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Cover of Dark Cycle 3 by Ben Frost.

Ben Frost

Dark Cycle 3

Invada Records

    Invada Records and Lakeshore Records release Dark: Cycle 3 (Original Music from the Netflix Series) by Australian composer Ben Frost on LP & CD. Frost’s strikingly menacing soundscapes have provided a foreboding backdrop to the surreal German thriller for three seasons. In this third and final cycle, Frost’s score evolves beyond the sharp string orchestrations of the first cycle and the percussive distortion of the second, towards a sea of disintegrated brass and woodwind arrangements and Eno-inspired ambience. The vinyl is pressed on sand coloured vinyl, and housed in a deluxe spined sleeve with fold out poster included. Also included is a digital download card which features the full score plus 9 bonus tracks only available with the vinyl purchase! The CD is presented as a digipack.

    In the third and final season, DARK reaches its mind-bending conclusion, moving beyond the concept of space and time. Upon arrival in a new world, Jonas tries to make sense of what this rendition of Winden means for his own fate, while the ones left behind in the other world are left on a quest to break the loop that now not only bends time but also space. Two worlds. Light and dark. And in the center a tragic love story of epic proportions. Ben Frost is a Composer, Producer, Sound Artist and Director. Born in Melbourne Australia in 1980 and based since the early 2000’s in Reykjavík Iceland, Frost was mentored by Brian Eno in the Rolex Arts Initiative.

    His work includes the studio albums Theory of Machines (2007), By The Throat (2009), A U R O R A (2014) and The Centre Cannot Hold (2017) and spans an array of other forms including installations, live performance, scores for dance, theatre, and various studio collaborations. He has composed several scores for film including the Palme d’Or nominated Sleeping Beauty, the TV series Fortitude and Dark. Most recently he composed the score for Raised By Wolves with director Ridley Scott.

    FORMAT INFORMATION

    Coloured LP Info: The vinyl is pressed on sand coloured vinyl, and housed in a deluxe spined sleeve with fold out poster included.

    Coloured LP includes MP3 Download Code.

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    Cover of Collapsed In Sunbeams by Arlo Parks.

    Arlo Parks

    Collapsed In Sunbeams

    Transgressive

      Highly anticipated debut from 2020 breakthrough artist, London-based musician and poet Arlo Parks Speaking about her LP, Arlo says "My album is a series of vignettes and intimate portraits surrounding my adolescence and the people that shaped it. It is rooted in storytelling and nostalgia - I want it to feel both universal and hyper specific." 

      Bonus CD for indie retailers, Best Of The Lofi Lounge, is a collection of bedroom recordings from Arlo, including versions of the singles ‘Cola’, ‘Hurt’ and ‘Black Dog’, an exclusive ‘Black Dog’ poem, and intimate covers of songs from Clairo, Phoebe Bridgers, King Krule and Frank Ocean

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      Cover of Build A Problem by Dodie.

      Dodie

      Build A Problem

      Dodiebap

        Dodie today announces her eagerly anticipated debut album Build A Problem, due for release on 5 March 2021. A first taste of the record is available from today in the form of lead single ‘Cool Girl,’ premiered as The Hottest Record In The World by Annie Mac on her BBC Radio 1 show. ‘Cool Girl’ is available to stream and download now; Build A Problem is available to pre-order from today in CD, vinyl, deluxe CD, deluxe vinyl and cassette formats.

        “Cool Girl is a song about misplaced anger,” says dodie. “Stemming from the suppression of communicating your needs in a relationship in order to attempt to be the most chill, cool, and loveable. It’s bitter, desperate, frustrated, proud, determined, and unhealthy.”

        At just 25, dodie has already done a lot of living. Some of that has played out online as she made a name for herself as a singer and writer, amassing millions of fans with her disarmingly honest videos and affecting, intimate singing style. She has scored two top-ten EPs, headlined and sold out London’s Roundhouse, and the Hollywood Palladium and New York’s Terminal 5, and become an ambassador for Depersonalisation charity Unreal. It’s hard to believe she has yet to release her debut album.

        “Build a problem” is a line from ‘Hate Myself’, one of many standout songs on the record. She found herself with a bit of a problem because she’d already named her previous EP, 2019’s top 5 Human, and the songs she found herself writing for the album really added up to the same idea; the flawed, emotionally erratic, wondrously complex conundrum that is being alive - and Human was taken. But this line seemed to add up to a similar concept; the moments and actions in life that build within us all problems that we don’t even realise we have until we look back and go, “Ohhhh, that’s where that came from.” dodie, whose past is still infiltrating her present and her future, explores all of this and more on her musically ambitious and dreamily intimate record named - what else? - Build A Problem.

        She wrote most of the songs on the album over the past two years. “I think I was going through a crisis actually,” she says now. “I was very unsure of who I was and I was trying to figure it out in music. So I think it’s quite unstable of an album - but it’s definitely honest.”

        “I’d like people to come away from this album knowing what I can do,” she says. A single listen to Build A Problem shows she has matured into an exceptional musician, using ancient modes, writing complex string arrangements and imbuing each song with a sense of charming intimacy.

        By her own admission, dodie may be a work in progress; problems have been built, mistakes have been made. But with Build A Problem, she’s proven that she is an artist for the ages.


        FORMAT INFORMATION

        Coloured LP Info: Black, sage and pistachio coloured indies-only vinyl

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        Cover of Sisters by The Bluebells.

        The Bluebells

        Sisters

        Last Night From Glasgow

          What can you say about Sisters that hasn't been said already? Well what about "Now featuring 2 bonus songs produced by Elvis Costello"? That's not been said before for sure.

          The band were never perfectly happy with the version of "Everybody's Somebodys Fool" which opens the album and have thus chosen to replace this with a different (more Bluebells) version and we will be including - for the first time - the Elvis Costello produced "Aim In Life" and "Some Sweet Day"

          The album will feature new liner notes and some updated art - whilst remaining your favourite sister of all. 

          FORMAT INFORMATION

          Coloured LP Info: Indies only blue vinyl.

          Coloured LP 2 Info: Indies only red vinyl

          LP Info: Black vinyl version

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          Cover of Colossal Youth - 40th Anniversary Edition by Young Marble Giants.

          Young Marble Giants

          Colossal Youth - 40th Anniversary Edition

          Domino

            Comprised of guitarist-songwriter Stuart Moxham, brother and bassist Philip, and singer Alison Statton, YMG emerged from the punk and post-punk landscape with a sound like no one else. Recorded in five days, Colossal Youth went on to influence whole legions from Sheffield to Seattle, looking to de-grungify gangs of four or more. They found fans in the likes of Kurt Cobain, Courtney Love, Belle & Sebastian, David Byrne, Sonic Youth, The Magnetic Fields.

            Cited as one of the most definitive records of the post-punk era, there is something almost canonical about the album’s use of voice, muted instruments and space. Colossal Youth’s attention to sparse detail is now a modus operandi for haunted electronica auteurs and spectral singer-songwriters alike, but ultimately, only the Young Marble Giants sound like Young Marble Giants.

            FORMAT INFORMATION

            2xColoured LP Info: Limited deluxe 2LP+DVD, indies only clear vinyl.

            2xCD Info: 2 x CD in printed inner wallet + DVD

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            Cover of Powys 1999 by Stats.

            Stats

            Powys 1999

            Memphis Industries

              London band Stats announce their new album ‘Powys 1999’, due for release via Memphis Industries. While the band’s critically acclaimed debut album ‘Other People’s Lives’ - loved by everyone from Elton John to Phoebe WallerBridge - was recorded in a two-day burst, capitalising on a gap in frontman Ed Seed’s busy schedule touring with Dua Lipa, ‘Powys 1999’ is different. The band decamped to a residential studio in Wales near where Seed grew up in Powys to record the record, an area is known for “farming, forestry, tourism, and a low-key but significant military presence,” but it was also Seed’s parents’ generation of incomers and their motivations that fascinated him.

              There’s a dense narrative to the album that explores personal upbringing - and the potential untrustworthy memories that come with such reflection - along with the industrial, financial and political landscape of the countryside. This is not an indulgent and saccharine plunge into childhood. “It's not nostalgic,” Seed says. “It’s about the past but also the future. Living another way doesn’t seem so possible now for technological and financial reasons - and I was seeking inspiration from the people I knew who tried to do that.” Plus, the narrative backdrop is just that: a backdrop. “It's got to be fun,” says Seed. “It’s got to bang. As much of that stuff that needs to come across will come across. If I was literally writing songs that were: ‘here's a song about reservoir’ then it’s going to be super dull. If you have something that’s so exciting to listen to then you can kind of say what you want and people might take it in or might take something else.”

              And bang the album does - from the Sparks-esque ‘On The Tip Of My Tongue’ to the pulsing dancefloor rager of ‘Kiss Me Like It’s Over’ via the electro-pop-funk swagger of ‘Naturalise Me’ and the stirring piano stabs and vocal harmonies of ‘Travel With Me Through This Ghost World’ (featuring Emmy The Great). The record flows like the rolling hills that surrounded its creation. The band being locked away living and eating and playing together also drew out the deep musical bond they share.

              FORMAT INFORMATION

              Coloured LP Info: "Crystal" vinyl.

              Coloured LP includes MP3 Download Code.

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              Cover of Wowee Zowee - Reissue by Pavement.

              Pavement

              Wowee Zowee - Reissue

              Matador

                "Wowee Zowee", originally released by Matador in April 1995 on the eve of Pavement's infamous mud-bespattered mainstage appearance at Lollapalooza, began life as a controversial release. Fresh off the success of "Crooked Rain, Crooked Rain" with its chart topping Modern Rock hit "Cut Your Hair", the band went into the studio and came out with a deliberately chaotic and eclectic album that sounded nothing like its predecessor. With influences from the Groundhogs to the Frogs, Captain Beefheart to the more obscure mid- 80s central California hardcore bands featured on Maximum Rock'n'Roll comp "Not So Quiet On The Western Front", "Wowee Zowee" confused critics and alienated fans. How fantastic, then, that it went on to scan 122K copies and became many fans' fave Pavement album. A return to their pre- Crooked cacophony, the songs have a darkness that now seems appropriate, and with Bryce Goggin at the mixing desk, the production was the band's most rocking to date.

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                Cover of Westing (By Musket And Sextant) - Reissue by Pavement.

                Pavement

                Westing (By Musket And Sextant) - Reissue

                Matador

                  Westing is a compilation of Pavement's early singles and rarities, that shows the band growing from the initial "Slay Tracks" EP through to the singles and EP's from their first two albums.


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                  Cover of The Secret History, Vol. 1 - Reissue by Pavement.

                  Pavement

                  The Secret History, Vol. 1 - Reissue

                  Matador

                    The strangest thing about Pavement? Not that there were ever many non-strange things about Pavement? Even though they made their era’s finest rock albums, the albums only told half their story. Pavement also made some of the Nineties’ best albums that never happened. Until now.

                    Pavement made five proper album-as-albums: ‘Slanted And Enchanted’ (1992), ‘Crooked Rain, Crooked Rain’ (1994), ‘Wowee Zowee’ (1995), ‘Brighten The Corners’ (1997) and ‘Terror Twilight’ (1999). Each has its own sound. Each has its own legend. But each of their official albums has a shadow album - and it’s usually as strong as the album that actually did come out. It’s time for the world to hear the albums Pavement could have made if they’d been a little less ambitious about music and a little more ambitious about the music business. If they’d been the kind of band to sweat the legacy. But if they were that kind of band, would they have written so many great songs? Much less these great songs?

                    The first, naturally, is ‘The Secret History, Vol. 1’, collecting the songs that got away during the era of ‘Slanted And Enchanted’, which Stephen Malkmus, Scott Kannberg and Gary Young recorded on the cheaper-than-cheap in January 1991. This album collects gems from Peel Sessions (‘Kentucky Cocktail’, ‘Circa 1762’) and 7”s (‘Baptist Blacktick’) as well as live slop from the first European tours, with Mark Ibold and Bob Nastanovich in the fold. Some are outtakes from ‘Slanted And Enchanted’ - imagine leaving these tunes off your first album, when as far as you know or imagine, it’s your only album. These tracks (some of which had never been rumoured among Pavement freaks) came out on the 2002 ‘Slanted And Enchanted’ reissue. But they’ve never been separately available as an album in their own right and many of them have never been on vinyl before.

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                    Cover of Transmissions From The Satellite Heart by The Flaming Lips.

                    The Flaming Lips

                    Transmissions From The Satellite Heart

                    Rhino

                      Originally released in 1993, Transmissions From The Satellite Heart is the sixth studio album from American rock band, The Flaming Lips. The album is the first to feature members Ronald Jones and Steve Drozd after the departure of guitarist Jonathan Donahue and drummer Nathan Roberts.

                      The album features what is arguably their first major radio single success, “She Don’t Use Jelly” which was featured on MTV’s Beavis and Butt-Head, nearly a year after release. The album was received positively by critics and fans alike, with Rolling Stone and Select giving it 4 out 5 stars, and AllMusic giving it 4.5 out of 5 stars, describing the album as “another prismatic delicacy that continues the group's drift toward pop nirvana”.


                      FORMAT INFORMATION

                      Coloured LP Info: 1LP 140g Black and White Mix Vinyl

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                      Cover of Terror Twilight - Reissue by Pavement.

                      Pavement

                      Terror Twilight - Reissue

                      Matador

                        Where 1997's "Brighten The Corners" saw Stephen Malkmus and his merry band of indie rock pranksters shine a light on the band's rock-centric qualities, "Terror Twilight" harkens back to 95's "Wowee Zowee", when Pavement were all about the shambolic sprawl of Alternative possibility. Of course, four years later the context is entirely different - the band's fate as rock's (commercially unsuccessful) great post-Nirvana hope is nearly sealed. And maybe that's where both the terror and the twilight come into play - in the realization that preaching sprawling possibility to the converted is more a noose than an open field, that failed expectations are a setting sun.

                        So, a downbeat spirit pervades "Twilight"'s songs. And in this gloom, Malkmus looks for and finds soft, dark, melodic wonders: "Spit On A Stranger" turns its eye towards relationships, "Major Leagues" towards a careerist's self-worth, and "Ann Don't Cry" tries to be an anthem for outsiders while visibly flashing its own lonely tear. It's not until the closing "Carrot Rope", a sunny bit of mid-tempo Pavement-pop-foolery with two competing and overlapping vocals, that a major-key ray of light is cast upon the proceedings. Let's hope that this little light is enough to get them through the night.

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                        Cover of Return To Greendale by Neil Young & Crazy Horse.

                        Neil Young & Crazy Horse

                        Return To Greendale

                        WARNER RECORDS

                          Return to Greendale is the next installment in Neil Young’s Performance Series and features a concert (audio & on film) from the historic and unique 2003 tour supporting the release of the Neil Young with Crazy Horse album Greendale.

                          On the 2003 tour, Neil Young and Crazy Horse were joined on stage by a large cast of singers and actors to perform the story Neil Young wrote about the small town of Greendale and how a dramatic event affects the people living there. The ten songs from the powerful original album are performed in sequence, with the cast speaking the sung words - adding to the intensity of the performance.

                          The live album Return to Greendale is released on November 6 in several formats: Double vinyl, a 2 CD set, and a limited-edition deluxe box set that includes a Blu-ray of the full concert, a DVD of Inside Greendale (the making of the album documentary), 2 LPs and 2 CDs.

                          The film of the ambitious live show captures the vibrancy of Neil Young and Crazy Horse on stage in a unique multi-media experience. It seamlessly blends together the live performance, the actors portraying each song, with the story occasionally enhanced by scenes from the Greendale - The Movie.

                          Both the live concert film and the Inside Greendale documentary are directed by Bernard Shakey and produced by L. A. Johnson


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                          Cover of Slanted And Enchanted - Reissue by Pavement.

                          Pavement

                          Slanted And Enchanted - Reissue

                          Matador

                            In 1992 "Slanted And Enchanted", arguably the first and best release of 90s 'slacker rock', felt like a compendium of all the very best post-punk moments from the previous fifteen years as well as a surprising new combination of wit, absurdism, noise and pop. All these years later, the album is still fresh, still exciting and still makes most of the competition sound derivative and lazy. So to summarise; still slanted, still enchanting.

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                            Cover of Quarantine The Past: The Best Of Pavement - Reissue by Pavement.

                            Pavement

                            Quarantine The Past: The Best Of Pavement - Reissue

                            Matador

                              ‘Quarantine The Past: The Best Of Pavement’ spans the entirety of Pavement’s career from 1989 to 1999, from the scratchy and mysterious sounds of their early vinyl-only releases to the rich, multi-layered warmth of their final recordings.

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                              Cover of Crooked Rain, Crooked Rain - Reissue by Pavement.

                              Pavement

                              Crooked Rain, Crooked Rain - Reissue

                              Matador

                                Originally released in 1994, this was Pavement's second album, and it signaled the end of Pavement seeing themselves as a recording experiment and the beginning of Pavement as a full time touring band. One of the casualties of this change was the eccentric and usually drunk drummer Gary Young (included here are eight tracks of pre-album Gary Young sessions), whom was replaced by Steve West who bought a greater stability to the line up. The new line up recorded "Crooked Rain Crooked Rain" in NYC, and it proved to be an instant indie classic, packed with superb tracks including singles such as the awesome "Cut Your Hair", "Range Life" and "Gold Soundz".

