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Strut present an exclusive new compilation curated by Optimo’s JD Twitch, ‘Kreaturen Der Nacht’, bringing together classics, rarities and oddities from Germany’s original post-punk and DIY scene.

1979 to 1984 was an era of particular artistic upheaval in Germany as strong subculture scenes formed in many German cities. Emphasis was placed on expression rather than technical perfection, artistic impact rather than skill. DIY self-organisation prevailed with the establishment of small record labels and independently produced records and cassettes. Bands experimented across genres and consciously abandoned the English-speaking mainstream with German band names and lyrics. “Although we had a small underground scene, it was very vibrant,” explains Gudrun Gut of Malaria! “Bands like Die Haut, my first band Mania D., Malaria!... we organised gigs ourselves or friends would open a gallery and have bands playing. We hung around together in a handful of clubs like Risiko or Dschungel and went to gigs at SO36. West Germany had other regional scenes too: Düsseldorf and Köln around Der Plan and the Ata Tak label and there was the Hamburg side with Abwärts. Germany didn’t have a real music industry like the US or England back then."

This new collection is a personal selection from JD Twitch, built over years of playing the tracks in club sets. “It is not designed to tell a definitive story of what was going on in Germany in this era,” he explains. “Rather, it is simply an arbitrary collection of records I adore from a specific era with a specific attitude that hopefully together sum up some of the musical undercurrents in Germany at that time.”

The package features a host of rare and unseen photos from the period along with extensive interviews with artists including Beate Bartel (Mania D.), Christoph Dreher (Die Haut), Michael Hirsch (P1/E) and Thomas Voburka (Weltklang). All tracks are remastered by The Carvery with artwork by Optimo’s in-house design man Andrew Beltran.


STAFF COMMENTS

Patrick says: Those ever reliable folks at Strut enlist the curatorial skills of Optimo selector JD Twitch for a 16 track trip into the angular world of NDW. A distinctly German hybrid of post punk, synthpop, dub and tape experiments, the NDW scene burned bright at the dawn of the 80s, and this flawless set presents that unique sound at its most expressive.

Near the end of Reagan's first term, the Western Massachusetts Hardcore scene coughed up an insanely shaped chunk called Dinosaur. Comprised of WMHC vets, the trio was a miasmic tornado of guitar noise, bad attitude and near-subliminal pop-based-shape-shifting. Through their existence, Dinosaur (amended to Dinosaur Jr. for legal reasons) defined a very specific, very aggressive set of oblique song-based responses to what was going on. Their one constant was the scalp-fryingly loud guitar and deeply buried vocals of J Mascis.

A couple of years before they ended their reign, J cut a solo album called Martin + Me. Recorded live and acoustic, the record allowed the bones of J's songs to be totally visible for the first time. Fans were surprised to hear how melodically elegant these compositions were, even if J still seemed interested in swallowing some of the words that most folks would have sung. Since then, through the reformation of the original Dinosaur Jr lineup in 2005, J has recorded solo albums now and then. And those album, Sings + Chant for AMMA (2005), Several Shades of Why (2011) and Tied to a Star (2014) had all delivered incredible sets of songs presented with a minimum of bombast and a surfeit of cool. Like its predecessors, Elastic Days was recorded at J's own Bisquiteen studio. Mascis does almost all his own stunts, although Ken Miauri (who also appeared on Tied to a Star) plays keyboards and there are a few guest vocal spots. These include old mates Pall Jenkins (Black Heart Procession), and Mark Mulcahy (Miracle Legion, etc.), as well as the newly added voice of Zoë Randell (Luluc)  among others. But the show is mostly J's and J's alone. He laughs when I tell him I'm surprised by how melodic his vocals seem to have gotten. Asked if that was intentional, he says, “No. I took some singing lessons and do vocal warm-ups now, but that was mostly just to keep from blowing out my vocal cords when Dino started touring again. The biggest difference with this record might have to do with the drums. I'd just got a new drum set I was really excited about. I don't have too many drum outlets at the moment, so I played a lot more drums than I'd originally planned. I just kept playing. [laughs] I'd play the acoustic guitar parts then head right to the drums.”

There is plenty of drumming on the dozen songs on Elastic Days. But for those expecting the hallucinatory overload of Dinosaur Jr's live attack, the gentleness of the approach here will draw easy comparisons to Neil Young's binary approach to working solo versus working with Crazy Horse. This is a lazy man's shorthand, but it still rings true. Elastic Days brims with great moments. Epic hooks that snare you in surprisingly subtle ways, guitar textures that slide against each other like old lovers, and structures that range from a neo-power-ballad (“Web So Dense”) to jazzily-canted West Coasty post-psych (“Give It Off”) to a track that subliminally recalls the keyboard approach of Scott Thurston-era Stooges (“Drop Me”). The album plays out with a combination of holism and variety that is certain to set many brains ablaze. J says he'll be taking this album on the road later in the year. He'll be playing by himself, but unlike other solo tours he says he'll be standing up this time. “I used to just sit down and build a little fort around myself -- amps, music stands, drinks stands, all that stuff. But I just realized it sounds better if the amps are higher up because I'm so used to playing with stacks. So I'll stand this time.” I ask if it's not pretty weird to stand alone on a big stage. “Yeah,” he says. “But it's weird sitting down too.” Ha. Good point. One needs to be elastic. In all things. - Byron Coley


STAFF COMMENTS

Barry says: One of the more tender outings from J Mascis of Dinosaur Jr fame, 'Elastic Days' beautifully encompasses a wide variety of J Mascis' leanings including folk, Americana and classic rock to brilliant effect. Heart-wrenching in places but ultimately optimistic, this is yet another display of how versatile and talented this man is. Superb.

FORMAT INFORMATION

Coloured LP Info: limited indies only 'Loser Edition' crystal clear with a purple swirl!

Black Velvet is a celebration of Charles Bradley, lovingly assembled by his friends and family at Dunham/Daptone Records. Though chronologically the material spans Charles' entire career, this is no anthology, greatest hits or other shallow rehashing of the songs that already made him famous. Rather, this album is a profound exploration through the less-travelled corners of the soulful universe that Charles and his longtime producer, co-writer and friend Tommy "TNT" Brenneck created in the studio together over their decade-long partnership.

It features new songs recorded during the sessions from each of his three albums, heard here for the very first time in all their scorching glory: "Can't Fight the Feeling," "Fly Little Girl" and the heart-wrenching single "I Feel a Change"; hard core rarities like his funk-bomb duet with LaRose Jackson, "Luv Jones," the psychedelic groover, "(I Hope You Find) The Good Life" and the ever-illusive alternate full band electric version of "Victim of Love"; sought-after covers of Nirvana's "Stay Away," Neal Young's "Heart of Gold" and Rodriguez's "Slip Away"; and the title track "Black Velvet," a stirring Menahan Street Band instrumental to which Charles was never able to cut a vocal.

Charles was truly a transcendent singer who led a remarkable life, overcoming unimaginable adversity to achieve great success and international acclaim very late in his life. What was really special about him and made him different from everybody else in the world was how he understood his pain as a cry for universal love and humanity. He felt that if he loved enough—if we all loved each other enough—we could take away the world’s pain and sadness. That is why he jumped off the stage and literally tried to hug everybody he could. It's why he took such great care of a mother that had abandoned him. It's why he sang and danced like a lunatic. It's why he screamed like an eagle. And that's why we love him.

Black Velvet is a celebration of his life, and is destined to join Charles' first three albums alongside the cannon of essential soul records for the ages.


STAFF COMMENTS

Millie says: Black Velvet is a summary of everything that was great about Charles Bradley, his strong compelling vocals and passion is etched into all his music and this album ties it all together as a celebration to him and his legacy.

FORMAT INFORMATION

Coloured LP Info: Indies only purple / black splatter vinyl.

2xLP Box Set Info: Box set is a one-time pressing for the super-fan; we have a gorgeous black velvet wrapped box set that includes the following:
180g vinyl version of the standard LP.
A bonus 12” 45rpm EP with stripped down mixes of 4 Charles Bradley classics.
An exclusive slip-mat.
2 printed heavy-duty inner sleeves sporting a surreal painting of Charles and the interview in which he explains the origin of the painting.
A 12x12 photo-book with extensive liner notes from producer Tommy 'tnt'.

Fleet Foxes

First Collection 2006-2009

First Collection 2006-2009 is a special limited edition collection to mark the 10th year anniversary of Fleet Foxes’ debut album

The collection comprises content spanning the early days of the group’s career, including the eponymous debut album, as well as the Sun Giant EP, The Fleet Foxes EP, and a compilation of B-sides & Rarities.

Available on limited edition 4-disc vinyl, as well as CD, the release also includes an extensive booklet featuring show flyers, lyrics, and artwork from the period.

STAFF COMMENTS

Barry says: It really would be hard to overstate how important the first Fleet Foxes album was to the world of indie music, and here we get it packaged along with a stunning duo of EP's and some decidedly album-worthy 'Outtakes', with a big booklet of linear notes, artworks and lyrics. Top collection.

FORMAT INFORMATION

LP Box Set Info: Limited x4 disc vinyl:
Eponymous debut album.
2006’s rare self-released The First EP, never widely commercially available or previously on vinyl.
2008’s Sun Giant EP.
B-sides & Rarities.
Extensive, deluxe booklet.

The Wave Pictures return with the promised second album of the year, Look Inside Your Heart - a warm, joyous record celebrating friendship, happiness and drunken party times. Like the first album they released this year, the more contemplative Brushes With Happiness, this one was recorded late at night whilst inebriated back at the tiny Booze Cube Studio in Stoke Newington, live to reel-to-reel tape with no computers of any kind. The album is peppered with giggles and chatter, which adds a sense of spontaneity and place.

As singer and guitarist Dave Tattersall explains: ”Look Inside Your Heart is intended as a rallying cry in the war against the machines; while a computer may have beaten world-champion human being Lee Sedol at Go, a machine could never have made music as joyful, spontaneous, happy, poetic, broken and rambunctious as this. Look Inside Your Heart is a bullet in the face of all pop-poseurs and robot wannabes, a die-hard continuation of the vulnerable rebel tradition of rock and roll music, a vibrant work of outsider art and a masterpiece of electric folk.”

Twenty years after forming in Wymeswold, Leicestershire as teenagers, The Wave Pictures have gone on to be one of the UK’s most prolific and beloved bands. Fond of classic rock, jazz and blues, they are also one of the most accomplished, with Tattersall’s guitar solos becoming the stuff of legend. They have collaborated with varying bright stars of the musical firmament, such as last year’s rock’n’roll surf-garage-rock project with Charles Watson from Slow Club, as new band The Surfing Magazines, or their ongoing partnership with ex-Herman Dune member Stanley Brinks, or the very close partnership with Billy Childish for 2015’s Great Big Flamingo Burning Moon. 


STAFF COMMENTS

Barry says: I can't listen to the Wave Pictures nowadays without thinking of a friend of mine (he LOVED them), and they were similar in many ways. Understated but intelligent, filled with stories but hesitant to tell them for fear of coming off bolshy (they are both anything but). The Wave Pictures remain as relevant today as they ever did, writing superb songs and stooping slightly for fear of being noticed... i've not seen him for a while, but i'd imagine that Graf's trajectory is not far off that. Long live them both.

FORMAT INFORMATION

Coloured LP Info: Raspberry coloured vinyl.

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

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

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

The eighth album from Muse, ‘Simulation Theory’, features eleven tracks and was produced by the band, along with several award-winning producers, including Rich Costey, Mike Elizondo, Shellback and Timbaland.

‘Simulation Theory’ follows ‘Drones’, released in 2015. Since then the internationally acclaimed three piece: Matt Bellamy, Dominic Howard and Chris Wolstenholme, have toured extensively, taking the ground breaking ‘Drones World Tour’ to fans across the globe. 

FORMAT INFORMATION

Deluxe CD Info: As Standard CD plus:
Algorithm (Alternate Reality Version)
The Dark Side (Alternate Reality Version)
Propaganda (Acoustic)
Something Human (Acoustic)
Dig Down (Acoustic Gospel Version)

Dead Can Dance

Dionysus

    From their inception in 1981, Australian duo Dead Can Dance have long been intrigued by European folk traditions, not solely in musical terms but also by secular, religious and the spiritual practises. Taking its inspiration from this backdrop and shaped as Brendan Perry explored the long and established spring and harvest festivals that originated from the Dionysus religious practices, a journey that brings to the fore, the rites and rituals that are still practised to the present day.

    Two years in the making, Perry has amassed an array of folk instrumentation and as often heard on previous albums takes inspiration from across the world, tracks evolve less like songs more akin to fragments of the cohesive whole. Dionysus follows a familiar path, witness to field recordings, that includes chanting, beehives from New Zealand, bird calls from Latin America and a Swiss goatherd. The aim in Perry’s mind is to not just invoke the atmosphere and symbolic reference points but to highlight that music can be found everywhere in some form or other.

    The album consists of two acts across seven movements that represent the different facets of the Dionysus myth and his cult and takes the musical form of an oratorio, which has informed both spiritual and secular pieces of music as far back in history as the early 16th century. Retaining a prevalent hold on contemporary paganism in Europe, the voices used on these movements are imagined as communities celebrating, in communion with each other at times, chanting and call and response – the various voices are present to convey emotion beyond the boundaries of language itself.

    Although taking its main inspiration from the Dionysus story, the album’s artwork resonates with links to rituals depicting a mask made by the Huizhou of the Sierra Madre Mountains in Mexico – famed for their beadwork and yarn paintings, whilst also partaking in peyote as a sacred rite and ritual for the purposes of healing and mind expansion – this is at heart of Dionysus, a celebration of not just humanity but humanity working hand in hand with nature with respect and appreciation.

    FORMAT INFORMATION

    Deluxe LP Info: Deluxe format is on exclusive heavyweight transparent purple 12” vinyl, accompanied by a CD and deluxe 16-page 12” x 12” hardback picture book with padded cover.

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

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

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

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

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

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


    STAFF COMMENTS

    Emily says: A gorgeous fusion of spiritual jazz with afrobeat and west african rhythms, inspired by the likes of Alice Coltrane and Pharaoh Sanders. Sometimes loose and contemplative, sometimes driven and danceable, all sewn together with an impressive level of musicianship.

    Perceptions. That is what Garrett deals in. Not the kind that hit you from off a screen, the ones that emerge from the macro. He steps outside of himself during the recording process, so it’s only right for the listener to do the same. This is for wide open spaces, open lanes, pulled off on the viewpoint of your psychological freeway. Some might call it a medication, you may find it better as an application to your everyday. Not a bite sized ready-for-review consumption. Let it drape over you like a cloak.

    STAFF COMMENTS

    Patrick says: Relax yourself and let your mind be free, you're now tuned into MFM radio, and the sunblushed sounds of Garrett. Dam-Funk dons his lesser known alias for his second contribution to the Music From Memory catalogue, a medicated set of stoned boogie rollers and cinematic treats. One for warm days and open roads.

    Jean-Pierre Boistel / Tony Kenneybrew

    Percussions Pour La Danse

    Percussions Pour La Danse was a collaboration between North American born jazz & contemporary-dance instructor Tony Kennybrew and French musician Jean-Pierre Boistel. Tony, a Washington native who had studied, taught and danced professionally since the age of 12, found himself in France in the late 80’s. It’s here that he linked up with like-minded musician Jean-Pierre; who had recently returned from a 6-month trip to West Africa. A trip that helped refine his craft that begun in the early 70’s.

