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Mogwai

KIN

    Mogwai's first venture into the world of the feature film soundtracks is for the upcoming KIN (directed by the producers that bought you Stranger Things and Arrival, Jonathan and Josh Baker and in cinemas 31st August 2018).

    Mogwai fans won't be disappointed and it will appeal to lovers of sci fi film soundtracks.

    Includes the previously released single 'Donuts'.

    FORMAT INFORMATION

    Coloured LP Info: Limited red vinyl LP

    Coloured LP includes MP3 Download Code.

    CD includes MP3 Download Code.

    This release features KVETCH X, the unkown electronic wizard hailing from within the reaches of the smog of Manchesters industrial city. The voltmeter ep features 3 machine/synth driven tracks which each take you on a different journey from an underground rave bunker to the reaches of outer space. Only you can be the judge, so climb on board & see where it takes you.

    After an essential hiatus, 12 Inches Deep returns with a brand new project. Introducing Hot Dime Recordings, house and garage based on a different set of metrics, UK Garage. The brainchild of 12ID label founder, Urbanite, and none other than UK Garage legend, Karl "Tuff Enuff" Brown, of Tuff Jam fame, Hot Dime Recordings launches an all new, US based - UK Garage platform, with 2TUF4U Vol. 1, a massive compilation hand selected from Karl's prolific vault of works and collaborations. Turn to the A side for a joint effort between Karl Brown, and fellow ledge, Jeremy Sylvester, as "Tuff Asylum;" with an original, and individual "HOT" mixes. Flip to the opposite side for another pair of special "HOT" mixes, this time of the Anthill Mob's "When I Think of You," followed by a swinging "DONK" mix from the unmistakable, DEM2, to round out the volume. One not to be missed.

    Emotional Rescue returns to the music of Elaine Kibaro with a special 7" single to accompany the Pour L'Amour album collection (ERC066). Here then are two bonus versions of songs from the LP with a unique Arabic recording of her "hit" Aurore and also, the previously unreleased on vinyl instrumental version of her balearic / boogie jam, Ne Doute Pas.

    Having moved from Tunisia to France at the age of 13, Kibaro's duel sensibility has long been apparent in her music and performance. The early success of her debut 7" De L'autre Cote Du Miroir in 1977, was soon followed by her most 'successful' song in Aurore, first released as a 7" in 1978, before appearing again as 9 minute extended version on the 1979 Miroirs LP.

    In the same year she recorded a special 7" single on the little known World Music label. Singing the lyrics in Arabic - renamed here to its true translation - much else remained the same. The music of the original, the spoken intro soon gives way to what is essentially a leftfield disco groove, with building strings, funky bass and some late archetypal 70s Euro drumming. Atop this the vocals are delivered in Kibaro's ubiquitous chanson delivery, her heartfelt singing, the congos breakdown and then chorus, as the songs builds, all lead to head-nodding smiles all round.

    With this is Ne Doute Pas. A stand out from Pour L'Amour, the vocal version appeared in 1989 as a single and on the now sought after, Kiroel album. This instrumental simply let's the music shine. A Linn rise and fall bassline, soft, layered keys and mode horns are run and rerun in a catchy, incessant flow like a PWL demo. The 10 years between the 2 tracks is apparent in the instrumentation but the link between the two - Kibaro herself - is clear and worth enjoying for that

    '2 Sim' is a phrase the references mobile phones with two sim cards to describe people of mixed heritage, dual nationality or multiple residence. After being called 2 Sim in conversation with a stranger while on a walk through Freetown (a recording of this moment features on the record) Duval began to explore what the 2 Sim experience is in contemporary West-Africa.

    2 Sim EP was created from 2 months of field recordings and interviews with family, friends and peers in Freetown Sierra Leone. These site specific recordings are collaged with solo piano recordings and production recorded in Sierra Leone and the UK. The EP is accompanied by a short film/ music video of the same name which Duval shot and Directed whilst making the record.

    2 Sim EP is the second release from Carrying Colour which follows on from 2017's 'Sen Am'"

    Adeen Records is back with it's follow up to Alton Miller's "More Positive Things" with Chez Damier's parisian outfit French Connection. This Chinese only import five song Ep features remixes from Nicholas, Chez's Panarama Bar club banger remix, and Beijing, China's production team Camille. The B-side features "Queen Of The Elephants" remixed by Jeff K, and a scorching edit of "It Ain't right" guaranteed to set the dancefloor ablaze.

    "Spoki (Ghosts) is the sound of an artist putting their private world to tape. Of exploring and pushing the limits of themselves and technology to realise the music in their head. Recorded in Riga between 1988-2011.
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    As Ingus Baušķenieks himself explains: “My own world differs a little from my friends' tastes. And - as my father said - the collective art is not art at all.

    The music of Ingus Baušķenieks is both deeply private and completely alien. Experimental yet happy to celebrate pop influences such as Engelbert Humperdinck, Simon & Garfunkel or Fleetwood Mac. It is shaped by the artist’s engagement with technology and his strive to put to record his ‘own world’.
    As Ingus explains, it is the sound of him: “doing what I like to do.”

    Crotocosm (Willie Burns & Jordan GCZ)

    Sessting The Scene For An Island Battle

    Crotocosm is an occasional collaboration between Jordan GCZ (Lushlyfe, Off Minor) and Willie Burns (Black Deer, WT Records). Tracks were recorded together live in Amsterdam and Brooklyn between 1996 and 2017.. it's a TIP !

    The Mystery Lights

    Thick Skin / In The Darkness

      It is our distinct pleasure to announce the latest platter from Brooklyn's own Mystery Lights.

      The a-side, Thick Skin, finds the boys moving away from a traditional '60s garage feel towards an angular, late '70s no-wave sound – but with a driving beat and verbal assault that brings groups like MC5 to mind.

      Coupled with scratchy/noisy bits that tip the cap to the more experimental side of The Velvet Underground, The Mystery Lights masterfully blend blues y riffs, dorky farfisa, and tough rhythms to create a sound that's wholy their own.And the lyrics? Simple: Don't be a cry baby.

      On the flip is In the Darkness which shows the more introspective, soulful side of The Mystery Lights.

      With guest vocals by Coley Gold, Mike laments about finding comfort in the darker side ofl ife, while Coley reasures our protagonist that there is light in all things dark. But hey, sometimes it feels good .


      This 12” is a document of modern contemporary music, containing future artifacts made by a selection of old friends and new faces. All of them deviate from what’s obvious, possessing the ability to be serene and mental at the same time. Their coming together here is a great opportunity to appreciate this kinship, while at the same time acknowledging what distinguishes them from each other in terms of sound and representation.

      Wilma

      Bodycall EP

        The Copenhagen duo wilma (lower case w) aka. Jeppe Willumsen & Dan Madsen formed in 2014 and soon got off to a hectic start. Despite their varied backgrounds the two quickly bonded around their common love of early dance music. The resulting output was picked up by then Panorama Bar resident Prosumer. He used their tune Fabio on his fabric 79 mix CD and released a four track EP with wilma on his new, but unfortunately short lived, Potion imprint. Fast forward a few years and the duo behind the Multiplex reboot have just gotten a distribution deal, when they receive a couple of tracks from wilma – It was love at first listen.

        Hefner

        Breaking God's Heart - Vinyl Reissue

          20 years ago, on 7th July 1998, the first Hefner LP was released, it garnered some great reviews, ensured the band were to become one of Peel’s favourites (they had 5 entries in 1999’s festive 50!), and cemented their reputation as Britain's largest small band.

          NME - “truly independent, unassuming and painfully honest: the sound of thin, white indie dukes in spectacles.”
          Melody Maker - “heart-skeweringly astute” combination of “grimly sweet lyrics and delicate, tentative tunes.”
          Time Out - “awe-inspiring in their naked honesty”
          More recently, the album was number 25 in Pitchfork’s 50 greatest Britpop albums, above A Northern Soul (Verve), Fuzzy Logic (Super Furry Animals), Vauxhall and I (Morrissey) and Tellin’ Stories (the Charlatans).

          Breaking God’s Heart now gets the essential 20th anniversary vinyl re-issue, accompanied by some shows where Hefner frontman, Darren Hayman, will play the album in full Here’s what Darren has to say about the record now: Breaking God's Heart is an awkward, over confident start to my career. I have yet to get to grips with it again properly in preparation for these anniversary shows. It's so far away in my past that I have some difficulty in relating to the person who made it. Mostly when I hear it I'm just amazed at the confidence, and possibly arrogance, I had then. I insisted on mostly first takes being used, vocals being recorded live in the room with the instruments, a ban on any reverbs or ambience being used. It was like I was trying to sabotage my career at the first hurdle. Many of those decisions were based on half understood, interviews with my idols from the American Lo-Fi scene but I really didn't know what I was doing. It does make a bizarre and caustic record though, and I know there are plenty of people who think this is my best work and I never got back to the blunt energy of these recordings. I do see their point.

          Quotes - Hefner's is a bedsit world of spindly guitar and towering passions; of skewwhiff ideals and surprisingly smooth melodic surges; of awkward outbursts and slow-burning lo-fi for lovers… 'Breaking God's Heart' is all about sparkling melodies, twinkly-eyed poetry, intimate confessions, a thrillion knowing references to sex, soul and sadness and the sort of chipper attitude that says: 'This is a record you will relish for years to come'. So save yourself time, start treasuring it now. 8/10 NME 

          Hefner are running on the same rock-not-rock fuel as early Violent Femmes or The Modern Lovers, and like those groups are expert at building emotionally charged arrangements by adding or subtracting at precisely the right time. 8/10 Drowned In Sound.

          FORMAT INFORMATION

          Ltd LP Info: 700 12" black vinyl albums, full colour inners, full colour sleeves + download code.

          Len Leise

          Initials

            General Purpose brings you Len’s latest offering, Initials. An electronic experimentation in forward-thinking Balearic music.

            Originally written between 2014 and 2015, these discarded, lost ideas persisted enough to require further investigation. Taking a pause between his dub explorations, Initials is the result of this inquiry.


            Anton Klint

            Ups & Downs

              Last spotted tomfooling as Tryck & Ton with Edvin Edvinsson, and prior to that as Tiedye on Mike Simonetti’s Italians Do It Better imprint, subversive Swede Anton Klint makes his debut on Simonetti’s latest label 2MR with two more vitally trippy, heavily dub-informed originals.

              ‘Mun’ chugs at a stately 107. Rippling in places, squiggling in others, there’s an unabashed FX weirdness bubbling and popping over the insistent shimmering dubwise groove. Tweaking, freaking but running at such a smooth temper there’s space between the chaos, Anton is balancing some heavily hypnotic alchemy here.

              ‘Strupe’ takes things even lower and slower. A dusty bluesy chugger, unhurried-yet-relentlessly building with a great sense of cosmic drama, listen and marvel as more elements are precision introduced throughout the seven minute trip. A masterclass in modern day honkytonk.

              Remix-wise we’re thrusted into the later hours with a technoid twist from Andre Laos. Maintaining Anton’s original’s trippy charm and measured pace but re-amping it with grittier foundation, teasing risers and an insurgent synth strike, it’s the perfect complement to one of 2MR’s most singular releases to date. Open wide.


              Fumiya Tanaka & Kuniyuki

              EP

                Sundance presents three tracks from Fumiya Tanaka and Kuniyuki.

                Studio Mule

                Shinzo No Tobira Feat Miyako Koda

                  It’s a 2nd release of Studio Mule’s new project with Miyako Koda aka Dip In The Pool.

                  Following the cover version of Ohnuki Taeko’s carnaval, Studio Mule made the new version of the Japanese new wave classic “Shinzo No Tibia By Mariah” with a new lyrics in Japanese (original is in Armenian) which is written by Miyako Koda. Yasuaki Shimizu kindly gave them the permission to do this.

                  Extended version on a side is full of the respect for the original version and dub version on b side is dark new wave dub version.

                  Kuniyuki said the idea of this version came from Adrian Sherwood’s remix for Depeche Mode.