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                                Cover of Brighten The Corners - Reissue by Pavement.

                                Pavement

                                Brighten The Corners - Reissue

                                Matador

                                  Pavement's fourth proper LP seems to be a direct response to anyone who thought 1995's "Wowee Zowee" sealed a downward spiral from indie-pop heroes to incomprehensible, in-joke nonconformists. On "Brighten The Corners", the rock hero in Pavement re-emerges as the dominant stereotype, making the lyrical idiosyncrasies on which critics of the band like to harp into witty window-dressing. Nowhere is this dichotomy better heard than on the electrifying opener, "Stereo", which rages with anthemic power-chords and a rock-star chorus ('Hey! Listen to me! I'm on the stereo'), while also pondering the longest-standing mystery in rock, the voice of Rush singer Geddy Lee ('how did it get so high/I wonder if he speaks like an ordinary guy').

                                  Musically, "Brighten The Corners" extends the rock tradition to the other side of Sonic Youth's dissonant discoveries while staying free of grunge's self-defeatist mentality. No longer a group of lo-fi pranksters, Pavement has tightened up into a mighty ensemble, able to jam like psychedelic maniacs (the closing "Fin") or fly by night like punks on speed ("Embassy Row"). Lyrically, Stephen Malkmus and co-conspirator Scott Kannberg (aka Spiral Stairs) have started questioning where they belong in a late-90s world seemingly devoid of secrets and mysteries. Their declarations present yet another yin-yang to the Pavement whole: Kannberg's answers seem to lie in emotional stability, Malkmus' in the never-ending search itself. These uncertainties of dealing with one's unrecognised worth play out like an Irvine Welsh novel: the chapters full of spunky glee, the ending steeped in melancholy.

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                                  Cover of Love by John Bence.

                                  John Bence

                                  Love

                                  Thrill Jockey

                                    John Bence uses music to probe the deepest recesses of the human psyche. Over a handful of releases the composer has already built up a striking body of work bound by an incredible clarity of vision. His elegiac works occupy an omnivorous sound-world, assimilating elements of British avant-garde and electronic music, classical, traditional and sacred medieval song into cavernous, sepulchral compositions.

                                    Early releases for Nicholas Jaar’s Other People imprint and Yves Tumor’s label Grooming were engulfed in overwhelming emotion. Struggles with alcoholism and addiction found their outlet in brooding chamber atmospheres and caustic eruptions of choral aggression on the macabre ‘Kill’ EP.

                                    ‘Love’ forms the final chapter in a trio of works with ‘Kill’ and ‘Disquiet’ that chart Bence’s experiences with addiction and his subsequent journey to recovery. Returning to his first love, the piano, Bence explores the instrument’s deeply emotional qualities in ten movements.

                                    ‘Love’s stark minimalism and raw production reflect the composer's personal struggles with striking honesty, searching for the deeper meaning in human suffering.

                                    FORMAT INFORMATION

                                    Coloured LP Info: Blood orange vinyl.

                                    Coloured LP includes MP3 Download Code.

                                    LP includes MP3 Download Code.

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                                    Cover of Luca by Alex Maas.

                                    Alex Maas

                                    Luca

                                    Basin Rock

                                      The music of Alex Maas has always mesmerised. Now, on his soul-baring solo debut Luca, the Texan and Black Angel's singer journey is taking an equally hypnotic detour along the wild trails of his indigenous homestead. Driven by the force of nature, each phase of life is celebrated through songs of love, hope, human connection whilst navigating perils of modern society and tentatively facing the darkness. “I’m trying to find balance in the insane world we live in,” reveals Alex. “Is shit scary? Yes. Is life beautiful and filled with hope and inspiration? Yes. You have to go into the dark to appreciate the light and vice versa. Everything isn't always peachy, one day you are walking through a beautiful field and get bit by a rattlesnake because you are blinded by the colourful flowers. It’s ok to be afraid, sad and fearful because you need it to appreciate all the beauty the world has to offer.”

                                      Like the echoes of nature that Alex grew up around Luca dances like dandelions on a breeze but is spiked with a squint of suspicion as its percussion shimmers like that cautionary rattlesnake. His album crackles with the vintage warmth of Grace Slick or smoky melodies of Nico, rising like a campfire’s embers whilst taking cues from Beth Gibbons, Sam Cooke, Lee Hazlewood, Vashti Bunyan, Mississippi John Hurt, and Huun-Huur-Tu. “I like music that makes me feel like I’m entering a magical place. I’m drawn to those whose voice sounds like it’s coming from the forest,” he says. Recorded at Space Flight Studios in Austin Luca was an evolutionary project with some early songs worked up from their acoustic origins whilst others were written more recently. Co-produced with long-time collaborator Brett Orrison, the record began its transformation from loner folk leanings to a worldlier embrace. Calling upon members of The Black Angels, Wide Spread Panic, Mien, the Sword, Jack White’s band the Eels. Stepping out on his own Maas is walking along his own untrodden path, offering an honest and true account of what has passed and what may yet come. Luca sings from the soul, is believable and could well be everything the world needs right now.

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                                      Cover of Live! At Caf Carlyle by Hamilton Leithauser.

                                      Hamilton Leithauser

                                      Live! At Caf Carlyle

                                      Glassnote

                                        Live at Cafe Carlyle is a new live album of 10 recordings from Hamilton’s annual residency at the iconic Cafe Carlyle, mixed by Leithauser.

                                        In its third year, he sold-out all five shows played some new songs as well as covering Big Thief’s “Not,” Randy Newman’s “Miami,” and Lana Del Rey’s “The Greatest.” He recently collaborated with Lana Del Rey during her 2019 Fall tour covering Bob Dylan’s “Don’t Think Twice, It’s Alright” as well as playing “When The Truth is...”

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                                        Cover of 'The Ripper At The Heaven's Gates Of Dark by Acid Mothers Temple & The Melting Paraiso U.F.O.

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

                                        'The Ripper At The Heaven's Gates Of Dark

                                        Riot Season

                                          Nine years after it’s initial release, 'The Ripper At The Heaven's Gates Of Dark' is back. The original black vinyl and CD editions sold out pretty quick, and have been a constant source of repress requests ever since. So, at Makoto’s personal request here it is. And I agree with him that it’s definitely the best AMT studio album from that short lived four piece line up.

                                          With the exception of the album's opener 'Chinese Flying Saucer' and it's unashamedly obvious musical references to Led Zeppelin II (hello 1969!) the rest of the album locks into a much more laid-back groove than on recent AMT releases. This dynamic shift is best displayed on the 22 minute jam, 'Shine On You Crazy Dynamite' and also the album's closer 'Electric Death Mantra'. The band opt for less frantic explosions of electric guitar overload and fuzz, replacing those elements with a more epic, blissed-out and at times brooding Japanese psychedelia, with more emphasis on acoustic guitars, sitar, organ, synthesiser and at times, really trippy vocals (most prevalent on 'Back Door Man Of Ghost Rails Inn'), recalling the twisted psychedelics of early Pink Floyd. Yet still, their sound remains so expansive that it is easy to become totally immersed in this album.

                                          Epic in proportions, cloaked in a cosmic haze and shimmering in a synth utopia. 'The Ripper At Heaven's Gates Of Dark' maintains AMT's status as masters of out-of-this-world music and reveals their darker side of the moon.

                                          Acid Mothers Temple & The Melting Paraiso U.F.O. at the time of this recording were :Tsuyama Atsushi : monster bass, voice, soprano sax, cimpo flute, soprano recorder, acoustic guitar, cosmic joker Higashi Hiroshi : synthesizer, dancin'king Shimura Koji : drums, latino cool Kawabata Makoto : electric guitar, electric bouzouki, sitar, organ, percussion, electronics, speed guru


                                          FORMAT INFORMATION

                                          2xColoured LP Info: Limited transparent blue with black swirl double LP

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                                          Cover of Return by Katy J Pearson.

                                          Katy J Pearson

                                          Return

                                          Heavenly Recordings

                                            Return symbolises the re-entry of Pearson into music-making after a previous, collaborative project with her brother fell foul of the pressures of a major label record deal and over the course of two-and-a-half years, between her parents’ house in Gloucestershire, her Bristol bedroom, and nearby community arts space The Island, Pearson honed her craft as a solo artist, learning to rely on her creative instincts, and bringing forth an album just as shaped by the South-West of England as the rich musical history of America’s Southern States.

                                            The songs were strengthened and evolved in a live setting — including in support of Olden Yolk and Cass McCombs on their respective UK and European tours — before being taken to the studio of producer Ali Chant (PJ Harvey, M. Ward, Perfume Genius, Gruff Rhys), where they were captured in their final form. The result is a jewel in the dirt by the side of the highway; ten songs which slide effortlessly between lovelorn country, lo-fi folk and glistening, unforgettable pop.

                                            Having completed a European tour alongside Cass McCombs at the end of last year and appeared at both the End of the Road Christmas party and the Line of Best Fit’s ‘Five Day Forecast’, she returns later in the year for a couple of shows at Sound City in Liverpool and Live at Leeds and a run of headline shows in early 2021.


                                            FORMAT INFORMATION

                                            Coloured LP Info: Initial pressing edition on transparent red vinyl with bonus booklet. Also includes a bonus "Field Recordings" CD while stocks last: An exclusive-to-indies CD bonus of acoustic field recordings, recorded in countryside locations and captured on a vintage Nagra tape recorder in the summer of 2020.

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                                            Cover of Night Network by The Cribs.

                                            The Cribs

                                            Night Network

                                            Sonic Blew / [PIAS]

                                              Having released their Steve Albini engineered album, 24-7 Rock Star Shit – their fourth consecutive UK top 10 album- in August 2017 the multiple Q and NME Award winning band almost immediately parted company with their long time UK management and found themselves stuck in what Gary describes as a “legal morass”, unable to record or release new music, so touring wasn’t an option either. That meant 18 months of fallow – heart-breaking stuff for a band who’ve known nothing else in their adult lives. “At one point we were actually so disillusioned with what had happened, we didn't even know if we wanted to get back into the band anymore,” says Ryan.

                                              Fast forward 3 years and Night Network is as fresh, cathartic and vital as anything they’ve ever put out. There’s no weariness, no bitterness, just a clear desire to get back to doing what they do best – that unique blend of bittersweet melody, brutal lyrical honesty and riffs for days.

                                              The turning point came at the 11th hour, in the late summer of 2018. The Cribs had been invited to support Foo Fighters at Manchester's Etihad Stadium, in what could very well have been the band's last hurrah. Enter the brothers’ knight in shining armour, and childhood hero, Dave Grohl. Hanging out backstage, chatting over a few post-show drinks, The Cribs confided their recent struggles to their new friend. “Dave was just like, ‘Forget about all that business stuff, just come out to LA and make a record at our studio’ – Dave made that offer to us,” Ryan recalls

                                              The three brothers are now scattered over nearly 5,000 miles, with Gary in Portland, Oregon, Ryan in Queens, New York and Ross in Wakefield, West Yorkshire. When they gathered in the UK for a family Christmas in December 2018, they began working on songs in Ross’s garage, and found the creative juices flowing.

                                              The songs came together fast, and when they finally contacted the Foo Fighters and said they’d be keen to take them up on the offer, they were offered a window of studio time in April 2019 – a fixed date to work towards, and the impetus for a final push to sort out the miasma of business mess.

                                              Their new found autonomy extended to the recording process itself – this is the first album to be entirely self-produced by the band. Engineered by James Brown (Foo Fighters, Arctic Monkeys) and mixed by frequent Cribs collaborator John O'Mahony (who also worked on 'Men's Needs, Women's Needs, Whatever' and 'For All My Sisters') the record took shape over two weeks in LA, plus an extra week of overdubs at Halfling Studios in Portland. Mercifully, it is not a poor-me album about the ills of the industry. No, they deal with that on the first track, a slice of surf-ready sunshine pop with gorgeous harmonies called 'Goodbye'. “That was our way of saying ‘goodbye’ to that period of our lives. Let's move on,” says Ross.

                                              After that, no indulgence is made to the band’s struggle. Instead, it’s wall-to-wall Cribs bangers, the fruit of that special, symbiotic relationship between the songwriting, singing brothers, drawing on the boiled-down influences they felt had always been there: The Motown stomp of 'Never Thought I'd Feel Again' and 'Under The Bus Station Clock', red and blue album-era Beatles ('Running Into You' and 'In The Neon Night', respectively), melodic 70's style pop on 'Deep Infatuation’, and even early work by their own band.

                                              And they return with a familiar friend, too – Lee Ranaldo, ex-of Sonic Youth, and the man whose spoken word verses on 2007 track 'Be Safe' helped elevate the song to anthem status amongst the bands legendarily devout fanbase. Here, Ranaldo plays guitar on 'I Don’t Know Who I Am' – and Be Safe Part II (Be Safer?) it ain’t. The song started out as a jam in Ross’s garage which the brothers later tracked at 606, before Ranaldo layered sheets of white-noise guitar over the recording at Sonic Youth’s Hoboken studio, and a few backing vocals for good measure.

                                              In a typically downplayed way, the band have honed in on what’s so special about The Cribs: really bloody good songs. Fans might well think this is their best album in a decade. So, once again all is right in Cribs world – or as much as all is right in any world in 2020 at least. The Cribs are romantics and they’re realists, and the balance, for a hot minute, nearly tipped in the favour of the latter. But now they return empowered, beholden to no one, on the greatest form and still screaming in suburbia.

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                                              Cover of Turning On (10th Anniversary Edition) by Cloud Nothings.

                                              Cloud Nothings

                                              Turning On (10th Anniversary Edition)

                                              Carpark Records

                                                It’s been 10 years since the release of Turning On, Cloud Nothings’ debut album. Singer-songwriter Dylan Baldi was just 18 years old when he began recording the album, creating each track in his parents’ basement in Cleveland, Ohio. Over one winter, Baldi produced an album of taut, lo-fi guitar-pop songs, playing each instrument himself. His music gained traction in the increasingly popular music blog circuit, allowing Baldi to book his first shows in new places, like New York City. He gathered a band together to play live, and Cloud Nothings were on their way.

                                                The band has accomplished a great deal since Turning On, signing to Carpark Records, releasing seven albums, and headlining numerous international tours. Yet, their debut isn’t dusted over in the band’s history. Turning On still remains the stripped-back core of Cloud Nothings style: raw and grungy, filled with catchy earworms that are surprisingly pop. The album carries all the stored potential of someone ready to venture off into the world, a feeling that bursts with energy even 10 years later.

                                                All the tracks on Turning On are eruptive and restless, its lo-fi quality embodying the desperate need to record an idea by any means necessary. Songs like “Hey Cool Kid” encapsulate Baldi’s talent for churning, hook-filled guitar. The vocals on songs like “Can’t Stay Awake” are distorted, with scattered lyrics that echo the angst of a teenage diary. As a whole, the album delivers dissonance and edge, without sacrificing the authentic romanticism of someone who is on the verge of something big and doesn’t know it yet. 


                                                FORMAT INFORMATION

                                                Coloured LP Info: Clear w/ Opaque Light Blue Marble LP

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                                                Cover of COD3 QR by COD3 QR 009.

                                                COD3 QR 009

                                                COD3 QR

                                                COD3QR009

                                                It’s been a very challenging year for everyone, but one thing we will always need to help get us through is music.

                                                And as Shakespeare said ‘Music be the food of love’, so we will play on, continue to provide a diverse style of electronic music that will hopefully help lift your spirits.
                                                Although this is our last release of 2020 we promise to bring you a big surprise for 2021, keep your eyes peeled !!

                                                With previous releases including tracks from the likes of Agents of Time, JoeFarr, Nicolas Bougaieff, Madben, CYRK and raising talent R.O.S.H; plus support from from Djs like Laurent Garnier, who licensed one of the previously released tracks to his Tsugi 'Electro' mix (Francois V ‘Electro’ taken from Cod3QR001) Cod3QR’s profile is steadily growing as a label releasing quality music.

                                                With music being the main focus you'll have to wait another 2 months to find out who is behind this latest release. The curiosity continues.

                                                Head to their Instagram page (ig: cod3qr) for clues to the artist identities of Cod3QR001, 002, 003, 004, 005, 006, 007 & 008!

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                                                Cover of Matière by Noémi Büchi.

                                                Noémi Büchi

                                                Matière

                                                Light Of Other Days

                                                "Deep paths of complex rhythms and otherworldly sounds." from composer Noémi Büchi.

                                                Really nice stuff for fans of Suzanne Ciani, Transcendence Orchestra and Kaitlyn Aurelia Smith

                                                We are excited to welcome young composer Noémi Büchi to the Light of Other Days roster.

                                                Her debut Ep «Matière» is the result of an extensive study with a modular synthesizer as her instrument of choice mixed with field recordings of sounds and noises surrounding her every day life . Apart from being a student of Electroacoustic Composition and listening to tons of music, Noémi finds most of her inspiration in long nature walks through nearby forests and foggy hills situated close to her bedroom studio.