    The music was created for Tony to use when teaching contemporary jazz-dance classes and to accompany live performance, allowing students to “dance slowly, rapidly and change speeds without changing the tempo!”. This work of rhythmic research was based on the “Balance of The Walk”; in 4 times, in 6 times, in 7 times & in 3 times. In order to reach the spatial possibilities he was striving for, Jean-Pierre would also use computer assisted programming to sample and re-play his own instrumentation. This allowed him to lay down the tempo of the track and then play live over the top, which in turn gave him the freedom to add the desired instruments and effects to each song.

    Jean-Pierre’s use of instruments such as the Kalimba, Talking Drum & Sanza gives the album a distinctly African feel, while contemporary Jazz-dance time signatures adds a unique perspective to these traditional instrumentations creating an ethereal balance between the old and new.

    STAFF COMMENTS

    Patrick says: Left Ear hit us with some eso-ethno jazz for the dancefloor here via Boistel and Kenneybrew's late 80's percussion accompaniment contemporary jazz-dance classes. Fusing African instrumentation, Western Jazz arrangements and computer technology, the duo dropped a techno-tropical treat which lands somewhere between Dave Samuels' New Math and new age. Fully endorsement from the Talking Drums crew...

    Even as we move from the heart of Autumn towards Winter, Smalltown Supersound keep the good stuff coming, this time via the debut album from Japanese producer Yoshinori Hayashi. Hayashi has studied under Japanese avant-classical composer Mica Nozawa. When not DJing, he works in a record store in Tokyo. If you've caught anything this cat's put out on Gravity Grafitti, Disco Halal or Going Good, you should know what you're getting yourself into; if not, hold onto your hats and prepare for some A-grade weirdshit. Sharing thematic and sonic predilictions with fellow countrymen Keita Sano and Ground (check the "Sunizm" LP on ESP), Hayashi takes a combination of knackered jazz LPs, studio gear, live instrumentation and library leanings, then twists them into an entirely unpredictable web of fx addled madness which constantly veers in and out of focus.  Hayashi presents his self-described “collage expression” throughout Ambivalence, which he produced and played in its entirety. Album opener, “Overflow,” is a club-not-club track inspired by Cecil Taylor. Its freeform nature sets the tone for the album’s cosmic, hypnotic, and almost ritualistic approach. Elsewhere "Palanquin Bearing Monkey" fuses Romare's sample jazz bounce with Vakula-meets-Reich weirdness, G-Funk synths and absolutely blitzed pianos - I feel like I've taken everything in Barry's "medicine cabinet" all at once. "Bit Of Garden" brings golden bursts of epiphany out of the dislocated darkness, "Double" fires the auditory hallucinations through an echo chamber for a man-meets-monkey drum slo-mo cut while "Geckos" goes into dreamier territories for the eso-Balearic crowd. On the C-side, "0208" swells from cinematic and skewed neo-classical to dream house to neo tribalism to peak time punch and bass bin wobble, each introduced via a new and freaky breakdown. Slow dancers, out of work MCs and xanax poppers should fine a new groove in the shakuhachi vs bell break madness of "Flexible Mono", "Spasm" takes a while to get there but finally reaches Pepe Bradock bass-house insanity territories, while "Geckos" closes the set with a wonderfully warped bit of library exotica for the downbeat dreamers.


    STAFF COMMENTS

    Patrick says: Not only is this the maddest record I've heard this week, it's probably the most insane album I've ever heard. Twisted sound design, discord, unpredictable arrangements and a totally unique style result in a masterpiece of club-not-club weirdshit from Japan's Yoshinori Hayashi. I love this.

    Bibio

    Phantom Brickworks (IV & V)

    Last year, around this time, Bibio released his first 'Ambient' outing for quite some time (2013's 'Silver Wilkinson' arguably contained the last vestiges of the ambience present in the early works, Vignetting The Compost, Ambivalence Avenue and Fi being the most notable examples of this crackly, distant approach) in 'Phantom Brickworks'. 

    Now, 12 months later, we're treated to a duo of candle-lit piano instrumentals. Heart-warmingly diffident and undeniably hypnotic, 'IV' builds from a crackly delayed piano flicker, slowly circumnutating into a band-passed cascade of tape echo and reverberating echoes. Through repetition, the emanating glow of familiarity gives way to a fractured and dissonant hum, closing out what could have been months of euphoric hypnosis before we flip over onto it's canonical follow-up, 'V'. 

    This one starts where the last left off, pulling a melodic turn out of a slowly warping wave of static, gradually intoducing melodic suggestions and instantly providing context for the featureless blanket of static. In many ways, this is the more direct of the pieces, with twinkling pianos overlaid on top of one another, hinting at the more arrhythmic diversions from his early work, but hidden behind a largely blank musical landscape in the opening few minutes. 

    It's the repetition that does all the work here, providing a thematic counterpoint to the constantly changing ambient backdrop and providing ample cover for the slowly morphing elliptical melodies.  

    STAFF COMMENTS

    Barry says: Beautifully understated but gorgeous plaintive instrumentals here, hidden under a blanket of lightly churning pads and warping static. Frail piano and typical Bibio counterpoint fill out the sonic spectrum, as meditative as it is beautiful. Top stuff.

    Optimo Music see off what's been a busy year with a tasty slew of end-of-year releases. One of which is this amazing new album from Lia Mice - the Australian-born but UK-residing DJ, producer and instrument designer.

    'When I moved to London in 2015, many things changed at once - I started going to more techno and electro nights, I changed my live-set setup, and I had access to a fully-equipped recording studio through my music masters programme. At the same time I was reading a lot of books on time travel, not just science fiction but also psychology and neuroscience - like how the human brain perceives time from moment to moment, how we can experience overlapping time, and how we interact with our past and future through memory and imagination. “The Sampler As A Time Machine” is the result of all these new influences coming together. The tracks were developed out of ongoing studio experiments interpreting these different ideas of time travel by using samplers and tape to re-sample and manipulate original music performed by me on various instruments including my voice.'


    STAFF COMMENTS

    Matt says: I'm sure Optimo Music devotees don't need convincing here. But anyone wondering what the label's about could do much worse than bagging this LP and the forthcoming compilation from the camp. Essential stuff for lovers of leftfield, DIY electronics.

    After four years, Berlin-via-Bolton dance producer Planningtorock, aka Jam Rostron, returns to DFA with "Powerhouse". The album is a personal reflection, told via an avant-pop musical narrative that serves as a path to making peace with their family, hometown, and the ever-changing nature of identity. Written and recorded across Berlin, London, New York and Los Angeles,  ‘Powerhouse’ comes couched in the precision-tooled synths that have become Rostron’s signature, though critics and fans will hear a subtle, ear worm-y shift in style here: from the Noughties US R&B swagger of ‘Transome’ and the bubbling old school 90s house of ‘Beulah Loves Dancing’ and ‘Non Binary Femme’, to the funky, flute-laced ‘Much To Touch’ (the only track on ‘Powerhouse’ to feature a co-producer, long-time friend and collaborator Olof Dreijer of The Knife). Ultimately, ‘Powerhouse’ is a celebration of liberation, a groove-filled record that sees Rostron consolidating power both personal and artistic.

    FORMAT INFORMATION

    LP includes MP3 Download Code.

    Russian born and very gifted musician Aleceo is a new addition to the ongoing rooster of Copenhagen’s prolific Music For Dreams label - Aleceo came to attention of label boss Kenneth Bager with the brilliant first Ep ‘Clouds’ – (all tracks included here.). Aleceo has his own musical voice, he produces and composes music that is rich in harmonies and melodies - he sits somewhere between Balearic and Deep House - combining the past and moving forward and this double vinyl ‘Teletrip’ is an excellent taster of his many talents and a real body of work.

    ’Liebe Tanzen’ is a sunny mood full of vintage Roland vocoders, imagine yourself in a Zeppelin watching the earth from the skies and hearing handclaps, acidic noodling and beautiful rhodes combined with a high pitched soulful voice repeating ‘Take My Love’ and you have the mood of a modern soul track supported by the balearic brigade. ‘Dipping Into You’ is a deep house mood featuring the beautiful voice of Jelila- sounding like a late 80 ties Boy’s Own track played in a barn just when the Sunrise appears.

    One of the outstanding killer tunes and a real grower on the debut album by Aleceo is the single ’Whisper To the Wind’ a track recorded with Canadian singer Wulf SoulFire - ten minutes of powerful Roland 909 drums, talking verses and a sublime chorus.
    ‘Nevesomost’ - a cinematic, melancholic acidic journey that was inspired by the old USSR SciFi movie ‘Moscow Cassiopeya’ where a group of children was sent to Mars. ‘Monotone’ recorded in Bali and sung by guest singer Masha Verymaryland - a french song about a girl who loves to dance and sing with arpeggios, Xylophones that sets the mood for a dreamy French Riviera. ‘Clouds’ is first class ambience feat the Siberian multi instrumentalist Sergi Kampanella playing the Mandolla. The title track ‘Teletrip’ is tv samples mixed with 80 ties new wave drum machines. ‘Priceless’ is a downtempo documentary live recording Aleceo did with his American native friend Kita. ‘Dome’ full of accordions, balalaika, handclaps and melancholic keys tells the story of Dome Of God - the place of peace and happiness and makes you wanna sit by the seaside. ‘Know Him’ is inspired by gospel from the Mississippi church. ‘Mzi’ wouldn’t sound out of place in a Leo Mas warm up tape from Amnesia in Ibiza - middle 80ties with its obscure breakdown full of 30/ 40ties voices. Bonus is the inclusion of Kenneth Bagers reprise of ‘Dome’.

    The album ‘Teletrip’ by Aleceo feels like a forgotten balearic album with a modern twist suddenly washed upon the shores on the White Isle.


    UK hip-hop’s original and best live band are back with brand new album "Bring Out The Sound", released via BBE Music. Founded in the early 90s by Ollie Teeba and Jake Wherry, The Herbaliser have earned every single accolade they’ve received during almost 25 years of touring and recording. Best known for delivering a series of groundbreaking albums on Ninja Tune and providing one of the all-time highlights of the ‘Fabric Live’ mix series, The Herbaliser’s most recent LP "There Were Seven" was issued on their own "Department H" imprint back in 2012. Having worked with hip-hop royalty such as Jazzy Jef and Pete Rock over the years, not to mention releasing J Dilla’s first and last solo albums, BBE are delighted to share in The Herbaliser’s musical journey.

    Inviting a carefully chosen group of guest vocalists to join them in their London studio, "Bring Out The Sound" presents a diverse blend of soulful songs, hip-hop bangers and original instrumental funk breaks, made all the more impressive by its complete absence of sampling, an album from the heat of The Herbaliser. Famous for his pop smash "Starz In Their Eyes" (sadly as relevant now as it ever was), Camden vocalist Just Jack lays down an incredibly moving performance over lush horns and strings on the instant classic "Seize The Day". The London Posse’s own Rodney P spits lyrical fire alongside 28Luchi over the reggae-infused, unmistakably British beats of "Like Shaft". Former Senseless Things member and Libertines collaborator Mark Keds creates an almost uncomfortably intimate, confessional atmosphere on the intensely personal "20 Years To The Day". Compared by Mark Ronson to a young Minnie Ripperton, UK singer STAC’s voice cuts through with a breathy kind of clarity on "Over and Over".

    But The Herbaliser band has always been so much more than the sum of its collaborators. Languid, powerful hip hop beats and uncompromising production values underpin impressive performances by all the band members, especially the horn section who track after track, turn in vintage performances. These guys make it all sound so easy that by the time we reach "Takedown", a track that sounds for all the world like a forgotten b-boy anthem by The Incredible Bongo Band. 


    STAFF COMMENTS

    Barry says: Brilliant classic hip-hop grooves, soulful breaks and vibes all brought up to date with crisp, modern production and the Herbaliser crew's considerable experience. Brilliantly soulful, and thoroughly enjoyable throughout.

    Peter Broderick

    Two Balloons

      American-born multi-instrumentalist, singer and composer Peter Broderick will releases 'Two Balloons' via Erased Tapes. Available as a limited edition 10” vinyl and digital download, it features the score for the award-winning animation of the same name, inspired by an early recording of his, plus a 9-minute electronic rework on the B-side titled Techno For Lemurs.

      Fairly often we see albums of “Music inspired by the film __”, but less common is a film inspired by music. Such is the case with Two Balloons. Director Mark C. Smith got the idea for his nine-minute stop frame animation film while out at sea, looking at a majestic funnel cloud in the distance. Shortly after he heard a song by Peter Broderick from one of his earliest recordings — 4 Track Songs — and the music struck a chord so strongly, he knew he wanted to make a film to fit the melody. And so began the five-year labour of love that would eventually produce this enchanting little film, currently circulating film festivals around the world and racking up countless awards and accolades including ‘Best Original Music Score’ at the New Renaissance Film Festival in Amsterdam.

      Even though the film was inspired by an older Broderick composition, the score for Two Balloons was recorded from scratch, revised and expanded to fit each frame. The process of stop frame animation is a labour intensive and painstaking one, but the attention to detail didn’t stop at the picture for this film. The score was an integral part of the film from the very beginning, with both the director and composer going to great lengths to experiment not only with the composition itself, but also the fidelity. The first sound heard on the score is a piano playing a waltz figure, and the sound is noticeably lo-fi, but this isn’t just some modern digital trickery. This piano was recorded on a wire recorder, a recording technology that predates magnetic tape and has been virtually forgotten about.

      In the process of recording the score, many different technologies were experimented with. In addition to purchasing and refurbishing several wire recorders, the director at one stage acquired several massive AM radio consoles as well as an AM radio transmitter, so that a digital recording from the computer could be broadcast through the AM radio waves and then captured through one of these nostalgic sounding old radios. A variety of these technologies from different eras were used to create a score that both sounds like it’s from several different time periods and from no specific time at all.

      The B-side, if you will, is more than just a remix that recycles the original recordings. In fact none of the original parts have been re-used. ‘Techno For Lemurs’ is a homage to the two main characters in the story, the ring-tailed lemurs Bernard and Elba. Serving as Broderick’s first foray into the world of techno, this playful piece reinterprets the melodic themes from the original score by adapting them with electronic instrumentation. In Peter’s own words: “Let’s pretend for nine minutes that we’re ring-tailed lemurs and get this party started!” 

      Laura Jane Grace & The Devouring Mothers

      Bought To Rot

        14 tracks spanning Laura Jane Grace's fractured relationship with her adopted hometown of Chicago, true friendship, complicated romance, and reconciling everything in the end, Bought to Rot stands as the most musically diverse collection of songs Grace has written to date.

        Inspired in large part by Tom Petty's Full Moon Fever, the first album Grace ever owned, Bought to Rot finds her at the same age Petty was when he created his solo debut masterpiece. In light of his recent passing, Grace was motivated to pay homage to one of her lifelong heroes.

        Laura Jane Grace & the Devouring Mothers are Laura Jane Grace, Atom Willard, and Marc Jacob Hudson. Grace is a musician, author, and activist best known as the founder, lead singer, songwriter, and guitarist of the punk rock band Against Me!. Willard, also of Against Me!, is a drummer who has played in iconic punk bands such as Rocket from the Crypt, Social Distortion, and The Offspring. Devouring Mothers bassist Hudson is a recordist and mixer at Rancho Recordo, a recording studio and creative space in the woods of Michigan, and the sound engineer for Against Me

        Straight Arrows

        On Top

          Overflowing with unbridled energy, you’d be forgiven for thinking On Top was the band’s debut album, but the third record for the Sydney quartet sounds as vital and as exciting as ever. Having spent years touring their incendiary live show around Australia and the world, Straight Arrows have honed their fresh, reverb-laden, fuzzed out, psychedelic punk sound into pointed perfection with On Top. From the frantic buzzsaw of “Nothing To Me”, to the break-beat groove of “21st Century”, to the tender outsider folk of “Dead Weight”, to the mind-melting psych-out that is “Buried Again”, this is the sound of a band that isn’t short on ideas and isn’t afraid to push the envelope of what people expect a Straight Arrows record to be.