                  Spectrum

                  Highs, Lows, And Heavenly Blows

                    First time reissue on any format of the 1994 album by Spectrum. Spectrum is the project of Sonic Boom (ex-Spacemen 3 as well as Experimental Audio Research) and collaborators. Technically his 3rd album but the 2nd under the name Spectrum. Carrying on the signature sound exemplified on “Soul Kiss (Glide Divine)”, “Highs, Lows, And Heavenly Blows” lulls the listener into a deep trance with it’s droning and hypnotic tracks and treated vocals on top of a myriad of analog synths and Sonic’s recognizable guitar treatments. The first track “Undo the Taboo” sets the stage for a meditative ride that doesn’t let up until the last track. Absolutely crucial and long awaited reissue.

                    FORMAT INFORMATION

                    LP Info: Second pressing on black 180 gram Vinyl.

                    Various Artists

                    Midnight In Tokyo Vol. 2

                      Midnight In Tokyo 2, the second installment to the compilation series that rounds up hidden gems by Japanese artists that's perfect for listening at night in Tokyo, is here. This time the collection brings together some tasty electric jazz fusion from the '80s , compiled by Dubby, the man behind the online record store Ondas.

                      The compilation begins with "Hikobae," a dark and slow cosmic jazz by saxophonist Genji Sawai, followed by "Danza Lucumi," an odd Caribbean-style jam by Today'sLatin Project, a band fronted by Tadaaki Misago of Tokyo Cuban Boys, with arrangements by Yasuaki Shimizu. "On The Coast" is a soulful and mellow vocal track arranged by Ryuichi Sakamoto, from guitarist Shigeru Suzuki's album White Heat, and fusion boogie cut "In The Hot City" is by Mr. Theodore, which was a one-off project by a mysterious artist.

                      The melancholic soul jazz number "So Long America" is the title track from the album Yasunori Soryo released in '82, following a stint in America with the band Brown Rice. "Twisty" is a tropical reggae tune from the album Samba Kathy, an underrated classic by Jugando which was released on Trash, a sublabel of one of Japan's finest jazz labels, Trio. "Samarkand" is an electric Latin jazz jam that sounds like something Miles Davis and Santana could have played on, performed by a Latin funk band from Fussa. "Imagery" is a primal African fusion track by Katsutoshi Morizono, a member of the prog rock band Yoninbayashi.

                      Windmill" is the most acoustic sounding tune on this compilation, a breezy Brazilian affair with a Hermeto Pascoal feel. "Mystery Of Asian Port" is by the band Parachute, which consisted of Japa-nese fusion giants like Akira Inoue, Tatsuo Hayashi and Masaki Matsubara. The cosmic jazz record sounds like something Daniele Baldelli would play in his sets. "Bay Sky Provincetown 1977" is a classic Japanese fusion tune by guitarist Yuji Toriyama.

                      The set also features the mellow but danceable "Heatwave" by keyboardist Keiichi Oku, featuring a female vocalist (which some have identified as Rie Ida), and last but not least, closing out the 13 track compilation is "Day Dream At The Bob's Beach," a wonderful urban fusion with a beautiful vibraphone melody, from the Japanese fusion classic album that was a one-off project by studio musicians


                      The Beths

                      Future Me Hates Me

                        The Beths from New Zealand occupy a warm, energetic sonic space between joyful hooks, sun-soaked harmonies, and acerbic lyrics. Their debut album Future Me Hates Me, forthcoming on Carpark Records, delivers an astonishment of roadtrip-ready pleasures, each song hitting your ears with an exhilarating endorphin rush like the first time you heard The Breeders/Jale/Veruca Salt..

                        Front and center on these ten infectious tracks is lead singer and primary songwriter Elizabeth Stokes. Stokes has previously worked in other genres within Auckland’s rich and varied music scene, recently playing in a folk outfit, but it was in exploring the angst-ridden sounds of her youth that she found her place. “Fronting this kind of band was a new experience for me,” says Stokes. “I never thought I had the right voice for it.”

                        From the irresistible title track to future singles “Happy Unhappy” and “You Wouldn’t Like Me,” Stokes commands a vocal range that spans from the brash confidence of Joan Jett to the disarming vulnerability of Jenny Lewis. Further honeying Future Me Hates Me’s dark lyrics that explore complex topics like being newly alone and the self-defeating anticipation of impending regret, ecstatic vocal harmonies bubble up like in the greatest pop and R+B of the ‘60s, while inverting the trope of the “sad dude singer accompanied by a homogenous girl-sound.”

                        All four members of The Beths studied jazz at university, resulting in a toolkit of deft instrumental chops and tricked-out arrangements that operate on a level rarely found in guitar-pop. Beths guitarist and studio guru Jonathan Pearce (whose other acts as producer include recent Captured Tracks signing Wax Chattels) brings it all home with an approach that’s equal parts seasoned perfectionist and D.I.Y.

                        “There’s a lot of sad sincerity in the lyrics,” she continues, “that relies on the music having a light heart and sense of humor to keep it from being too earnest.” Channeling their stew of personal-canon heroes while drawing inspiration from contemporaries like Alvvays and Courtney Barnett, The Beths serve up deeply emotional lyrics packaged within heavenly sounds that delight in probing the limits of the pop form. “That’s another New Zealand thing,” Stokes concludes with a laugh. “We’re putting our hearts on our sleeves—and then apologizing for it.” The result is nothing less than one of the standout records of 2018.


                        FORMAT INFORMATION

                        Coloured LP Info: Initial run pressed on tangy yellow vinyl. Includes a 12"x12" lyric sheet.

                        Coloured LP includes MP3 Download Code.

                        Following on from a retrospective compilation of solo work and an album of recent work in 2016, Music From Memory continue to explore the work of Spanish ambient and experimental pioneer Suso Saiz. The subject of Music From Memory’s latest compilation focuses on Suso Saiz’s output as part of the group Orquesta De Las Nubes, formed by Suso Saiz and percussionist Pedro Estevan when the two met whilst studying a course on ‘Techniques of Contemporary Composition’ in Madrid.
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                        Sharing a curiosity for American minimalist and Non-Western music, the pair began to share music through many listening sessions, during which the idea slowly evolved to try and make music together. Pedro’s partner at the time, soprano singer María Villa, would later join the two on vocals. With Suso’s sparse use of guitar loops, synthesizers, and drum computers in combination with the hypnotic percussion of Pedro Estevan and the wordless drifting vocals of María Villa, Orquesta De La Nubes would evolve as a group with a truly unique musical language; an ethereal and almost otherworldly musical realm.

                        Developing at first as a live act, through a number of performances in Madrid and beyond, Orquesta De Las Nubes was very much connected with, and inspired by, the avant-garde arts scene in Madrid at the time. Throughout their shows, a close circle of friends, including a number of painters, sculptors and designers, would collaborate with the trio to create unique imagery and elaborate stage sets for the group’s performances.

                        Yet, despite the growing fascination surrounding Orquesta De Las Nubes’ live performances, the trio would however find it extremely difficult to find a label willing to release their music on record. The group’s then manager Silvia Lovosevic therefore decided to set up her own label ‘Linterna Música’ in order to make the work available. The group would release three albums between 1983-1987, two on the Linterna Musica label as well as an album and CD compilation of live tracks on the cult Spanish label ‘Grabacionnes Accidentales’.

                        Between this period the trio would also team up with American percussionist Glen Velez to record as the group ‘Musica Esporadica’; a one-off project in which they recorded a single album of the same name in 1985. ‘Musica Esporadica’ will be released on Music From Memory in 2019.

                        ‘unplugged vol. 1’ is the first in a cd series by ssaliva. The first one contains 11 synthetic vignettes, a very stripped back affair, much more then we are used of this ever so elegant master of layering and kingpin of the lighter kind of electronic lasagna, digesting the latest flavors long before they get stale. Not on this one though. These are more skeletons of pop songs, bare and glassy, played on a fake nylon-stringed koto for an imaginary court of internet angels. 

                        A longtime staple of the infamous Hague scene, DJ Overdose returns to L.I.E.S. with what may be his heaviest release to date. Razor sharp top notch production is the name of the game on this four tracker which sees Overdose move from relentless broken beat electro on the a-side to the more wave influenced cuts on the b-side's, Dark Spectre Echo and Strompel. Overdose proves once again he is and always has been one of the major forces in the electro world since the early-90s consistently refining his sound and pushing it to new territories. Essential!

                        In 1978, Brian Eno started what would become his seminal Ambient series with Music for Airports. If he was to add a fifth volume to the series in 2018, he would probably call it “Music for Social Medias”, wouldn’t he? We’re not 100% sure that this is about to happen, so, instead, we take the lead and have Oz’s River Yarra giving his own take on Music for Social Medias (and the result doesn’t sound at all like ambient music).
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                        At least, we might accurately call it “music from social medias”, as it sometimes feel it’s been generated by a possessed creative algorithm. Starting with the opening track, Aorsom Wislhs (whose name must have been given by a deficient Messenger chat bot), one might feel disoriented by the extremely weird and wonky lead melody. The melody of Sli Ggogg (sic) – the slow jam opening the flip side – is equally uneven; add to this the unsettling (slightly) human-sounding voice and you’re in for a trip to the Uncanny Valley.

                        But there’s a sense of non-human randomness infusing all of these four songs. Take the intensely mesmerizing Respiration Alternée with Elen Huynh, for example: there’s a high probability that its lyrics come from some random meditation tutorial found on YouTube, translated into French by an anxious Google Translate bot, eager to bring some (cheap?) spirituality to IRL dancefloors.

                        With this debut EP, the Ozzie producer succeeds in rounding up disparate & dubious elements together in a serious way without departing from a non-serious attitude - the record even rounds off with a very “put your hands in the air” moment with Space Gekko’s ravey sirens. “Music to party on the River Yarra to” (just Google it).

                        R. Girardin

                        Emotional Music

                          R. Girardin – Emotional Music is a collaborative release from Palto Flats and Zero Grow, a contemporary rendering of synthetic midi-fusion and DAW experimentalism. Drawing links between Rashad Becker’s textured compositional approach and the multicultural electro-fetishism of Benjamin Lew, Emotional Music uses known palettes in non-traditional methods.
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                          In Emotional Music we are treated to Girardin’s tooling of the synthesizer as a spiritual instrument, one where the typical motifs of musicality and style degrade in favor of poetic modulation matrices and breath controlled hopefuls. Synthesizers occupy a special place in sonic energy, dependent on electricity for physical sound creation, void of voice without human intellect and touch. Emotional Music is a synthesis of both the human and synthesizer’s expressive logics; one of internal architectures capable only through external inlets and outlets.

                          R. Girardin is a Hollywood location scout living in Los Angeles. Recent work includes contributions to the score of Invernomuto’s film "Vers L'Europa Deserta, Terra Incognita", and lectures on the aesthetics of decentered spatiality in Southern California at ECAL in Lausanne, Switzerland and UC Irvine. Girardin has previously released music on Italian label Hundebiss.

                          The artwork features a cover photo by Girardin and blind drawings by artist Roee Rosen. 

                          Sirocco is the second EP by Bruxas, the psychedelic, beat-driven, tropical, house group consisting of Jacco Gardner and Nic Mauskovic, featuring the percussive talents of Jungle By Night’s Tienson Smeets. Sirocco features the combined talents of cult retro artist Gardner, and the percussive fortitude of Mauskovic, delving into the world of exotic, cinematic, Balearic-sunshine, that cruises leisurely throughout, and is layered with phazed-out, tropical synths. It’s a sound for the summer. Good vibes only please.
                          .
                          Following up from last year’s Más Profundo EP, Bruxas return with Sirocco, an EP named after the Mediterranean wind warmed up by the sun drenched Saharan sands. Lead track ’Sirocco’ washes over like a sea current of dreamy, tribal, synth-wave, flowing and ebbing in mixed colours of a psychedelic haze. It teases of something grandiose, which later appears in the form of a club version. Remixed for some secret island hideaway orchestrated by DJ Harvey, 'Sirocco (Club Version)' builds on the resplendent melodies and driving percussion of the original, adding some foot-tapping, devilish keys and retro-progressive synth lines to add subtle, summery tension and flare. 'Hermes’ meanwhile drives along at a casual 100bpm, with a cumbia-styled Casio line, and a jaunty, leisure-like, Latin-groove, and fiesta feel. The final track on the EP, 'Maria’s Holiday' has another up-beat, Casio-styled groove, set alongside a poolside party, with bongo-beat rumblings and a disco rhythm. It’s the soundtrack to a summer cocktail party, to watch the sun slowly set on a tropical fiesta.