                                                With her music she leads the listener safely through deep paths of complex rhythms and otherworldly sounds. Her awareness of timbre, nuance and harmonic diversity are constantly matched with her ability to produce fresh and revealing arrangements.
                                                «Matière» is an exciting excerpt from the works and life of a very talented young artist with a bright future ahead.


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                                                Cover of The Shadow I Remember by Cloud Nothings.

                                                Cloud Nothings

                                                The Shadow I Remember

                                                Carpark Records

                                                  For a band that resists repeating itself, picking up lessons from a decade prior is the strange route Cloud Nothings took to create their most fully-realized album. Their new record, The Shadow I Remember, marks eleven years of touring, a return to early songwriting practices, and revisiting the studio where they first recorded together.

                                                  In a way not previously captured, this album expertly combines the group’s pummeling, aggressive approach with singer-songwriter Dylan Baldi’s extraordinary talent for perfect pop. To document this newly realized maturity, the group returned to producer Steve Albini and his Electrical Audio studios in Chicago, where the band famously destroyed its initial reputation as a bedroom solo project with the release of 2012 album Attack on Memory.

                                                  LP, Single sleeve jacket, Pressed on Spectral Light Whirl Vinyl, Includes digital download.
                                                  CD, 4-panel Digipak.
                                                  Cassette, Green Tint Cassette Housed in a Clear Plastic Case, J-Card.
                                                  Videos in the works for 'Am I Something', 'The Spirit Of' & 'Nothing Without You'.

                                                  Another throwback was Baldi’s return to constant songwriting à la the early solo days, which led to the nearly 30 demos that became the 11 songs on The Shadow I Remember. Instead of sticking to a tried-but-true formula, his songwriting stretched out while digging deeper into his melodic talents. “I felt like I was locked in a character,” Baldi says of becoming a reliable supplier of heavy, hook-filled rock songs. “I felt like I was playing a role and not myself. I really didn’t like that role.” More frequent writing led to the freedom in form heard on The Shadow I Remember. What he can’t do alone is get loud and play noisily, which is exactly what happened when the entire band— bassist TJ Duke, guitarist Chris Brown, and drummer Jayson Gerycz—convened.

                                                  The band had more fun in the studio than they’ve had in years, playing in their signature, pulverizing way, while also trying new things. The absurdly catchy “Nothing Without You” includes a first for the band: Macie Stewart of Ohmme contributes guest vocals. Elsewhere, celebrated electronic composer Brett Naucke adds subtle synthesizer parts.

                                                  The songs are kept trim, mostly around the three-minute mark, while being gleefully overstuffed. Almost every musical part turns into at least two parts, with guitar and drums opening up and the bass switching gears. “That’s the goal—I want the three-minute song to be an epic,” Baldi says. “That’s the short version of the long-ass jam.”

                                                  Lyrically, Baldi delivers an aching exploration of tortured existence, punishing self-doubt, and the familiar pangs of oppressive mystery. “Am I something?” Baldi screams on the song of the same name. “Does anybody living out there really need me?” It’s a heartbreaking admission of existential confusion, delivered hoarsely, with an instantly relatable melody.

                                                  “Is this the end/ of the life I've known?” he asks on lead single and album opener “Oslo.” “Am I older now/ or am I just another age?” Despite the questioning lyrics, the band plays with more assurance and joy than ever before. The Shadow I Remember announces Cloud Nothings’ second decade and it sounds like a new beginning.


                                                  FORMAT INFORMATION

                                                  Coloured LP Info: Spectral light whirl vinyl.

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                                                  Cover of Le Cut-Up Populaire by Pascal Comelade.

                                                  Pascal Comelade

                                                  Le Cut-Up Populaire

                                                  Because Music

                                                    Pascal Comelade has been working for 3 years to achieve his brand new album. Not only it features all of his musical obsessions & trademarks , some long time partners and friends such as Richard Pinhas & members of his former backing band Bel Canto Orquestra but for the very time in 45 years, ladies and gentlemen there is “quite a long piano solo” and a string quartet in the album.

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                                                    Cover of Pet Cemetery by The Paranoyds.

                                                    The Paranoyds

                                                    Pet Cemetery

                                                    Suicide Squeeze Records

                                                      As the world continues to literally burn, The Paranoyds return with a much-needed dose of musical levity. It's been nearly a year since the Los Angeles-based outfit released Carnage Bargain, their debut full-length, and this new release, a two-song seven-inch, is a total embodiment of their every influence. Their identity - a band fueled by campy horror movies and garage rock - is more evident than ever on this seven-inch, beginning with the organ-fueled opening of A-side "Pet Cemetery." Featuring the sounds of off-kilter keys alongside a chugging guitar line, and expansive experiments, "Pet Cemetery" has become a staple of the band's live performances, resulting in a sea of zombie-fied headbang every time it's played. Despite the obvious heaviness that surrounds a track entirely centered on undead lovers partaking in PDA, there's an undeniable undercurrent of fun. Previously recorded during sessions for the band's full length-debut, this unofficial anthem for underworld romance was being saved for a special moment. On the record's B-side, is "Hotel Celebrity," a single that's darkness isn't quite so overt. An examination of aging, and the fruitless celebrity pursuit of superficial perfection, The Paranoyds share in a not so sincere toast to Hollywood. The single was among the last sessions at the famed Tiny Telephone, a San Francisco-based recording studio. The track is a sneak peek at the future, if there is a future beyond all this shit, of what musical direction The Paranoyds might be headed in next. 

                                                      FORMAT INFORMATION

                                                      Ltd 7" Info: Indies exclusive Coke bottle clear 7" vinyl

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                                                      Cover of In The Past by Witch.

                                                      Witch

                                                      In The Past

                                                      Now-again Records

                                                        “Electrified by a diet of James Brown, the Stones and Deep Purple, WITCH were the stadium-filling kings of 70s Zamrock.” MOJO.. This landmark recording from Now-Again’s comprehensive overview of Zambia’s premier garage-, psych-, prog-, funk-,afro-rock ensemble WITCH, We Intend To Cause Havoc! Is now available in a never before seen color variant. The audio is nigh-perfect – restored and remastered from the original master tapes. WITCH’s musical arc is contained to a five year span and, in retrospect, is a logical one. The band’s first two, self-produced albums - released in unison with the birth of the commercial Zambian recording industry – are exuberant experiments in garage rock, and are as influenced by the Rolling Stones as they are James Brown. In The Past, their second album, is the perfect follow-up for anyone exposed to the WITCH band through their landmark Introduction

                                                        FORMAT INFORMATION

                                                        Coloured LP Info: Opaque green vinyl version

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                                                        Cover of Mot Aykerim (You Can't Cheat Death) by Ayalew Mesfin.

                                                        Ayalew Mesfin

                                                        Mot Aykerim (You Can't Cheat Death)

                                                        Now-again Records

                                                          Ayalew Mesfin stands aside the likes of Mulatu Astake, Mahmoud Ahmed, Hailu Mergia and Alemayehu Eshete as a legend of 1970s Ethiopia. Mesfin’s music is some of the funkiest to arise from this unconquerable East African nation. Mesfin’s recording career, captured in nearly two dozen 7” singles and numerous reel-to-reel tapes, shows the strata of the most fertile decade in Ethiopia’s 20th century recording industry, when records were pressed constantly by both independent upstarts and corporate behemoths, even if they were only distributed within the confines of this East African nation.

                                                          Though Mesfin was forced underground by the Derg regime that took control of Ethiopia in 1974, he has returned almost 50 years later with this triumphant set albums – the first time that his music has been presented in this form. These albums give us a chance to discover a rare and beautiful moment in music history, in anthologies built from Mesfin’s uber-rare 7” single releases and from previously unreleased recordings taken from master tapes. Mot Aykerim gives us a chance to discover a rare & beautiful moment in music history, in an anthology built from his uber-rare 7” single releases. Contains an oversized 11” x 11” 16 page book that tells the story of modern Ethiopian music and Mesfin’s role within it. 

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                                                          Cover of Love Profess by Mac Blackout.

                                                          Mac Blackout

                                                          Love Profess

                                                          Trouble In Mind Records

                                                            Mac Blackout, a.k.a Chicagoan Mark McKenzie has been on the fringes of the Chicago music scene for two decades now, whether blasting brains in scuzz-punk bands The Functional Blackouts & Daily Void or as wild-eyed frontman for glam-punks Mickey. While his solo recordings as Mac Blackout have traditionally followed along the same path of KBD-infused, sci-fi punk rock, his new instrumental solo album (and first for Trouble In Mind), "Love Profess" offers listeners a new side. "Love Profess" is Blackout's first solo album in seven years, the result of - in his own words: "...years of artistic growth and preparation. Five years ago I shifted my focus from music to visual art, embarking on a creative and spiritual journey, finding new and evolved artistic visions through many mediums." Indeed as his art career has blossomed, the creative musical ideas & a budding interest in free jazz & avant garde music have flourished & guided his output toward something altogether different; stripped down minimal pop songs & analog synth excursions laced with a healthy dollop of free jazz & avant-musical expression.

                                                            Blackout says "This break from solo music creation resulted in years of internalized ideas, unexpressed energy, and the calling to explore new creative directions musically." These creative directions converged at the beginning of 2020 as Blackout began to record "Love Profess". From the opening exultation of "Wandering Spheres", longtime fans know they're in for something completely different; a rapturous wave of saxophone blasting forth gives way to a pensive electronic pulse and a tinkling of synthesized bells. "Forever" and "Call For Love" tick and drone like something off of Suicide's second album, the former's sweet melody & electric handclaps peppered with melancholy, while the latter's slinky rhythm makes you move. "Magic Hour 2020"s meditative drone closes out Side A, setting up Side B opener "The Virus"; an aural odyssey that transports the listener to "Revolutionary Tide"s righteous shuffle, with Blackout's sax blasting out like a call to arms. The album's title cut come near the end of Side B, with it's metronomic pulse and synth washes acting as a soothing balm, while the tender ballad "Dear Mom" closes us out.

                                                            Blackout says "2020 has been unlike any time in history. With these hard times comes great emotion, reflection, and realization. This album is an instrumental reflection and chronological portrait of the period in which it was created, January through July 2020. I hope you find solace, artistic friendship, inspiration, rejuvenation and the power to make positive change through this work of art for years to come." Indeed the entire album feels very much like an offering, with its tender & open expressions & reflections allowing a palpable passion to creep through. We can only hope it can guide us to a better tomorrow. 

                                                            FORMAT INFORMATION

                                                            Coloured LP Info: White Light vinyl.

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                                                            Cover of A Joyful Sound by Kelly Finnigan.

                                                            Kelly Finnigan

                                                            A Joyful Sound

                                                            Colemine Records

                                                              Second full length LP from Kelly Finnigan. Previous LP sold over 10,000 physical units. Full LP of new, original holiday music Featuring members of Durand Jones & The Indications and The Dap-Kings. "A Joyful Sound" is a future soul classic with all the elements of a classic R&B record, but simply with a joyful holiday lean. With an all-star supporting cast of who's who from the contemporary soul scene this record is truly a family affair with Kelly at the wheel. Featuring members of Durand Jones & The Indications, The Dap-Kings, Ghost Funk Orchestra, Monophonics, Thee Sinseers, Orgone, Ikebe Shakedown, Jason Joshua & The Beholders, The True Loves, Neal Francis, Jungle Fire, Delvon Lamarr Organ Trio, Ben Pirani, The Jive Turkeys, The Harlem Gospel Travelers, Rudy De Anda, Alanna Royale, and more! Inspired by records like Phil Spector's "A Christmas Gift For You" and Rotary Connection's "Peace" this album will be a record that will appeal not only to lovers of holiday music, but lovers of SOUL music in general! 

                                                              FORMAT INFORMATION

                                                              Coloured LP Info: Indies only Norway spruce green vinyl

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                                                              Cover of Quatermass Seven by Little Barrie & Malcolm Catto.

                                                              Little Barrie & Malcolm Catto

                                                              Quatermass Seven

                                                              Madlib Invazion

                                                                Little Barrie And Malcolm Catto Team Up For Seven Tracks Of Breaks And Sci-Fi Fuzz For Maverick Producer Madlib's Label. Quatermass Seven, the meeting of minds between guitarist Barrie Cadogan, bassist Lewis Wharton and drummer Malcolm Catto represents a re-birth of sorts for Little Barrie, with these their first recordings since 2017’s Death Express and the untimely passing of their gifted drummer and friend Virgil Howe. As Lewis explains, the sessions played a part in the healing process, a way to re-connect through music without any intentions to necessarily come away with a finished record. “It was good to get in the studio again after such a long break especially as we didn’t go in with any agenda or expectations,” he explains. There was no preconceptions that we would make a new Little Barrie record, it was just an opportunity to work on some things Barrie had written for fun with zero pressure.” With most tracks recorded live with minimal overdubs, and produced by Malcolm at his Quatermass studios, The Heliocentrics’ main man brings new flavour to the band’s rhythm section by blending his power behind the drum kit and his expansive skills behind the mixing desk to take Little Barrie’s music forward into new territories.

                                                                Recorded on Catto’s treasure trove of analogue gear, and mastered onto ¼” tape, the overall effect is guitar, bass and drums finding a sweet spot where genres collide, delivering a record that takes the influences of the past and pushes them towards somewhere more contemporary. “I definitely hear in Barrie’s songs a lot of common musical ground’” explains Malcolm. “It felt like a great thing to do, work with Malcolm while we’re figuring out what we wanna do,” Barrie concludes, “let’s just go in and do some playing and see what happens, and we came out with more than we ever intended.” Quatermass Seven delivers a dark, deep and expansive set of grooves, layered with frazzled and flawless guitar and flowing melodies, as well as pointing toward a future of exciting new musical opportunities. “Still here, so fine, just a little darker state of mind” sings Cadogan on ‘Steel Drum’, words which sum up hope in times of uncertainty, whilst unintentionally offering a perfect description of Quartermass Seven. 

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                                                                Cover of That Summer Oh Creator! EP by Bhajan Bhoy.

                                                                Bhajan Bhoy

                                                                That Summer Oh Creator! EP

                                                                Wormer Bros

                                                                  BHAJAN BHOY is Ajay Saggar. He released his debut solo album “Bless Bless” on 5 June 2020 which was met with unprecedented universal praise from the music press and received widespread airplay from radio stations in the USA (WFMU) to the UK (Steve Barker’s “On The Wire” and BBC 6 Music) to Australia (Eastside FM).

                                                                  - “a gloriously blissed out set” (The Wire / August 2020)
                                                                  - “ a great, deeply energising record” (The Quietus / June 2020)
                                                                  - “as contemporary deep psych trips go this is seriously potent gear
                                                                  - the perfect soundtrack for invoking the messianic spirit of Timothy Leary” (Shindig / July 2020)
                                                                  - “fascinating guitar mantras” (Lust For Life / June 2020)
                                                                  - “superb meditative collection” (Narc / June 2020)
                                                                  - “J Mascis (Dinosaur Jr.) said it was a “killer album”. I bow to that accordingly” (OOR / June 2020)

                                                                  BHAJAN BHOY now follows the release of “Bless Bless” with a 10” EP….“That Summer Oh Creator!” EP. It features 2 tracks, clocking in at over 17 minutes, that were recorded in June and July 2020 and takes Saggar’s sonic explorations into even deeper territory. Yes the kosmische psych guitar touches are there, but the 2 beautiful songs are enhanced by pastoral electronica and dynamic field recordings.

                                                                  - “For Robbie Basho” is a musical piece that reflects on the life of one of Ajay’s musical heroes…moments of heightened beauty and exaltation and moments of physical and mental suffering that touched Robbie Basho’s brief time on this earth.

                                                                  - “Pinecone” has a pastoral, laidback feel to it. Composed, recorded and produced in one day in Malberg (Germany) at the house of Kat Bornefeld (drummer for The Ex), this track has already received airplay on BBC 6 Music and WFMU.

                                                                  FORMAT INFORMATION

                                                                  10" LP Info: 200 copies only.

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                                                                  Cover of Get Back Into The World by Sensible Gray Cells.

                                                                  Sensible Gray Cells

                                                                  Get Back Into The World

                                                                  Damaged Goods

                                                                    Brand new studio album! Featuring Captain Sensible and Paul Gray from The Damned, with Johnny Moped drummer Marty Love! Who, what and why are The Sensible Gray Cells? Captain :- Paul Gray and myself being garage psych aficionados would prefer to hear more of this kind of music and this is our contribution to the cause. If I said that some of the songs were 'Damned rejects' that shouldn't be seen as an indication of inferior songwriting.. more that they're not wearing the right shirt. A Postcard From Britain came out in 2013. What have you been up to since then? Captain :- I've never been a prolific writer.. being a lazy so and so I think it's best to wait for inspiration to call.. which explains the 7 year gap..( how many albums could the Beatles have crammed in that period!) but in the meantime PG rejoined the Damned and we've gigged about a bit, which is always fun - CAN WE HAVE GIGS BACK AGAIN PLEASE!!!