          “Nothing's more boring than a bunch of the same guitar bullshit over and over again. We’ve taken the guitar bullshit, made it occasionally a little faster, and sometimes even a little slower too,” says vocalist, guitarist and chief songwriter Owen Penglis with a cheeky grin.

          Clearly he and his bandmates have cast a wider sonic net this time around, largely influenced by Penglis’ love of crate digging and his vast musical knowledge of the detritus of pop culture’s past. “Over the writing of this thing I was listening to a lot of 60s and 70s private press LPs from the USA, weird bubblegum, private press 45s from Australia, and a whole heap of 60s Jamaican rocksteady singles. Al (Grigg guitar/vocals) reckons 'Gun Man' sounds a little rocksteady-ish, but I think he’s wrong and it’d be embarrassing for a bunch of Australians to attempt these sounds.”

          Much like everything else they’ve done, On Top was completely created on their own terms. Produced and mixed by Penglis himself, the album seems to be more direct than the band’s previous efforts, bringing a clarity to their sound without losing any of the ramshackle charm that has earnt Straight Arrows a worldwide cult following. This aural evolution is something that has happened more by chance than by any conscious choice. “As a group of gifted amateurs it sometimes happens that through repetition and long tours we've improved at our craft, despite our best efforts to the contrary,” laughs Penglis.

          On Top is the riveting next episode in the ongoing Straight Arrows saga.“The first album is It’s Happening, the second is Rising, so it only makes sense by this point that we'd eventually make it On Top!!” says Penglis. “Plus it’s WAY more flattering than 'Peaked'.”

          Meg Baird & Mary Lattimore

          Ghost Forests

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

            Mick Harvey & Christopher Richard Barker

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

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

            The works of this long forgotten war poet arrive in 2018 indirectly from the trenches of the Western Front. The wider narrative takes us from Bourchier’s birth in Warwickshire in 1893 through to his final school days and then his pointless death at Passchendaele in 1917, aged only 24. It continues by virtue of the poetry being posthumously published in 1918, adapted into song via a proposed cabaret treatment influenced by the Weimar Republic, through to an Olympia Press reprint of the poems in the 1960s, and then onward into the late 80s when The Moon Lepers translated his words into song. In 2018, Bourchier’s words were revived when the author Christopher Richard Barker approached Mick Harvey to ask if he could help him recreate the scores that had been discovered for the unrealised cabaret show. Happily, Harvey’s interest was piqued.

            The route was indirect though, not just because of the twists and turns in the story of Edgar Bourchier and his poetry, but also because Bourchier’s entire backstory and poetry was constructed by Christopher Richard Barker, an author who initially created the character while working on his novel, The Melancholy Haunting Of Nicholas Parkes.

            Barker paused from this venture to approach Harvey to ask for his expertise with arranging and recording the scores. In response, a 15-track album was written by Harvey and Barker to give life to an incredibly powerful fictional narrative.

            Created as a concept album describing the horror of war, the project seamlessly brings the fictional poetry to life via myriad possibilities of how a forgotten WW1 soldier’s story might open up and continue to be relevant to new generations – from a barely read initial publication of the poetry that came tantalisingly close to being adapted for Weimar era cabaret with the help of German artist, Otto Dix (‘The Kindness of Ravens’, ‘Further Down the Line’, ‘Softly Spoken Bill’, through to the 60s, when Mick Jagger was apparently photographed with a copy of the reprint published by the Parisian underground publishing house which then led to the poetry being discovered by a new generation (‘Listen in the Twilight Breeze’, ‘Poor Poor Surgeon Tim’); then onward to subsequent interpretations of the work by the fictional 80s band, The Moon Lepers on ‘The Expressionist Tell #2’ and ‘Corpse 564’; before finally culminating in the creation of three new pieces by Barker and Harvey (‘I am the Messenger’, ‘The Eternal Black Darkness of my Death’, ‘Lost Bastard Son of War’).

            In addition to Mick Harvey and Christopher Richard Barker, the album features contributions from J.P. Shilo, a long time collaborator of Harvey’s and Jade Imagine, Simon Breed and Alain Johannes as guest vocalists. The album was recorded primarily in Melbourne, Australia with some additional vocal recordings in the UK and LA.


            'Though most people will think of Massive Attack, Portishead or even Roni Size when asked about Bristol’s influence on UK music in the late 80s and 90s, really none of them have had anywhere near as much of an impact as Smith & Mighty. With a hand in the development of jungle, dubstep and the particular of-Bristol-ness that so defined the aforementioned artists, their influence is comparable to that of the city itself.'

            Celebrating 30 years since their first release, foundation laying forefathers Smith & Mighty release "Ashley Road Sessions". This special one-off double label partnership between Pinch’s Tectonic and Peverelist’s Punch Drunk is an endeavour in homage to their Bristol neighbours, whom they both hold in high regard.

            Despite being inextricably linked to the South West England sound, "Ashley Road Sessions" proffers an array of styles, the breadth and spectrum of which might surprise. Breakbeat, hardcore, Balearica and acid house all feature as prominently as the dub, reggae, hip-hop beats and soul for which they’re most commonly associated. 'Smith & Mighty’s lack of genre tribalism and melting pot approach certainly influenced how I make music', comments Peverelist.

            Especially timely in light of the recent breakbeat and jungle revival, this important document feels both historical and relevant, with the classic hip hop sample, crisp breakbeats and Gat Décor bass of perky opener "Always Be There (Step Up)" sounding remarkably current. Airborne dub fx float around heavy beats on the sparse pulse of "Stalagnate", which wouldn’t seem out of place on Bokeh Versions, sounding both vintage and very now. The aptly titled "Morning Light" surely soundtracked the end of long orbital rave nights, straddling funky hardcore breaks, emotive melody, sub bass and heartening Balearic optimism.

            The deft break chopping of "Film Score" shows they could do deep jungle as well as anyone, contrasting with "Higher Than Tempo" – a cerebral slow IDM trance dance, that was post ‘E2 E4’ and pre "Landcruising".
            "Dub Song" seamlessly blends hardcore, jungle and steppers with a smooth liquidity, whilst frenetic sixteenths, hard snares and purring bass drive the skeletal head-snapper "Through A Dark Cloud".
            Percussion and drum machines meet melodic chords on "Leaving Pt 1 & 2", which exemplifies the plaintive, melancholy British bass, later made famous by Massive Attack.


            STAFF COMMENTS

            Matt says: I had, sadly, not heard much of Smith & Mighty's back catalogue; which in hindsight comes at a great shame - as I've pretty much been obsessed with soundsystem culture for the last ten years. Oh well, off pops another lid on a vast array of music... yipeee!

            Debut album from new Scottish producer North Sea Dialect and released on cult, taste making label Numbers. The last album the label released was Sophie's debut! - meaning expectations are already high surrounding this release.

            I guess, in many ways, it's as challenging and arresting as you'd expect from a label that's continuously looked to expand and evolve on club, electronic and dance culture. It's not immediately dancefloor focused, but then in this post-everything, 'death of rave' environment where the cool kids are constantly looking for new sounds and rhythms, it could well inhabit many forward focused dancefloors across the globe.

            Unlike Sophie's saccharin-laced, electro-future-pop; you're not instantly swamped in hooks. The tracks are non-linear, atmospheres override structure and arrangement, there's not much regimentation to anything really; instead NSD ushers in abrasive textures, digital cross-talk and a whole manner of distortion - attempting to sonically narrate and plot his local environment through the albums ten tracks.

            Buried in its soundscapes are the echoes and surrealness of alienated life - expectant youth, distant voices and broken folklore. It’s industrialised music tied together with found sound, adrenaline fuelled synthesis and the depths of late night solitude. Conceived during a move from Glasgow across Scotland and composed in isolation, a blistering sense of reality creeps through the recordings.

            "Local Guide" is accompanied by three videos for the tracks "Mossy Cyphol", "Subarctic Baltasound" and "Gloup". The short films are haunted and illuminated by the serenity of rural freedom, the power of the sea, and the collapse of industry. 


            STAFF COMMENTS

            Matt says: Might take a few weeks for the dust to settle on this one... But this could well be the perfect accompaniment to a cold, stark and baron Winter period. Welcome in the dark days, grey skies and extended isolation with this unique project by North Sea Dialect.

            Various Artists

            Belgian New Beat Volume 2

              This Belgian New Beat 4CD compilation features a collection of the best slow and dark new beat of the eighties. A mix of both timeless classics and some lesser known tracks. A flashback to the absolute drama and the decadent atmosphere of the legendary Belgian clubs where these tracks were played during the heydays of Belgian New Beat. Featuring tracks by Pete Shelley, Zsa Zsa Laboom, Arbeid Adelt, Chris and Cosey, Section 25, Nitzer Ebb, Renegade Soundwave, Miss Nicky Traxx, Alan Rankine and more.

              Soul Jazz Records’ new Studio One album is a fantastic selection featuring all-star legendary Studio One vocalists - Alton Ellis, Marcia Griffiths, The Heptones, Horace Andy, Freddie McGregor, Sugar Minott - alongside a host of classic and super-rare Lovers Rock cuts, all of which Clement Dodd recorded at the Brentford Road studio.

              Lovers rock brought together many elements and here you will find sweet harmonies, late 1960s rocksteady, 1970s soul covers, disco mixes, recuts and new rhythms, which all fit together in a timeless twilight of love and harmony - as if lovers silhouetted by a Kingston sunset.

              Here you will find stone-cold classic Studio One tunes - Marcia Griffiths ‘Truly’, Horace Andy’s ‘I’ll Be Gone’, superrare cuts like Carlton And The Shoes’ killer 70s versions of ‘Never Give Your Heart Away’ and ‘Let Me Love You’ (vocal cut to Jackie Mittoo’s mighty Wall Street), The Invaders’ sweet lovers rocksteady bomb ‘Sweet Soul Rocking’ (currently for sale at £2,500 on certain online secondhand sites) and many more.

              This new album comes with sleevenotes by Lloyd Bradley, the acclaimed author of ‘Bass Culture’, ‘Sounds Like London’ and ‘Reggae: The Story Of Jamaican Music’.

              Various Artists

              Brown Acid - The Seventh Trip

                Everybody’s favorite source for the hard stuff is back in business, with ten more lethal doses of rare hard rock, heavy psych and proto-metal! Hard to believe we’re eight Trips in and we haven’t lost any steam since the get-go. As usual, we’re laying the heaviness on you in the most legit way possible. These obscure tracks have all been licensed, the bands have been paid, and the sources are all analog. The quality of tracks seems increase along with the number of Trips and this cohesive collection comes outta the gate with both guns blazing!

                Pegasus recorded one single in Baltimore in 1972 and they made it count. “The Sorcerer” is a throbbing ripper that prior to this was basically unknown. However, it doesn’t seem too far fetched to speculate that Black Flag lifted the riff for “No Values” from this track eight years later. Unlikely, but possible, especially considering how big a Black Sabbath fan Greg Ginn is. Pegasus was lauded back in the day for “how much they delivered that Black Sabbath feel.”

                You may read the track title for the Nobody’s Children 45 and start thinking, OH NO, the guys behind Brown Acid have given up on bad trips. Fret not, “Good Times” was originally written as a joke, but when Ron Chapman of the Sump’N Else TV show heard it he passed it along to the folks behind GPC records and they quickly pressed 100 copies. Unfortunately, the evening it was slated to be played on the local Dallas radio station KLIF, Robert Kennedy was murdered and premier was pre-empted by a Classical music tribute to him. The song has since been bootlegged numerous times and even covered by the Butthole Surfers, but this is the first time it’s been fully licensed.

                Youngstown, Ohio is the most commonly referred to city of the entire Brown Acid series. This town of just under 150,000 people may’ve had the highest (literally and figuratively) per capita output of heavy 45s. Blue Amber recorded this in 1971 at Gary Rhamy’s analog Mecca, Peppermint Recording Studios. This two-riff boneheaded banger sounds like a caveman protest song with an extraordinary amount of delay on the vocals. No wonder this 45 fetches three-figures on the rare occasion it comes up for sale.

                Batting clean-up, we have Negative Space, the only LP sourced track on this album. This crunchy jam comes off the band’s 1970 record entitled Hard, Heavy, Mean, & Evil. At over six and a half minutes, “The Calm After the Storm” is the longest track included on this volume, but it never gets dull. Fun fact: before changing the name to Negative Space, Rob Russen called his band Snow and released the “Sunflower” 45 in 1969 — you might recall that groover from the First Trip.

                We generally stick with American artists for this series, but every now and again something foreign grabs us and shakes us to the core. One example is this Swedish 45 by Zane. These crazy Swedes did one incredibly damaged (hence the title) record on the MM label in 1976. These proto-punkers relied heavily on synth for this tune and mixed the drums so obnoxiously loud, you might think the kit is in the room with you. This is a weird one that somehow sounds like Zolar X covering Wicked Lady. Brown Acid material all the way!

                B must be short for Bangers, ‘cuz this Side is full of ‘em! The flip of this Trip begins with a virtually unknown Oklahoma record from 1973. Blizzard was Rod McClure’s high school band, but you couldn’t possibly guess that teenagers recorded this heavy slab on the Token (should’ve been Toking) label. It’s one of the best we’ve comped and it sounds like a hypothetical MC5/Hendrix collaboration.The “Under the Ice” level drum fills will knock your socks off if the heavy shred doesn’t first.

                OOOOk-lahoma, where the wind comes sweepin' down the plain and apparently where the fuzz goes seepin’ in your brain! Third World is the second Okie inclusion on this Trip and we couldn’t be more stOOOOOked to be sharing this very obscure single with y’all. If the heavily distorted two-note riff doesn’t grab ya, the apocalyptic Grand Funk vibes will. Once they get their mitts on ya, Third World will take you back to 1971 and leave ya there. Can we hitch a ride too?

                Ever heard of Virginia, Minnesota? We hadn't either until we got in touch with Calvin Haluptzok and got the back story on his band Sweet Wine. This bitchin' one-off 45 must've melted the snow off the roofs of the households brave enough to play it when it came out in 1970 and it's still red hot nearly 50 years later. This vino may be sugary, but it packs an incendiary punch! Sadly, Calvin passed before we could get his music re-released, but it was nice to have reached him before it was too late. The Sweet Wine legacy lives on thanks to the Brown Acid archivists.

                C.T. Pilferhogg wins the award for most puzzling band name in our series. What’s not puzzling is how righteous both sides of their self-released 1973 single are! Featured here is the A-side “You Haul” which is one of the best examples of a poor man’s Deep Heep (Deep Purple meets Uriah Heep) we’ve ever heard and the demonic Echoplex-laden laughs mixed into this track are out of control. The band was touted as “Southwest Virginia’s Finest Boogie Band”, but don’t let that fool ya. They could bang heads with the best of ‘em.

                The closer on the Seventh Trip is one we hold very near and dear. Not only is this record the one that’s taken us the longest to secure the rights to, it’s also one of the very best examples of heavy psych you’ll ever hear. The track rings your bell (literally) straight out of the gate and the dank psychedelic vibes kick in immediately. “The Darkness” was recorded in a basement studio in Kansas City in 1969 when the lead guitarist was only 16. The band was from a rural Missouri town, played only one impromptu gig in Clinton, and pressed only 125 copies of this, their only single. It should come as no surprise that it sells for hundreds of dollars when it’s offered. That’s a small price to pay for such greatness

                In the heyday of low-budget television and scrappy genre filmmaking, producers who needed a soundtrack for their commercial entertainments could reach for a selection of library music: LPs of stock recordings whose contents fit any mood required. Though at the time, the use of such records was mostly a cost-cutting manoeuvre for productions that couldn’t afford to hire their own composer, the industry soon took on its own life: library publishers became major financial successes, and much of the work they released was truly extraordinary. In fact, many of these anonymous or pseudonymous scores-on-demand were crafted by the some of the greatest musical minds of the late 20th century - expert musicians and innovative composers who reveled in the freedoms offered, paradoxically, by this most corporate of fields.