                          Bruxas is the collaborative project between Jacco Gardner and Nic Mauskovic who joined forces while playing in the support band for the 70s James Brown-meets-Black Sabbath act, Witch. Gardner — having firmly established himself as a credible force within the psych-rock community with two solo LPs and a psych-rock sound — and Mauskovic — whose catalogue includes acts such as Altin Gün, and The Mauskovic Dance Band — teamed up in Portugal with their shared love for library music, and 70s psychedelia, naming their new creation Bruxas — Portuguese for Witch. With a featured appearance booked in at Dekmantel Festival, also featuring Tienson on percussive duties, be sure to note that this will be a big year for the retro-party boys.

                          Spacemen 3

                          For All The Fucked Up Children Of This World

                          Space Age Recordings are pleased to announce the first official CD release of the album "For All the Fucked Children of This World” featuring Sonic Boom a.ka. Peter Kember (Spectrum / E.A.R.) and Jason Pierce (Spiritualized). Released July 28th on Space Age Recordings. Presented in a shrink-wrapped 6 panel fold out card wallet and also available from the iTunes store as a digital download including a digital booklet this release is the latest release in an on-going co-ordinated campaign which will see the complete Spacemen 3 catalogue re-issued; properly managed and released on heavy weight vinyl and CD in a fold-out card wallet format.

                          For All the Fucked Up Children of This World” from the neo-psychedelic trio Spacemen 3 was first released as a bootleg record in 1995. The record consists of Spacemen 3's first ever recording session from 1984. The music itself sounds like a primitive version of what the group were to become; the dominating sound of the record is a slow, droning psychedelic blues performed with sparse instrumentation. A drum set is matched with a pair of distorted electric guitars, all of which provide a swirling foundation for Jason Pierce's vocals. The album's liner notes replicated here are actually an early review of the band by Gary Boldie, where he contemplates the city of Rugby and finds it an odd source for this new sound, and he declares Spacemen 3 as the "all singing, all dancing answer to the problems of a grey 1985.

                          FORMAT INFORMATION

                          LP Info: This album is again pressed on heavyweight 180 gram vinyl with printed card inner sleeve but this version is the standard black vinyl version.

                          Officially reissued at last - a genuine ‘holy grail’ of soul & funk. Featuring ‘Miracles’ as sampled by Public Enemy, Basement Jaxx, Arrested Development and many more.
                          Originally from Compton, Los Angeles, the Jackson Sisters were one-hit wonders who briefly shone and made some noise in the early 1970s before quickly fading into obscurity. Their only US chart entry was ‘I Believe In Miracles,’ a funky slice of bubblegum soul with a catchy, sing-along chorus released on the Prophesy label that briefly saw them make the lower reaches of the R&B charts in September 1973.
                          Even though the sisters ceased performing together in 1975, their greatest tune, ‘I Believe In Miracles’ began to live a charmed life. In 1988, the song was resurrected as part of the UK ‘Rare Groove’ scene which resulted in it denting the bottom end of the UK pop charts (it peaked at No. 72). British vocal group, The Pasadenas, cut their own version of the tune in 1989, and a year later, Public Enemy sampled ‘Miracles’ for their track, ‘Can’t Do Nuttin’ For Ya Man.’

                          STAFF COMMENTS

                          David says: Mr Bongo bring more brilliance for the funk/soul brothers with this essential reissue of the sisters - but don't take my word for it, ask Chuck D.

                          Time for another adventure down the east... Disco Hamam is back with their 4th presentation of Turkish & oriental killer disco edits.  This time, Tokyo Matt tells you a tale of the oriental with a fist full of dollars, whilst Afacan Soundsystem has a thing or two to tell about the disco...

                          East is east but these are the real deal yeast free dance floor beasts.

                          "Drumphilia" volume 1 is a rhythmic experiment that sits on the fault line between traditional instrumentation and analogue electronics. The project is a response to many years spent working with, learning about and listening to African and Caribbean percussion. Traditional rhythmic influences are combined with analogue drum machines and drum synths to create a hybrid sound that continues in the tradition of artists like Francis Bebey.

                          There are no traditional harmonic instruments on the recordings - the aim was to create melody and texture using only carefully tuned percussion instruments, whether organic or electronic. Basslines were created by blending drum synth tones with the acoustic marimbula, a traditional Caribbean instrument that was often used in place of a bass guitar. Melodies were created with everything from log drums and thumb pianos to early Soviet drum modules and the trailblazing Pearl Syncussion SY- 1.

                          Various time signatures and textures are used across the album to produce melody out of rhythm - hypnotic, evolving tracks that celebrate and highlight the importance of rhythm in modern music. All the sessions were recorded at the Mop Mop studio in Berlin between September and December, 2016. Instruments featured include: Log drum, marimbula, kalimba, sansula, krabebs. Pearl Syncussion SY-1, Vermona DRM1, MFB Tanzbär, MFB Tanzmaus RMIF Elsita, assorted drum machines and talkboxes.

                          STAFF COMMENTS

                          Patrick says: Man-like Mop Mop goes by his birth name this time round for a hefty set of fascinating rhythms on Cristalline. Working with every drum machine I've ever heard with, along with all manner of obscure percussive and pitched instruments from around the globe, this is exotica for the 23rd century.

                          Marlui Miranda

                          Tchori Tchori (Brasingles Vol.1)

                          Selva Discos kick off a new series of singles with this truly sublime piece of music by Marlui Miranda. As a musician and ethno-musicologist (she's a doctorate on native Brazilian music, so you know) Marlui's spent the last four decades dedicating herself to keeping the indigenous music of Brazil alive. 
                          In 1995, Marlui released the album "Ihu: Todos os Sons", a collection of native Brazilian chants she gathered in her field researches and released only in CD through two small labels (one in the US, the other in Brazil). This research started in 1986, funded by the John Simmon Guggenheim Memorial Foundation, and it investigated the sounds of different tribes in the Rondônia state, northern Brazil, namely the Suruí, the Makuarap, the Aruá, the Tupari and the Jaboti tribes - the latter being the one identified with the "Tchori Tchori" chant, which praises a bird called biguá.

                          The haunting, beautiful melody of "Tchori Tchori" couldn't get a better companion than the exquisite musical palette of Uakti, one of Brazil's greatest instrumental groups, known for creating their own instruments (you've heard them before in Selva Discos alongside Maria Rita). That's what the listener gets on the A side of this release - the deep sound frequencies of a 45RPM cut, fully remastered, of a song never put on a vinyl record before.

                          For the B-side, the label handed the original to Brazilian disco king and house head Joutro Mundo, who excels himself with an 8 minute interpertation intended for the DJ. The producer adds subtle bass weight and additional percussion to carry the dreamy mallets and stunning vocals to the dancefloor, while the new, hypnotic arrangement should keep the crowd moving for the duration.

                          STAFF COMMENTS

                          Patrick says: It’s been an excellent week for new releases, but this beats the competition hands down. The first installment of Selva Discos new Brasingles series provides a first time on vinyl for the ethereal rainforest majesty of Marlui Miranda’s “Tchori Tchori”, with a subtle and hypnotic club version from Joutro Mundo on the flip.

                          Following on from Angophora's beautiful long player, Ken Oath is back with another full length LP from Low Flung. Friends of the label will note that this is his third release for Ken Oath, and it's a fittingly mature and expansive statement for a debut LP. Perhaps mature is the wrong word here, as all his brilliant ideas are backed up by a sense of whimsy that betrays his playful side. The music strikes a balance between styles and spaces that could perfectly soundtrack moments at home, in the club, and in the liminal spaces between.

                          Danny's efforts at writing dance music still contain the idiosyncratic approaches of his ambient works: The deadly deep subs and endless echo spirals on "Rising Damp" sounds like someone trying to piece together a Drum & Bass track after an off-hand conversation about the genre. He's transmuted the propulsive energy of jungle into something no less dynamic, full of stops and starts and sonic pressure but flush with space. "Tarp Climber" is at heart a rollicking digi-dub.

                          The more ambient moments of the LP are equally captivating - the glassy tones of "Frozen Coat" sound like a space-age ensemble soundtracking a floating lounge on a suite of glass instruments, while "Ocean Grove" blends field recordings and dreamy synthesizer melodies to create an uncanny sense of place that unroots you from wherever you're listening.

                          There's a heavy emphasis on Danny's collaborators as well - the Cold Emotion duo is reprised on the spacey ‘Hills Hoist’. Closer "Bacchus Marsh" is a collaboration with Prophets, a cross-state ensemble that defy any easy categorisation. The music here flirts with jazz and minimalism but with a dubwise production aesthetic to produce something that recalls Khan Jamal's visionary "Drum Dance to the Motherland" in spirit and practice, but this whole album sounds as otherworldly and one-of-a-kind as the aforementioned LP.

                          FYI Chris

                          Snod Hill EP

                          Look we're five records deep and yes, we aren't sure which tune is on which side…
                          But luckily, this release is as high concept as Speed 2: Cruise Control.

                          On one side you will find 'AD', which samples an inspiring speech given by the heroic Angela Davis at Southbank in 2017. Listen to her wisdom as you play this in your front room at 7am to people who suddenly can't quite look at their hands properly.

                          The other side "PAS" greets you with warnings of atomic explosions over a riotous jam between a Yamaha CS-10 and a sturdy analogue 808 clone. If you have a pressing need for air raid sirens, this is for you.

                          We hope you like this West Friends Release. There will be more..

                          International nippiness from all corners of the globe. Featuring prime time bobbers from:
                          Deep88, Dawn Again, RNR, Mr Fiel and L*J himself.
                          Illustrations from the mighty Rubber Hedgehogs.

                          Fresh from outings on Super Rhythm Trax, Killekill and Power Vacuum, and following on from April's 'Toy Box Part One', Jerome Hill is back to complete the series with part two, presenting four raucous Technoid trax in glorious Technicolour, striking out and injecting some humour and rowdiness into the techno landscape. "Donkey Bite" is the one everyone's talking about, borrowing an old vocal sample and updating it into a pleasurably rolling Chicago style banger that will appeal to fans of his track "It's Time For The" .. Next up is Slither, that does what it says on the tin.. A creepy and subliminal sludgey bass roller ! Flip the record for the deranged, banging and distinctly wormy "Mr. Worm" and then the Toy Box saga finishes up as unconventionally as it began, with the lop sided lumber of "Torque Talk" . 

                          resh from outings on Super Rhythm Trax, Killekill and Power Vacuum, Jerome Hill is back on his Don't label and presents 4 road tested tracks, each totally different from the last but with the common goal of striking out and injecting colour, fun and a good measure of "Don't" rowdiness into the Techno landscape.

                          "Egg Roll" is a slamming broken beat Techno monster that has been extensively tested out in the field, "Scez princess" combines hardcore breaks with waspish synth riffs while over on the flip, "I Know" hits hard with no messing around and the EP is finished off with the lumbering stunted funk of "Mono Skank". Available on lovely grey marbled Vinyl.

                          100 % Pure Poison

                          Windy C Collection

                            This holly grail album has been transformed into a 45s collection. Dynamite Cuts releases a high quality limited edition 1000 copies double pack 2x7” release which gives you 4 of those masterpieces from that album. two never before on 7” vinyl all of the most in-demand tracks. 

                            George Semper

                            Pretty Lady / Universe

                            Two gems from the vaults of the Semper camp. Taken from the mega rare “Themes for television, sport and Aerobics” released on the Pixie Records. Dynamite Cuts is releasing these two as a limited edition.


                            Track A - “Pretty Lady”wonderful synth vibe with a whole lot of soul, no drums or heavy grooves, just a rare touch of smooth sunshine on a 45.