                                                                    A Postcard From Britain was a snapshot of modern life. Does the new album cover similar themes or have you taken a new direction? Captain :- It's sad that high streets around the world have been destroyed by online shopping but nobody's forcing people to do it.. but what can you do. These are very strange times were living though - I just count myself lucky to have been around to witness the 2nd half of the 20th century.. a fab time for music, culture, ideas.. and that without even mentioning Benny Hill and On The Buses. The new album coincides with all this virus malarkey.. which, unpleasant as it is will undoubtedly be used by the powers that be to tighten the screws on us little people on behalf of their billionaire paymasters. Blah blah, etc. There's a bit of that hidden away in the album

                                                                    FORMAT INFORMATION

                                                                    Coloured LP Info: Grey vinyl LP

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                                                                    Cover of Ensnared by Peder Mannerfelt.

                                                                    Peder Mannerfelt

                                                                    Ensnared

                                                                    Haven

                                                                    For their milestone 10th release on their main label series Haven is honoured to be working with celebrated Swedish experimentalist Peder Mannerfelt with a collection of energetic and diverse UK-influenced stompers.

                                                                    The EP kicks off with "Enter Reoccurring Disparity" on the A1. Fierce synth bleeps, classic drum breaks and creative percussion interplay around the pounding kick in this hectic club banger. Following on the A2 "And That Happened" takes the record in to moody broken beat territory, utilising murky drones and experimental textures alongside wild, morphing drum work in a sludgy mutant roller.

                                                                    The flip-side launches with "Stockholm Shuffle" on the B1 with grimy bass pulses, half-time snares, and ominous atmospheres in the ideal half-way point between dubstep and 4-4 techno. The EP closes with a driving remix from yung Haven main-stay Tommy Holohan. Rolling drum rhythms, vocal chants and nimble synth work propel the track towards its euphoric breakdown and square-bass melody in another impressive track from Ireland's finest up-and-comer.


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                                                                    Cover of Bygones by DJ Medallion.

                                                                    DJ Medallion

                                                                    Bygones

                                                                    La Rama Records

                                                                    Montreals legendary record shop La Rama launches their label with an insane ep from DJ Medallion.
                                                                    You need this!

                                                                    Music from late nights in Montréal.

                                                                    Dj Medallion has programmed and recorded the patterns of personal experience, influence, and desire. These songs are now at the mercy of the world and its residents... please use to provide moments of chaotic ease, where all the anxieties and pressure are externalized so you may see that it can all be fabricated and dismantled from within.

                                                                    This is the first of hopefully many releases brought to you by La Rama Records, a shop located in the city from where these songs were made. If you find your self in the city, please do visit.

                                                                    Music by R. Wenger.
                                                                    Mastered by C. Urbina.
                                                                    Cut by Curved UK.
                                                                    Design by K. Guilty.

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                                                                    Cover of The Pepper E.P by A.Garcia.

                                                                    A.Garcia

                                                                    The Pepper E.P

                                                                    Docile Recordings

                                                                    Intense Detroit Minimal Techno. 
                                                                    Miss this one at your peril.

                                                                    Docile Recordings continues with part two of a five cat series. Docile #29, the pepper ep, was produced, arranged, and crafted on vinyl by Andy Garcia at Archer Record Press in Detroit Michigan U.S.A.. Docile Recordings believes vinyl is the best medium to convey our message. Our message is our sound, a sound that is unique in its’ path and loyal to its’ character. Our mission is redefinition and the redirection of minimal techno.

                                                                    Side A starts with an ol’ timey 4/4 tec- spiritual of crunch confusion rocking and clapping faithfully until the rapture of synth begets a righteous clarity of beat. A2 is a calm to topsy-turvy scurry through digital tweaks and stutters that form a havoc funk requiring a reprimand. B1 opens with the ringing energy of a pest highly motivated to infect a sickly synth, glitching yip, and rolling cymbal into the bloodstream of a dirty grind. B2 is a gentle vibe that is simple, clean, and fresh as a cool breeze that carries the rhythms of birds speaking in tandem.


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                                                                    Cover of Southeast Of Saturn by Various Artists.

                                                                    Various Artists

                                                                    Southeast Of Saturn

                                                                    Third Man

                                                                      It makes sense that Detroit had a buzzy, thriving space-rock scene in the ‘90s. What American city’s denizens had a more urgent need to disengage and think outside the grim, post-industrial rustbelt realities? With space-rock (and its close sonic cousin shoegaze) being at once expansive and introspective, it naturally appealed to the young, intelligent artists who gravitated toward its vertiginous orbit.

                                                                      The music of Southeast Of Saturn did not arise organically from metro Detroit’s fertile soil. Locally, garage-rock, goth-rock, neo-hippie groups, and the usual preponderance of adequate bar bands dominated the landscape. Thirsty Forest Animals guitarist Andrew Peters summarizes the prevalent attitude among the Motor City’s space-rock contingent: “I don’t think we really noticed the local Detroit scene earlier on. We were more into the bands you would see in the NME / Melody Maker, zines, and records - mostly from the UK - on the walls at Play It Again”. If anything was a major factor locally, it was Play It Again, the independent record store in the suburbs of Detroit that nurtured the scene with its amazing curation of imports and killer used records picked up on owner Alan Kovan’s British record buying trips.

                                                                      Penned “Detroit Space-Rock”, the scene centered around Burnt Hair Records, Burnt Hair CEO Larry Hoffman’s Life According To Larry radio show, Zoot’s Coffeehouse and bands, such as Windy & Carl, Asha Vida, Füxa, Auburn Lull, and Majesty Crush. It was a modern movement of a more traditional “space-rock” sound, influenced less by The Stooges and MC5 and more by Spacemen 3, Loop, My Bloody Valentine and krautrock bands like Can and Neu!. Even the best-known artists on Southeast Of Saturn - Windy & Carl, Majesty Crush, Füxa - never achieved mainstream success, but within the rock underground, they inspired a cultish devotion that burns to this day.

                                                                      If you missed their evanescent output the first time around, this compilation will get you up to speed over its 19 mind-altering tracks. ECHO ECHO ECHO ECHO ECHO ECHO ECHO

                                                                      FORMAT INFORMATION

                                                                      2xColoured LP Info: Very limited indies exclusive deep space / aqua wave coloured vinyl.

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                                                                      Cover of Love All by Hanna.

                                                                      Hanna

                                                                      Love All

                                                                      Contrafact Records

                                                                      The unrivalled Hanna of Sound Signature, R&S, Track Mode, Apron fame, drops his first EP on the new Contrafact label where funk-filled club grooves meet jazz. Hanna who is part of Theo Parrish The Rotating Assembly where he joins Andres, Marcellus Pittman and Rick Wilhite, and is also part of Dan Curtin' Key of Soul, drops three deep summer tracks for late nite burnin' action. Since 1997, Hanna, deeply rooted in Detroit and Chicago, is one of the most diverse, prolific producers and multi-instrumentalists in the world of deeper dance, techno and futuristic electronic jazz. Hanna's rich and deep respect towards musical history is reflecting his newest EP, where the trax Time to Split, The Forgiven (Pepe Bradock burning phunky interpretation) and Summer in Italy, 

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                                                                      Cover of Morning Factory (Dubplate) by Ron Trent And Chez Damier.

                                                                      Ron Trent And Chez Damier

                                                                      Morning Factory (Dubplate)

                                                                      Back To Life

                                                                      Back To Life kick off their brand new reissue label in earnest with a true timeless classic indicated the direction and ethos of the label from the get-go.

                                                                      Chez says: 'The Morning Factory is a true story of the experience of Ron Trent and Chez Damier in October, the most stimulating periods in the New York Sound Factory Club. The birth of Morning Factory was created after a fantastic evening at the club. next stop would be Detroit, where the track had been recorded and produced. '

                                                                      Deep house tracks don't come much more seminal than this. Phazing pads, warm rounded bass, hypnotic hooks and that trademark Prescription-esque beat. Absolute perfection achieved in less than six stems and the two producers displaying why they're the finest in the game. The dance music world was Chez and Ron's at this point and they'd go onto cement their legacy across hundreds of other tracks. One of those records that every house music collection should have in it. Back on vinyl for a limited time....


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                                                                      Cover of Quo Vadis by G-Man.

                                                                      G-Man

                                                                      Quo Vadis

                                                                      Back To Life

                                                                      G-Man's “Quo Vadis”, a track released for the first time in 1995, was one of those seminal tracks which flirted seductively between house and techno camps. A real classic, notibly included in Richie Hawtin's "DE9" mix, it perfectly encapsulates the mood and energy of those early minimal records and became one of the blueprints of the genre. Back on vinyl for the first time in ages courtesy of Back To Life, who've handily included D. Diggler's energetic remix which wasn't on the original release. "Sparticus", also by G-Man and an equally arresting slice of minimal techno ingenuity is also tagged onto the B-side making this one helluva package for techno lovers! 




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                                                                      Cover of Where's Your Child? Remaster by Bam Bam.

                                                                      Bam Bam

                                                                      Where's Your Child? Remaster

                                                                      Back To Life

                                                                      Back To Life proudly presents one of the best acid tracks ever produced: Bam Bam's “Where’s your child?”, originally released on Westbrook Records in 1988 and licensed by Desire Records in the same year. Mr. Westbrook needs no introduction: he is the sole owner of legendary Westbrook Records, always linked to the acid scene, discovering and producing Mike Dunn, Armando Gallop, Angie T, Xtra Bass to name a few, remixing Lisa Stansfield, Brass Construction, Hiroshima, Ten City and many others.

                                                                      Famous throughout the nocturnal community (and receiving lots of repeat spins in Ron Hardy sets) for its feverishly sinister vocal part, incessant, cranium-twisting 303 line and club-wrecking sfx which send big engine revs and huge gong smashes rattling through the club! They really don't get much nastier than this one folks! 

                                                                      BTL003 is the only officially licensed repress after more than thirty years (incl. extra bonus beat cuts and card insert). Limited colored vinyl + card insert. Essential! 

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                                                                      Cover of In The Furrows Of Common Place by Jim Ghedi.

                                                                      Jim Ghedi

                                                                      In The Furrows Of Common Place

                                                                      Basin Rock Records

                                                                        “Instead of landscape sketches I wanted to go into more personal areas of my reality,” says Jim Ghedi of his third album In The Furrows Of Common Place. “To hold up certain aspects of society that were laying bare in front of me.”

                                                                        Whilst Ghedi’s previous idiosyncratic take on folk has often been instrumental, exploring the natural world and his relationship to it through his music as seen on 2018's A Hymn For Ancient Land. His new album In The Furrow Of Common Place is a deeper plunge inside himself to offer up more of his voice to accompany his profoundly unique and moving compositions. “There were things I was seeing around me and being affected by in my daily life,” he says. “Socially and politically I saw defiance but also hopelessness. I wanted to be honest with the frustration and turmoil I was experiencing.”

                                                                        The decision to include more of Ghedi’s vocals was a conscious one and driven by a need to say something. However, this isn’t a brash raging political polemic. As is now customary with Ghedi’s work, it is rich in nuance, history, poetry and allegory. Musically, the album is equally locked into this ongoing sense of evolution. Ghedi’s intricate yet deft guitar playing still twists and flows its way through the core, weaving in and out of gliding double bass, sweeping violin, gentle percussion and vocals that shift from tender solos to overlapping harmonies.

                                                                        As with much of Ghedi’s work, there’s a rich connection between the past and the current. Musically, he continues to sit in a singular position of sounding distinctly contemporary yet also with a touch of traditional flair. This expands itself into the lyrical terrain here too. “I've been exploring contemporary issues and in that process discovering sources that correlate with similar issues in the past,” he says. “Which proves that these issues throughout history - environmental destruction, working class poverty etc - are ongoing.”

                                                                        For all the socio-political and historical backdrop to the record it is not one that feels overwhelmed by it. Much like Ghedi’s work when it was largely instrumental - and some of it still is here - it flows and unfurls thoughtfully, with space still being utilised masterfully, creating room to pause and reflect. It’s another inimitable record from an artist that truly sounds like nobody else right now. 


                                                                        FORMAT INFORMATION

                                                                        Dinked Edition LP Info: • 180g copper/bronze coloured vinyl *
                                                                        • Risograph art print designed by David Hand *
                                                                        • Poem written by Jim Ghedi *
                                                                        • Heavyweight linen grain sleeve
                                                                        • Signed & hand numbered *
                                                                        • Printed inner sleeve & lyric sheet insert
                                                                        • Limited 300 pressing *
                                                                        * Exclusive to Dinked Edition

                                                                        LP Info: 180 gram heavyweight black vinyl w/ digital download.
                                                                        Heavyweight Linen grain sleeve.
                                                                        Inner picture sleeve with Jim's song notes & lyric sheet insert.

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                                                                        Louis Crelier

                                                                        Rester Partir LP

                                                                        Caldeira Records

                                                                          Fresh imprint Caldeira open their account with the first vinyl retrospective of Swiss composer Louis Crelier, whose FM sorcery and LinnDrum drama takes the listener away to an imaginary Africa.

                                                                          Standing proud amid the sound waves, Caldeira emerges with a singular mission; to bring us music with hidden depth. Whether it’s a reissue or retrospective, archival or original, each release reflects the Michelin-grade tastebuds of label founder Camille Bertin AKA Plastic Bamboo.

                                                                          Operating out of the shadow of Les Puces, the Saint-Ouen digger, DJ and producer has turned those in the know onto a wealth of zouk, boogie, proto-house and Balearic bombs over the past couple of years, but it seems he’s saved something truly special for this first release.

                                                                          Rich with FM synthesis, infectious rhythms and evocative motifs, Rester Partir transports us to a fantasised Africa, found onstage at a Lausanne Theatre in 1985. Scoring a story about a 19th Century French missionary’s trip to Timbuktu, Swiss composer Louis Crelier created his own sonic landscape, capturing the exoticism and otherness of an imaginary Mali. Though the hypnotic rhythms and cascading mallets conjure images of the continent, the queasy keys, dubby idents and synthetic sonatas suggest something more interplanetary - picture James T. Kirk and Spock beaming down into the ochre dust of a ruined city.

                                                                          Aided and abetted by a selection of ambient interludes, jazzy diversions and polyrhythmic excerpts from Crelier’s film work, as well as the exceptionally Balearic Deep In The Dale from TV series Alpine Academy, the largely unreleased compositions on Rester Partir finally break the fourth wall to find the wider audience they deserve.

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                                                                          Cover of My People (Love Can Live Forever) by Adelphi Music Factory.

                                                                          Adelphi Music Factory

                                                                          My People (Love Can Live Forever)

                                                                          White Label

                                                                          2021 looms, the world stands on the brink.

                                                                          A Pandemic rages, economies crumble, leaders sacrifice individuals on the altar of the media.

                                                                          Adelphi Music Factory resurface with a siren call of hope.

                                                                          My People: an ode to humanity in the grip of crisis, a joyous tribute to enduring love for empty dance floors across the world.

                                                                          Sisterhood, brotherhood, freedom, peace

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                                                                          Cover of What’s Your Secret? / Do You Blow? by Bastedos.

                                                                          Bastedos

                                                                          What’s Your Secret? / Do You Blow?

                                                                          Bastedos

                                                                          A double header of delectable edits from the Bastedos camp, re-mastered for that full-frontal power by Justin Van Der Volgan.

                                                                          Tried and tested secret weapons finally made available to all, 100% of any profits go to charity.

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                                                                          Cover of Soul Is My Salvation Chapter 7 by Tone B. Nimble.

                                                                          Tone B. Nimble

                                                                          Soul Is My Salvation Chapter 7

                                                                          Rain & Shine

                                                                          “Soul is My Salvation is a collection of dance friendly gospel songs. The mission is to simply uplift your spirit through music and word. Dance floor’s around the world mirror the reactions of Churches from the 70’s and 80’s when experiencing these recordings.” - Tone B. Nimble.

                                                                          Released as a series of eight limited vinyl-only 45, when assembled together the covers reveal a beautiful design courtesy of designer Charlotte McCrae. A true collectors item.

                                                                          Chapter 7 sees two prized cuts bursting with that unbridled gospel energy, Spiritual Souls 1982 number - ‘We Came To Show You The Way’ and Heaven’s Sound’s 1984 gem – ‘Fire’.

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                                                                          Cover of Ron's Reworks Vol. 4 by Unknown.

                                                                          Unknown

                                                                          Ron's Reworks Vol. 4

                                                                          White Label

                                                                          Ron's back at it again with three more expertly sliced cuts of primo, top shelf edit business. A moreishness that'll have you dippin back in time and time again, with hints of disco, house and funk working up the senses sprinkled with a touch of soul-infused beats.

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                                                                          Cover of Danse Cette Zik by Parbleu.