                "Unusual Sounds" is a deep dive into a musical universe that has, until now, been accessible only to producers and record collectors; a celebration of this strange industry and an examination of its unique place at the nexus of art and commerce. The perfect companion to the David Hollander curated book "Unusual Sounds: The Hidden History of Library Music" (out now on Anthology Editions), these 20 tracks, encapsulate the niche and fascinating subculture of library music. Genres were spliced, conventions dispensed with, and oftentimes hybrid music of astonishing complexity was produced. Elements of rock, jazz, soul, even twentieth-century avant-garde composition were all utilized, and no stone was left unturned. As a result, some of the best library music defies all categorization, reflecting the individualistic quirks and artistry of the various musicians who made it. This compilation includes compositions by Brainticket founder Joel Vandroogenbroeck, KPM Allstars John Cameron and Keith Mansfield, Montenegrin-born composer Janko Nilović, and the Italian film composer Stefano Torossi amongst others. David Hollander is a producer, music supervisor, writer and collector living in Texas. A lifelong record collector, his library music collection is considered by many to be one of the finest of its kind in the world.


                Various Artists

                Running The Voodoo Down Vol.2 - Explorations In Psych-rock-funk-soul-jazz 1965-77

                Carefully assembled by Dean Rudland and Tony Harlow the set looks at a decade when African-American music was exploring myriad new directions against a backdrop of incredible and explosive social change and features the likes of John Coltrane, MC5, Shuggie Otis, Sonnie Sharrock, Dr. John, Isaac Hayes, Joe Zawinul and Melvin Van Peebles. Whilst not all of this music was commercially successful at the time, its importance and its influence on subsequent generations of artists – both black and white – has continued to grow over the years. A compilation for the heads, not a playlist.

                As the blissed out 60s turned dark and political, music led the way and it became important to have a message to deliver whatever the medium. Coltrane’s fierce energy revitalised jazz which was languishing in the doldrums of hard bop and organ trios, and inspired a new generation of politically active and motivated creators, but it also inspired a new generation of rock musicians who used his modal experiments as a launching pad for a spacier more underground music. The Byrds stuck within the “pop single” format but melded the energy of Coltrane’s “perfect” modal exploration My Favourite Things with their attempts to capture the mood of the Ravi Shankar pieces that had influenced Coltrane.” Eight Miles High combined the contemporary excitement of space travel with clear hidden references to the growing drug culture and captured lift off perfectly.

                The music of a new generation of jazz players influenced deeply by the rock explorations of Eddie Hazel and Jimi Hendrix, and by the new afrocentric politics, but wanting to reach out in a voice their community could understand was another part of this. Alumni and friends of the various Miles Davis bands formed solo projects on every side, especially after the surprise success of Bitches Brew (it sold a million copies).

                As music expanded its palatte so too did Black Art, Poetry and film. The brilliant recent exhibition Soul Of A Man [Tate London 2017] captured the explosion in politically motivated art led by creators like Emory Douglas. Isaac “Black Moses” Hayes was in the forefront as his starring role in Shaft pioneered the new genre of Blaxploitation. But the genre was really started by less remembered Black entrepreneur Melvin Van Peebles. Van Peebles was a bohemian Renaissance man, who acted, wrote novels (in French) and poetry, and from the late 1960s made a series of low budget and self funded films.

                Van Peebles poetic streak also spilt over into recordings – always heavily politicised and representative of the the new African American militancy. Van Peebles classic Brer Soul represents a milestone of the genre, whilst his album Serious as a Heart Attack shared its name with Val Wilmer’s awesome book on her life amongst the world of free and loft jazz and featured Van Peebles on the cover in a slogan shirt stating “Rated X by an All White Jury”.

                This was psychedelic music, liked by rock fans and the counterculture, but grounded deeply in jazz and constantly referencing the fact in its lyrics. 


                Various Artists

                Noël Crooners

                  How can you resist a bit of Deano "Let It Snow!" or Ol' Blue Eyes jazzin' up "Jingle Bells"? Surely everybody loves Louis Armstrong, right? Bing Crosby, Ella Fitzgerald and Ray Charles are all in there, and you've got a choice of a white or blue Christmas from Elvis. Sam Cooke has sneaked on there too, with "Wade In The Water" - not exactly a Christmas song, but good none the less.

                  Jon Spencer is back! Often imitated, never duplicated, the original NYC underground-rock legend returns from the wilderness with twelve red-hot hits, each more powerful than the last!

                  This is Garage Punk for Now People! A wizard’s brew of rhythm & blues and subversive dance grooves, weaponized with sci-fi skronk and industrial attitude, calibrated for the Revolution, a Molotov cocktail of sound guaranteed to destroy any post-modern hangover!

                  Pulsing with energy, clanging with excitement, and dripping with radioactive soul and raw emotion, Jon Spencer opens up his heart like never before, exploring man’s modern condition with caustic guitars and outerworld crooning, asking and answering the musical question, “Is it possible to torch the cut-throat world of fake news and pre-fab, plastic-coated teen rebellion with the power of rock’n’roll?”

                  THE ANSWER IS YES!

                  SPENCER SINGS THE HITS!

                  This is the truth serum America has been craving, the beginning of a rock’n’roll rebellion that takes no prisoners and puts the squares on ice!

                  Recorded and mixed with Bill Skibbe at the Key Club in Benton Harbor, MI.

                  Featuring the talents of Sam Coomes (Quasi, Heatmeiser) and M. Sord (M. Sord).

                  FORMAT INFORMATION

                  Coloured LP Info: Very limited indie store exclusive coloured vinyl. 500 copies only!

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

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

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

                  FORMAT INFORMATION

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

                  Yawn is a buckle-up and knuckle-down listen that rewards the listeners’ attention with motifs and melodies that play hide and seek but never fail to deliver on those between-the-lines verities. This musical belief of delayed gratification is something Bill learnt from classical music as a child, from Elgar and Debussy in particular – and over the long hall of his short life, you can hear these riches being polished on Yawn. Most of the 10 songs clock-in over the 5 minute mark and this wide-angle lens affords us time to interpret and translate meaning – or just to revel in it.

                  Multi-instrumentalist, producer, string-arranger and composer Bill Ryder-Jones has had a career spanning 15 years, a rarity in a world that so often looks to the new. From his musical interpretation of Italo Calvino’s ‘If On A Winters Night A Traveller' (If… in 2011), 2013’s A Bad Wind Blows In My Heart, the acclaimed West Kirby County Primary (2015) and now to Yawn, Bill has constantly widened his scope, weaving in an overarching sense of authenticity, intimacy and wryness as he goes.

                  Yawn was recorded and produced entirely by Bill himself, with a little help from friends including guest vocals from The Orielles and Our Girl, cello by Rod Skip and mixing by Craig Silvey (Portishead, The Horrors, Arcade Fire). Bill has also been steadily building up a list of album production credits for other musicians including Our Girl, Hooton Tennis Club, Brooke Bentham and Holly Macve, who he records at his own place in West Kirby, aptly titled Yawn Studios.

                  FORMAT INFORMATION

                  Coloured LP Info: Heavyweight clear vinyl.

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

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

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

                  FORMAT INFORMATION

                  Coloured LP Info: 180g blue vinyl double LP.

                  If you’re going to call your band audiobooks, you’d better have some good stories to tell. Stories that should move you and ones to make you move. Stories about real life and surreal life and all that weirdness that you just glimpsed out of the corner of your eye.

                  Luckily for you, audiobooks really do. The London based duo have developed a unique ability to conjure up magical aural snapshots that wallop you like bong hits. Each of their discombobulating observations comes stretched out over a series of discomfiting oscillations, like messages from the spirit world or pulp fictions found in a box at the end of your road or a crackling pop broadcast from a far away galaxy;

                  Out there, across the wavelengths or in the musty pages of their books, there’s a girl who’s lost in lust, sat eating mussels on a South Wales beach; there’s an alcohol-fuelled vision of Hell as a family melts down in an airport departure lounge and there’s a carsick dog in the back of your Grandma Jimmy’s car. There’s womanly blood flowing and there’s friends in your bubble bath and there’s some very large pinches of hot salt.

                  So who’s telling these stories? Who are the people writing these audiobooks?

                  On the face of it, Evangeline Ling - a 21 year old art student and musician from Wimbledon - and David Wrench - one of the most in demand mixers and producers in modern music, a sometime cohort of Julian Cope and former denizen of North Wales – might seem an unlikely pairing. Yet a chance encounter at a mutual friend’s party just one week after David had moved south to the capital very quickly led to an experimental studio session that’s been going on ever since.

                  Evangeline: “I’d found myself writing these odd stories as text messages on my phone. They were too short to be proper stories… they were fragments. I’d told David about them when we met and he said, ‘Come into the studio and let’s put them to music.’” David: “It was so perfect – this incredible text message…” Evangeline: “The next day, we started making music. We realised pretty much immediately that what we were doing might just connect. I’m not a technically minded person, musically – David is – but we kind of synced in because we bonded as human beings. We just met and connected; I immediately trusted David. We didn’t really chat about who we are…” David: “Neither of us are any good at small talk so we just got working and it was crazily fast, everything about it. We’ve never spent more than an hour on a track. We go in, we improvise and we either keep it or we don’t. There might be a bit of editing the next day but the creation is done incredibly quickly.” Evangeline: “We’d work on a track and then we’d just sit and do nothing. He’d work on a mix for someone or play some records, I’d have a nap or paint or draw…” David: “The second time Evangeline turned up at the studio she arrived in her pyjamas. She’d come all the way from Wimbledon to east London in a pair of Batman pyjamas.” Evangeline: “I hadn’t slept all night, I’d just had this crazy adrenaline. I knew we were doing something really special and I couldn’t wait to get there. I didn’t have any clean clothes so I just thought, ‘Sod this, I’ve got to go’.”

                  Stories about audiobooks are as fantastical as the ones they’ve set to music, whether it’s crossing London in bed wear, misheard lyrics accidentally creating perma-tanned Welsh women (Swansea’s “Orange Gina” was once innocently a can of the famous French fizzy pop) or the fact they bonded over a mutual frustration with people who hoard as much as they did shared taste in music.

                  From their first meeting, Evangeline and David’s friendship has been influenced by the records they flipped through in his newly set up studio in Old Street. Very quickly, the pair found inspiration in music by artists as diverse as Bauhaus, Aphrodite’s Child, Marilyn Manson, Michael Jackson, Flower Traveling Band, the Fall, Faust, Tropicalia and Dory Previn.

                  Evangeline: “Dory frickin Previn, man.” David: “Her record Mythical Kings and Iguanas is an incredible piece of work; she really was a genius. Lyrically, that’s maybe the closest link to audiobooks.”

                  If the bracingly honest and often troubled words of Previn helped influence Evangeline’s stories, the music they’re set to comes from an entirely different place. Having developed a kind of psychic musical response to Evangeline’s surrealist texts, David set about soundtracking the weird worlds she was delivering on a daily basis. Much of the resulting music – at times odd, beautiful, unique, hilarious, disquieting, pensive, hypnotic, open, free – is collected together on Now, in a minute! – the mind-bending follow up to the head-turning four track Gothenburg EP and the duo’s first full length album.

                  Like the band themselves, Now, in a minute! doesn’t do the things that you’d expect. While opener Mother Hen might be a modernist nursery rhyme sat atop skittering proggy electronics, the dual vocals on the tracks Hot Salt and Friends in the Bubble Bath perfectly channel the conflict and contradiction of Don’t You Want Me into something ultra-modern and almost ludicrously addictive. Elsewhere, the primal, gothic drone of Womanly Blood sits like a brooding weather condition until it rips apart thanks to some heavy percussive artillery from Warpaint’s Stella Mozgawa (the only other contributor to the record) and Dance Your Life Away sounds like the soundtrack to the kind of inhibition free moonlight voodoo party that you wish your mates had invited you at Glastonbury last year.

                  David: “With that track particularly, we wanted to emulate that thing Michael Jackson did where he uses sounds really rhythmically to inject an incredible energy into his music… I love it when vocals become their own thing that can’t really be written down.” Evangeline: “And we were listening to a lot of Marilyn Manson in the studio. I find the way he sings very rhythmically really inspiring.”

                  A band that takes its cues from the King of Pop and the Antichrist Superstar, creates music in daily automatic writing sessions and rides the neon ley lines that connect of the North Wales coast to the psycho-bustle of after hours London are clearly on a very singular path to greatness – a path they’re already someway down, having taken their first footsteps out of the studio and onto the stage for a handful of truly mesmerizing live shows.

                  Time, then, to welcome these strange superheroes - this inhuman league - into your life. You might not know it yet but the story is already written. It says audiobooks are your new favourite band.

                  For the 100th and final instalment of the iconic FABRICLIVE mix series, in its current form, two UK pioneers unite for a hypnotic 74 minute mix. Burial and Kode9 are each credited with fostering esoteric, hyperlocal sounds and steering them to global recognition, helping to shape the landscape of contemporary electronic music as we know it. They are also close peers, having influenced each other’s careers immeasurably over many years.

                  Since launching his seminal Hyperdub imprint in 2004, Kode9 has sustained a reputation as one of the most innovative artists, curators and DJs. He was a regular fixture at the legendary DMZ and Fwd>> nights in London - which to many are still considered as setting the bar for clubbing in the city and nurturing the rebirth of the post-millenial UK scene. Since 2017 he runs and co-curates Ø, a monthly event at Corsica Studios merging immersive installations with groundbreaking musical programming. From 2003-2009 he hosted the Fwd>> radio show on Rinse FM, later co-hosting the Hyperdub show alongside Scratcha DVA. He has three studio albums, Memories of Future (2006) and Black Sun (2010) with The Spaceape, Nothing (2015) and three DJ compilations, Dubstep Allstars vol.3 (Tempa 2006), DJ Kicks (!K7 2011) and Rinse 22 (Rinse 2013) to his name, as well as tracks released on labels ranging from Aphex Twin’s Rephlex imprint and Soul Jazz to Warp and Domino.

                  As one of the most enigmatic artists of the 21st century, Burial is responsible for birthing a sound that is truly singular. There are few producers whose work is so instantly recognisable, to the point that his name is now synonymous with a distinct set of eerie sonic components. His disquieting depictions of South London, informed heavily by sound system and UK rave culture, are widely considered masterpieces, with the cultural impact of his work echoing far further afield than his hometurf. His relationship with Kode9 and Hyperdub stems back to his first EP, South London Boroughs (2005), with almost every subsequent release, including two highly influential studio albums, Burial (2006) & Untrue (2007) residing on the label.

                  Both artist’s origins can be traced back to bass-heavy strands of UK underground music - a sphere in which they have worked closely together for many years - but the idiosyncrasies of their respective styles are recognised on a much broader scale. As such, the mix reaches into obscure corners and a disorienting range of tempos across its 37 tracks. Featuring artists from Africa, China, South America and Japan as well as the Europe and US, the mix draws from gqom, juke and footwork to trance, jungle and grime, as well as a wealth of material that defies categorisation. it sounds like it was stitched together from a box of unknown mixtapes found in the gutter.