                            Track B - “Universe(Exterritorial Search Contact Tones)” Its all about this beauty, a magic moment in time. So much soul in such a short track. Has Hudson and Duke vibe, never before on 45 vinyl must have vinyl


                            Earthboogie’s debut album, Human Call, rightly earned praise on its release earlier in the year, with listeners responding positively to its sticky and humid dancefloor fusions of African and South American rhythms, chunky dub disco, retro-futurist house, spacey analogue electronics and sun-kissed Balearica. Hot on the heels of that release, Leng Records has sourced new remixes of two album highlights – “High Minded Man” and “Silken Moon” – from Running Back label boss Gerd Janson and synthesizer-wielding Balearic boogie stalwart Pete Herbert. It’s Janson who steps up first, offering up two total overhauls of “High Minded Man” that re-cast the undulating, Afro-fired original as a dreamy, drum machine-driven chunks of vintage deep house goodness.


                            Where Earthboogie’s album version bobbed and weaved around horns and live bass, Janson’s Deep House Mix places the duo’s original chanted vocals above a bouncy, polyrhythmic rhythm track, Larry Heard style chords, Kwaito-esque electronic bleeps and a smooth, soul-stroking bassline. Janson’s Deep House Dub, which strips out the vocal for a more sparse and ethereal listening experience, is also included on the EP. The EP’s other remix comes from sometime Reverso 68 member Pete Herbert, who gets his mitts on previous single “Silken Moon”. While he retains some key elements from Earthboogie’s original – specifically the vocals, Afro guitars and house stabs – he naturally adds a little of his own rubbery electronic disco flavour via spacey synthesizer flourishes and a massive electronic bassline that brilliantly tracks the rising and falling movement of the main melody. It has the feel of a terrace anthem in the making

                            Before Christ is a new project from Craig Christon and Bonar Bradberry. Remix maestros Mushrooms Project take on both tracks. First up Barry's K is a moody brooding chuggy basement Jam with ethnic melody and dubby effects. The mighty Italians mellow out the groove and extend adding all there trademarks touches.Uh!. The second track is Tuesday Club is a techy machine funk bomb with shades of New Beat and a nod to Forgemasters. The Mushrooms boys bring the acid and soft melodic pads turning this into a dreamy heads down groover.

                            Digging 80s pop obscurities has long been part of Emotional Rescue's mission statement and the unearthing of this cover of the Talking Heads classic by the little known, Italian new wave band Politrio for a limited 7" press is a worthy addition.

                            Formed by guitarist, songwriter and producer Giorgio Canali alongside Massimo Sbaragli and Roberto Zoli for the short-lived project. With just one album released of new wave, pop rock, it was their contribution to an Amnesty International benefit LP that spawned this excellent version of Byrne, Franz and Weymouth penned classic.

                            Coming out of the CBGBs scene of post-punk downtown NYC, the song, released on their aptly titled 1977 "77" debut album, has gone on to become one of the defining songs of it's time. Further enhanced with their mesmeric performance in the 1984 Stop Making Sense film and album, it has been ripe for reinterpretation.

                            Politrio's version keeps and captures much of the original, but with their own swing, rhythm, Italian-English vocal delivery, rock guitar, bells and keys. While remaining instantly recognizable, this is a unique version, with the straightened drumming giving it some added punch and kick.

                            This is backed by a systematically cool, delicate but additional re-edit by the Berlin based Italian duo Dama and Budino aka Double Wave. Rising names in the Berlin scene they are part of the Oscillator collective, label and parties and can be heard at some of the best parties right now.

                            Letting the instrumental interplay of funky, slap bass and rock guitar have more time to shine, the edit builds and drops, dubs and builds again to the vocals and lyrics known so well, offering an alternative sing-a-long for the more wonky DJs and dancers out there.

                            Benjamin Smith and Paul "Mudd" Murphy are back with a Balearic gem - The Distance. Featuring a vocal and instrumental on the A-side, and a remix on the flip by legend and consummate production ace - Ron Basejam. Lyrics and vocals are by Quinn Lamont, who's captivating earthy tones playfully tease us with emotional yearning, and it's Quinn who provides a stunning jazzy guitar performance that will have you air guitaring all over the dance floor, and which sits splendidly alongside the beautiful layers of rich electric piano and Balearic disco grooves. The remix by Ron Basejam recasts the track as an instantly affable yacht-rock-esque anthem, that will fill your hearts and have you reaching for the Campari. This is a sumptuous summer groover, with layer upon layer of blissed out disco warmth. A sublime masterclass in musicianship and production that will bring joy to the most discerning of ears.

                            Clandestine Boogie are back, enlisting Omsk's Sunner Soul to provide the goods for their third release.

                            The title track 'Voyager 84' sets the scene perfectly drawing you in with dreamy swelling synths, fizzing hats, and chunky hits alongside choice lo-fi vocal snippets & cosmic top lines - smooth as you like!

                            Kim and Buran then steer things on a funkier flex with their take on 'Voyager 84'. Staccato guitars laid over the top of a heavy bassline, succulent pads and spacey keys provide an intergalactic disco journey with you strapped in the front seat.

                            On the flip side Sunner Soul team up with fellow Russian producer, Scruscru. 'Spring Mood' picks up the tempo working bouncing arps and wobbly synths behind a thumping rhythm - a killer slice of disco tinged house as we move into those sunshine months.

                            Closing out the e.p. it's peak time, boogie laden, blissful goodness in the form of 'Joy'. Funk-fueled guitar licks, an instantly catchy melody and the perfect amount of effects to enhance those build ups and break downs lay the foundations for a sure fire summer hit!

                            Opening track 'In The B' kicks off proceedings in no uncertain fashion. It's 100% wall shaker material, the type of techno music best paired with strobe lights and towering speaker stacks. It mesmerises with its low-slung undulating bassline and Detroit rhythms before giving way to some riotous old school Essex stabs and sharp claps. No messing, this is a certified 3 AM red light burner!

                            Track 2 'Chocolate Biscuit' accelerates proceedings! Beginning with unfussy drums and a robotic, bleep-heavy melody driving it off into a wonderfully off-kilter direction. Its arpreggio'd rhythms may be brutish and wrestle a growling sense of menace out of the track, but the overall feel, however, suggests considerable care and attention has been paid to make it sound this way. There's clearly an uncommon musicality at play here to make something this complex feel so simple.

                            The BPM drops next on 'Jenny's Hall' but from the offset, there's enough funk and thrust in the motorised synth line to get bodies gently grooving without the beauty getting lost in the slower loop. This is blissed out, psychotropic techno - the kind of track where it feels like you're floating and falling at the same time, but all the while making sure you still remain fit for purpose on the dancefloor.

                            Ian Blevins takes on remix duties this time and the Berlin-based DJ/producer offers up a sleek peak-time banger that fizzes, bubbles and percolates. He gives the rhythm on 'Jenny's Hall' less space to swing and ties it to a tight motorik beat turning it into a slice of shiny, modern techno but with extra shoulder-checking force. Its vibe drawing from a sense of outsider-party fun with a wry smile, and a knowing wink running throughout before bringing the package to a suitably left of field crescendo.

                            The long-awaited follow up to Washington’s debut "The Epic", "Heaven & Earth" is comprised of two halves, which find Washington confronting quotidian realities with cosmic themes. A further investigation of Washington’s world building ideas, the new album explores his reckoning with current global chaos and his vision for the future.

                            Washington convened his band, The Next Step, as well as members of the long running collective The West Coast Get Down at Henson Studios in Los Angeles to record the 16 tracks on Heaven & Earth. The music was composed, written and arranged by Washington, with new arrangements of jazz and bebop legend Freddie Hubbard’s “Hubtones” and iconic kung fu film theme “Fists of Fury,” as well as one song by bandmate Ryan Porter. Thundercat, Terrace Martin, Ronald Bruner, Jr., Cameron Graves, Brandon Coleman, Miles Mosley, Patrice Quinn, Tony Austin and many more contribute to the album.

                            Clocking in at two and a half colossal hours of music, "Heaven & Earth" is available on double deluxe CD and a four piece vinyl housed in bespoke double gatefold sleeve

                            “The world that my mind lives in, lives in my mind.” This idea inspired me to make this album Heaven & Earth. The reality we experience is a mere creation of our consciousness, but our consciousness creates this reality based on those very same experiences. We are simultaneously the creators of our personal universe and creations of our personal universe. The Earth side of this album represents the world as I see it outwardly, the world that I am a part of. The Heaven side of this album represents the world as I see it inwardly, the world that is a part of me. Who I am and the choices I make lie somewhere in between.”
                            Kamasi Washington

                            STAFF COMMENTS

                            Patrick says: The man responsible for turning a younger generation of music lovers onto the passion and power of jazz returns with the bombastic brilliance of his sophomore LP. Seriously spiritual and surprisingly groovy, "Heaven & Earth" incorporates Marvin-esque soul, Old Testament intensity and soaring, searing solos into a breathtaking vision of jazz's next incarnation.

                            FORMAT INFORMATION

                            4xLP Info: Four LP set housed in bespoke double gatefold sleeve.

                            2xCD Info: Double deluxe CD.

                            Ultra Satan

                            Freedom Rock / Anti-Clock

                              On Ultra Satans second 7” release on Höga Nord Rekords, the band is developing a new genre and concept: ”Freedom Rock”, which is also the title on one of the tracks. ”Freedom Rock” is a step beyond ”World Music” which would be the wrong label when Ultra Satan sounds too spaced out and out of this world. On the second track ”Anti Clock”, Ultra Satan hit strikes against the hysterical Swedish mortgage market, how safety destroys creativity and also against the worthless tokens of appreciation you receive from our corrupt and ultra capitalistic society. Ultra Satan is like a space being, living alone in an enormously big and empty space station, orbiting our planet. With mathematical precision this genius creates music that effects us earthlings on a transcendental plane and shakes the foundation we lead or lives upon. 

                              Bacao Rhythm & Steel Band

                              Burn / Xxxplosive

                                Bacao Rhythm & Steel Band return with another instantly classic 45 guaranteed to be all over DJs set lists. With their sophomore full length coming in September, they treat us to another bomb of a two sider. Side A is a cover of the Dr Dre hit “XXplosive” done up in proper BRSB fashion, smashing drums and steel pans playing the lead and bass lines. They take this one into new territory by adding synth parts and dubbed out horn lines playing Nate Dogg’s infamous vocal hook melodies. Side B takes on one of NYCity’s grimiest Hip Hop club anthems, Mobb Deep’s “Burn”. We decided to do this tune and demoed it out long before the unfortunate passing of Prodigy.

                                Unfortunately, he will never get to hear this cover, and that has been one of the nicest things in covering some of these more current Hip Hop tunes. Rest In Peace P. BRSB manages to do it again…..a version equally as raw and punchy as the original. Pans bang out the iconic riff from the original, theremin ushers in the changes, and the low rubble of the synth bass is sure to crush the subwoofers.

                                Evil Blizzard

                                The Worst Show On Earth

                                  When Evil Blizzard emerged from the bowels of Lancashire with their debut album 5 years ago it is fair to say they caused a stir. Put on the front cover of The Guardian, and championed by Mark E. Smith (who gave the band the money to record their debut album out of his own pocket) their gruesome mix of four bass players blending Psyche, Krautrock, Post Punk and an unmistakable image saw them launched onto magazines and websites world-wide. Their new album 'The Worst Show On Earth' (on their own newly-founded Crackedankles Records label) presents a logical progression from the previous two, a third stepping stone on the journey into their peculiar sonic dream- or nightmare? -scape.

                                  Heavy, grinding, yet commercially viable, this release sees the band truly shake off the ‘gimmick’ tag of the past and stride forward into new musical dimensions. Yes, there’s still 4 basses. But also piano, cello, samples and a general disregard for the basic concept of a ‘pop song,’ with 2 tracks hitting the 10 minute mark. The introduction of keyboards into their live onslaught (you have seen them live, right? Right?!?) has developed their sound to incorporate techno and industrial elements, with recent single ‘Fast Forward Rewind’ hitting the nation’s airwaves aided by its freak show video shot illegally in an abandoned Victorian music hall.