                                                                          Parbleu

                                                                          Danse Cette Zik

                                                                          Periodica

                                                                          Equatorial groove excursions by Parbleu on this new Periodica release. A multi-cultural fever dream of imagined sonic exotica, one featuring both evocative instrumentals and breathtaking vocal performances and where energized expanses of dynamic disco, futuristic funk, and cinematic jazz fusion are colored over by warming vibes of Caribbean dub, Latin tropicalia, and sunshine Afrobeat. 'Danse Cette Zik!' is the debut LP from this enigmatic group of musicians and has been expertly captured and magically crafted by the sorcerers of sound at the West Hill Studio.

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                                                                          Cover of Music For Insomniacs by Tommy Mandel.

                                                                          Tommy Mandel

                                                                          Music For Insomniacs

                                                                          Invisible City Editions

                                                                          “In today’s world, it’s harder than ever to let go & find sleep. So kick back and let this pastel soundscape from the NYC synth rocker, TM™ ♪ drift you off to dreamland like it was 1984...” -Tommy Mandel

                                                                          "New York synth magician Tommy Mandel has an astonishing career as a composer, sideman, and electronic pop artist. Since the late 1970s, he has toured or recorded with a laundry list of talents including Todd Rundgren, The Clash, The B-52s, Tina Turner, Cyndi Lauper, and countless others. Yet it is Mandel’s solo pioneering keyboard work that has captured the attention of Invisible City, first documented on the Mello Magic compilation of his largely unreleased new wave explorations. Now, the label follows it up with an even more scarcely heard project, working in cooperation with Mandel to reissue his 1984 private press cassette, Music For Insomniacs. Recorded on four-track, each of the album’s eight songs is inspired by a wave of sleep from Alpha to Theta. Its playfully psychedelic sound features shimmering synths, baked electronics, soft drum machines, and various vocal treatments guiding listeners into a peaceful slumber. Yet Mandel can’t resist adding traces of abstracted boogie-funk with propulsive rhythms that will keep you dancing through your dreams. Fans of Mort Garson, Woo, Brian Bennett, Angelo Badalamenti, Klaus Schonning and Bruce Haack will rejoice at their new sleepy time soundtrack." - Jesse Locke

                                                                          Available on vinyl for the first time with newly remastered audio baked from 2 inch tape with new artwork by Marko Vuleta-Djukanov (floating_bstrd). Re-issued in partnership with Tommy Mandel.

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                                                                          Cover of Music For Dance & Theatre - Volume Two by Various Artists.

                                                                          Various Artists

                                                                          Music For Dance & Theatre - Volume Two

                                                                          Music From Memory

                                                                          'Music For Theatre And Dance – Volume Two' is the second in a small series of EPs that will focus on music which was initially created for or inspired by dance and performance. Created as a dialogue with the avant-garde and highly experimental work in dance, theatre and art evolving at the time, the music was in turn at times greatly innovative.

                                                                          That it was created for a dance or performance though means that such music was also often highly rhythmic and a number of pieces from this time stand out and seem greatly deserving of a new context.

                                                                          Whether it's more ambient or atmospheric works or whether it's in the more rhythmic or percussive pieces, Music From Memory brings together another selection of tracks that aims to highlight this highly innovative direction in music.

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                                                                          Cover of Iwa Gaaden by UVB76.

                                                                          UVB76

                                                                          Iwa Gaaden

                                                                          Random Numbers

                                                                          Fourth vinyl installment for the duo, 'Iwa Gaaden' is also their third collaboration with Random Numbers. Pushing forward their commitment for processed field-recordings, micro-samples and poly-rhythmic patterns, this 5 long tells a singular and dark tale about spirits and revenge. Mixing contemporary techniques and ancient sonorities, martial marches meet ghostly rave-esque rituals. A club ready but cinematic oriented odyssey, a pitch-black ballad in the Iwa Gaaden.

                                                                          Bio
                                                                          UVB76 is the multidisciplinary project of Tioma Tchoulanov and Gaëtan Bizien. Combining a cross-genre music with contemporary visuals, the french duo has gained a solid reputation with their powerful AV live shows. Well known for their technique and ever-shifting production style, they released their first album « SAN » last year and have staged their live act worldwide.

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                                                                          Cover of À L'Ombre Des Roches by Organizatisya.

                                                                          Organizatisya

                                                                          À L'Ombre Des Roches

                                                                          Knekelhuis

                                                                          An extraordinary twilight world opens while listening to Organizatisya. Adventurous yet humble, they push the limits towards the unknown. One thing’s for sure, it’s fresher than the juiciest peach on a perfect summer day.

                                                                          Organizatsiya hail from Lyon, France. Leo and Zoe clearly have strong roots in folk and acoustic music. These ‘old worlds’ blend in surprisingly well with more contemporary digital, futuristic sounds. Soothing analog recordings meet hyperdigital compositions reminiscent of IDM creations and peppered with spoken words that dance around in unexpected ways.

                                                                          Seductive, intelligent and deeply hypnotic, this esoteric material delivers a dreamlike experience.

                                                                          Like finishing a game and celebrating victory with cheap champagne in a neon light lit bubble bath with the end tune of The Legend of Zelda in the air.

                                                                          With great contributions from several guest musicians in this record involved. Designed sleeve and printed inner sleeve by Guilhem Prat.

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                                                                          Cover of Church Of Madness - Inc. Gnork Remix by Zakmina.

                                                                          Zakmina

                                                                          Church Of Madness - Inc. Gnork Remix

                                                                          Futureboogie Recordings

                                                                          Cosmic dance and spatial atmospherics are at the very centre of Zakmina’s productions, as the Lithuanian producer readies an appetizing EP for Dave Harvey’s Futureboogie, backed with a remix from the always on-point Gnork.

                                                                          With releases already wetting our ears on Critical Monday, XXX and Roam Recordings, Zakmina spreads his wings across three new cuts. ‘Church Of Madness’ pumps with oodles of new beat drums and soaring synths, anchored by a fat arpeggiated bassline, whilst ‘Déjà vu’ is a first class chugger, its drums as big as 80’s shoulder pads, with glacial keys and breezy vocals comprising the seductive sensations on offer here.

                                                                          The Balearic synth-pop vibes of ‘Running Amore’ complete the trio of originals from Zakmina, whilst Gnork lays down the lino and tweaks ‘Church Of Madness’ into a solid 808 drum driven ‘Ezoteric Breakdance’ Remix. The Hungarian producer, responsible for some killer releases on Lone’s Magicwire label, Unknown To The Unknown, as well as his own Earth Plates imprint, delivers a futuristic b-boy re-working that’s heady and exhilarating right off the bat.

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                                                                          Cover of I Was Born This Way (Moplen Dubs) by Carl Bean.

                                                                          Carl Bean

                                                                          I Was Born This Way (Moplen Dubs)

                                                                          West End Records

                                                                          West End records open the vaults to their enviable catalogue once again with some of today's top remixers at the controls.
                                                                          Italian remixer extraordinaire Moplen gives us 2 sumptuous dub reworkings of Carl Bean's disco classic and gay liberation anthem 'I was born this way'.

                                                                          Originally issued in 1977 on Motown, 'I was born this way' sees the reverend Carl Bean singing out on behalf of the gay community, preaching an uplifting and soulful message of acceptance. Bean was known as one of the founders of Unity Fellowship Church Movement in LA - a haven and religious space for LGBTQ people of colour and for his admirable and tireless work with people suffering with AIDS. The track was naturally a huge Disco hit and eventually became an all-time classic in the house world via the deft sampling of the roof-raising melodies in tracks such as Pal Joey / Earth People's 'Dance' and more. Moplen's sublime and contemporary dubs reference and respect the track's dancefloor heritage, updating this classic in the way only he knows how. Another new essential from the WE catalogue.

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                                                                          Cover of Panama EP - Inc. Contours Remix by Twovi.

                                                                          Twovi

                                                                          Panama EP - Inc. Contours Remix

                                                                          Omena

                                                                          Omena hits release no.30 and celebrates by bringing in Twovi aka Vito Loperfido to the family.

                                                                          Vito released his first track, 'Giango' on Bosconi Records back in 2017 and followed up with 'In Memory of Love', on Chez Damier's Inner Balance, a release that showcased his talent for blending classic house with a fresh approach.
                                                                          Fast forward 2020 and we got a new release 'Panama' ready.
                                                                          These four tracks show why Vito is leading the wave of musical talent coming from Italy and he's not afraid of using inspiration from different sources.

                                                                          The opening track Panama is an ode to a jazzy KDJ breeze while Santiago is a clever broken beat track with a few latin vibes sprinkled on top.

                                                                          On the flip, Manchester producer Contours continue to turn music into gold with a singular remake of Panama.
                                                                          It's a deep and rich version with his signature percussions included.
                                                                          Last but not least Lima ends this fine EP, a track which takes us back to the golden days of Nuphonic.

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                                                                          Cover of Present Remixes From The Dungeon by DJ Emanuel & Rahaan.

                                                                          DJ Emanuel & Rahaan

                                                                          Present Remixes From The Dungeon

                                                                          GAMM

                                                                          GAMM150 is here and it's a big one.

                                                                          Rahaan is back on GAMM and this time with his buddy DJ Emanuel with some nasty (!) post punk/funk disco.
                                                                          The A-side runs down a timeless Garage classic...but with a gritty twist.
                                                                          The B-side is just sex, orgy and disco crammed together on black plastic. Imma Phreak is just...phreaky!

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                                                                          Cover of Tiny Planet Vol.3 by Various Artists.

                                                                          Various Artists

                                                                          Tiny Planet Vol.3

                                                                          Planet Euphorique

                                                                          Tiny Planet is back in business, Volume 3 returning to the geographical roots of Planet Euphorique. Four genre expansive tracks, hot-off-the-press Canadian content bringing all new artists to the PE sphere. The record is split from East to West, Montreal to Vancouver, providing an array of audio delights primed for diverse dance experiences.

                                                                          Starting in Montreal, the A side hosts a deep, sensual dripping opener, “Gutted Honey Dew Project” by duo Mutually Feeling. Steady, rolling breakbeats slung behind melt-in-your-mouth vocals of silk, the blooming bassline forming a modern day classique. The flirtatious essence carries to the A2 with Pascale’s “Fly Zone”, bubbling into an irresistible, bouncy analog jammer. Lights flashing; surging stabs of colourful harmony. A sleek, smooth and playful track ordering you to la discotheque stat!

                                                                          Heading West to the B side, the mood swing is sinisterly jacking in Vancouver. Sludge laden “Are You Done Yet” by Overland showcases a hot and distorted acid hypnosis, weaving in and around a driving repetition of drum-work, deceptively low tempo for the momentous percussive progression and evolving sonic squelch. Sigsaly busting in to finish it off with the fully fledged hammering techno hit you needed, “Carve” B2-big room, XL rhythmical head-rush. Stomp to the beat!

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                                                                          Cover of Hamilton Scalpel 2: Airfoil by Hamilton Scalpel.

                                                                          Hamilton Scalpel

                                                                          Hamilton Scalpel 2: Airfoil

                                                                          Concrete Cabin

                                                                          The second 12" on CC comes, once again, from Hamilton Scalpel. Four tracks of Max Anti-Power Energy, with the last probably being the closest the label will ever come to releasing would could very loosely be described as a "summer anthem". Shouts to our Wes.

                                                                          Mirrored sticker on sleeve and yellow graffed up label. Kinda like the opposite of the last one. Genius. 

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                                                                          Cover of $MD-001 by DJ Autopay / Faux Conee.

                                                                          DJ Autopay / Faux Conee

                                                                          $MD-001

                                                                          Cash Money Deals

                                                                          In a brave new world, what is to be done?
                                                                          We used to do parties, now where's the fun?

                                                                          All I do is think about you,
                                                                          Will it ever stop?
                                                                          Time's running out,
                                                                          Bang goes the clock.

                                                                          Two killer cuts, with that smangin' appeal.
                                                                          Give us sum credit, dis a Cash Money Deal.
                                                                          - Sublimate Sound System

                                                                          Art by Erica Kenia

                                                                          Limited to 300 hand stamped white labels.
                                                                          No repress. No MP3s.

                                                                          FORMAT INFORMATION

                                                                          Ltd 12" Info: 300 copies no repress no digi

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                                                                          Com Truise

                                                                          In Decay, Too

                                                                          Ghostly International

                                                                            Much like its predecessor, In Decay, the 2014 compilation of unreleased, early Com Truise recordings, In Decay, Too unlocks a new set of rarities and unheard fragments from the past for the producer’s legion of fans. To accomplish such a feat, the Com camp tapped the Internet’s foremost Com Truise archivist, Polychora (formerly Comrade), whose YouTube channel has diligently documented Seth Haley’s musical output since his earliest Komputer Cast (Haley’s podcast mix series) days. Polychora’s vault and input helped Haley and the team locate and curate the ultimate sequence of career-spanning off-album material, showcasing an artist in perpetual orbit of hazy machinist nostalgia. Haley’s singular style of melodic beat music is the work of countless iterations; with In Decay, Too, his idiosyncratic exercises, experiments, and pivots pause for a rightful wave of appreciation.


                                                                            Following the smeared introductory tones of “Zeta,” the album locks into its first robotic groove on “Compress— Fuse,” a trademark Truise treatment with cascading synth lines and deep, sinister low-end bass stabs. Further down is the suspiciously bright “False Ascendancy,” which lures listeners through a labyrinth of drum patterns and siren-like keys, all colliding into “Constant Fracture.” The track pushes to the point of stress, reaching the album’s apex with a punishing series of blows before fading to relief, where the beatless and contemplative “Trajectory” awaits.

                                                                            In 2019, Com Truise left his previous sci-fi narratives behind for the visceral Persuasion System, a markedly more human record, which now makes In Decay, Too something like a bookend to an era. One last transmission from coordinates unknown; a culminating exhale ahead of what’s still yet to come.

                                                                            FORMAT INFORMATION

                                                                            Coloured LP Info: Synthetic Storm Coloured Vinyl variant has red, blue, and yellow marbled vinyl.

                                                                            LP Info: Black vinyl 2xLP packaged in matte jacket with black dust sleeves

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                                                                            Cover of III by Lindstrøm & Prins Thomas.

                                                                            Lindstrøm & Prins Thomas

                                                                            III

                                                                            Smalltown Supersound

                                                                              Since the release of II, Lindstrøm and Prins Thomas have remained more than busy with their respective solo careers, but work on III was taking place behind the scenes the whole time—slow and steady by sending files back and forth. "There's a different process with every album," Thomas explains. "With the first two albums, we had a door between separate rooms in the studio, so I could open my door and play him something. We also toured together a lot after the first album, and after that experience we realized that we work better together at a distance. We're doing our best work by not worrying too much about what the other one of us is doing."

                                                                              Eventually, the bulk of III came together over the last year, as Lindstrøm and Prins Thomas teamed up to craft a lush and lovely work that recalls the hazy atmospherics of Air, the loose-fit jazz of Lonnie Liston Smith, and the genreresistant electronic music that both artists have made their name on over the course of their impressive careers. "Our partnership is very democratic—we never

                                                                              turn down each other's ideas. And if it goes wrong, we blame it on the other guy," Thomas says with a laugh. "The tracks that Lindstrøm sent me this time were almost like standard house tracks. I already had an idea of what I wanted to do, so I forced those tracks into new shoes and dresses."

                                                                              Above all else, III is a testament to the adventurousness of Lindstrøm and Prins Thomas when it comes to soundcraft. Both artists have established separate careers on bodies of work that feature infinite twists and turns, thrilling their audiences with the suggestion of where they've been and where they're about to go. Together, they've crafted what might be their most beguiling and inviting work yet, a jeweled box of electronic music ornately crafted but never losing the sense of playfulness that so many have come to love from them.

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                                                                              Cover of Lizzy B/w Bet My Brains by Starcrawler.

                                                                              Starcrawler

                                                                              Lizzy B/w Bet My Brains

                                                                              Third Man Records

                                                                                On a cold, cold night last Halloween, Los Angeles’s angel baby rocker phenoms Starcrawler blasted off in the Blue Room at Third Man Nashville, igniting the stage and pumping the lifeblood back into the room. Formed in 2015 not yet out of high school, the group has released two full-length albums, both to critical acclaim, and toured extensively across the globe. Starcrawler dressed the part for this special night in the Blue Room, fully and appropriately costumed up for maximum spookiness. This live 7” single captures the group ripping through two songs from their most recent album “Devour You”. First is their vicious, nearly double-time version of “Lizzy,” tumbling through swells of mic feedback, fills and riffy distortion as vocalist Arrow de Wilde shouts into the ruckus. On the flipside, “Bet My Brains” (whose 7” label prominently features a rare appearance from one of the more sheepish members of the band) is head-banging, chugging RNR fun incarnate. Must listen!

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                                                                                Cover of Six Twenty Negative by The Twelve Hour Foundation.

                                                                                The Twelve Hour Foundation

                                                                                Six Twenty Negative

                                                                                Castles In Space

                                                                                  Bristol's Twelve Hour Foundation return to Castles in Space with their first new LP since 2018's long sold out "tree little mile egg book...and other non sequiturs". Their blend of musique concrète, treated field recordings, library music, early electronic pop and the Radiophonic work of John Baker and Paddy Kingsland has never sounded better.