                  FABRICLIVE 100 concludes the current incarnation of the beloved mix CD series in a way that honours it's namesake clubnight. Covering many of the musical styles that have found their home within its walls, whilst simultaneously looking outward for inspiration. It is also a documentation of two of London‘s remarkably skilled artists delving deep for an undeniably unique collaboration.

                  STAFF COMMENTS

                  Barry says: It was always going to be a legendary musician that curated the 100th outing from the hugely influential Fabriclive series, and who better than the duo of Kode9 & Burial. We get brooding modern ambience, deep dubs and crackling, glacial beats akimbo over a ridiculous 40 tracks. If you only buy one Fabriclive (I assume for most of you, it's too late for that), make it this one.

                  'Twenty-Twenty' is Molly Nilsson’s 8th album; the latest opus of an artist in a constant state of development and strength. 'Twenty-Twenty' is about emerging from the husk of your old self, about binning the chrysalis and daring to stand up both to power, and also to your own limits. In 2018, we see the climate changing, democracy crumbling, inequality and injustice erupting. 2020 examines the near future, seeking out clarity, reflection, renewal and opportunity. It contains anthems so tall as to induce vertigo, leaving the taste of Euro Dance in your mouth, albeit without a four on the floor beat. Here, the pop auteur is haunted by the late Prince, channelling Courtney Love and Lou Reed, anger and love.

                  Recorded as ever in her own Lighthouse Studios and co-released with her imprint Dark Skies Association, the record is consistent in strategy and approach to past releases, yet on 2020 Nilsson pushes the limits of what can be said in the scope of a pop song even further. Despite working with used keyboard sounds that evoke memories of a distorted past, the sound is distinctly contemporary. The record drifts between playful punk methods and hi-fi ideas, strikingly clear through the fuzz of a surrounding world painted with reverb. Rather than gracefully dissecting, 2020 rips apart personal neuroses and insecurities, looking for the roots of issues and the equation that, when solved, will produce the future. “I don’t care if the world is through, every night is new,” 2020 erupts with fist-in-the-air empowerment, a realization that if we’re all alone down here, we can still make it. Every Night Is New is a personal and societal manifesto, a slogan comprising the different layers that make this record Molly Nilsson’s most personal, evocative and emotionally packed in years. First single Serious Flowers is a naked confessional trance hit stripped of its beat. Centred around broken trust and friendship, Nilsson sings over suspenseful synth strings with a vocal delivery so inexact and honest, its vulnerability seems almost unaware of itself. Although very much in the vein of Nilsson’s production style on her recent albums, Days of Dust, accomplishes escape and breaks free from the past. There’s a carpe diem immediacy to this fast-paced Rock Song that belies Nilsson’s near-iconic self-contained delivery: “Like I had just been saved from a burning building of desire, I got back up and I ran right into the fire.” It’s so immediate, and speaks so perfectly about the nature of desire, that you wonder how you’d never thought about it like that before.

                  The themes on the album are submerged in the inner life, lucidly dreaming with one eye open, fixated on the external world and its growing pains. Nilsson turns inward and seeks answers to questions imposed by physical existence, examining one's own responsibility in the face of climate change (A Slice of Lemon), the political depression of society (Gun Control), and the struggles with drinking, between euphoria and despair (Blinded by the Night). The serious topics aren't met with hopelessness; the tone suggests defenceless optimism and a tight grip on desire. This time around, we’re not examining the past with Molly Nilsson, we’re becoming who we want to be. We’re exploring the future, accepting who we are, clear eyed and with perfect vision, near and far sighted alike.

                  FORMAT INFORMATION

                  Coloured LP Info: 300 White vinyl edition.

                  LP Info: Black vinyl edition

                  The Prodigy's seventh studio album, "No Tourists" is released on their Take Me To The Hospital label.

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

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

                  Big brash rock guitars still pepper hefty, club rocking breakbeats while some of those iconic synths and keyboards from "Music For The Jilted Generation" make a much welcome return to the rave. 

                  FORMAT INFORMATION

                  Coloured LP Info: Limited clear purple vinyl edition.

                  Abstract Orchestra

                  Madvillain, Vol. 1

                  Led by Saxophonist Rob Mitchell, Abstract Orchestra have been a consistent presence on the u.k. music scene, touring constantly in promotion of their debut LP "Dilla" and follow up 45 "New Day feat. Illa J", steadily building a loyal and supportive fanbase. Inspired by the legendary live performances of The Roots with Jay-Z and the 40-piece orchestral arrangements by Miguel-Atwood Ferguson of the work of J Dilla, classic arranging techniques underpin modern loop-based structures, breathing new life into familiar material. The band itself is based on the classic jazz big band instrumentation of saxes, trumpets and trombones and features the cream of the north of England's jazz scene who collectively have played with Jamiroquai, Corinne Bailey Rae, Mark Ronson, Martha Reeves, John Legend & the Roots, Roots Manuva and Amy Winehouse. "Madvillain Vol. 1" takes the template of their debut LP "Dilla" and applies the same approach to the collaboration of MF Doom and Madlib, aka Madvillain and their albums Madvillainy and Madvillain 2. Sampling the likes of Sun Ra, Bill Evans, Freddie Hubbard, George Duke, Dr. Lonnie Smith, Quincy Jones and Stevie Wonder gave the albums a jazz-oriented feel and ethos which in turn lend themselves perfectly to the deconstruction and re-imagining of Abstract Orchestra. As with their debut, all the tracks were recorded live in the studio with very few overdubs. They explored sounds that were menacing, angular, dissonant, frantic and yet captivating. They were also able to write music that was the flip side of all that dark chaos, and write lush and beautiful music. Arranging and scoring up Madvillain Vol 1. Has allowed me to explore these sounds that I've always loved, yet keeping a strong hip-hop identity as the core of its sound.

                  STAFF COMMENTS

                  Millie says: Abstract Orchestra adapt another legendary hip hop album and this time it’s the infamous masked Madvillian. The 40-piece band create sound big jazzy beats on this release, play Accordion and Fancy Clown loud!!

                  Thought Gang

                  Thought Gang

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

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

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

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


                    FORMAT INFORMATION

                    2xColoured LP Info: “Steel” coloured vinyl.

                    During her 12 year career, Georgia Anne Muldrow has earned the respect and admiration of listeners and peers alike via her incredible talent not only as a vocalist and songwriter spanning jazz, soul and hip-hop, but her long standing role as a producer and musician.

                    “You’re my Jay Electronica… you take it there,” declares Ali Shaheed Muhammad of A Tribe Called Quest. He is one of a long list of admirers including Mos Def (“She’s incredible. She’s like [Roberta] Flack, Nina Simone, Ella Fitzgerald, she’s something else.”), Erykah Badu, Dev Hynes aka Blood Orange (“She is one of my favourite musicians in the world”), Bilal and Robert Glasper who invited Georgia to perform on his “Miles Ahead” OST in 2016.

                    “Music is my discipline. It’s my way of meditating, it’s my way of thanking God, it’s my way of communicating… It’s my way of life,” Georgia explains. Typically working alone, her new album flips that dynamic and takes Georgia out of her comfort zone for the first time since “Seeds” (2003) which was entirely produced by Madlib. “Overload” bears the fruits of numerous collaborations, most notably with duo Mike & Keys (50 Cent, Nipsey Hustle, Snoop Dogg, G-Eazy) who contribute production to four tracks including the sleek, anthemic title track - Pitchfork ‘Best New Track’ on 25 June 2018 - alongside Khalil (Dr Dre).

                    “Overload [the album] is an experiment in restraint,” she explains. I pack myself into something as clear as possible with the help of gifted artists from all over the world. The live show is an experiment in interpretation. That's when [my band] The Righteous and I unpack into a joyful noise. Both of these dynamics have been striving to balance themselves within me since birth… since wanting to record anything. And by the grace of Patience, Discipline and Devotion, a sweet spot has started to appear.”

                    Elsewhere Dutchman Moods and Manila’s Lustbass bring the slo-mo funk heat on ‘Aerosol’ and ‘Vital Transformation’ respectively, and Shana Jenson (Muldrow) and Georgia’s partner Dudley Perkins crop up on ‘You Can Always Count On Me’ (a cover of the Gap Band classic) and ‘These Are The Things I Like About You’. Flying Lotus, Aloe Blacc and Dudley Perkins share Executive Production credits on the album.

                    Themes of Love, Spirituality, Self-Actualisation are woven into Georgia’s music, but she also does not shy away from politics and has been loudly and vigorously critical of the persistent state of inequality between Black and White in the US. Nowhere more directly than on ‘Blam’ - a song about self-defence. “I believe that it has the bones of spiritual song,” says Georgia. “It’s an updated negro spiritual in aesthetic”.

                    Georgia was 17 when she began making beats in earnest, but first lit up the scene with her debut album “Olesi: Fragments Of An Earth” in 2006. It was at this time that Georgia met, befriended and collaborated with the likes of Madlib, Oh No, MED (fka Medaphoar), Wildchild, DJ Romes and her future partner Dudley Perkins aka Declaime. She co-founded the SomeOthaShip Connect record label with Dudley in 2008, the platform and springboard for many of her musical travels that have expanded and extended down myriad pathways. Georgia has collected many names over the years: Ms. One, Pattie Blingh & The Akebulan 5, an electro fusion collaboration with DJ Romes called Blackhouse and astral jazz outings as Jyoti - a Hindu name given to Georgia by her Aunt Radha’s friend Alice Coltrane (they attended the same ashram) and serendipitously Great Aunt to one Steven Ellison aka Flying Lotus. “She showed me so much love as a child. She knew I was going to work with synthesisers before I did,” laughs Georgia.

                    It is fitting that a decade on in 2018, Georgia should sign to Brainfeeder - a record label deeply embedded in LA, with a ton of shared history, shared beliefs and a united vision of the future - to release her stunning new album “Overload”.

                    STAFF COMMENTS

                    Millie says: Georgia Anne Muldrow’s new album is a roaring success with fellow musicians such as Flying Lotus and Blood Orange raving about her music. The album breathes her passion and beliefs which are woven throughout, absolutely beautiful.

                    FORMAT INFORMATION

                    LP Info: 180g heavyweight black vinyl in an artworked inner sleeve, housed in a 3mm spined outer sleeve.

                    LP includes MP3 Download Code.

                    CD Info: Digipack.

                    Bob Dylan

                    More Blood, More Tracks: The Bootleg Series Vol.14

                    The latest chapter in the highly acclaimed Bootleg Series makes available the pivotal studio recordings made by Bob Dylan during six extraordinary sessions in 1974 - four in New York (September 16, 17, 18, 19) and two in Minneapolis (December 27, 30) - that resulted in the artist's 1975 masterpiece, Blood On The Tracks.

                    *The 2LP configuration of More Blood, More Tracks assembles 10 of the most emotionally resonant alternate takes of each of the 10 songs appearing the original Blood On The Tracks plus a previously unreleased version of "Up to Me."

                    *The 6CD full-length deluxe version includes the complete New York sessions in chronological order including outtakes, false starts and studio banter. The album's producers have worked from best sources available, in most cases utilizing the original multi-track session tapes.

                    The only recordings remaining from the Minneapolis sessions are the multi-track masters of the five performances included on the finished Blood On The Tracks album. Each of these has been remixed and remastered for the deluxe edition.

                    The deluxe box set is a strictly limited edition. The set includes a hardcover photo book featuring liner notes by rock historian Jeff Slate and a complete reproduction of one of Dylan's legendary handwritten 57 page notebooks, where you can follow the lyrical development of the songs that would eventually comprise Blood On The Tracks.

                    JD McPherson presents "A Christmas Album: Socks". Featuring 11 original tracks written by JD McPherson and his friends. "Socks" is an album of holiday songs sure to be standards while you are decorating the tree. Come get warm by the fire with songs such as , “All The Gifts I Need” and “Every Single Christmas.” Or, burn the cookies to “Socks” and “Ugly Christmas Sweater.” There is something for everyone on this record to enjoy whether you are in the Christmas spirit or if you just wanna say, 'Bah Humbug.'

                    FORMAT INFORMATION

                    Coloured LP Info: Opaque green vinyl.

                    Indies Exclusive LP Info: Clear vinyl w/ red and green splatter.

                    Dean Wareham Vs. Cheval Sombre

                    Dean Wareham Vs. Cheval Sombre

                      Dean Wareham has recorded an album of western dreampop with his friend Cheval Sombre. They take turns singing western themed songs by the likes of Marty Robbins, Ricky Nelson, Bob Dylan and Magnetic Fields. Produced by Jason Quever (Papercuts, Beach House) and with a band featuring Britta Phillips (Luna), Anthony LaMarca (the War on Drugs). Dean Wareham founded the bands Galaxie 500 and Luna. One-man-band Cheval Sombre (Chris Porpora) emerged in the 2000s, making recordings in his apartment on the Hudson River, on previous releases he worked with Dean & Britta, Sonic Boom and members of MGMT. 

                      FORMAT INFORMATION

                      Ltd LP includes MP3 Download Code.

                      Jon Porras

                      Voices Of The Air

                        One of the most incisive comments on how best to appreciate art came from the Indian musician Gita Sarabhai. In a recorded conversation with John Cage, Sarabhai described art’s effect as serving “to sober and quiet the mind, thus rendering it susceptible to divine influences.”

                        Some of the best exploratory music incorporates this approach, and Jon Porras adopted it as a conceptual foundation for his new album, Voices Of The Air. The sounds Porras creates intend to provoke contemplativeness beyond expressing a concrete idea. As half of the duo Barn Owl, Porras composed intricate dual guitar improvisations that would shift and shimmer through multiple mutations within any singular piece. At the same time, his voyages into minimalism were served by Elm, his solo act. His focus has now shifted from guitar to synthesizer, narrowing in on the intersections between sound and neurology.

                        Taking the Yamaha DX7 as his main instrument for this solo work, Porras read and incorporated John Chowning’s frequency modulation synthesis, the result being a nuanced and multidimensional sound with endless possibilties. Porras stacked, arranged and adjusted these sounds through digital synthesis and effects. “The process felt like mixing paint to get the right color and texture, then laying down a brushstroke, each day returning to the canvas to build on something I left there from the day before,” says Porras. Voices Of The Air broadcasts these intricate balances of sounds that slowly set together, creating an album of delicacy and power. 

                        Brix & The Extricated

                        Breaking State

                          Brix & The Extricated released their debut album ‘Part 2’ last September to critical acclaim. Over the past year they have relentlessly toured the UK and performed at numerous festivals over the summer. Last month they returned to the studio to record their follow up with a plethora of new material ready to go. The resulting album is ‘Breaking State’, upon which Brix & The Extricated have pushed the sonic boundaries set by their debut. While retaining much of what was loved about their first album, this record demonstrates musical muscle and rapid growth of artistic intent.

                          While the sonic thread of their time in The Fall is still clearly evident, there are many surprises and unexpected corners throughout the album. This album is packed with seriously infectious choruses and killer guitar work. Each of the ten songs is rifled with the gut wrenching power chords, driving riffs and technical dexterity of Jason Brown’s guitar contrasted against the delicate beauty of Steve Trafford’s moody, atmospheric, transportative soundscapes.

                          Both musicians take you on two separate but intertwined sonic journeys as the two guitars debate conversationally from one song to the next. They play off each other and bait each other, returning to that place where they blend in orgasmic bliss – this is post punk guitar work at it’s best. Smith Start comes into her own as a vocalist here delivering every word with intent while emotionally engaging the listener throughout. Building on her inspirational work in ‘Part 2’, she reasserts herself as a leading light to women across the generations, swimming against the tide and defying expectations. She brings a message of hope, not just to women but to people everywhere to strive for what is possible.