                                  The album title came from a less than impressed reviewer. The band, ever self-deprecating, take great pleasure in antagonising their crowd to the point that their dedicated following greet live performances with booing rather than applause. One fan, who has the band logo tattooed on his arm, made his own ‘I Hate Evil Blizzard’ t-shirts. ‘People pay money to hate us. Win/Win.’ 

                                  STAFF COMMENTS

                                  Barry says: I've listened to this, and despite the name, I have a feeling that the nativity we did in primary school might be considerably worse. This is pretty good, and unlike my nativity, nobody is being sick.

                                  FORMAT INFORMATION

                                  Coloured LP Info: Blood splattered vinyl.

                                  Picture Disc Info: Limited edition picture disc edition

                                  Six By Seven

                                  Abstraktion 12

                                    Recorded live at Rockfield Studios over two days by an accomplished and unique band consisting of two drummers and two guitars and vocal, it has a sound heavily steeped in rock, minimalism and psychedelia, but even with these references, we can't think of a record out there that sounds anything like this one. In this day and age, that's a pretty hard thing to do. "I'm a punk, always have been, but only in the same sense that La Monte Young was or Jason Pierce is. You don't have to thrash out bar chords on a Les Paul to be a punk. Abstraktion 12 is the most punk record I've ever made since KluBmiX!33, but it sounds nothing like it.

                                    This record was abstract and unique in it's conception, it was a coming together of not just a band but also of the people who have followed the band and who joined us in the studio for the recording of the album. Having two drummers created the perfect foundation for the songs as they both play the same beats but the slight inflections and movement between them creates a constant pulsing rhythmical shift. For me it was important to be doing this album with Chris Davis, the original drummer from six by seven and someone I had grown up with in music. Without explanation he understood what was needed to make this record work. Added to this we had the technical skills of second drummer Charlie and Chris Moore on the Fender VI. Chris added a unique sound to the music and plays like no other bass / guitar player, offering only minimal tight bass lines with an occasional extra note played into the perfect pocket, just to remind you that he is there." CHRIS OLLEY 

                                    Lumerians

                                    Call Of The Void

                                      CA outfit Lumerians are a prodigious force in the extra-terrestrial realms of modern psychedelia. Since forming in San Francisco back in 2006, Lumerians have traversed their way through multiple different genres - offering mind-bending adventures into everything from space rock, kraut and noise to zamrock, free jazz, drone and dub. Drawing from a range of influences, both familiar and esoteric, past and present, Lumerians conjure up sounds from far into the future. In their twelve years as a band they’ve toured with everyone from My Bloody Valentine to Killing Joke and Black Moth Super Rainbow, putting out a number of critically-acclaimed releases including two ‘official’ albums and two collections of improvised compositions called Transmission from Tellos III & IV.

                                      Call Of The Void is dedicated to the memory of Barrett Clark, Lumerians’ long-time friend, sound engineer and collaborator who passed away in the tragic Ghost Ship warehouse fire in Oakland 2016. It may have taken the band four long years to put their latest album together but it was definitely worth the wait, their mystical exploratory soundscapes at their finest. Eclectic and vastly multifaceted, the album is further proof - if you needed it - that Lumerians are a singular force in contemporary psychedelia. Talking about Call of the Void, vocalist Jason Miller explains: “If ‘Transmalinnia’ represented the exploration of an alien world and ‘The High Frontier’ a voyage through space, ‘Call of the Void’ is a penetrative exploration of Earth through an alien gaze gone native - the weight of gravity, the build-up of pollution and sediment, experiences of ecstatic revelry and tragedy.” 

                                      Crimen

                                      Silent Animals

                                        https://soundcloud.com/fuzz-club/sets/crimen-silent-animal/s-qMhVA As with all Fuzz Club titles this is for Indie stores only. Available on 180g coloured vinyl and gatefold cover. Ltd to 300 copies. Silent Animals may be the debut album from Italian trio Crimen, but it arrives over a decade into their career. Simone Greco (bass, voice, sound engineering) and Patrizio Strippoli (guitars, voice) formed the band in the Centocelle district of Rome in 2007, before recruiting Giuseppe Trezza (drums and electronics) six years later. After a string of successful EPs and two years hibernating to record the opus, the band feel now is the time to release a full length.

                                        A heady cocktail of krautrock, psychedelia, noise rock and post-punk, Silent Animals takes us on a whistle-stop tour of Europe’s musical history with a newfound stomp and malignancy. Conceived in their own DIY studio in Rome, the Flamingo Recording Studio, the band has self-produced and engineered their debut in a state of total creative independence. The group says of their long-awaited debut: "Silent Animals talks about emotive fragility and wasted loves. It sounds nocturnal and psychotic, though essentially it's a work about love and the exorcism of fear and anxiety". An exorcism it certainly is, full of gnostic grooves and cathartic releases. The most forthright example of this is the first single from the album, ‘Six Weeks'. It’s hard rocker cloaked in reverb, feedback and throbbing electronics - sounding downright satanic as Simone bellows “six-six-six” as the song constantly veers on the verge of sub-atomic explosion. 

                                        Nurse With Wound Plays The New Blockaders

                                        NWW Play Changez Les Blockeurs

                                          In 1982 The New Blockaders self-released their debut LP Changez Les Blockeurs, an edition of only 100. Steven Stapleton was the very first person to purchase / hear the album and subsequently distributed copies via United Dairies. The LP has since attained a somewhat mythical / legendary status (Record Collector magazine included it in a list of the rarest, most collectable records ever) and 2017 was the 35th anniversary of its original release. In celebration of this, TNB invited Steven Stapleton to rework the original which is now available in all its glory as NWW Play Changez Les Blockeurs. The LP cover features brand new artworks by Steven (a.k.a Babs Santini) and comes with an insert including a TNB / NWW article by Paul Hegarty (author of the much-acclaimed Noise/Music book.) 

                                          FORMAT INFORMATION

                                          LP Info: This LP is limited to just 300 copies, as requested by the artists

                                          Matchess

                                          Sacracorpa

                                            Experimental musician Whitney Johnson has, over the course of her previous two albums as Matchess, considered the sound of sight from different points of view. 2013’s Seraphastra searched for the other side of the visible, 2015’s Somnaphoria filtered that sight thru dream vision. Sacracorpa completes the trilogy, and grapples with the hidden inner realities only ever uncovered during a crisis. The music that comprises Sacracorpa was written after a time of personal crisis for Johnson, who used the following months as a time of healing, recording the music at locations in Chicago, New York (while working on an installation at La Monte Young and Marian Zazeela’s Dream House) and an earth ship outside Abiquiú, New Mexico.

                                            Johnson’s extraterrestrial soundscapes pulse and writhe, at times sounding like funeral hymns (opener “Of The Living”) or spiritual invocations, summoning forth the circuit-fried ghosts in the machine that dwell just beyond. (”Of Freedom”, or the mournful “The Misty Realm”) Johnson approaches composition from a shamanic perspective, applying not only a set of spiritual principles, but a set of technical principles as well.

                                            Rest, fasting, meditiation all factor into the creation of Matchess compositions, as well as consistent instrumentation; her Ace Tone organ, viola, a Rhythm Ace drum machine, magnetic tape all run thru effects and augmented by field recordings (recordings of a tributary of the Susquehanna River, a dog barking across the Allegheny Mountains, and an alien radio station in a New Mexican Arroyo, among others.), and Johnson’s own voice (sung using a vocal technique she coins the “sigil mantra”, a hybrid of a Buddhist mantra and Austin Osman Spare’s sigil). Sacracorpa is an album of songs of healing, and the truths it reveals. 

                                            FORMAT INFORMATION

                                            Coloured LP Info: Limited tumeric coloured indies only vinyl.

                                            ESG

                                            Come Away With

                                              Come Away With ESG - 35-year anniversary release of the classic genre-busting debut album by the Bronx sisters ESG. The sample-friendly opus that’s the inspiration for hip-hop, house and post punk. Music that falls outside of the no wave, new wave and post punk library, it’s for the dance floor but it’s not funk, there’s no horns, no driving organ; it’s the opposite of Sly And The Family Stone but no less cool and no less groovy. “A lasting document of their unique brand of minimal funk that would influence subsequent post-punk, hip-hop, and dance music acts. Stripped down to the most basic of drumbeats and rudimentary bass lines, ‘Come Away’ confirms the notion that the real rhythm is what happens between the beats.

                                              Bellini

                                              Before The Day Has Gone

                                                The first new album in nearly a decade from Italian-American post-punk stalwarts. Recorded, mixed, and sequenced by longtime collaborator, Steve Albini. A decade is literally a lifetime for most bands. For Italian-American post-punk stalwarts, Bellini, a decade is simply the time it took to make their new album.

                                                Separated by an ocean, the members of Bellini lived their lives, mourned several close friends who lost theirs, and occasionally converged in Italy or Chicago to write and record what would become Before The Day Has Gone. Recorded as always by longtime collaborator and companion, Steve Albini, Before The Day Has Gone’s roots are in tracks that were originally laid to tape at Albini’s Electrical Audio Studios way back in 2012, where they sat unfinished until fall of 2017, when vocalist/lyricist Giovanna Cacciola recorded her vocals with the help of Sacha Tilotta, her son with Bellini guitarist,
                                                Agostino Tilotta.

                                                Once received, Albini mixed and sequenced the album independently, as Bellini has preferred with all of their albums since 2005’s Small Stones. Bellini’s gift for marrying melody and dissonance is as sharp as ever on Before The Day Has Gone – the band’s veteran rhythm section of Matthew Taylor and Alexis Fleisig anchoring Tilotta’s sinewy anti-riffs and Cacciola’s primal punk poetry. Bellini deliver passion and pain with the kind of pride and prowess one would expect from a band of their pedigree, and Before The Day Has Gone is their most dramatic and dizzying display of their two-decade career. 

                                                FORMAT INFORMATION

                                                Indies Exclusive LP Info: Transparent red vinyl.

                                                The Blinders

                                                Columbia

                                                  Doncaster bred and Manchester based, The Blinders are Thomas Haywood (guitar, vocals, word), Charlie McGough (bass guitar), Matthew Neale (drums, backing vocals). Influenced as much by the daily news as music, their impact, even at this early stage, cannot be over stated.

                                                  Out 3rd May, ‘L’etat C’est Moi’ is the new single from Manchester based trio The Blinders and the second track to be taken from their forthcoming debut album. Described by the band as “A self-proclaimed war-dance told by the Idiot King himself. The first-person perspective of a madman, and his obsessive fantasies for power over all, and insolence from none.” The quote is attributed to Louis XIV declaring “I am the state” at the end of the 18th century.

                                                  The track is the follow up to ‘Gotta Get Through’ which has been featured heavily on 6 Music (they played their first session for the station last week on Steve Lamacq’s show who described them as "the fastest emerging UK band at the moment") and hit the number 1 slot on Amazing Radio. The band have been playing several shows since the start of the year including many sold out dates. The have a busy summer planned live with headline shows in Manchester and London and festivals, many more of which are to be announced.

                                                  The track was produced by Gavin Monaghan at Magic Garden Studios in Wolverhampton and is released on Modern Sky UK.


                                                  The Beastie Boys

                                                  Solid Gold Hits

                                                    2LP set featuring 15 of the finest Beastie Boys tracks from throughout an incredible career including all the biggest hits from "Fight For Your Right ..." to "An Open Letter To NYC".

                                                    The Beatles

                                                    Yellow Submarine

                                                      This July marks the 50th anniversary of one of the most iconic and groundbreaking animated films of all time with a limited run of screenings around the world. As part of the celebrations, we are releasing this picture disc of the title song, Yellow Submarine b/w Eleanor Rigby, which together was originally released as the band’s 13th single in August 1966. Featuring images taken from the high resolution 4k restoration of the film, this limited edition single is a fun way for us all to join the party!

                                                      Johnny Clarke

                                                      Creation Rebel

                                                        Among the ranks of singers, only Johnny Clarke comes close to challenging Bob Marley & Dennis Brown for reggae’s crown, through his unequalled run of hit songs. His output of mid-70s classics powered by producer Bunny “Striker” Lee, give Clarke status among the top artists of the period and contemporary relevance on the live show and reggae festival circuit.