                                                                                  The initial inspiration for the album is a journey - regularly taken by Jez Butler (Yamaha CS-10, flute, vocals, field recordings) until the end of the 70s, from Cleethorpes to Hull, by diesel multiple train and British Rail paddle steamer, hence track titles like "Lincoln Castle Engine Room", "New Holland Pier" and "Chalk Factory" - a reference to a small production plant viewed from the train window that rendered the neighbouring landscape white. The ferries and pier were scrapped following the opening of the Humber bridge.
                                                                                  As with the previous album, the idea behind most of the music is to draw on abstract childhood emotions and their associated memories. It's an incredibly warm and evocative listening experience.

                                                                                  The majority of tracks are expertly underpinned by a musique concrète backing, drawing on the band's recordings of houshold objects. In most cases, the bass was derived from a length of ribbed plastic tubing, the cymbals from a metal kitchen draining rack, and the pads/chords from the filtered sound of an electric hair clipper. This is overlayed with vintage analogue synthesizers, treated field recordings and - on a couple of tracks - the odd vocal or flute line. The track "Polivoks" takes it's title from the Soviet analogue synthesizer of the same name which was manufactured throughout the 1980's.

                                                                                  The album's sleeve was designed in keeping with the scholastic nature of much of the music, incorporating Polly Hulse's (Moog Rogue, Korg Volca Keys, concrète sequences) photos from the University of Bristol's School of Chemistry.

                                                                                  The album's title, "Six Twenty Negative" refers to the film used in the Kodak Brownie Box camera. Famous for producing slightly wooly prints from large individual negatives.

                                                                                  FORMAT INFORMATION

                                                                                  Coloured LP Info: Heavyweight brown vinyl.

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                                                                                  Cover of Lunar Tredd by Fimber Bravo.

                                                                                  Fimber Bravo

                                                                                  Lunar Tredd

                                                                                  Moshi Moshi

                                                                                    Lunar Tredd – Fimber Bravo’s first album on Moshi Moshi since the much acclaimed Con-Fusion – tells the tale. The highlife fusion of You Can’t Control Me resonates in the wake of the global Black Lives Matters protests. There is fire in these impactful clarion calls to resist oppression, recognise strength in resilience and fight against the corruption of power.

                                                                                    Bravo’s been a constant collaborative force - as his time as leader of 20th Century Steel Band, as musical director of Steel ‘n’ Skin, and appearances with everyone from Sun Ra Arkestra to Hot Chip, shows. Lunar Tredd reflects the influence of the music handed down to him by “ancestors” . Helped by an enviable cast of friends and collaborators, Fimber has shifted those touchstones to create something that sounds resolutely like the here and now.

                                                                                    Those friends that appear on Lunar Tredd, include Alexis Taylor of Hot Chip and The Horrors’ Tom Furse; The Invisible drummer Leo Taylor and Senegalese percussionist, Mamadou Sarr dropping in on rhythm duties, while there are also appearances from Susumu Mukai aka Zongamin, the brilliant Kora player Kadialy Kouyate, vocalist Cottie Williams, Vanishing Twin’s Catherine Lucas, and production from Lapo Frost and Ghostpoet producer Shuta Shinoda. Some, like Zongamin and Williams go way back with Fimber, other connections are newer, but all have quickly become part of the London-based musician’s musical family.

                                                                                    Indeed, Fimber never loses sight of where he’s come from on LUNAR TREDD - even as he looks to where he might go next. As a musician, he’s still finding new creative peaks nearly 50 years after he began.

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                                                                                    Cover of Carm by Carm.

                                                                                    Carm

                                                                                    Carm

                                                                                    37d03d

                                                                                      The music of CARM features horns in roles typically reserved for drums, guitars, and voices, while also escaping the genre categorizations reserved for music featuring an instrumentalist as bandleader. It is not jazz or classical music, nor is it a soundtrack. This is contemporary popular music that features a sound normally used as a background color and texture as the unabashed lead voice. According to CARM, aka CJ Camerieri, “It started with the question: ‘What kind of record would my trumpet-playing heroes from the past make today?’ I believe they would want to work with the best producers, beat makers, song-writers, and singers to create new, truly culturally relevant music, and that’s what I sought to do with this project.” Produced in Minneapolis by Ryan Olson (Polica, Lizzo) and featuring collaborations with Sufjan Stevens, Justin Vernon (Bon Iver), Yo La Tengo, Shara Nova, Mouse on Mars, Francis and the Lights and many others. It is a completely unique sound that additionally serves as a survey of the collaborations that have come to define the artist’s career thus far.

                                                                                      Says Vernon, "I truly believe there isn’t a more accomplished brass player in the entire world of music. And this is way more than a 'horn' record. It’s a discovery of new heights with what is possible in creating music.” The album begins with an orchestral brass choir of french horns, which quickly gives way to a piano sample from Francis, as Stevens and Lupin combine voices over a lush bed of horns to sing “Song of Trouble.” The album bookends with the same piano sample used as a springboard to an iconic lyric by Vernon in the album closer “Land.” Between these two generation-defining artists we have upward sweeping melodies and fanfares reminiscent of Ennio Morricone. The acutely original sound of Georgia Hubley and Ira Kaplan of Yo La Tengo in “Already Gone” give way to the virtuoso sound of Nova’s voice. A more experimental path emerges before the strings from yMusic bring us back to the piano sample that started the record. Instead of recycling well-trodden sounds, CARM offers a respite for those seeking an original voice.

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                                                                                      Cover of Hand Cranked by Bibio.

                                                                                      Bibio

                                                                                      Hand Cranked

                                                                                      Warp

                                                                                        Warp Records will reissue Bibio’s Hand Cranked album on vinyl for the first time. The album was originally released in 2006 by Mush and was one of the releases that caught the ear of the Warp label before signing Bibio for Ambivalence Avenue in 2009. That record will also be restocked on vinyl to coincide with this release. Hand Cranked, his second release, saw him delve further into the sounds he crafted on his debut, Fi, with a focus on saturated guitars, found sound and field recordings and an affinity for the pastoral inspiration of his Northern England surroundings.

                                                                                        Hand Cranked stepped it up a level though, bringing in Bibio's unique take on folk and blending it with electronic loops; a sound that he would continue to help refine throughout his career. This fourteen track collection saw Bibio bring an increased confidence to his music, highlighting his virtuosic guitar playing and shedding light on his more whimsical pop inclinations that he's explored on releases since then. Available on vinyl for the first time since its original release over 10 years ago, Hand Cranked makes for a perfect lazy Sunday listening, a nostalgic drive through the country or simply a peak into an artist beginning to discover the full breadth of his talent.

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                                                                                        Cover of Apple by A.G. Cook.

                                                                                        A.G. Cook

                                                                                        Apple

                                                                                        PC Music

                                                                                          The notion of pure, classic songwriting is one of the core aspects of ‘Apple’ and 'Oh Yeah' is Cook’s most direct attempt. The track begins with his untreated vocals placed atop a strummed acoustic guitar singing the entrancing main hook. The video is just as open: Cook is front-and-centre performing the song directly to camera. Cook says “the song itself - like most pop music - is really about confidence & escapism, and how bittersweet those things can feel.” Cook further states: “‘Apple’ is my own take on Personal Computer Music. I've always been interested in the blurred line between bedroom and professional studio production, and at what point a personality either gets created or accidentally takes shape. For me there's a great sense of freedom in combining something slick with something naive - a reality where anything could happen. In calling the album ‘Apple’, I wanted to draw attention to one of the simplest, most everyday objects, which somehow contains references to almost everything imaginable - from computers to The Beatles, New York to Snow White, and an entire world of history and mythology. A little free advertising doesn't hurt”. 7G’s seven instruments (Drums, Guitar, Supersaw, Piano, Nord, Spoken Word, Extreme Vocals) form the sound palette of ‘Apple’. Described by Cook as “threatening to be an instrumental producer album, then becoming a songwriter album”, the album features some of his most ambitious and emotional songwriting, as well as his most vivid sonic ideas as a producer. Together, 7G and Apple showcase Cook’s sheer breadth of ideas, and illustrate why he’s one of the most vital artists working today.

                                                                                          FORMAT INFORMATION

                                                                                          Ltd LP Info: Black Vinyl (140g), Double embossed gatefold sleeve with metallic ink, 12-page silver booklet, 24x36 inch double-sided poster.

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                                                                                          Cover of Character Stop by USA Nails.

                                                                                          USA Nails

                                                                                          Character Stop

                                                                                          Bigout Records

                                                                                            USA Nails release their fifth album Character Stop, the record was tracked live over 4 days at Bear Bites Horse in London with producer Wayne Adams. Though Character Stop still features the pummelling noise-punk that USA Nails have become renowned for, it’s balanced with more sober, downbeat moments.

                                                                                            On it they explore identity - like the online personas of aggressive twitter users, influencers and vloggers, as well as more introspective takes on mental health, giving up on dreams, the joy (and despair) of being a part-timer, and contemplating who they would be if they decided to hang up their guitars for good. Guitarist Gareth Thomas comments, “For me Character Stop is the best album USA Nails have ever made by miles. I’m obviously still really happy with all the music we’ve written up to this point, but on this record everything seemed to come together so sweetly. “

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                                                                                            Cover of Armitage Road by Heshoo Beshoo Group.

                                                                                            Heshoo Beshoo Group

                                                                                            Armitage Road

                                                                                            We Are Busy Bodies

                                                                                              As a highly prized collector’s item, a re-issue and re-appraisal of this lost gem from the apartheid era has been long overdue. Heshoo Beshoo loosely translates from the inter-tribal lingo of the townships as either ‘going by force’, or ‘moving with force’. That is certainly the case here. With its undeniably funky element Armitage Road combines graceful and moving playing with invention and passion, and it does not disappoint from start to finish.

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                                                                                              Cover of Discipline Of Sun Ra by EABS.

                                                                                              EABS

                                                                                              Discipline Of Sun Ra

                                                                                              Astigmatic Records

                                                                                                Sun Ra told them they weren’t copying those pieces, they were re-creating them, and with the proper information they could know the spirit behind the original.” That’s how Herman Sonny Blount treated the music of the swing legend, Fletcher Henderson. EABS approached the composition of Sun Ra in exactly the same way. An equally important element with recording was a regime associated with the discipline and precision that the pianist from Saturn fought for, using a series of exercises-compositions entitled ‘Discipline’ previously used by Arkestra.

                                                                                                They were strictly designed for exercises with the minimum amount of material, the most common built on the brass section parts, with a cyclical melody unfolding from fragments so each person played their lines meticulously, without any deviation. This is what the title of the album ‘Discipline of Sun Ra’ refers to. Sun Ra was aiming to record timeless music that could still be alive in a 1000 years, and with no hesitation, he managed to do it. The music from distant planets is infinite. “By infinity, Mr.Ra means creating jazz of the future, but also covering the past”- the same idea is carried by polish musicians.

                                                                                                On the ‘Slavic Spirits’ album, EABS was inspired by the ancient past. As we now know, discovering Sun Ra’s concept wasn’t coincidental. He also believed and shared the philosophy of coming through the darkness to see the sun and enlightenment. In case there’s no hope for living on our planet, we need to look for metaphorical escapism. That’s where the idea of building a cosmic ship under ‘Polish Space Program’ was born.

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                                                                                                Cover of After A Thousand Years by Jneiro Jarel.

                                                                                                Jneiro Jarel

                                                                                                After A Thousand Years

                                                                                                Far Out Recordings

                                                                                                  Throughout a career that has spanned over twenty years and seen collaborations with MF DOOM, Thom Yorke, Damon Albarn, BadBadNotGood, Portishead’s Beth Gibbons, Kimbra and Khujo Goodie (Dungeon Family), Jneiro Jarel’s consistently distinctive, forward thinking productions, as well as his love for the music of Brazil, made his partnership with Far Out a perfect fit. Recorded between New York, New Orleans, Miami and Costa Rica, After A Thousand Years features legendary multi-instrumentalist Bill Summers, famed for his work with Herbie Hancock, Quincy Jones and Eddie Henderson. The album also features Malawian-American guitarist Masauko Chipembere who has worked with the likes of RZA from Wu-Tang Clan and Ladybug Mecca from Digable Planets. In 2018 Far Out Recordings signed a record deal with Brooklyn born, nomadic producer Jneiro Jarel.

                                                                                                  Having just put the finishing touches to the recordings, Jarel suffered an ischemic stroke while living and working in Costa Rica and his wife Indigo was forced to set up a crowd fund to cover special medical transport back to the states to receive treatment. The release was put on hold, but thanks to the generosity of friends and fans around the world, Jarel was able to get the care he needed and is now on the long road to recovery. For Jarel, After A Thousand Years is “a culmination of the longstanding musical contributions of the African diaspora.” Permeating the Brazilian music and Latin jazz Jarel has loved and drawn inspiration from, as well as the stateside jazz, soul and funk Jarel grew up around, the influence of Africa and its musical history, on both North and South America, is key to the album’s sound.


                                                                                                  On lead single “Banana Peel”, Jarel’s outernational perspective makes for a track that is almost impossible to place geographically: you can hear the swing of Jarel’s native New Orleans jazz, the vibrance of Costa Rican rainforests as well as the influence of Jarel’s vast collection of Brazilian records. “Viberian Waves 1&2” is equally nonconformist, morphing from funky baroque-flavoured instrumental hip hop into a bossa inspired, percussive jam. Taking its inspiration from the biblical prophecies found in the books of Isaiah, Daniel, and Revelation, foretelling the fully realized, physical and spiritual restoration of the earth and mankind after the thousand year reign of the Messianic Kingdom, After A Thousand Years contemplates and celebrates a world where everlasting love, peace, and harmony abound under a sovereign, divine rulership

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                                                                                                  Cover of Beat Tape 2 - 5th Anniversary Edition by Tom Misch.

                                                                                                  Tom Misch

                                                                                                  Beat Tape 2 - 5th Anniversary Edition

                                                                                                  Beyond The Groove

                                                                                                    A soulful and collaborative follow-up to Beat Tape 1, Tom evolved his sound from its origins in boom bap hip-hop stylings of producers like J Dilla to encompass his diverse range of influences - with features including Jordan Rakei, Zak Abel, Loyle Carner, Carmody, Sam Wills and Alfa Mist. To celebrate the 5th anniversary of its release, and as a thank-you to fans for their ongoing support, Tom is releasing a special anniversary edition of the project on gold-coloured viny

                                                                                                    FORMAT INFORMATION

                                                                                                    2xColoured LP Info: 5th Anniversary Gold Edition.

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                                                                                                    Cover of Ceremony by Anna Von Hausswolff.

                                                                                                    Anna Von Hausswolff

                                                                                                    Ceremony

                                                                                                    City Slang

                                                                                                      It begins with the sound of a church organ, an arpeggio played on the lower notes, a melody teased out in the higher register, before a snare drum beats out an ominous, stuttering tattoo. Three minutes in, guitars begin to rumble like clouds gathering on the horizon, the melody slowly swelling, threatening to tear the sky apart. This is Anna Von Hausswolff’s ‘Epitaph Of Theodor’, and as dramatic, instrumental openings to albums go, it’s close to overwhelming. But it’s followed by something even more intense: ‘Deathbed’, which growls and resonates sinisterly before shards of metallic thunder shatter the drones and a funereal beat forces the song to lurch forward. Only after some four and a half minutes of this ferocious clamour do we hear a human voice, and it’s unleashed with a fierce power, rising and swooping, a vast bird pursuing its prey until the song reaches its final, unexpectedly triumphant climax.

                                                                                                      You want to talk about compromises? No. Nor does Anna Von Hausswolff.

                                                                                                      These two songs alone represent a quarter of 'Ceremony'’s 60 minutes, but there are eleven more on an album that confounds and dumbfounds from its start to its end. To those who used Anna Von Hausswolff’s debut album, 'Singing From The Grave', to compare her lazily to Kate Bush, it will come as a brutal shock. The fragile atmospheres of that impressive debut, one that earned her huge acclaim in her native Sweden, have been blasted away, and what’s emerged from the wasteland left behind is a dizzying masterpiece that, she proudly states, calls upon, amongst others, Elizabeth Fraser, Jefferson Airplane, PJ Harvey, Earth, Barn Owl, Nick Cave and Diamanda Gala?s.


                                                                                                      FORMAT INFORMATION

                                                                                                      2xColoured LP Info: This double LP is pressed on blue and black marbled vinyl and is limited to 700 units worldwide.

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                                                                                                      Cover of Jazzanova Presents Paz E Futebol 3 € by Various Artists.

                                                                                                      Various Artists

                                                                                                      Jazzanova Presents Paz E Futebol 3 €

                                                                                                      Sonar Kollektiv

                                                                                                        The time has come again: Another edition of the much-loved and highly praised by critics from all around the globe compilation «Paz E Futebol» will be released on Sonar Kollektiv. After 2006 and 2016 this is already the third sequel of this terrific series of light-footed Brazilian gems and other rarities transporting the Brazilian feel for the ball musically.