                          Smith Start again resets the bar of expectation stepping out of preconceived, conditioned perceptions of previously well trodden paths. Vocally we hear a voice that ranges from vulnerable delicacy to the battle cry of a warrior. The unexpected addition of strings (arranged by Sarah Brandwood-Spencer) add a surprise multi dimensional emotional texture throughout, that seamlessly support Smith Start’s message. At times the strings hark back to the golden age of Hollywood glamour resulting in a wonderful collision where MGM meets post punk rainy Manchester. 

                          Marianne Faithfull

                          Negative Capability

                            ‘Negative Capability ’ is Marianne Faithfull’s 21st album and the most emotionally powerful of her 54-year recording career. Facing down arthritis and bolstered by collaborators including Warren Ellis, Nick Cave, Rob Ellis, Ed Harcourt and Mark Lanegan, ‘Negative Capability’ is charged with brutal honesty and autobiographical reflection as she addresses losing old friends, her loneliness living in her adopted city of Paris, and love.

                            Driven by her supernatural reinterpretative skills, florid lyricism, battle against the pain she lives with, and realised with her stellar group of musicians, ‘Negative Capability’ is Marianne’s unflinchingly honest and relentlessly beautiful late-life masterpiece. The stark emotional heft, exquisitely framed by ornately sensitive musical backdrops can only be likened to the late-life works by Johnny Cash or Leonard Cohen.

                            Recorded at La Frette studio on the outskirts of Paris, ‘Negative Capability’ is inexorably overshadowed by grief at losing close friends from the ‘60s such as Anita Pallenberg, Martin Stone and Cream album designer Martin Sharp. It’s produced by both Rob Ellis – the PJ Harvey producer who’s been Marianne’s collaborator for five years -and Warren Ellis from Nick Cave and the Bad Seeds. Warren’s violin blesses songs such as ‘Misunderstanding’ and ‘Born To Live’ – her intensely moving eulogy to departed lifelong friend Anita - with the stark but lustrous autumnal beauty that makes the album

                            The first single ‘The Gypsy Fairie Queen’ – inspired by Shakespeare’s ‘Midsummer Night’s Dream’ – was co-written with Nick Cave and features his vocals and piano playing.


                            Liars

                            Titles With The Word Fountain

                              Titles With The Word Fountain was recorded during the same sessions as TFCF, but this isn’t a collection of leftover material or outtakes. Angus explains, “To me it’s more like a sequel. I chose the songs that appear on TFCF based on how well they addressed the trauma of a failed creative relationship, whereas the material on Titles With The Word Fountain is more playful despite revolving around the same sentiments.”

                              TFCF was the first Liars release since an amicable departure by founding member Aaron Hemphill, Angus goes on to explain, “There was a lot of pressure in producing TFCF as it was guaranteed to be framed by the lack of band members. With Titles With The Word Fountain I felt stripped of that burden and more free to include work that could be construed as unclear or abstract.”

                              Doug Paisley

                              Starter Home

                                To make his first album in nearly 5 years, Doug Paisley stayed in his hometown of Toronto, playing with old friends and collaborators, and recording in home studios around the city. He spent the previous few years writing, and Starter Home showcases an already brilliant songwriter getting even better. The songs are rooted in the sound of folk and country, but the themes are universal and expansive, not belonging to any genre. The recording itself is quiet, often only minimally adorned, showcasing Doug Paisley's incredible voice and guitar playing. 

                                FORMAT INFORMATION

                                LP includes MP3 Download Code.

                                Paint

                                Paint

                                  The verb, the noun, the substance, the action, the command: make a mark! With that, PAINT (guitarist/singer Pedrum Siadatian of the Allah-Las), is making his mark too with his first, selftitled solo record.

                                  PAINT started by four-tracking his own strange, slow-growing ideas just after Allah-Las third album Calico Review (2016) - fed or led by a certain acid-bitter poetry (Gregory Corso and John Lennon) and the murky music of Kevin Ayers and Syd Barrett. Siadatian found a producer and partner-in-grime in adept cinematic psychedelicist Frank Maston, who instinctively understood these songs would fall apart if scrubbed too roughly in the studio. Now PAINT’s self-titled debut LP has a happily paradoxical finished-but-not-finished-off feel, like Lou Reed and R. Stevie Moore and Julian Cope and Richard Hell, but just the songs that never came out.

                                  Like “Daily Gazette”: big-city-on-the-skids mid-tempo hot-summer punk blues cool like those Richard Hell/Tom Verlaine Neon Boys tapes. Like “Splattered”: a subway-sound Velvet Underground valentine. Like “Silver Streaks”: budget-studio 1970s expression-as-obsession from the California observed and preserved by demimonde private-press psychedelicists Damon or F.J. McMahon. Like “Wash”: a last-dance cosmic waltz that could’ve been a snippet of an Angelo Badalamenti soundtrack.

                                  Anyway, this is PAINT, the substance and the action – it drips, it runs, it changes colors. In between: not the desert but the dirt, not the night but the dark, not the sun but the heat and not the sea but the deep, and always the heartbeat blood-rush feel-it! momentum that makes all rock ‘n’ roll rock and roll.

                                  Think of it this way: PAINT’s first album isn’t always clean, but it’s very very clear. Sometimes the mess is the message.

                                  Part Time

                                  Spell #6

                                    Nearing a decade old and with a discography reaching deep into double figures across several different labels (Mexican Summer, INSERT others), David Loca’s work under the Part Time moniker really shouldn’t require any introduction. Nonetheless, the release of what is officially his sixth album, fittingly titled Spell #6, does signal something of a re-birth and provides a compelling entry point for anyone new to Loca’s prolific output. Whereas previous albums were notable for a charming lo-fi production, Spell #6 takes Part Time uptown.



                                    FORMAT INFORMATION

                                    Coloured LP Info: Pale green vinyl plus 7".

                                    David Allred

                                    The Transition

                                      Hailing from Loomis, a small town outside of Sacramento, via Portland, Oregon – David worked as a sound engineer and session musician, featuring on multiple recordings by the likes of Birger Olsen, Brigid Mae Power, Brumes, The Beacon Sound Choir, Chantal Acda, Heather Woods Broderick, Jung Body, Masayoshi Fujita, and many more. He quickly found himself touring Europe with Peter, culminating in a Royal Festival Hall performance, and contributing the arresting voice and double bass piece Ahoy to the Erased Tapes 10th anniversary box set 1+1=X; only to return to where he started, Loomis, and finally write and record The Transition as his first full-length statement in just one month.

                                      “At 26 years old, I found myself back in the town where I grew up, feeling a bit like a failure for not “making it” out there in the years I spent living and working on my own. I picked up a job working in a retirement home, surrounded by those who are at the very end of their lives, and they’ve kept saying the same thing: that they had no idea life would happen that fast. So I decided to make an album inspired by my recent experiences and stories I heard through working with them,” he explains.

                                      With the release of The Transition, David Allred takes his place among the classic American songwriting tradition whilst revealing a peculiarity to his storytelling. Isolated and cut off from the outside world, David began unravelling his life and putting it on record. With a double bass in his bedroom and a piano in a church across the street, the stories started to unfold until a set of ten songs came to life. Vignettes and feelings from his own experiences, as well as characters he met along the way, inspired a rich tapestry of stories and melodies.

                                      “This record is primarily about change, coming to terms with it, and not getting too attached to any particular phase of life. I’ve experienced living in isolation at various times, and it lead to a sceptical line of thought, but I managed that through accepting change and feeling satisfied with where I am. The Transition is about acknowledging the sadness of change, whilst providing an escape from it.”

                                      Songs like the lead single The Garden show a maturity, depth and thoughtfulness beyond his years. Randy and Susan, a song about love, betrayal, greed and getting old, was made up from various stories David collected at his day job as a caretaker. It was written as a companion piece to Hey Stranger, “a poignant tale of a disappeared friend” (Mojo) from his collaborative release with Peter, and an attempt to make peace with this unresolved situation.

                                      In contrast, For Catherine E. Coulson came about after David watched all of Twin Peaks in one block, which inspired him to write a wild punt for the new season’s soundtrack, a tribute to the actress who played the infamous Log Lady.

                                      After opening for the legendary English ensemble and his now label colleagues Penguin Cafe at London’s Royal Festival Hall, David decided to write a song For the Penguins. And it’s not hard to imagine it being played by a group of twelve rather than just by himself, especially after Peter contributed additional strings.

                                      "When I first heard The Transition, I felt it was a giant leap for someone whose music was already at a place that went beyond any possible expectations. Lucky for me David was open to me making some contributions of my own on the album, allowing me to forge an even deeper connection to this beautiful and sometimes troubling music." — Peter Broderick 

                                      Majetic

                                      Club Dread

                                        Club Dread is not club music. The production on Majetic’s new album alludes to various dance genres but never quite embodies them. Similarly, the characters populating its ten twilit tracks orbit the nightlife without taking to the dance floor. Amorphous and peripheral, it's music for the sidewalks adjacent the club—a score for the bittersweet comedowns. Club Dread marks a transition for Majetic. Formerly configured as a band, the project has exchanged the name Care for something more emblematic of its singular producer, Justin Majetich. The palette’s changed too. Majetic has built Club Dread, his third LP, almost entirely out of electronics.

                                        The result is agile and restrained—a sleeker vessel for the songwriter’s vivid lyricism and emotive pitch. Club Dread was conceived in Oakland, California, and though Majetic wrote and recorded much of the album upon returning to his home in Queens, New York, the Bay Area provides a setting for its fractured narratives. There's a glimmer of the Bay’s natural beauty evoked in its open, gilded moments. There's also an awareness of the racial and economic disparity run rampant against this idyllic backdrop. Dystopian tension is present throughout Club Dread, and Majetic’s vision of the club is less defined by paradise than it is by vulnerability. But even as the album combs the margins of tragedy, it feels devoted to healing. In the closing track, Majetic captures this quiet conviction, singing “Club Dread like nothing bleeds / like baby gets what baby needs / like violence couldn’t find us underground.” 

                                        FORMAT INFORMATION

                                        Coloured LP Info: Indies only clear vinyl.

                                        Coloured LP includes MP3 Download Code.

                                        The Last Detail

                                        The Last Detail

                                          So how should one react when one's two favourite contemporary singer-songwriters decide to record an album together? Mehdi Zannad has a peerless collection of long-players & one-off 45's behind him, under both his own name and as Fugu, while Erin Moran (A Girl Called Eddy) released one of this century's great lost albums back in 2004. The stakes were high, as were my expectations.

                                          Thankfully The Last Detail doesn't disappoint. Breezy yet reflective. Melancholic but never maudlin, and always resolutely upbeat. Magnificent" Harvey Williams (Field Mice, Trembling Blue Stars).

                                          FORMAT INFORMATION

                                          Coloured LP Info: Limited white vinyl.

                                          Coloured LP includes MP3 Download Code.

                                          Composer, producer, keyboardist and multi-instrumentalist Kelly Moran made an early name for herself in New York collaborating with dance performance and composing for long-term John Cage collaborator Margaret Leng Tan. It was with the 2017 album "Bloodroot" that Kelly Moran began to reach wider attention.

                                          "Bloodroot" made innovative use of piano and electroacoustic instruments, purpose-built by Moran herself and touched upon the many diverse musical styles from which she finds inspiration. It appeared in Albums of the Year lists in experimental (Rolling Stone), classical (New York Times) and metal (New York Observer) genres, reflecting this range. In 2018 she has been performing in prestigious venues around the world as part of Oneohtrix Point Never’s live Age Of tour ensemble.

                                          Now, on her Warp Records debut Ultraviolet she continues to interpret these wealth of inspirations into a sound all her own and pulls off a nearly impossible feat: the annihilation of experimental music’s imposing, esoteric, über-academic status quo in the name of pure, unbridled intuition, of human joy.

                                          'I was squatted down in the forest, listening to the sounds of the wind and the wildlife, and all the echoes surrounding me,' Moran recalls. 'I asked myself: How can I make music that feels like this: natural, connected, and effortless?'

                                          Ultraviolet plays to a wide, arresting array of stylistic influences: dazzling inflections of jazz and dream pop, classical composition and black metal, darkness and light, encapsulated in a single, mystifying LP. 'By re-examining my process as an artist, I freed myself.'


                                          STAFF COMMENTS

                                          Matt says: A truly enchanted LP from Kelly Moran, well timed for the dark evenings and magical Winter season. Like sitting in a moonlit pine forest in the dead of of crystal clear night.

                                          FORMAT INFORMATION

                                          LP includes MP3 Download Code.

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

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

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

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


                                          Various Artists

                                          Captured Tracks CT10

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

                                            FORMAT INFORMATION

                                            LP 1 Info: Volume 1.

                                            LP 2 Info: Volume 2.

                                            Various Artists

                                            Remixed With Love By Joey Negro Vol. Three

                                              Remixed With Love Volume 3 is the latest edition of what has become the industry-leading disco remix series. No one knows this era of music better than Dave Lee, who under his Joey Negro alias once again turns his impeccable hand to some of the best-loved records ever committed to wax.

                                              “I can clearly remember in the 80s having fantasies about being a remixer and dreaming of tweaking my favourite songs and re-releasing them. I really never thought it would happen. The days when I receive the parts for some of these classic recordings are literally a dream come true.” – Dave Lee

                                              Remixed With Love Volume 3 has been a real labour of love, and a release several years in the making. With original parts for some of these classics hard to find, and with major labels rightly protective of songs created by legendary artists, it is a testament to both the perseverance of Lee and the esteem in which he is held as a remixer that the project was ever completed. Luckily for us though, here we are: Remixed With Love Volume 3 is done, dusted and ready to deliver a healthy dose of joy to us all.

                                              As with previous volumes, Lee has put his own inimitable spin on more than a dozen seminal records, with The Fatback Band, Patti LaBelle, Evelyn “Champagne” King, Odyssey and many more vying for attention across a stunning three part gatefold double vinyl, double CD and digital release.

                                              As you’d expect from an artist of Lee’s calibre, he’s taken the task extremely seriously. “Some songs I’ve wanted to get access to the multi for ages turn out to be far less straight forward than I imagined. You know it’s a great track, but unlocking the key to doing a worthwhile new version doesn’t always come easy. To make more of a feature of one element sometimes means there has to be less of something else. There are many decisions to be made, lived with, revised, maybe reversed until finally your gut tells you it’s about right.”

                                              There are very few producers with either the confident or ability to take on records of this heritage, but Dave Lee has once again proved that when it comes to sensitive re-workings of disco staples, he’s in a league of his own.

                                              Released back in 2016, Remixed With Love Volume 2 included exclusive reworks of classic soul and disco records all from the original master tapes, with the collection going on to be Traxsource’s best-selling of 2016, reaching top 30 on iTunes album chart, and also being named DJ Mag’s compilation of the year.

                                              All the remixes here are 100% new and exclusive to the compilation, making Remixed With Love Volume 3 an essential purchase for any serious disco devotee. 


                                              "Sowas von egal" is a collaboration between the Hamburg record label Bureau B and the Hamburg party series Damaged Goods. The divergent trajectories of a record company on the one hand and DJs on the other are happily aligned through a love and passion for seeking out, collecting, releasing and playing rare, remarkable music which simply needs to be heard.
                                              The Damaged Goods DJs created the party as a danceable party where they could play music beyond the regular and repetitious repertoire of (dark) electro clichés. The focus is on seldom heard post punk and synth wave from the 1980s. Many of the old records had only been pressed in small quantities, often sold exclusively at the respective bands' gigs. More than 30 years later, it is almost impossible to get hold of these tracks... until now. 

                                              STAFF COMMENTS

                                              Patrick says: I've declared my undying love for Neue Deutsche Welle many times before, so you'll understand I was very happy to see this Bureau B comp land in my lap. What's more, I don't know a single track on here, and it's full of killers!