                                                        Many of Johnny’s classic roots recordings gathered here, were given international exposure in the 1998 release ‘Dreader Dread’ released by the esteemed Blood & Fire label. Expanded and re-mastered, the release of ‘Creation Rebel’ captures the very essence of what is now regarded as the golden age of roots music.

                                                        Package bonus features include extended length mixes of “Jah Love Is With I,” “Bad Days Are Going,” and “Peace And Love In The Ghetto.” Newly composed liner notes by Noel Hawks. 


                                                        Imagine a peaceful cyberpunk world where flowers are used instead of laserguns, where bamboo towers are high in the sky and your fingerprints digitalized in a papermade card. This is the utopia you’re living in while listening to this record. From the crowded city atmosphere of "Mecanic Chipo" to the suspended garden of "Lady Chipo", your existence is harmonious and serene. As a casual salaryman you dream of the countryside in "Chipo Sleep" but are woken up by the "Chipo Dub" bonzaï alarm clock. "Chipo Sounds" reflect the reveries of everyday life, which are at the end, not cheap at all!

                                                        STAFF COMMENTS

                                                        Patrick says: Parisian synth freak and musical sponge Shelter hits the shelves with a four tracker way beyond his tender years. Serene, delicate and dreamy, these four synth suites call to mind the chiming melodies of Yasuaki Shimizu or Jean-Michel Jarre's "Concerts En Chine".

                                                        Body/Head

                                                        The Switch

                                                          Body/Head, the duo of Kim Gordon (CKM, Sonic Youth, Free Kitten) and guitarist Bill Nace (X.O.4, Vampire Belt, Ceylon Mange), release their second studio album, ‘The Switch’, on Matador Records.

                                                          Their debut album together as Body/Head, ‘Coming Apart’, from 2013, was more of a rock record - heavy, emotional, cathartic, spellwork in shades of black and grey. ‘The Switch’ is their second studio full length and it finds the duo working with a more subtle palette, refining their ideas and identity. Some of it was sketched out live (if you’ve not had the fortune of seeing them in that natural environment yet, see 2016’s improvisational document ‘No Waves’) but much of it happened purely in the moment.

                                                          On ‘The Switch’, their vision and focus feel truly unified. If ‘Coming Apart’ was dark magic, ‘The Switch’ works with light, though it never forgets that these approaches are two sides of the same coin and that binaries - black/white, near/far, emotion/analysis, body/head - are made to be broken open and that the truth of things is in the energy between.

                                                          Dirty Projectors

                                                          Lamp Lit Prose

                                                            Dirty Projectors’ new album ‘Lamp Lit Prose’ is produced by Dave Longstreth at his studio Ivo Shandor in Los Angeles.

                                                            The album features guest appearances from Syd, Empress Of, Amber Mark, Haim, Rostam, Robin Pecknold and Dear Nora, as well as longtime Dirty Projectors rhythm section Nat Baldwin and Mike Johnson.

                                                            ‘Lamp Lit Prose’ arrives just over a year after 2017’s self-titled ‘Dirty Projectors’. Here Longstreth’s band returns with a new album that is the yang to the yin of the 2017 effort. The songs signal a page turned for Longstreth: hope instead of heartbreak, a restorative balance. Guitars have returned to the Dirty Projectors’ world, intricate vocal harmony too. ‘Lamp Lit Prose’ is a recommitment to the sounds and ideals of Dirty Projectors, embracing the band’s trademarks while pushing forward the sonic envelope.

                                                            FORMAT INFORMATION

                                                            Coloured LP includes MP3 Download Code.

                                                            Jason Isbell

                                                            Sirens Of The Ditch: Deluxe Edition

                                                              The debut album from accomplished guitarist and songwriter Jason Isbell, formerly of Drive By Truckers, is reissued with four unreleased tracks from the original recording sessions. The addition of those extra songs finds ‘Sirens Of The Ditch’ clocking in at 15 total tracks.

                                                              ‘Sirens Of The Ditch’’s mystical quality can be partially attributed to the FAME recording studio (Aretha Franklin, Duane Allman, Otis Redding) in Isbell’s hometown of Muscle Shoals, AL, where the album was recorded.

                                                              Co-produced by Isbell and Patterson Hood (Drive By Truckers), ‘Sirens Of The Ditch’ features Isbell singing lead vocals and playing guitar throughout, joined by Shonna Tucker (formerly of Drive By Truckers) on bass and Brad Morgan (Drive By Truckers) on drums. Several musicians pop in for cameos including Spooner Oldham and David Hood (Patterson’s father) on ‘Down In A Hole’, John Neff (formerly of Drive By Truckers) on ‘Dress Blues’ and Patterson himself guests on ‘Shotgun Wedding’.

                                                              “A strong debut, full of the kind of confident, charismatic songwriting that just can’t be taught.” - Pitckfork

                                                              FORMAT INFORMATION

                                                              2xLP Info: Double LP format pressed on 180 gram vinyl with
                                                              digital download code included.

                                                              The Libertines

                                                              Time For Heroes

                                                                Bringing together the tracks that defined a generation, from their epochal debut "Up The Bracket" and feted, self-titled follow-up, "Time For Heroes" is a timely reminder of the unique talent of Albion's favourite sons Pete Doherty, Carl Barât, John Hasall and Gary Powell.
                                                                The album also includes ‘Don’t Look Back Into The Sun’ and ‘What A Waster’, which have never previously been available on either of the band’s albums.

                                                                The collection includes the classic singles ‘Can’t Stand Me Now’, ‘Time For Heroes’, fan picks ‘What A Waster’, ‘Boys In The Band’ and live favourites / B-sides ‘The Delaney’ and ‘May Day’.

                                                                Lotic

                                                                Power

                                                                  ‘Power’ is the debut album from Lotic, an expansive exploration of the many ways in which power can be expressed and experienced. Those familiar with Lotic’s two 2015 EPs - ‘Heterocetera’ (Tri Angle) and ‘Agitations’ (Janus) - will trace a warm-blooded evolution: ‘Power’ retains the Berlin musician’s inquisitive intensity, while mining the depths of nuance like never before.

                                                                  Across its 11 songs, Lotic stretches their wings into unexpected new spaces, both compositionally, and, for the first time, vocally. ‘Hunted’ returns the colonial gaze with an arched eyebrow and a hushed chant in one of the more pop-leaning moments on the album. ‘Distribution of Care’ pulls Lotic’s rigorous club aesthetic into a symphonic context, pairing strings and drums in a wordless questioning of society’s priorities.

                                                                  The playful ‘Nerve’ serves up an icy hip hop beat over which they invoke their H-Town roots while issuing a warning. And, of course, there couldn’t be a sonic exposition of power without its most generous manifestation: ‘Heart’ is a love ballad that finds Lotic and NON Records’s Moro, the album’s sole guest, trading vulnerable verses.

                                                                  “It originally started as an empowerment album,” says Lotic. “I felt that I needed to offer something outside of myself, as sort of a healing moment. And then I lost my apartment. Mentally, I could only work on music once every three months or something. The question of what would be empowering - the answer to that changed so often over a two-year period. I had to figure out who I was all over again. With this record, I went back and incorporated all of my musical selves.”

                                                                  Lotic was born in Houston and studied electronic music composition and saxophone at university. They moved to Berlin in 2012, where they helped form the Janus club collective. In 2015, they were commissioned to create two remixes for Björk’s ‘Vulnicura’ and subsequently were invited to be the opening act at her live show in Berlin.

                                                                  Mattiel

                                                                  Mattiel

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

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

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

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

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

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

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

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

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

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

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

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

                                                                    FORMAT INFORMATION

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

                                                                    2xColoured LP includes MP3 Download Code.

                                                                    Various Artists

                                                                    Soul Jazz Records Presents - Studio One: Black Man's Pride 2

                                                                      This is the second instalment of deep roots Rastafarian reggae at Studio One and features classic music from some of the most important figures in reggae music - Alton Ellis, The Heptones, Jackie Mittoo, The Gladiators - alongside a host of rarities and little-known recordings, such as a truly rare Mystic Revelation of Rastafari 7” single, Willie William’s first ever recording - ‘Calling’ - and Horace Andy’s righteous (and equally rare) masterpiece ‘Illiteracy.’

                                                                      ‘Black Man’s Pride 2’ extends the legacy of Studio One’s groundbreaking path in roots reggae which began at the end of the 1960s and continued throughout the 1970s. The album tells the story of how the rise of Studio One Records and the Rastafari movement were interconnected, through the adoption of the Rastafari faith by key reggae artists - everyone from the Skatalites and Wailers in the 1960s, major singers such as Alton Ellis and Horace Andy at the end of the decade, through to major roots artists such as The Gladiators in the 1970s - and how Clement Dodd consistently recorded this heavyweight roots music throughout Studio One’s history.

                                                                      The sleeve-notes to this album also discuss the links between Rastafari and Studio One in time and place, noting how both the religion and Clement Dodd’s musical empire had their roots in the intense period of pre-independence Jamaica in Kingston, expanded in the 1960s following the visit of Haile Selassie in 1966 and how roots music then came to dominate reggae music in the early 1970s. Also discussed is how the outsider stance of both reggae music and the Rastafari movement relate back many hundreds of years to the original rebel stance of the Maroons, escaped slaves who set up selfsufficient enclaves in the hills of the Jamaican countryside. There is also a track-by-track history by the noted Studio One writer Rob Chapman (‘Never Grow Old’).

                                                                      Oneohtrix Point Never

                                                                      We'll Take It

                                                                        Oneohtrix Point Never (aka OPN / Daniel Lopatin) returns hot on the heels of his latest album ‘Age Of’ with a four track EP featuring album single ‘We’ll Take It’ and three new OPN songs.

                                                                        An album favourite, ‘We’ll Take It’ is given new context here as the lead track and video.

                                                                        A dark, facetious song that fuses industrial sounds, ecstatic and reckless synths, and something OPN described as “sideways ragtime” piano played by James Blake.

                                                                        An edited version of ‘Trance 1’ has been heard as part of ‘A Message From Earth’, a celebration of the 40th anniversary of the Golden Records sent on both Voyager Spacecrafts with sounds and images selected to portray the diversity of life and culture on our planet.

                                                                        Two additional unreleased tracks round out the first in a series of companion releases to ‘Age Of’.

                                                                        Includes download card.

                                                                        Michael Giacchino

                                                                        Speed Racer: Original Motion Picture Soundtrack

                                                                          Mondo, in partnership with Varese Sarabande, is pleased to present the premiere vinyl release of Michael Giacchino's score to SPEED RACER. Released in 2008, and under appreciated in its time, SPEED RACER is a jewel in the crown of the Wachowski's epic filmography. Visceral, and heart-warming, the film is a dissection of art-vs-commerce, with a tear-jerking crescendo that is a kaleidoscope of color and sound. That sound is composed by Michael Giacchino, who, on top of incorporating the themes of the original television series, has created a sweeping career highlight with this score.

                                                                          Asylums

                                                                          Alien Human Emotions

                                                                            Asylums aren’t waiting for millennial redemption to find them, they’re making their own. Straight out of Essex and running at full throttle. The band have taken the challenge of the “difficult” second album and used it as a jump ramp to a higher plane. They’ve always been about massive, thrashing melodic anthems but this is, quite simply, the massivist. The band has changed fundamentally in the last two years, certainly older and potentially wiser. A project that started out as a fizzing ball of un-focused youthful energy (albeit one with great tunes) has morphed into something altogether darker and more intense. It's a slug of ice-cold Jagermeister coming after the two pints of lager and a vodka Red Bull of the debut.

                                                                            “Alien Human Emotions” tackles themes of bitter sex and soured relationships which swirl over bleak analyses of a disintegrating social and political landscape. Frustrated rage writhes below the surface on every track and occasionally bursts through with a shocking intensity. But everywhere are hooks both musical and lyrical that demand repeat listens. The music seeping thru owes as much to the brooding darkness of The Cure as it does to the disjointed mind of Flaming Lips singer Wayne Coyne, both of which only add to the dark danceability of the album.