                                                                                                        Two times Jazzanova took care of the collection, now Junior Santos is responsible for digging up the tunes. The Brazilian drummer and producer is a true expert when it comes to Brazilian music. He already caught the atten-tion of Jazzanova’s Jürgen von Knoblauch with the 2014 released compilation «Brazilian Disco Boogie Sounds (1978-1982)» on Favorite Recordings. Together the

                                                                                                        two diggers selected eight songs that fit simply perfectly. Due to licensing reasons, the digital compilation features 2 additional songs by Chico de Abreu & Celso Rubinstein chosen by Juergen von Knoblauch. Although the contributions originate from three different decades (1979 - 1992) they all have the discoid and boogiesque vibe in common mainly to come alive in productions from Maranhão, Rio and Bahia.

                                                                                                        The release is accompanied by extensive liner notes by Junior Santos (in Portuguese and English). Just now in the colder and greyer season this compilation is great fun and radiates so much joy like only Brazilian music can.

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                                                                                                        Cover of High Protection & The Sportswear Mystics by The Diabolical Liberties.

                                                                                                        The Diabolical Liberties

                                                                                                        High Protection & The Sportswear Mystics

                                                                                                        On The Corner

                                                                                                          The Diabolical Liberties release their debut album “High Protection & The Sportswear Mystics” via the boundary breaking On The Corner Records label - a bastion of oddball jazz and electronics from the worldwide underground.

                                                                                                          Comprising Rob Gallagher (vocals, guitar, bass) and Alex Patchwork (head of squarepushing), the duo’s debut longplayer is a rough, unpolished gem of a record that falls clumsily in the gaps between post-punk, electronica and jazz. Lead single ‘Sliders’ embodies this identity crisis, simultaneously honouring and deriding the ubiquity of said footwear over resonant breakbeats, plonking cowbell and the screeching horn of Ignacio Salvadores (King Krule / Gal Go). Elsewhere, the brilliant Emma Jean Thackray sprinkles ‘High Protection’ with cosmic dust, ‘Bigger Than You’ is a ramshackle (but no less respectful) homage to the 70s Ghanaian disco/fusion purveyed by legends like Ebo Taylor and Pat Thomas. All produced and recorded in a shed, on train platforms, trains, tubes and occasionally Caffè Nero in Cheam when it was quieter than home.

                                                                                                          “High Protection & The Sportswear Mystics” follows a series of self-released and long sold-out white label 12”s and 7”s that included collaborations with Nyasha (a moniker of Nubya Garcia) and a super limited On The Corner 10” dubplate. All the musical (con)fusion starts to make sense when you take into account Gallagher’s long and distinguished career in music. A truly original British voice, he was a stalwart of the mid-80s London jazz scene (centred around the WAG club and Dingwalls) and a key agitator/forerunner of the fusion that was bubbling up. He formed the band Galliano in 1987 and was the first signing to Eddie Piller and Gilles Peterson’s now legendary Acid Jazz record label. Sidestepping onto Peterson’s freshly minted Talkin’ Loud imprint, Galliano’s debut album “In Pursuit Of The 13th Note” materialised in 1991 and was an international hit - effortlessly marrying cosmic funk, blues and an aura inspired by spiritual jazz with a conscious, poetic flow. The don dada Roy Ayers contributed vibes and scat. Four albums later in 1997, Gallagher disbanded Galliano and embarked on a solo career as Earl Zinger. The following year he formed the jazz/ electronic duo Two Banks of Four with Dilip Harris aka Demus, releasing “City Watching” on Ben Wilcox’s Sirkus label in 2000. Later, in 2012, he was also behind the experimental blues/folk/dub project William Adamson on Brownswood Recordings and most recently collaborated with Emanative and Rocketnumber9 on 2013’s “Over” EP.

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                                                                                                          Cover of Mother Earth’s Plantasia - Audiophile Edition by Mort Garson.

                                                                                                          Mort Garson

                                                                                                          Mother Earth’s Plantasia - Audiophile Edition

                                                                                                          Sacred Bones

                                                                                                            If you purchased a snake plant, asparagus fern, peace lily, or what have you from Mother Earth on Melrose Avenue in Los Angeles (or bought a Simmons mattress from Sears) in 1976, you also took home Plantasia, an album recorded especially for plants. Subtitled “warm earth music for plants...and the people that love them,” it was full of bucolic, charming, stoner-friendly, decidedly unscientific tunes enacted on the new-fangled device called the Moog.

                                                                                                            Before Brian Eno did it, MortGarson was making discreet music. Julliard-educated and active as a session player in the post-war era, Garson wrote lounge hits, scored the 1969 moon-landing and plush arrangements for Doris Day, and garlanded weeping countrypolitan strings around Glen Campbell’s “By the Time I Get to Phoenix.”

                                                                                                            But as his daughter Day Darmet recalls: “When my dad found the synthesizer, he realized he didn’t want to do pop music anymore.” Garson encountered Robert Moog and his new device at the Audio Engineering Society’s West Coast conven-tion in 1967 and immediately began tinkering with the device.

                                                                                                            “My mom had a lot of plants,” Darmet says. “She didn’t believe in organized religion, she believed the earth was the best thing in the whole world. Whatever created us was incredible.” And she also knew when her husband had a good song. Novel as it might seem, Plantasia is simply full of good tunes.

                                                                                                            This release marks the first official re-issue of the long sought-after cult classic.Hearing Plantasia in the 21st century, it seems less an ode to our photosynthesiz-ing friends by Garson and more an homage to his wife, the one with the green thumb that made everything flower around him. “My dad would be totally pleased to know that people are really interested in this music that had no popularity at the time,” Darmet says of Plantasia’s new renaissance. “He would be fascinated by the fact that people are finally understanding and appreciating this part of his musical career that he got no admiration for back then.” Garson seems to be everywhere again, even if he’s not really noticed, just like a houseplant

                                                                                                            FORMAT INFORMATION

                                                                                                            2xDeluxe LP Info: Deluxe, double LP, 45rpm audiophile edition of the legendary 1976 album. Every copy comes with a plantable download card printed on seed paper

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                                                                                                            Cover of Another Knock At The Door (Iyeara Remixes) by Mark Lanegan Band.

                                                                                                            Mark Lanegan Band

                                                                                                            Another Knock At The Door (Iyeara Remixes)

                                                                                                            Flooded Soil

                                                                                                              Mark Lanegan and dark wave band IYEARA have combined their talents to release a remix of his entire 2019 album Somebody’s Knocking, reimagined as Another Knock At The Door. Released on Mark's label Flooded Soil Recordings, the album is the first full record he has given to another artist to rework.

                                                                                                              Characterised by opening single Playing Nero, IYEARA have added a brooding, industrial edge to a beautiful, wistful original score. This was followed by She Loved You where they combined the throbbing synths of John Carpenter with the ethereal, ambient sonics of Tangerine Dream, to create their own cerebral take on the works of a unique, enduring artist.

                                                                                                              The Screaming Trees and Queens of the Stone Age front man's 11th solo album was a synth-laden and pulsating soundscape. IYEARA have reimagined the primal, guttural songs in their own image, each release offering something different to the listener.

                                                                                                              Comprised of The Duke Spirit guitarist Toby Butler, producer Malcolm Carson and vocalist Paul O’Keeffe, IYEARA announced themselves in 2019 through the release of CONSEQUENCES EP; a record including a cover of Shout by Tears for Fears featuring The Duke Spirit’s Liela Moss. The group are also remixing the current Humanist ft Dave Gahan project.

                                                                                                              FORMAT INFORMATION

                                                                                                              2xColoured LP Info: 180g transparent vinyl.

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                                                                                                              Cover of There Is A Place by Maisha.

                                                                                                              Maisha

                                                                                                              There Is A Place

                                                                                                              Brownswood

                                                                                                                There’s something universal in the appeal of an escape – of finding somewhere to relax and explore your ideas. It’s a feeling which connects together the different parts of Maisha’s debut album. A deep record which provides grist for serious spiritual rumination, the music prompts internal reflection as much as it reflects the surrounds which shaped it. Each of its tracks provokes a feeling of intense revery which is timeless, on the one hand, but realised through a confluence of sounds and circumstances which are undeniably of the present.

                                                                                                                The six-piece group, led by bandleader Jake Long, bring a fresh slant to the weighty spiritual jazz tradition. Their 2016 debut EP was released through Jazz Re:freshed (whose weekly shows and record label are an institution for forward-thinking jazz), and were part of We Out Here, Brownswood’s early 2018 record which documented London’s genre-bending, jazz-influenced underground. They’ve been featured on Boiler Room, supported the Sun Ra Arkestra, and played at Church of Sound, a live series that’s quickly become a staple of the emergent scene.

                                                                                                                The album’s title alludes to a small, secluded park which bandleader Jake Long would often retreat to, whose peaceful surrounds were the setting for regular moments of reflection. It’s also a reference to London. Or to be more specific, the side of London which has helped nurture him and his peers: rehearsal rooms, friend’s houses and intimate venues. Its band members, Amané Suganami, Twm Dylan, Tim Doyle, Yahael Camara-Onono, Shirley Tetteh and Nubya Garcia, the latter of whom played a part in shaping the early sound of the band, are musicians who’ve come through the same circles as Long.

                                                                                                                It was recorded across three days in mid-2018. The songs have grown out of their live sets over the past year or two, where each of them would take shape in rehearsals to then be tweaked as they worked out different approaches to them in their performances. It’s an organic kind of refinement, and one that’s audible in the music: songs unfold slowly, each of their parts given time to breathe, building up to crescendos which are patiently earnt.

                                                                                                                It’s possible to trace a personal geography of music, place and memory just through the album’s track titles. On ‘Osiris’, the track’s beguiling melodies are framed in terms of Egyptian mythology, imagery prompted by old books that Long found in his grandparents’ house; ‘Azure’ hints at the blues forms winding their way through the track’s textured wandering; ‘Eaglehurst Place’, where a tense, rhythmic groove drives the track forward, is reference to a house share with musical peers like Joe Armon-Jones, Femi Koleoso and Rosie Turton.

                                                                                                                Spiritual jazz is a tradition that’s leaden with its own traditions, histories and stories. Maisha carve out out their own style through that weight of expectation: they take stock of that history, channelling the greats like Pharoah Sanders, while filtering their own influences – which range from jazz to Afrobeat – through every part of their musical process. It’s a sound which rests on trance-inducing rhythms, instinctive musical interchange and repeated, deeply enriching melodic refrains. It’s a combination which has made for their own singular sound.

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                                                                                                                Cover of Café Turk by Café Turk.

                                                                                                                Café Turk

                                                                                                                Café Turk

                                                                                                                Zel Zele

                                                                                                                  Café Türk are an inimitable Turkish-Swiss band formed in the 1980s, whose genre-bending sonic palette draws from Anatolia, the Caucasus and Western Europe. The group’s frantic trajectory connects Switzerland and the Turkish city of Kars with a background story as rich and unexpected as their sound. After three decades since they disbanded, Zel Zele Records have collaborated with Turkish crate-digger Grup Ses to give the music of Café Türk a new lease of life. This eponym compilation features

                                                                                                                  original album tracks, singles and previously unreleased takes that trace the outline of the group’s history. From the rolling disco of the group’s debut recording “Haydi Yallah”; to the previously unreleased kosmiche of “Yıldızlar”, “Ali Baba From Istanbul”s Azeri grooves and German language vocals, to the psyched-out interpretation of Causaccian folk tune “Şamil”, Café Türk showcases the endless stream of ideas the band had during their time together between 1983 and 1989. Tracks come with an unrestrained spirit, weaving in the crackling energy of new wave, rock, disco and reggae with influences from Turkey and Azerbaijan.

                                                                                                                  This fascination in pulling different worlds together goes right back to the formative days of Metin Demiral, founder of Café Türk. Metin grew up in Kars, a provincial town in the Northeastern part of Turkey. Kars was once known for its multicultural communities; where you could hear locals speaking a range of languages, from Turkish to Azeri, Russian and Kurdish. In 1983 Café Türk won a contest set for Turkish groups based in Europe, organised by the label Türküola, home to Turkish stars like Cem Karaca, Selda Bağcan and Barış Manço. The resultant recording sessions gave birth to his new band and debut LP, Pizza Funghi. But Metin turned down Türküola’s offer to put the record out and instead self-pressed 1000 copies on his own Sound Concept label - driving as far as Berlin to sell them face-to-face to record shops. The record was picked up by a member of the German city of Nuremburg’s Cultural Department and soon Café Türk were invited to play for the local workers’ unions, many of whom represented immigrants from Turkey. These events only grew in popularity, the group ultimately spending five years touring similar shows in Europe, alongside more conventional tours and festivals. Metin had hoped to bring his new record to audiences in Turkey again, however, he found it impossible to get any of his songs played on state-sponsored radio, something he attributed to the infamously strict supervisory board of TRT, Turkey’s state-funded broadcaster. TRT tended to not accept songs that blended both western and traditional Turkish music in order to avoid “degenerating” Turkish folk music. Cafe Türk tried to fight this conservative mindset, but progressively resigned themselves to the political restrictions of the time.

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                                                                                                                  Cover of All Hash And Cock - The Very Best Of by The Bachelor Pad.

                                                                                                                  The Bachelor Pad

                                                                                                                  All Hash And Cock - The Very Best Of

                                                                                                                  Emotional Response

                                                                                                                    Imagine the Buzzcocks with Syd Barrett as the singer!" The Bachelor Pad : five lysergically-enhanced heads from Strathbungo, Glasgow. Psychedelic punks born into, but delightfully out of step with the UK indie fanzine culture of the time. Flashes of red and purple... Perfect pop buried amidst a nuclear maelstrom of noise and excitement. During their brief existence they burned bright, squeezing out an album, 5 singles and a flexi-disc, with the cream of the crop being served up on this career spanning compilation. Gatefold sleeve, color vinyl. "...amid the sonic bedlam, they write the sweetest melodies, they've got the most agreeable harmonies.

                                                                                                                    It's all about extremes: "Do It For Fun" is the noise your brain makes when everything you've taken comes on top at once; "Tumble And Fall" is as cute as a squirrel's nut, "The Coroner's Wife" is.... well, answers on a postcard, please." Alexis Petridis

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                                                                                                                    Cover of Deeper Love by Stone Foundation Feat. Paul Weller.

                                                                                                                    Stone Foundation Feat. Paul Weller

                                                                                                                    Deeper Love

                                                                                                                    100%

                                                                                                                      Following the release of their brand new top 40 album "Is Love Enough?”, Stone Foundation return with their 3rd 7” release of the year. Featuring regular collaborator Paul Weller on lead vocals, Deeper Love boasts a Balearic funk groove and one of Weller’s best ever vocal performances. Limited to 1,000 copies worldwide, certain to sell out quickly. Unmissable!

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                                                                                                                      Cover of Music From Patch Cord Productions by Mort Garson.

                                                                                                                      Mort Garson

                                                                                                                      Music From Patch Cord Productions

                                                                                                                      Sacred Bones

                                                                                                                        Mort Garson’s road to cool cultural caché and the sublimity of Plantasia meant a decades’ long journey through an underworld of sophisticated, international, string-laced dreck (i.e., your great-grandparents’ record collection) to arrive at Music from Patch Cord Productions, this set of queasy-listening you now hold.

                                                                                                                        Music from Patch Cord Productions shows that Garson’s knack was to exist in both worlds, super-commercial and waaay out. He cut delirious minute-long blasts for commercials (as to whether or not they were actually ever aired remains unknown) and spacecraft-hovering études. Were there really account managers out there in the early ’70s that gave the greenlight to these commercial compositions which seemed to anticipate everyone from John Carpenter to Suicide? What were these campaigns actually for, Soylent Green? Regardless, Mort’s jingle work laid the groundwork for the future. As Robert Moog himself noted: “The jingles were important because they domesticated the sound.” Via Garson’s wizardry, the synthesizer transcended novelty to ubiquity and dominance.

                                                                                                                        Other curios and questions abound. How did Garson’s arrangement work for Arthur Prysock’s satiny body worship album This Is My Beloved transmogrify into the body-snatcher pulses of “This is My Beloved”? Are the two pieces even related? What is the IATA code for the airport of “Realizations of an Aeropolis”? What denomination is the “Cathedral of Pleasure”? If “Son of Blob” sounds like a hallucinatory melted ice cream truck theme, what on earth does Blob’s father sound like? Every sound wrangled out of that Moog by Garson pushes things further and further out.

                                                                                                                        Of course, these are all questions that may never get answers, as Garson wasn’t the most organized modern day composer, busy as he was conjuring strange new realms with his circuit boards and synths. He worked and wrote right up until his death in 2008, his daughter and Sacred Bones still going through all of the material left behind. He wouldn’t live to see it, but his renaissance was just around the corner, the seeds that had been scattered in record bins around the world suddenly coming to bear fruit. Take a bite!


                                                                                                                        FORMAT INFORMATION

                                                                                                                        Coloured LP Info: Limited purple vinyl.

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                                                                                                                        Cover of Didn't You Hear? by Mort Garson.

                                                                                                                        Mort Garson

                                                                                                                        Didn't You Hear?

