “Count Your Blessings,” penned by Brown after a spate of the blues brought on by a period of ill health. “Its a song I wrote for myself to myself, like 'you’re gonna get through this, you’re gonna be okay.'”

                                                                                                                                                                            Mattiel’s sound might borrow from the past, but their art direction – Brown’s inspiring handiwork, of course – is decidedly forward-thinking, all colour block aesthetics (á la the White Stripes) and artful, design-savvy music videos. “I don’t wanna hit people over the head with like, bell bottoms and long hair and a Jimmy Hendrix outfit,” Brown laughs. “People have seen all that before.”

                                                                                                                                                                            Mattiel is a “fresh mesh of retro and contemporary,” says Swilley, the latter thanks in large part to Brown’s vision, voice and on-stage energy. “She's very exciting to watch. She doesn't rehearse it or try to emulate anyone; she's just doing own her thing. And she's not fazed by the crowds [as evidenced during their shows to date: a recent, three-date support slot for Portugal The Man]. It’s kind of incredible really, because in person she's pretty chilled and softly spoken, but when she gets on the last six months, she's really been killing it.”

                                                                                                                                                                            With a European festival circuit tour scheduled for this summer, Mattiel is no longer Atlanta’s best kept secret. Look out, world.

                                                                                                                                                                            FORMAT INFORMATION

                                                                                                                                                                            2xColoured LP Info: Crystal coloured vinyl. Comes with download that includes bonus tracks.

                                                                                                                                                                            2xColoured LP includes MP3 Download Code.


                                                                                                                                                                            Sorpresa Familia

                                                                                                                                                                              Catalonian quartet MOURN stormed onto the scene in 2014 with their self-titled debut - a work of angular indie rock and pointed lyricism delivered with confidence well beyond their teenage years. Two years later, they returned with the equally superb Ha, Ha, He. and proved themselves worthy of the early praise, squashing any remaining questions of fleeting hype. But with seemingly endless opportunities in front of them, MOURN found themselves caught in a legal dispute with their former Spanish label, rendering them unable to tour or effectively support their sophomore effort.

                                                                                                                                                                              Facing the sort of obstacles that might, understandably, derail a fledgling band’s career, MOURN instead forged ahead, and in typical fashion managed to harness their swirling anger, frustration, and passion from the past 2 years into new music. Now, only just recently freed from their legal binds, MOURN is back in full force to share their 3rd full-length album, Sorpresa Familia.

                                                                                                                                                                              Ironically, the obstacles and injustice MOURN have faced in recent years has provided a fertile foundation for new songs that display a palpable maturity and evolution, while retaining every bit of the fiery angst and attitude that has shaped their sound from the start. Chock full of tension and pent up frustration, Sorpresa Familia feels tonally right at home within MOURN’s catalog. But it also feels distinctly separate - more refined, more intentional. Railing against greedy businesses, exploitation, fake friends, dishonest figures of authority, and ever complicated global politics, it’s an album of decidedly higher stakes than their past outputs, delivered with the newfound poetic grace of a band rising up out of the ashes of those who stood in their way.


                                                                                                                                                                              Eternal Beams

                                                                                                                                                                                Travel agents for inner journeys Seahawks take us on a voyage ever deeper into the new age vortex.

                                                                                                                                                                                Their last album ‘Escape Hatch’ described by Vice as a ‘modern masterpiece’ only hinted at the transcendent power of Seahawks music.

                                                                                                                                                                                Eternal Beams goes ‘further’ to create a whole new harmonial experience.

                                                                                                                                                                                side one: the listener immersed in a soft storm of tape saturated raindrops and distant thunder…numinous waves of sound cascade to create whirlpools of womb like warmth with gentle pulsations.

                                                                                                                                                                                side two: enter Laraaji… flocculent flows of golden zither, rich vocal vibrations, dolphin tones in phantasy phase - all coalesce generously, bringing feelings of rebirth and light.

                                                                                                                                                                                To conclude: a wondrous journey of resonant oscillations, inner exploration, a portal to other dimensions.

                                                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                                                LP Info: Initial copies come with exclusive 12x12 art print.

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