                                                                            What you have to look forward to is twelve tracks of killer hooks, soaring melodies, moments of dark audio experimentalism and a social conscience worn like a high-viz jacket. Clear a space in your end-of-year lists now.

                                                                            FORMAT INFORMATION

                                                                            Coloured LP Info: 180g Silver Vinyl.

                                                                            Tyree

                                                                            Video Crash / Acid Crash B/w Harcore Hip House (Joe Smooth Too Deep Mix)

                                                                              Encouraged by the high demand for ‘Foundations Vol.1’, which saw DJ Spinna and Kai Alce join forces to release the Cajmere classic ‘Brighter Days’ on 7” vinyl, the second volume of ‘Foundations’ sees the pair digging even deeper into House music history, selecting a pair of tracks from Chicago legend Tyree Cooper.

                                                                              The first cut on our strictly limited 7” pressing was originally named ‘Video Crash’, then re-titled ‘Acid Crash’ on a bootleg version released around the same time. Whichever name you prefer, this 1988 track hails from an era of creative oneupmanship in the Chicago underground. The story goes that Marshall Jefferson and/or Lil’ Louis created a jam called ‘Video Clash’ in the mid 80s (there’s still some controversy about who made it, so we’ll say no more). Keen to go one better, Tyree hit the studio to make a track called ‘Video Crash’ and in the process he created one of the most potent and recognizable Acid House tracks of all time.

                                                                              On the flip side and originally released back in ’89 is Joe Smooth’s ‘Too Deep’ mix of another Tyree classic: ‘Hardcore Hip House’. A crossover anthem, Tyree’s original version paired rap vocals and James Brown cutups with raw House beats. Fellow Chicago DJ Joe Smooth shows off the flawless, crisp production abilities that would later see him producing for Destiny’s Child, New Order and Whitney Houston with this superb, timeless Deep House remix.

                                                                              About The Series: BBE are excited to present ‘Foundations’, a series of strictly limited 7” pressings exploring some of the most iconic House tracks of all time, as chosen by DJ Spinna and Kai Alce. With global interest in ‘45s on the rise, ‘Foundations’ aims to fill those frustrating gaps in all our collections by releasing specially crafted edits of classic house tracks on 7” vinyl for the very first time.

                                                                              Resina

                                                                              Traces

                                                                                Two years on from her critically acclaimed, self-titled debut, Polish cellist Resina (aka Karolina Rec) returns with her sophomore album for FatCat's influential 130701 imprint. A less fragile, far more immediate album, 'Traces' sees the Warsaw-based artist working a sound which moves closer towards the listener, with increased viscerality and weight. It's a bold, dynamic and assured step forward and an album fully deserving of your attention. Whilst Karolina's voice appeared only briefly (to stunning effect) on her debut's final track, this time around it assumes much greater prominence, featuring on almost half the album's tracks, alongside contributions from drummer / percussionist Mateusz Rychlicki adding body and drive on a number of tracks.

                                                                                Gwen McCrae

                                                                                Keep The Fire Burning / Funky Sensation

                                                                                  The 7” versions of Keep the Fire Burning and Funky Sensation by Gwen McCrae, two tracks synonymous with the soul, boogie, rare groove and modern disco scenes, are finally being reissued on Expansion Records. Funky Sensation, moreover, possesses a timeless and universal groove, a song which has cemented itself as a darling of the boogie-scene, while gaining traction from the likes of Dam Funk and Nu Guinea.

                                                                                  Margie Joseph

                                                                                  I Can't Move No Mountains / Come On Back To Me Lover

                                                                                    Margie Joseph recorded prolifically for Atlantic Records in the 70s. She worked with incredible writers, arrangers and producers, sharing many with her label mate Aretha Franklin with whom she garnered comparisons. “I Can’t Move No Mountains” was produced by Arif Mardin and was originally released in 1975 (original pressings fetch between £50-£75), while “Come On Back To Me Lover” was produced by Johnny Bristol in 1977 and holds similar value. In June 2018 Margie comes to the UK where she is reunited with Lamont Dozier who also wrote and produced for her at Atlantic.

                                                                                    Willie Bobo

                                                                                    Always There / Comin' Over Me

                                                                                      Willie Bobo was a Latin jazz percussionist from New York who recorded over 20 albums between 1963 and 1979. During the 70s jazz funk period he recorded a version of “Always There” to rival the Ronnie Laws original as the definitive version becoming a dance floor favourite. The album and extended 12” versions have been reissued many times, now here’s a first issue of the more compact 7” version which has become more in demand recently. It is coupled with an extremely popular vocal track “Comin’ Over Me” featuring singer Errol Knowles. It is the first time this song has been released on 7”. Willie’s son is Eric Bobo, a member of Cypress Hill.

                                                                                      Pattie Austin

                                                                                      Are We Ready For Love / Didn't Say A Word

                                                                                        Patti Austin is from Harlem, New York, the goddaughter to Quincy Jones with whom she sang on “The Dude” (including “Razzamatazz”). She has released solo albums since 1976 and won a Grammy for her 2008 release. Her first singles were for the Coral label in the 60s from where she has popularity began with Northern Soul fans. In the early 70s she recorded for Columbia, a period from which the two songs re-released here are her most popular. “Are We Ready For Love” in its own right and “Didn’t Say A Word” as a highly regarded rendition of a classic first recorded by Yvonne Baker.

                                                                                        Apollo Brown & Locksmith

                                                                                        No Question

                                                                                          A collaborative eight-track LP from Detroit producer Apollo Brown and Richmond, California MC Locksmith. Previous single "No Question" premiered via Ambrosia For Heads ["Brown's bright keys and infectious vocal loop pull the best out of Locksmith"]. Apollo Brown has released collaborative albums with Planet Asia, Skyzoo [their 2016 album The Easy Truth reached #11 on Billboard's "Heatseekers"], Guilty Simpson, O.C., Ras Kass, Rapper Big Pooh.

                                                                                          RVG

                                                                                          A Quality Of Mercy

                                                                                            Debut album from Australian punk band RVG drawing on an array of influences from Echo and the Bunnymen, The Psychedelic Furs, and The Go Betweens. A Quality of Mercy is made up of Eight songs. Classic songs. Songs recorded by the band, live off the floor, at Melbourne’s iconic rock’n’roll pub, The Tote. Songs that leant on the band’s heroes —the Go-Betweens, the Soft Boys, the Smiths— whilst never sounding like homage or pastiche. Songs hitting that sweet spot between light and dark, employing guitars both angular and jangling. Songs passionately sung by Romy Vager, the eponymous leader of a band once called, in full, Romy Vager Group. All of the songs on A Quality Of Mercy find Vager trying to move beyond ego, beyond the simple confessional of the songwriter, hoping to find perspective on both world and self. In such, these songs are at once personal and universal, intimate and grand, timely and timeless. They’re classic songs. And there’s eight of them. Adding up to a perfectly-formed debut that says so much, yet gets out in under half-an-hour.

                                                                                            FORMAT INFORMATION

                                                                                            Coloured LP Info: Indies exclusive coloured vinyl.

                                                                                            Maps & Atlases

                                                                                            Lightlessness Is Nothing New

                                                                                              Maps and Atlases Lightlessness Is Nothing New, their first since 2012s critically acclaimed Beware & Be Grateful, serves to foreshadow an emotionally and musically dynamic collection of songs that contemplates the jolt of loss and the strain of longing to music that, against our better judgment, makes us want to dance.

                                                                                              FORMAT INFORMATION

                                                                                              LP includes MP3 Download Code.

                                                                                              Smokescreens

                                                                                              Used To Yesterday

                                                                                                LA’s Smokescreens began as a couple of pals (Chris Rosi from Plateaus, Corey Cunningham from Terry Malts) paying tribute to the seminal 80s sounds of New Zealand’s Flying Nun label and has grown to be so much more.

                                                                                                Since their self-titled 2017 the band has expanded to a four piece and honed their tunes with constant SoCal gigging. Their new album “Used To Yesterday” continues Smokescreen’s zeal for New Zealand pop but also incorporates influences from the more melodic side of Messthetics-era DIY pop and expands into classic indie pop territory, a natural fit for the Slumberland Records roster.

                                                                                                From the NZ-meets-Athens GA first single “The Lost Song” through the 12-string driven “Waiting For The Summer” to the Paisley Underground-tinged closer “Falling Down,” Smokescreens really excel in the quality of their songwriting and their ability to incorporate a disparate set of influences while still forging their own sound and identity.

                                                                                                'Come To Canada You Will Like It' is a record about slowing down while finding a balance between rural and city living. Inspired by subjective memories and ideas about things and places: Looking back and moving forward. 
                                                                                                On his second album now, Canadian Patrick Holland, gives us a collection of excellent music. Will not disappoint to those who follow him as the formula is still the same: Lo fi house (breathtaking 'Tunstal' and the lovely squelchy beats and contagious bassline on 'Nanana' among others) and downtempo pieces ('No Interest') where melody is the centre piece via radiant synth chords. This LP will not fill dancefloors - more likely empty them, there are no tunes. But, it is ull of great music; music that is cool, calm and collected yet free and evocative. Excellent for home listening or driving. 
                                                                                                As always, Holland delivers and shows zero signs of fading out.
                                                                                                So, please do get a copy of this lovely thing because it will grow with each listening. A classic in disguise is what it is.


                                                                                                STAFF COMMENTS

                                                                                                Sil says: Very very good second album by Project Pablo. If you know his style and like it, you know what to expect. Pure class.

                                                                                                Rimarkable, The first signing to boss man Waajeed’s DIRT TECH RECK label based in Detroit. Presents her stunning debut with the single, “I’m in Trouble”, over eight minutes of planetary prayer from Purgatory. Produced, mixed and arranged by Waajeed, this elaborate dance floor offering is a marriage between deep Afro House and Detroit Techno, with potent and memorable vocals by Rimarkable.

                                                                                                As a seasoned DJ in New York for the last decade, Rimarkable is clear this track will be welcomed on dance floors worldwide. “This song was produced and performed from a DJs perspective,” she says. “It will take the dancers to a place of possession, and allows space for the DJ to officiate and build a bridge to wherever they’d like to go next. It’s definitely something to keep in your crate of arsenals.”

                                                                                                Luke Solomon - "FUCK, That's Mad - Properly Briliant!"
                                                                                                Mr. Scruff - "Raw & Restrained"
                                                                                                Zernell Gillie - "I'm really feeling, "I'm In Trouble"

                                                                                                Next up on Peach Discs is the debut 12” from newcomer Videopath. The A-side piles up the melodies over some box-banging drums, while the B-side goes full-on 90s with pumping organ riffs and wailing diva vocals. 2 jacking tracks for the clubs!

                                                                                                Patricia Kokett’s sound is shrouded in a veil of mysticism. The brainchild of Lithuanian Gediminas Jakubka, Diabel’s metallic heartbeat underlies a magical superstructure that evokes some kind of DMT infused trip. Or possibly even some kind of ancient ritual, where one is intoxicated by serpents blood. Guided by repetitive drum patterns, it creates a slow joint dance that opens the path towards transcendence.

                                                                                                One half of the KWC 92 (who has previously delivered two top notch lps for L.I.E.S.), Swedish producer Max Stenerudh aka Maxxx Bass steps forward with a 9 track solo effort titled "Gone Fishing". Right off the bat we hear Stenerudh immersing himself in a world of chilled out and narrative FM electronic explorations that call to mind places past. The untitled tracks leave it to the listerner to create a story on their own, as voice pads, hand drums and dare we say pan flutes push and pull their way through the album creating dreamlike textures and otherwordly escapes. Ideal music to fall into a late afternoon summer siesta to. LP comes come with full color 22cmx28cm color poster and download card.

                                                                                                Chicago's Justin Aulis Long and Ken Zawacki return to L.I.E.S. with their second ep under their Circling Vultures moniker. On this offering we get four tracks of tough yet psychedelic machine music. From slow bpm beaters to metal on metal floor cuts, these are executed with precision to do maximum damage whenever played. Sinking their teeth in and never letting go, looming over and waiting for the right moment to strike...tense music for the end times! Another killer from these seasoned club vets.