                                              Thom Yorke

                                              Suspiria (Music For The Luca Guadagnino Film)

                                              Suspiria consists of 25 original compositions written by Thom specifically for Luca Guadagnino reimagining of the 1977 Dario Argento horror classic. The album is a mix of instrumental score work, interstitial pieces and interludes, and more traditional song structures featuring Thom’s vocals such as “Unmade”, “Has Ended” and “Suspirium,” the album's first single featuring the melodic theme that recurs throughout the film and its score.

                                              As scoring a horror film presented Thom with altogether new challenges and opportunities, Suspiria stands apart from any of his other work. Piano/vocal ballads, Krautrock-esque modular synth work inspired by the film’s Berlin 1977 setting, multilayered vocals, and melodies that convey terror, longing and melancholy combine to create a chaotic yet cohesive musical spell.

                                              Suspiria was written and arranged by Thom Yorke, recorded and produced by Thom and Sam Petts-Davies. The album also features the London Contemporary Orchestra and Choir, Noah Yorke on drums on “Has Ended” and “Volk,” and Pasha Mansurov on solo flute on “Suspirium.”

                                              STAFF COMMENTS

                                              Barry says: Having been no stranger to a brooding chorus or an emotive wall of ambience, Thom Yorke was always going to be a great choice for a soundtracker, and Suspiria proves this without missing a step. Brittle piano led melodies, gritty phased percussion and shimmering synth progressions pull together into a cohesive and absorbing maelstrom. Brilliant.

                                              Aviary is an epic journey through what Julia Holter describes as “the cacophony of the mind in a melting world.” It’s the Los Angeles composer’s most breathtakingly expansive album yet, full of startling turns and dazzling instrumental arrangements. The follow-up to her critically acclaimed 2015 record, Have You in My Wilderness, it takes as its starting point a line from a 2009 short story by writer Etel Adnan: "I found myself in an aviary full of shrieking birds." It’s a scenario that sounds straight out of a horror movie, but it’s also a pretty good metaphor for life in 2018, with its endless onslaught of political scandals, freakish natural disasters, and voices shouting their desires and resentments into the void.

                                              “Amidst all the internal and external babble we experience daily, it's hard to find one's foundation,” says Holter. “I think this album is reflecting that feeling of cacophony and how one responds to it as a person - how one behaves, how one looks for love, for solace. Maybe it’s a matter of listening to and gathering the seeming madness, of forming something out of it and envisioning a future.”

                                              “In a lot of the songs, when I mention love, it’s about a seeking for compassion and humility in a world where it feels like empathy is always being tested,” Holter says. In Aviary’s case, that search for sweetness - that bridging of the gulf - becomes a metaphor for the creative process itself, cutting through the hierarchies of history, language, and musical form to offer something more fluid, more inclusive, more idiosyncratic.

                                              Aviary combines Holter’s slyly theatrical vocals and Blade Runner-inspired synth work with an enveloping palette of strings and percussion that reveals itself, and the boundless scope of her vision, over the course of fifteen songs.

                                              STAFF COMMENTS

                                              Barry says: Since her 2015 album, 'Have You In My Wilderness' (voted our #1 album of 2015) Holter has gone from strength to strength. Treading a similar path to her more recent forays into arty ambience and brittle electronics, 'Aviary' is an epic of Holter's mesmerising vocal talent, backed with an absorbing and progressive instrumental backdrop.

                                              FORMAT INFORMATION

                                              2xColoured LP Info: Indies exclusive clear vinyl.

                                              Take a tour through Ty Segall’s musical psyche with his new solo album, Fudge Sandwich, a collection of Segall’s take on eleven songs that were originally done by other people. These aren’t just cover versions. Cover versions happen at weddings and high school band battles. The songs here are what happens when someone loves a song so much, they need to get inside it and let it propagate and transform into what it would have been if they had actually written it. Equal parts reverence and reimagination, this album shows Segall inhabiting the world of a song’s intent, filtering it through the muse that drove this year’s exceptional Freedom’s Goblin. Cluttered, passionate and inspired, the songs are barely recognizable, irresistible and by album’s end, present a cohesive collection that stands proudly alongside the best of Segall’s considerable output.

                                              Covers album includes songs by War, The Spencer Davis Group, John Lennon, Funkadelic, The Dils, Neil Young, Gong, Amon Düül, Rudimentary Peni, The Grateful Dead, and Sparks.

                                              STAFF COMMENTS

                                              Barry says: As you'd expect from Ty Segall, this is a fuzzed-out, head-bobbing collection of throbbing jams and screaming vocals, what you possibly wouldn't expect is it to be songs originally written by a number of the worlds greatest rock and / or roll bands, all given that familiar and comforting Segall twist. Brilliant re-imaginings of some stone-cold classics.

                                              FORMAT INFORMATION

                                              Coloured LP Info: 500 only on coloured vinyl.

                                              Coloured LP includes MP3 Download Code.

                                              LP Info: Black vinyl edition.

                                              LP includes MP3 Download Code.

                                              The elusive Crooked Man returns to DFA with the Crooked House LP, a maximalist take on electronic and house music that picks up where 2016’s self-titled LP left off. Teaming up again with Michael Somerset Ward (Clock DVA) and David Lewin (Bleep & Booster) in the studio, Richard Barratt crafts a comprehensive journey of hi-fi house belters with more sinister electro-pop mixed in for good measure.

                                              The LP is influenced by two historic epicentres of electronic music: Sheffield, UK, where Richard has had an illustrious career in a mix of legendary groups like Funky Worm, Sweet Exorcist, and The All Seeing I; and the NYC Loft-era disco sound, where extended grooves were layered with peak-time choruses.

                                              Richard’s diverse collaborations and intensely prolific discography have now led him to records as lush and sophisticated as Crooked House. Considering the rarity of a live Crooked Man performance or DJ set, it’s a testament to his hyper-creativity that these tracks are able to reach new heights in a club setting. With support from disco historian Bill Brewster and NTS resident Ross Allen (not to mention ‘Echo Loves Narcissus’ being named #1 single of the year by Piccadilly Records in 2017, before it was even properly released), it’s clear that Crooked House brings a timeless vitality to the current landscape of dance music, and continues an exciting new chapter in Crooked Man’s career.

                                              STAFF COMMENTS

                                              Matt says: Incendary, party starting house music from Sheffield's finest. No nonsense, bassbin buggin', soul-flecked finesse from a true artist. Big ups!

                                              Unknown Mortal Orchestra

                                              IC-01 Hanoi

                                              While recording Unknown Mortal Orchestra’s latest release, Sex & Food, Ruban Nielson, his longtime collaborator Jacob Portrait and his brother Kody Nielson, found themselves in the Vietnamese city of Hanoi playing and recording with local musicians at Phu Sa Studios. The studio, normally used for traditional Vietnamese music, found the band jamming on sessions dubbed IC-01 Hanoi: exploring the outer edges of the band’s influences in Jazz, Fusion and the avant-garde. The musicians, along with Ruban and Kody’s father, a Jazz musician in his own right, helped lay down the unique textures heard throughout Hanoi. At its core Hanoi is a record of exploration, finding its closest antecedent in Miles Davis’ experimental On The Corner – itself a record full of nods toward avant-garde composers and Jazz outsiders alike. Hanoi finds Ruban amplifying and stretching out on lead guitar, with a blown-out and wandering fuzz tone that slinks throughout the sessions. Kody and Jacob match Ruban’s melodic diversions with aplomb, mining their talents to finding as easy a role in the fusion of funk as they do in the more ambient and abstract tangents on Hanoi.

                                              STAFF COMMENTS

                                              Barry says: Definitely not typical UMO this, but absolutely brimming with feeling and focused on an entirely different aspect of their sound. Though they are by no means avant-garde, the more meandering ruminations of their melodic forays are exacerbated on this release, breaking into the realms of jazzy ambience, eastern flow and hypnotic woodwind. A completely surprising but thoroughly enjoyable change. Lovely stuff.

                                              Memento Mori charts Adamson’s career from 1978’s Magazine track, ‘Parade’ (co-written by Adamson, from their debut album Real Life), to his work as founding member, alongside Nick Cave, of the Bad Seeds (‘From Her To Eternity’, co-written by Adamson); through his nine solo albums, from 1988’s Moss Side Story to the latest Love Sick Dick EPs, bringing everything up to date with a brand new unreleased track, ‘The Hummingbird’.

                                              STAFF COMMENTS

                                              Laura says: When people talk about Manchester music legends, Barry Adamson barely gets a mention, but as this compilation demonstrates, he's been responsible for some of the most incredible, genre-bending music to come out of Manchester in the last 30 years, blending post-punk, jazz, blues, soundtracks, and everything in between in his own inimitable way. Stand out tracks include "The Man With The Golden Arm" from the briliantly noir-ish "Moss Side Story" and "Set The Controls For The Heart Of The Pelvis" from 1996's "Oedipus Schmoedipus" featuring Jarvis Cocker on vocals, along with "Parade" by Magazine and "From Her To Eternity" from his days as a Bad Seed.

                                              FORMAT INFORMATION

                                              2xColoured LP Info: Limited edition gold coloured vinyl.

                                              Paul Smith

                                              Diagrams

                                                Paul Smith returns with a brand-new album Diagrams, a release that strips bare his work to this point and ploughs fresh songwriting pathways. Now onto his fourth record as a solo artist, the Maxïmo Park frontman continues to sharpen his skills via a keenness to step out of his comfort-zone, and an ever-present desire to digest culture in all its forms. Most recently he found himself performing alongside folk star Rachel Unthank for Lauren Laverne’s Great Northern Soundtrack, and he is currently a host for publisher Penguin’s podcast alongside David Baddiel and Konnie Huq, discussing the latest book releases.

                                                With each Paul Smith release we expect an evolvement, and on Diagrams he remains committed towards expanding the parameters of his songwriting. From the anthemia of his debut solo outing Margins (2010) to the exploratory minimalistic jazz of his Peter Brewis (Field Music) collaborative album Frozen By Sight (2014) and the spirited, guitar pop record that was Contradictions (2015), Diagrams sets its stall out as a vivid and complex album that binds the obscure and the everyday, searching for romance under stones that not many songwriters would think to turn over.

                                                As a body of work, it seeks to unite the strengths that Smith has in his canon, drawing on his ability to both write from experience, yet also conjure new stories of unknown protagonists. Sidestepping (but not wholly ignoring) the more autobiographical work that played out through previous releases, Diagrams instead sees Smith further explore his nous for telling these short stories. Alongside co-producer Andrew Hodson, of 6 Music favourites, Warm Digits, he charts a course into the yearning, melancholic jangle-pop of The Go-Betweens, finding himself drawn to the literate, grunge-pop of The Lemonheads, to build a cohesive collection that pulls in his many strengths

                                                “I try to absorb information and filter parts that interest me into the songs, while retaining my own, singular voice. I still believe in the power of a pop song to alter someone’s day, and although this record was mostly made in a bedroom, I felt the songs would have a universal appeal.” – Paul Smith

                                                With his ability to unravel the day-to-day and transform the commonplace into an eloquent turn of phrase, the thread that holds Diagrams in place is Smith’s honesty and empathy. It’s these matters-of-the-heart elements that push and pull at the listener’s emotions. Resultingly, it’s a collection that feels incredibly relatable.

                                                Album opener The Public Eye sets the tone with a dark undercurrent and was written in the aftermath of the “Hostile Environment” policy adopted by the British Home Office. Taking aim at our climate of suspicion, it shines a light on how vulnerable groups are attacked without factual foundation (“Convictions without proof”). Around And Around similarly details the futile merry-go-round of the news cycle, before Silver Rabbit conjures a story of self-doubt, set against the low-budget romance of the seaside, and channelled through overdriven guitars. Lake Burley Griffin - inspired by the story of Walter Burley Griffin, an American who designed Canberra alongside his wife Marion Mahony Griffin – is the album’s discordant left-hand turn, taking in the post-rock influence of Slint or Tortoise. A love story featuring prominent clarinet, it showcases – along with the saxophone in The Public Eye – Smith’s addition of woodwind instruments to his musical palette. Elsewhere on John he imagines a life that can never be known, inspired by a name scrawled on the back of a toilet door, extrapolating the sentiment and following it into a world where the story unfolds from schooldays to falling in love. It’s in these instances that Smith’s talent is subtly exemplified. He envisages unknowable situations and turns them on their head to evoke truly universal emotions of hope and regret (“what if the first chance, is the last chance?”).

                                                Through The Beauty Contest and Critical Mass – the former featuring folk royalty, Marry Waterson, the latter inspired by JG Ballard and Cormac McCarthy's 'The Road' - Smith again shows us he can veer into and out of songs inspired by reality. The Beauty Contest plots a late-night train journey, and Critical Mass plumbs bleak and apocalyptic depths, albeit alongside a black sense of humour.

                                                Diagrams is a collection that further cements Smith’s reputation as a revered songwriter and lyricist, whose skills continue to find new avenues through which to develop.

                                                STAFF COMMENTS

                                                Barry says: Paul Smith of Maximo Park fame returns with his unmistakable vocals and propulsive, driving momentum. A perfect balance of thoughtful, well-written songmanship and soaring, anthemic rock.

                                                Soap & Skin

                                                From Gas To Solid / You Are My Friend

                                                Third album from Soap&Skin, the working moniker for the Austrian musician and producer Anja Plaschg. Her first record in six years.

                                                The album belatedly follows the release of ‘Lovetune For Vacuum’ in 2009 and 2012’s ‘Narrow’ (an Austrian No 1) but in that time in between the artist has been busy, not least with the birth of her daughter and subsequent motherhood but as well with many other creative works such as composing for theatre and film productions, as well as film acting.

                                                Encompassing a range of musical allegiances, the album is infused with tranquil electronica, militaristic percussion, whilst coupled with choral ambience and earthy ethereal grandeur. This is an expansive, stunning, wide-reaching piece of dynamic beauty.

                                                Recorded mainly at her home in a quiet leafy corner of Vienna, the album is not only self-produced but selfplayed.

                                                STAFF COMMENTS

                                                Barry says: Encompassing the beautiful, softly spoken vocals of Rozi Plain or Icelandic electronic genius' Múm, Soap & Skin tread a fine line between choral ambience and soaring modern-classical, often within the space of a minute or two. A bogglingly competant, and ridiculously diverse smörgåsbord of sound.

                                                FORMAT INFORMATION

                                                Deluxe LP Info: The deluxe version is 180g black vinyl in a gatefold sleeve with 12 page booklet and exclusive white vinyl 7”.

                                                Deluxe LP includes MP3 Download Code.

                                                LP Info: 180g black vinyl in a gatefold sleeve with 12 page booklet.

                                                LP includes MP3 Download Code.

                                                Recorded in 24 hours somewhere in East Texas, "When I Shoot At You With Arrows, I Will Shoot To Destroy You" is the follow up to last year’s universally-lauded ‘Micah P. Hinson Presents the Holy Strangers’. Anyone associated in any way with the story of Micah P. Hinson will surely know that there have been several times in his life where the idea of an Apocalypse has occurred- a death and rebirth- whether that was a severe back injury, a violent road accident, the temporary death of his arms, a love for drugs, a hate of drugs, time spent behind bars or within rooms containing mentally-challenged people, time spent behind closed doors with bizarre characters of all shapes and sizes. The possibilities are endless.

                                                In looking back, one could easily say that without these certain deaths, there would certainly be no rebirths. With this, back in his home state of Texas, he began reaching out to the musicians that had played an important role in his musical upbringing- the people that had shown him a new way to think, a new way to play, a new way to master life and death. Luckily, he was able to draw many of these people together in an undisclosed location in East Texas the beginning of April 2018. Gathering together, he and the musicians spent a few frantic days going over the songs Micah had written in just a matter of weeks- looking at different ways to approach each song- which instruments?- what feel?- piecing together a puzzle without seeing the picture.