                                                                                                                        Sacred Bones

                                                                                                                          Six years before the release of his landmark Mother Earth’s Plantasia LP, composer and arranger Mort Garson met experimental film director Skip Sherwood, who was interested in an electronic score for his new movie, Didn’t You Hear? While not much is known now about the exact nature of their collaboration, we have Garson’s magnificent score as a record of those heady, early days after his lifechanging discovery of the Moog synthesizer. Notable for being one of the earliest screen appearances by a young Gary Busey, Didn’t You Hear? also boasts one of the first-ever all-electronic movie scores. Though the score was first released in 1970, it sounds as adventurous and futuristic today as it must have then. Originally available only in the lobby of the theater at screenings of the movie in Seattle, the soundtrack LP went out of print shortly after the film’s release. It has been a sought-after record for collectors of Mort Garson and early electronic music ever since. Sacred Bones is honored to reissue Didn’t You Hear? as it was meant to be heard, taken from the original master tapes and given a pristine remaster by engineer Josh Bonati.

                                                                                                                          ABOUT MORT GARSON: Morton S. “Mort” Garson was a Canadian-born composer, arranger, songwriter, and pioneer of electronic music. He is best known for his albums in the 1960s and 1970s that were among the first to feature Moog synthesizers. His bestknown album is Mother Earth’s Plantasia, a 1976 Moog album designed to be played “for plants and the people who love them.” Sacred Bones Records has undertaken the project of giving official, licensed reissues to key releases from Mort Garson’s catalog, with the intention of bringing these bold masterpieces to a 21st century audience.

                                                                                                                          • Reissue of Mort Garson’s long-out-of-print soundtrack for the 1970 experimental film Didn’t You Hear?
                                                                                                                          • One of the first-ever all-electronic film scores
                                                                                                                          • Remastered from the original master tapes
                                                                                                                          • Silver vinyl limited to 2000 copies


                                                                                                                          FORMAT INFORMATION

                                                                                                                          Coloured LP Info: Limited silver vinyl.

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                                                                                                                          Cover of Black Mass by Lucifer (Mort Garson).

                                                                                                                          Lucifer (Mort Garson)

                                                                                                                          Black Mass

                                                                                                                          Sacred Bones

                                                                                                                            Black Mass is an album of supernatural electronics from synth pioneer Mort Garson, the mastermind behind the cult classic Mother Earth’s Plantasia. Originally released in 1971, it’s his only release under the Lucifer moniker, and it taps into a profound darkness that may surprise fans of his sunnier work. These songs are Garson’s synthesizer interpretations of occult and esoteric phenomena ranging from the Satanic black mass, to exorcism, to witchcraft, and beyond, and they’ve inspired artists from Coil to Oneohtrix Point Never. This deluxe remastered edition presents the album in full with all original liner notes.

                                                                                                                            ABOUT MORT GARSON: Morton S. “Mort” Garson was a Canadian-born composer, arranger, songwriter, and pioneer of electronic music. He is best known for his albums in the 1960s and 1970s that were among the first to feature Moog synthesizers. His bestknown album is Mother Earth’s Plantasia, a 1976 Moog album designed to be played “for plants and the people who love them.” Sacred Bones Records has undertaken the project of giving official, licensed reissues to key releases from Mort Garson’s catalog, with the intention of bringing these bold masterpieces to a 21st century audience.

                                                                                                                            • Supernatural and occult-themed electronic music from composer Mort Garson (Mother Earth’s Plantasia)
                                                                                                                            • Served as inspiration to contemporary artists from Coil to Oneohtrix Point Never
                                                                                                                            • Remastered from the original master tapes
                                                                                                                            • Pink vinyl limited to 3000 copies


                                                                                                                            FORMAT INFORMATION

                                                                                                                            Coloured LP Info: limited pink LP

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                                                                                                                            Cover of Petrichor by Heather Trost.

                                                                                                                            Heather Trost

                                                                                                                            Petrichor

                                                                                                                            Third Man

                                                                                                                              Third Man Records is chuffed to present to you the New Mexico-based artist Heather Trost’s second or third solo full-length. Petrichor is fresh, unique, and really fucking good.

                                                                                                                              Sonically, this modern psychedelic pop music is as experimental as it is accessible. Petrichor was recorded between 2018 and 2019 by Heather Trost and her husband Jeremy Barnes (Neutral Milk Hotel) at their home studio. The two are community activists in New Mexico, urban gardeners, and full-time musicians.

                                                                                                                              "As the rain renews the thirsty soil, let Heather Trost's 'Petrichor' soothe your soul and wake up your ears. Swirling vintage keys, propulsive drum beats, and the sweetest of voices bloom and grow here." - Naomi Yang, Galaxie 500

                                                                                                                              FORMAT INFORMATION

                                                                                                                              Coloured LP Info: Indies exclusive off white vinyl.

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                                                                                                                              Cover of Welfare Jazz by Viagra Boys.

                                                                                                                              Viagra Boys

                                                                                                                              Welfare Jazz

                                                                                                                              Year 001 / AWAL

                                                                                                                                Since their founding in 2015, Swedish post-punk band Viagra Boys have made a name for themselves burning up stages around the world. There's a little Iggy Pop spit and seethe, a David Yow drunken stumble, and a bite of Nick Cave's haunted bark. Add a dash of motorik groove, a pinch of post-punk grime, and a dose of no wave howl. For every gruff and gritty croak in the outfit's catalog, they come back with a pair of bongos, squared-off synths, and a squonky saxophone, with songs that deftly lay waste to society's normalization of toxic masculinity, racism, misogyny, classism, and self-obsession.

                                                                                                                                Viagra Boys' Sebastian Murphy dreams about everyone hating his guts. A lot. "I kept having this recurring nightmare where my mom was crying and my friends were all pissed off at me," he recalls, almost reverently.

                                                                                                                                The band's new album, Welfare Jazz, doesn't bargain with the anxiety in that defeated feeling, but rather a boiling certainty that nothing and no one is absolute. There's plenty of blame to go around, and things are just a lot more interesting when you admit that you're not always going to be nice, you're not always going to pick the right words in a fist-fight. So why not keep moving forward, swaying and strutting into the night.

                                                                                                                                FORMAT INFORMATION

                                                                                                                                Coloured LP Info: White vinyl.

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                                                                                                                                Cover of Tin Star: Liverpool (Music From The Original TV Series) by Adrian Corker.

                                                                                                                                Adrian Corker

                                                                                                                                Tin Star: Liverpool (Music From The Original TV Series)

                                                                                                                                Constructive

                                                                                                                                  The first release on sister label of SN Variations, Constructive is the music for the third and final season of Tin Star,Tin Star Liverpool starring Tim Roth, Genevieve O'Reilly and Abigail Lawrie. Released on digital and in a limited edition of 300 neon yellow vinyl.Performed by Orchestrate (Mica Levi,Bobby Krilc) and with field recordings by Chris Watson.

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                                                                                                                                  Cover of Fabric Presents Octo Octa & Eris Drew by Various Artists.

                                                                                                                                  Various Artists

                                                                                                                                  Fabric Presents Octo Octa & Eris Drew

                                                                                                                                  Fabric

                                                                                                                                    Rising through the queer American DJ circuit, Eris Drew and Octo Octa, co-owners of dance label T4T LUV NRG, share multiple decades between them actively participating within the dance music community and are currently both weekly residents on BBC Radio 1. The 21 track compilation was mixed from all-vinyl in their log cabin home and studio in the woods of New Hampshire, taking in cuts that span house, bassline, UK hardcore, and trance. It's includes exclusive tracks from both Octo Octa - 'River' – a trancey and euphoric house classic, and Eris - 'Reactiv-8' – an electro selection with Eris’s own vocals, as well as many rare 90s house gems previously limited to the collections of vinyl-heads and now available for download. Released alongside the comp is a double vinyl product with download code featuring ten full length tracks from the mix. 

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                                                                                                                                    Cover of The Realist EP by Lanterns On The Lake.

                                                                                                                                    Lanterns On The Lake

                                                                                                                                    The Realist EP

                                                                                                                                    Bella Union

                                                                                                                                      The Realist includes four brand new tracks as well as a new reworked stripped-back arrangement of the single “Baddies”. Of the track and EP vocalist Hazel Wilde says: “The Realist is a song about being a dreamer, clinging to a vision and following your heart - even when that path can seem deluded to others. It was one of the songs that didn’t make it onto the album Spook The Herd as it didn’t fit sonically or narratively. It felt like it came from another place. So we began putting together this EP. We wanted to sculpt an intimate “headphones” record. One for the introverts and dreamers, the ones that still find beauty and magic in things. Recording some of the songs over lockdown in our homes helped in creating that world.”

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                                                                                                                                      Cover of Strong Enough - Inc. Mall Grab Remix by Hammer.

                                                                                                                                      Hammer

                                                                                                                                      Strong Enough - Inc. Mall Grab Remix

                                                                                                                                      The Hammer Hits

                                                                                                                                      Bicep affiliate Hammer returns to his own label.
                                                                                                                                      Comes with remix from Mall Grab

                                                                                                                                      Hammer serves up his second dancefloor edit with ‘Strong Enough’ on his The Hammer Hits label, a huge Roland sh2 baseline driven track following on from the sell out ‘Love Somebody’.

                                                                                                                                      Mall Grab joins him on the flip with a huge crunchy techno dub. Satisfaction guaranteed.

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                                                                                                                                      Cover of Yarmouth by David Boulter.

                                                                                                                                      David Boulter

                                                                                                                                      Yarmouth

                                                                                                                                      Clay Pipe Music

                                                                                                                                        David Boulter is a founding member of Tindersticks, he has made over 20 studio albums and film soundtracks with the band. Nottingham born, but based in Prague since 1998, under his own name he has worked on music for many films. These include an eight-part serial Pustina/Wasteland for HBO Europe, the American movie Five Nights In Maine and recently two documentaries with Turkish/Belgian director Volkan Uce. Yarmouth is his first solo LP.

                                                                                                                                        The inspiration for Yarmouth came when David, arrived a day early for a show at the Arts Centre in Norwich, and made an impromptu visit by train to the seaside town where had spent his childhood holidays.

                                                                                                                                        In a year when most of us have been unable to travel, Yarmouth offers an escape to summers past. It recalls the saturated colours of a John Hinde postcard in musical form. With a sound palette based around an old 1970’s Lowrey organ, flutes, violin, vintage tape echo and a Premiere vibraphone, it captures a dreamy side of Yarmouth. Sun- drenched childhood memories, long shadows on the sand, the sound of seagulls and waves breaking on the shore. The magic of the fair - the entrance guarded by a huge mechanical giant, club in hand, while the roller coaster rattles overhead on a backboard of painted mountains peaks. As the sun goes down, noise drifts out from the amusement arcades, and neon flickers on Marine Parade, lighting up the fountains in candy floss colours.

                                                                                                                                        “As I stepped off the train, the weight of time passed hit me. I was overwhelmed by a sense of sadness and loss. As I walked along the streets, looking for Trudy’s, I didn’t expect her, but I did find the house. Slowly, as I recognised buildings, streets, memories. I began to smile. I hadn’t lost anything. Great Yarmouth had changed. So had I. But the warmth of those sunny childhood summers was still there.” David Boulter 2020

                                                                                                                                        STAFF COMMENTS

                                                                                                                                        says: There is nothing in this world that would make me miss a Clay Pipe release, and this one was CLOSE. One of the best labels around, i'm absolutely sure this will be amazing. Get in while you can!

                                                                                                                                        FORMAT INFORMATION

                                                                                                                                        Coloured LP Info: Yellow vinyl, limited to 300 numbered copies with download code

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                                                                                                                                        Cover of Shyga! The Sunlight Mound by Psychedelic Porn Crumpets.

                                                                                                                                        Psychedelic Porn Crumpets

                                                                                                                                        Shyga! The Sunlight Mound

                                                                                                                                        Marathon Records

                                                                                                                                          Psychedelic Porn Crumpets continue to assert their status as one of Australia's hardest working bands - pandemic be damned - in announcing the release of their new album, SHYGA! The Sunlight Mound, set for release February 2021.

                                                                                                                                          For the Perth group, creativity and production hasn't stopped in 2020.

                                                                                                                                          Despite much of this year's tour plans being put on pause, PPC’s have used their time off road to continue preparing for the release of their fourth studio release, and an eventual blistering return to stages around the world..

                                                                                                                                          The creation of SHYGA! The Sunlight Mound, especially off the back of 2019's huge LP And Now For The Whatchamacallit, came together in a different environment for McEwan and the results speak to the band's evolution and McEwan's evolution as a songwriter.


                                                                                                                                          "For the first time in a long time I was home without any tours booked, no work, no deadlines and I felt free to create. My writing process became ritualistic; every morning starting with a small walk to the local bottle shop at 11am and writing whatever flowed, allowing myself to design in all styles without boundaries, and not trying to theme the album early on. I haven't had the luxury of writing this way since the first record, which I spent almost a year working on. It felt like I was myself again, creating without opinion or constraints. I was gliding through weeks with a day seeming to pass."

                                                                                                                                          FORMAT INFORMATION

                                                                                                                                          Coloured LP Info: Limited indies only orange and white splatter vinyl.

                                                                                                                                          LP Info: Black vinyl with gatefold sleeve.

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                                                                                                                                          Cover of Confrontation - Half-Speed Master Edition by Bob Marley & The Wailers.

                                                                                                                                          Bob Marley & The Wailers

                                                                                                                                          Confrontation - Half-Speed Master Edition

                                                                                                                                          UMC/Island

                                                                                                                                            Abbey Road's world-renowned engineers have been cutting grooves into discs since the studios first opened their doors in 1931. This record was pressed from a master cut using a precision technique known as half-speed mastering. The procedure requires the source master and the cutting lathe to run at half speed on a specially adapted Neumann VMS-80 lathe.

                                                                                                                                            This rare and specialised technique transforms difficult to cut highend frequencies into relatively easy to cut mid-range frequencies. The result is a cut with excellent high frequency response and very solid and stable stereo images. In short, half-speed mastering produces a master of the highest quality that enables the pressing plant to produce a superlative record.

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                                                                                                                                            Cover of Legend - Half-Speed Master Edition by Bob Marley & The Wailers.

                                                                                                                                            Bob Marley & The Wailers

                                                                                                                                            Legend - Half-Speed Master Edition

                                                                                                                                            UMC/Island

                                                                                                                                              Abbey Road's world-renowned engineers have been cutting grooves into discs since the studios first opened their doors in 1931. This record was pressed from a master cut using a precision technique known as half-speed mastering. The procedure requires the source master and the cutting lathe to run at half speed on a specially adapted Neumann VMS-80 lathe.

                                                                                                                                              This rare and specialised technique transforms difficult to cut highend frequencies into relatively easy to cut mid-range frequencies. The result is a cut with excellent high frequency response and very solid and stable stereo images. In short, half-speed mastering produces a master of the highest quality that enables the pressing plant to produce a superlative record.

                                                                                                                                              [ + ]
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                                                                                                                                              Cover of Uprising - Half-Speed Master Edition by Bob Marley & The Wailers.

                                                                                                                                              Bob Marley & The Wailers

                                                                                                                                              Uprising - Half-Speed Master Edition

                                                                                                                                              UMC/Island

                                                                                                                                                Abbey Road's world-renowned engineers have been cutting grooves into discs since the studios first opened their doors in 1931. This record was pressed from a master cut using a precision technique known as half-speed mastering. The procedure requires the source master and the cutting lathe to run at half speed on a specially adapted Neumann VMS-80 lathe.

                                                                                                                                                This rare and specialised technique transforms difficult to cut highend frequencies into relatively easy to cut mid-range frequencies. The result is a cut with excellent high frequency response and very solid and stable stereo images. In short, half-speed mastering produces a master of the highest quality that enables the pressing plant to produce a superlative record.

                                                                                                                                                [ + ]
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                                                                                                                                                Bastedos - What’s Your Secret? / Do You Blow?

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                                                                                                                                                Tone B. Nimble - Soul Is My Salvation Chapter 7

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                                                                                                                                                Unknown - Ron's Reworks Vol. 4

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                                                                                                                                                Joe Sembene - Joe Sembene

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                                                                                                                                                The ONLY official, proper reissue of Bam Bam's 'Where's Your Child? Remaster', 30 years old and still nasty AF!… https://t.co/hicV3JiyNz
                                                                                                                                                Tue 20th - 10:39
                                                                                                                                                PRESALE: @dinkededition 76 @JGhedi 'In The Furrows Of Common Place' Dinked Exclusives • 180g copper/bronze colour… https://t.co/xpVMVtL2Z1
                                                                                                                                                Tue 20th - 9:00
                                                                                                                                                Wakey wakey folks! @dinkededition 76 announced at 10am TODAY!! https://t.co/or7eRp75ix
                                                                                                                                                Tue 20th - 8:01
                                                                                                                                                💫 COMPETITION 💫 Calling all @acrmcr fans! Pre-order their new 7” single ‘Berlin’, out October 30 via @MuteUK, to b… https://t.co/4ya7Wa4p6z
                                                                                                                                                Mon 19th - 2:34
                                                                                                                                                🙌 https://t.co/MCBJhjkn09
                                                                                                                                                Mon 19th - 11:51
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