                                                                                                CAIN is back with a BANG this summer! The smile inducing Eshu probably one of the biggest tracks he's made to date and one we've sat on for too long now..

                                                                                                As always, the other two tracks are equally as varied and great - Phoenix makes for a great opener and Hoji is a current Lena Willikens hit.

                                                                                                After last years excellent discoveries from Volume 1, another batch of ‘lost’ and unreleased Dutch (cassette) material is coming back to the future. For this sequel we dug deep into the Dutch lowlands and again found some independent music that’s still relevant today. In the process we met even more amazing musicians and heard great stories from a distant-not-so-distant past. Expect a wide palette of DIY and experimental sounds by artists from Groningen, Zwolle, Arnhem, The Hague, Rotterdam, Tilburg and Deurne. Volume 2 will also feature a beautifully designed inlay with liner notes in Dutch and English.

                                                                                                Mastered by Wouter Brandenburg, designed by Steele Bonus and compiled by Mark van de Maat. 

                                                                                                Tivoli Trax started as a Multiplex series paying tribute to local artists connected to Kong’s Mantra night club, while it was based in Copenhagen’s Tivoli Gardens. The first 1996 EP was followed in ’97 by Vol. 2 and finally by a 12 track CD compilation in ’98. In 2018 we are bringing back this iconic tribute to amazing Copenhagen based producers with Tivoli Trax vol. 3!

                                                                                                To bridge the twenty years gap, the first track is an original Hüebsch Originators production from ’98. This deep techno track was released on the Tivoli Trax CD, and we are delighted to finally be able to present it on wax. The duo also released the Evanouir EP on Multiplex in ’97. Secondly we have the beautiful “Bodies” by Vassdrag, a Norwegian word for a river system and the Multiplex alias of a well-known Copenhagen producer, who’s been releasing on a quintessential techno imprint since 2010.

                                                                                                B From E aka. Frej Levin, a rising star on the Danish scene and known for releases on Copenhagen Underground Posse and Tartelet Records, delivers classic, atmospheric, deep house in the form of “No Memory”. The last track is “Nightwave” by Dennis Uprock, better known as dub-techno producer Resoe of Baum Records, Echocord and Pattern Repeat. A prolific producer of multiple genres. He has used his “Uprock” moniker when playing house music since the mid-90s.

                                                                                                "The Smoke" is Lolina's third solo album, following "Live in Paris" (2016) and "Because I'm Worth It" (as Inga Copeland, 2014).

                                                                                                As you'd expect from this modern, artistic pioneer; you're kept on your toes from start to finish as she delivers thought-provoking lyrical content over at once comical, advanced, paranoid and electronic soundscapes. The child-like vocal delivery is cloaked in a dark subjectivity and content, whilst the sonic nods to UK bass culture hint at a producer with a knowing love for grime and all its mutant genres. Although stylistically miles apart from this sound, what it misses in identity it makes up for in sentiment, with Lolita telling you just how it is in her world, uncensored and pure and with a challenging but provoking sonic aesthetic holding it together. A brilliantly realized piece from this alluring upfront artist.


                                                                                                Sfetsas formed GFO in 1976, in order to accomplish an ambition dating back to his 1960's Avant-garde period in Paris: to create a piece of work that would expand the boundaries of Greek traditional music. The result is a Progressive-Jazz Fusion masterpiece comprising complex and intriguing compositions, and performed by Athens' best musicians of the day.

                                                                                                Sfetsas grew up on the island of Lefkada where he studied classical music from an early age at the local conservatory. At the same
                                                                                                time he was genuinely connected to traditional music and especially to the sound of the clarinet, the lead instrument in the region's
                                                                                                folk music. From a young age Sfetsas would perform with Gypsy orchestras in local feasts. It was this experience that inspired him
                                                                                                to create the GFO after his return from Paris in 1975. Sfetsas founded the orchestra while working at the National Radio, an orchestra comprised mostly of members of the Variety Music Orchestra, who had a solid background in both classical and traditional music. In that way, he was able to realise his ambition. Something he could not do in Paris, since it was impossible to find musicians trained
                                                                                                in both musical cultures.

                                                                                                The recordings on this album, forming only a small part of his overall body of work with GFO, are previously unreleased. The music
                                                                                                was recorded Stereo on Reel Tape and with high standards for the time, with the current mastering process highlighting even more
                                                                                                the quality of the recordings. The result is a truly impressive and pure audiophile album.

                                                                                                Crazy 12 track library music style album on this ace Italian label. All based around bumping live rhythms triggering an obscure Japanese drum synth module..recorded in 2018.

                                                                                                It was November 2017 when I received a call from an old friend, "Hi Fabrizio, I found a rare Japanese drum machine, you should come and see it before I put this on ebay." I went to check it out and immediately realized it had more potential than just drum sounds generation, it was able to produce quirky and creepy sounds if triggered by any sound source. So I bought it and brought in the studio, where me and Alex were laying down new beats and ideas. It took just three days of jams to get the skeleton of this record done: I programmed the module to receive Alex's drum hits and the device started creating synth lines, almost as it was speaking its own language.I've found a soul in this machine, and I wanted to bring it to life in these tracks, a mix of arranged compositions and improvised jams. No root keys, no grids, no clicks, everything came out in an instinctive and natural way

                                                                                                As far as we know it's the first time this synthesizer/drum machine is been used in this "improper" and new way.

                                                                                                Parrish Smith makes his Dekmantel debut on the label’s sister-techno imprint, UFO, with a blend of avant garde electronics and industrial.

                                                                                                With the 'Sex, Suicide & Speed Metal EP', Dutch producer Parrish Smith works outside of the realm of genres and tempos, creating his own unique template of saturated, electronic post-punk, having won accolades from the likes of Nina Kraviz, and Ron Morelli along the way. An analogue purist at heart, Parrish Smith has already amassed a cult following with regular appearances on Red Light Radio, in which the anarcho-experimentalist broadcasts sessions of heavy industrialism, breakbeats and body music.

                                                                                                Parrish Smith’s music brings together classic analogue gear and a love for the fusion of aggressive industrial sounds. With title track 'Sex, Suicide & Speed Metal', Parrish Smith channels his inner Alan Vega, with some screaming guitars, and 65bpm machine-crunching body beats, lurching into a sultry space of slick wave music. 'Mute' jacks up the feeling of tempo, rife with energetic drum machines, pulsing synths and retro-fitted vocals, similar to the sound of something Daniel Miller might have released himself back in the early 80s. 'SKINS', delves further into the mechanical, with a grinding bass that bleeds through the track’s entirety, while 'Fall into sin' sees him explore the world of deconstructed, gothic-pop yet further. Parrish Smith will be djing, and performing live as Volition Immanent at this year’s Dekmantel Festival, to fulfil the festival’s charter of provocative, and intoxicating, energetic beat-filled music.


                                                                                                Dazion

                                                                                                Dragon Wave/Vx Ltd

                                                                                                Den Hague's Dazion (who previously released a 12" on MFM's Second Circle imprint), with a 2 tracker for Safe Trip.

                                                                                                Label say:
                                                                                                Urgent: the safe trip organisation has taken to the water in a bid to spread their coded musical messages far and wide. They have recruited a yoing operative known as Dazion, a keen windsurfer, to develop a method of broadcasting their addictive and mind-altering musical missives wherever there is a suitable body of water.

                                                                                                Our operatives tracked Dazion to a remote spot on the Dutch coast, where he was spotted trialling this new technology with his favoured f2 dragon board. As he rode the choppy waves, we were able record the rhythmical electronic music broadcasting from within the broad. This music featured the kind of tribalistic, delay-laden drums, swelling electronics and exotic melodic refrains that are known to inspire frenzied dancing in members of the public. We have christened the recording “dragon wave”.

                                                                                                We later tracked Dazion to a light industrial unit on the outskirts of Amsterdam. There he continued to tinker with the technology, testing it out by broadcasting another musical composition. This was more poignant and melancholic in tone, utilising spaacey electronic melodies, gently bobbing chords, heart-aching guitar flourishes and a tough but broken rhythm track. The recording – code name “vx ltd” – had a huge impact on us emotionally and even reduced one operative to tears.'


                                                                                                Miss Red

                                                                                                Dagga / One Shot Killer

                                                                                                  PRESSURE presents the limited edition red vinyl of Miss Red 'Dagga / One
                                                                                                  Shot Killer', produced by Kevin Martin aka The Bug, limited to 500 copies
                                                                                                  worldwide and hand stamped with her K.O. logo.

                                                                                                  Miss Red’s fierce flow rides roughshod over warped bashment anthems
                                                                                                  and showcases her ability to adapt to different flavours. The Bug’s riddims
                                                                                                  are a masterclass in restraint, retaining his trademark heaviness but taking
                                                                                                  a step back from the atmospheric ambience of his recent work with Burial
                                                                                                  and Earth. Instead this is an example of the dexterity with which Martin
                                                                                                  can deploy a minimal arrangement, taking a bassline, beat, FX and vocal
                                                                                                  and sharpening those elements for maximum dancefloor devastation.

                                                                                                  In 2015 Miss Red dropped her first solo mixtape, Murder, with The Bug’s
                                                                                                  riddims supplemented with contributions from other producers such as
                                                                                                  Mark Pritchard, Mumdance and Andy Stott. Subsequent singles on her
                                                                                                  own Red label and the in-house imprint of iconic London record shop
                                                                                                  Sounds Of The Universe have sold out straight away, and she has
                                                                                                  received acclaim for her collaborations with Warp Records artist Gaika.

                                                                                                  Mitra Mitra

                                                                                                  Marionettes

                                                                                                    The second of Polytechnic Youth’s ace new LPs for July, sees a mighty set from Austria based synth pop duo Mitra Mitra. Following previous releases on Peripheral Minimal and their own Micromort label, not to mention a lathe cut right here on PY that sold out in 20 minutes in Dec. 2015.

                                                                                                    The band was formed in Vienna in late 2014 by Violet Candide and Mahk Rumbae. Originally from New Zealand, Violet Candide is a founding member of the Crazy Hospital DJ collective, and one of the organisers of the legendary “Future Echo” club night in Vienna, and is one half of ‘Anesthetic Hairpins’; whilst British musician Mahk Rumbae is known for his work as a member of the industrial/experimental project ‘Konstruktivists’, ‘Oppenheimer MkII’ (with Andy Oppenheimer of Oppenheimer Analysis) and his solo techno project ‘Codex Empire’.

                                                                                                    After working together on one of Violet's solo songs, “Heat”, the pair decided to continue working together and formed Mitra Mitra as a more full time project, with the aim of writing electronic songs not tied to any particular influence or style. However, if there was such a thing as a signature PY sound- arguably this LP (alongside last year’s Vorderhaus full length), encapsulates it most. Beautifully icy cold synth pop straight outta’ early prime era Mute / Blackwing studios output. Serene yet melodic, edgy, dry icy hooks and delicious grooves aplenty all over this record. Eight wonderful tracks where quality and sheer melodic guile of the song writing never dips and attention truly is held across the whole set, ….no mean feat indeed.


                                                                                                    Objetivo

                                                                                                    Micromundos

                                                                                                      The first of two wonderful new full lengths for Polytechnic Youth for the first week in July. This is a debut release on vinyl for Spanish based Jordi Navarra whose musical oeuvre stretches between “Surf, Hippie / Space Rock and crude electronic music” often different yet coated in tons of reverb and echo for “it’s final catalepsy”!

                                                                                                      “Micromundos,” needless to say for PY devotees, concentrates on his cruder electronic soundscapes; incredible often ambient, drone themed pieces that on one hand dip their toes into the revered works of Hans-Joachim Roedelius and Dieter Moebius, and the sky back catalogue whilst equally conjuring up a collision of Spacemen 3 psych meets Wire, early Cabs or Magazine darker more atmospheric, post punk industrial / experimental workouts.

                                                                                                      Eight abstract, kosmische fuelled pieces that act as an interesting sister release to the label’s other July offering, the more overtly “in-yr-face” synth pop themed Mitra Mitra LP. Two beautiful releases expected to sell out pretty swiftly, and released together first week of July.


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