                                                Miraculously, within one day- one 24 hour period- these tireless musicians, with Micah at the helm, recorded all the songs, instruments and tracks that would make up ‘When I Shoot At You With Arrows...” In a beautiful move, all the Texas musicians decided wholeheartedly that they too, just like the musicians carved into stone several thousand miles away, would go unnamed- letting their instruments speak volumes, without having their earthly names attached to such a piece.


                                                FORMAT INFORMATION

                                                Coloured LP Info: Indies exclusive turquoise vinyl.

                                                Swiss group Klaus Johann Grobe have been at it since 2012, and as they prepare to release their third album "Du Bist So Symmetrisch" (and third on Trouble In Mind), the group continues to defy description & blur the lines between electronic pop, dance music, synthesis & kosmische. "Du Bist So Symmetrisch" follows the inevitable path laid out by their previous album (the Basel Prize-winning "Spagat der Liebe"), incorporating the slinky, jazz-fusion-laced grooves populating late night clubs and braiding them together with the band's own blend of mutant electro-funk.

                                                Driven by an organic, metronomic beat aligned with synth, chant-like vocals, and a monstrous funky bass, the music aims towards a certain kind of hypnosis, particularly as the sleeping pill echo-heavy vocals cycle over the locked grooves the pair throw down. "Du Bist..." begins with the cascading arpeggio of a synth, edging into view, before lurching into the placid dancefloor groove of the first single "Discogedanken". While the band invariably feels more at home in the club, Klaus Johann Grobe certainly aim towards the more dance-orientated arena of German music (see "Der König" or "Von Gestern"), aligning the metro pulse of Klaus Dinger and Kraftwerk's later techno work to more biological factors - like moss growing on the mainframe. 

                                                FORMAT INFORMATION

                                                Coloured LP Info: Limited indies-only blue vinyl.

                                                John Carpenter

                                                Halloween OST - 40th Anniversary Edition

                                                This 40th anniversary release of the original Halloween music composed and performed by John Carpenter in 1978 presents the original Halloween film score as it was mixed within the film. The audio is taken from the "music stem” derived from the 35mm mono tracks that comprised the dialogue, sound effects and music of the original film which when combined, comprise the complete soundtrack of the classic film. The first LP album of Halloween, released in 1982, was a remix of the original 16 master by Alan Howarth, with instructions from John Carpenter to re-mix the tracks to represent the best sound of the music, and not necessarily be committed to match the music as mixed for the film. in this release, Alan Howarth carefully transferred the film music stem, assembled the music in chronological order as presented in the movie so the listener can visualize the film in their minds eye while taking a musical journey of the most famous horror score ever!

                                                STAFF COMMENTS

                                                Barry says: 40 years later, and Carpenter still can't be bested. One of the most legendary soundtracks in history gets a full reissue treatment. Absolutely terrifying and riddled with unrivalled genius.

                                                Baxter Dury, Étienne De Crécy, Delilah Holliday

                                                B.E.D

                                                B.E.D is the new collaboration from Baxter Dury, French Dance music pioneer Etienne De Crécy & Delilah Holiday of London punks Skinny Girl Diet. Although they seem strange bed fellows at first, this project provides the perfect fusion of their disparate skill sets. Etienne De Crécy fires up the hardware and lays down tough electro-pop instrumentals, combining the best bits of italo, vintage synth pop and the DFA/John Grant school of digi-cool. Meanwhile in the vocal booth, Baxter Dury is typically engaging, itriguing and disarming with a string of half spoken / half sung confessionals, while Delilah Holiday adds a touch of emotion via kitchen sink balladry, the odd delicate chorus and at least one journey into the classic synthpop deadpan. Recorded between 2017 & the start of 2018 and produced by Etienne De Crécy & Baxter Dury in France, "B.E.D." is another must have release on the mighty Heavenly. 

                                                STAFF COMMENTS

                                                Patrick says: Sick synth pop offering from the hive mind of these three musical misfits. If you like John Grant, Human League or LCD, then this is for you my friends.

                                                "Humble Pi" is a collaborative album from NYC-based rappers, Homeboy Sandman and Edan. It finds their unique style of rapping, tight-lipped and fast-flowing, juxtaposed perfectly against some street-wise beats and smoked out, trunk-friendly grooves.

                                                This is Edan’s highly anticipated return since 2005’s "Beauty And The Beat" while Homeboy Sandman has been enjoying an excellent spell in the spotlight of late. Their confidence shines through with witty, inventive lines and unconventional arrangements.

                                                For fans of MF Doom, Madvillain, Blu & Exile, Guilty Simpson, Mike Eagle. 


                                                STAFF COMMENTS

                                                Matt says: Dark rap never sounded so thick and intoxicating. If you liked Earl Sweatshirt's second album ("I Don't Lke Shit...") then look no further for some reckless experimentation and unconventional rhythmes.

                                                "Pomegranates" is the new album by Nicolas Jaar The sleeve is designed by David Rudnick, with labels by Stéphane Jourdan and a new insert created by Jaar collaborator and friend Maziyar Pahlevan.

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

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

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

                                                STAFF COMMENTS

                                                Sil says: The musical sensibilities this man displays is bar to none. Every cut is beautiful and full of substance. Absolute classic and on vinyl for your full enjoyment. You need this!

                                                Kyle Dixon & Michael Stein

                                                Stranger Things: Halloween Sounds From The Upside Down

                                                Stranger Things composers and electronic veterans Kyle Dixon & Michael Stein return with Stranger Things: Halloween Sounds From the Upside Down, which features 14 original unreleased tracks from the series specifically curated to be as creepy and atmospheric as possible. Total electronic 80s nostalgia with just enough of a modern twist to produce something unique and unforgettable. The vinyl is housed in a heavyweight spined sleeve with brand new artwork by John Bergin.


                                                FORMAT INFORMATION

                                                Ltd LP Info: Pumpkin orange coloured vinyl housed in a heavyweight spined sleeve.

                                                At the crux of American-born, Shanghai-based producer Eli Osheyack's debut album, "Sadomodernism", is a question of agency. Borrowed from film theory, the album title was originally coined by writer Moira Weigel to describe a waning European art house tradition that vehemently rejects 'naïve pleasure' - the tranquilizing comfort of conventional cinematic narrative, like mainstream Hollywood - and opts for violence and pain, with the aim of shaking audiences out of cinematic manipulation and into their own position vis-à-vis the malaise of contemporary life.

                                                Echoing the work of sadomodernist auteurs, Osheyacks's "Sadomodernism" is a deeply political project with critical ambitions. The smashing and blending of genres, from techno, industrial, noise and gabber to ballroom and metal, even opera, and spontaneous percussion arrangements, sometimes mixed with distorted spoken word, do not mean to please, but provoke through disorder and chaos. Laden with Brechtian alienation affects, "Sadomodernism" interrogates the notion of autonomy in contemporary music, club culture, and social-political life.


                                                STAFF COMMENTS

                                                Sil says: As sado as electronic music can get. It requires a certain pallate to appreciate this one. It definitely pushes the boundaries and is as urban as it gets, I guess. At times it is as discordant as low grade sandpaper being used on a stradivarius violin, and other occasions it all makes sense. As noted above, this is postmodern tackle for the open minded fellas.

                                                Common Series

                                                CS07 - Las Canchas

                                                There is a point where memory and vision meet. The point where sparks and vertigo are produced and where imaginary landscapes produce sounds and visions. From this friction of times and places are born the music of the Common Series 07 (LAS CANCHAS). Star maps, existential paths, fables and planetary vision are filtered in the living mixer of the producer Marco Erroi and returned in the form of soundscapes, sudden encounters and lightning strikes, beyond the known places. 

                                                STAFF COMMENTS

                                                Patrick says: Unstoppable, unpredictable and utterly unique, Common Series' 7th instalment takes us into the esoteric realms of outsider electronics with 8 diverse cuts at home in their own universe. Esoteric and shamanic vibrations resonate throughout, lending the skewed excursions into Balearic jazz, folklorica, bedroom pop and coastal ambience an otherworldly unity. Records like this don't come along every day...

                                                FORMAT INFORMATION

                                                LP Info: Limited to 200 copies worldwide

                                                LP includes MP3 Download Code.

                                                The New York Downtown Producer/Composer Returns With His First New Album In 3 Years

                                                EIGHTEEN: the year of release, 2018. EIGHTEEN: the age at which I first used a synthesizer.

                                                In creating EIGHTEEN I worked independently in the studio, initially building up tracks with synthesizers and found sounds recorded in my daily comings and goings. After working with the tracks over a period of months,I shared them with a few musicians, who added their own instrumental layers. Though working independently, we all shared a similar working process: working in our personal recording spaces, as opposed to larger recording studios.

                                                The musicians are: Gabe Gurnsey (drums) of Factory Floor, with whom I collaborated on the Beachcombing EP and performed live at London’s ICA. I appear on Gabe’s newly released album Physical;

                                                Larry Saltzman (guitar) has played in my Love Of Life Orchestra since the 1970’s. Well-known for his work with Arthur Russell (“Kiss Me Again”, Flying Hearts), he is in high demand in NYC by acts such as Simon and Garfunkel;

                                                Paul Nowinski, (bass) has played with LOLO since the 1980’s. Paul has an impressive list of credits, including Les Paul, Keith Richards, Bernard Purdie and the Boston Pops; Matt Mottel, (electric piano), is the newest addition to the Love Of Life Orchestra. He is half the duo Talibam!, a leading act in the noise jazz scene; Lewin Barringer, (guitar), is a talented guitarist and producer in Philadelphia.

                                                After mixing the final tracks, I brought the mixes to Berlin. There I worked with the brilliant mastering engineer Mike Grinser who helped to give the album a unified sound.

                                                I think of this album as electronic music. It was created in my home studio, using analog and digital synthesizers, found sounds recorded on my phone, and instrumental parts contributed by friends. Finely crafted melodies and harmonies are set against subway noises, street construction, and distant foghorns. Sometimes there are sustained clusters, generated by my leaning against the keyboard. Deliberateness paired with randomness: this is what guided the artistic process.

                                                This album is atypical for me as I am not playing saxophone. (I do play one reed instrument – a harmonica.) I grew up with the sax as my primary instrument. Yet my father was a radio journalist so the reel-to-reel tape recorder was a ubiquitous presence in the family home. From an early age,

                                                I experimented with the tape machine: recording, overdubbing and splicing tape. I learned about Varese from Frank Zappa liner notes; I read John Cage’s “Silence.” Electronic music was on my radar.

                                                My first exposure to an actual synthesizer came when I recorded my first single at the fabled Sound City Studio in Van Nuys, CA. The studio had a custom Neve board, but it also had a firstgeneration Moog modular synthesizer sitting unused in the maintenance room. I asked and they kindly let me experiment with it. Soon, I enrolled at the University of California – San Diego after I discovered they had separate studios for their Moog and Buchla systems. These large modular synthesizers were affordable then only by institutions and rock stars. But these would be soon eclipsed by smaller, cheaper synths in the 70’s and early 80’s. In the same way, recording studio technology became accessible in the 90’s. . And thus the personal computer and digital audio allowed studio quality production in the home studio. Electronic music had become democratized.

                                                Handmade music by way of digital technology: this is the music of EIGHTEEN

                                                Laura Gibson

                                                Goners

                                                  It is her best record, and also her strangest.

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

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

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

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

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

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

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

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

                                                  FORMAT INFORMATION

                                                  Coloured LP Info: Indies exclusive dark green vinyl.

                                                  Dope Feat. Fuck Authority (Julian Cope)

                                                  Seven Disquieting Dirges:

                                                  Who's ready for this epic new twist in the Dope saga? Yes, Dope have teamed up with Bristol's anarchic double bassist Fuck Authority to deliver the most rustic musical onslaught since The Wicker Man soundtrack, as glockenspiels, hunting horns and hand-drums conspire to orchestrate Fuck Authority's superb bowed sub bass themes on titles such as 'Cornish Funeral Paths' and the 16-minute 'The Ranters'. Featuring seven track in all, this contrary CD release brings to mind the acoustic scrapings of Wolfmangler, or perhaps the endlessly repetitive themes of Padstow's Obby Oss. Don't expect a vinyl release, neither - this stuff would just make your needle jump out of the grooves. Dope feat. Fuck Authority is the kind of music that could inspire a whole new genre of young musicians. Buy one for your fave musical nephew or niece and watch them make a cult of themselves.

                                                  FORMAT INFORMATION

                                                  CD Info: Packaged in a tin with a 'Crass' style patch complete with insert.

                                                  The triumphant 1998 major label debut from Mary Lou Lord. A sonic partnership with The Bevis Frond’s Nick Saloman recorded with input from Roger McGuinn, Elliott Smith, Jon Brion and Money Mark plus many others. Featuring a gaggle of her self-penned tunes, gorgeous collaborations with Saloman and covers of Freedy Johnston and the grand lady of the blues Elizabeth Cotton. An emotional rollercoaster, a bittersweet gem from one of America’s unheralded singer songwriters steeped in Byrdsian myth and melodious grunge effervescence. “One tremendous album that frames her singing and creative personality with skill and sensitivity.” Trouser Press. “A seamless collection of folk-rock that offers more than a glimpse of Lord’s roots playing for passersby in London and Boston subway stations” Rolling Stone. An epic recording remastered by the experts at Fire Towers. 

                                                  FORMAT INFORMATION

                                                  Coloured LP Info: Limited edition purple vinyl version

                                                  Razorlight

                                                  Olympus Sleeping

                                                    Platinum selling indie-rock heroes Razorlight are set to make a triumphant return with "Olympus Sleeping", the band's first album in ten years. The record sees lead-singer and songwriter Johnny Borrell in top form, dishing up instant classics like the insanely catchy "Carry Yourself" or the album's lead single "Olympus Sleeping".

                                                    Karlheinz Stockhausen

                                                    Adventures In Sound: 3CD Box Set

                                                      Something truly radical happened to the European classical music tradition in the years after the Second World War. At a time when the revolutionary principle of 12-tone composition instigated by Schoenberg was beginning to be regarded among young composers as passé, some had witnessed the horrors of war and for them in particular, the need to make a definitive break with the past and the conventions and conflicts which sprang from it was paramount. Across Europe, composers like the young German Karlheinz Stockhausen, the Romanian-born architect IannisXenakis, and the Frenchmen Pierre Schaeffer and Pierre Henry were among those who began to seek out new ways of organising sound. Some looked to science for inspiration. If, to society at large its logic held out the promise of a new civilisation unsullied by such dark forces as nationalism; might it not do the same for the arts? These composers constructed their music according to differing philosophies, systems, formulae and beliefs. What they had in common was a hunger for new sounds and soundscapes that might celebrate the rejuvenation of civilisation and point to a future where war had no place. No composer had a greater appetite for revolution than Stockhausen, who was embarking on a quest that would occupy him for more than half a century, and which would take in a whole gamut of constantly re-defined objectives - among them "point music", "spatial music" and "multi-formula composition". His early electronic compositions such as the Studies were painstakingly and meticulously constructed using magnetic tape, to be followed over the ensuing decade by the works which ranked among the masterpieces of electronic music, Gesang der Jünglinge (Song of the Youths) and Kontakte (Contacts). All of these unprecedented early electronic works are included in this 3 CD box set presentation 

                                                      Volume five of the killer Britxotica! series, looking this time at 16 super rare and briliantly bonkers latin and percussive pop cues from the wild British Isles!

                                                      Britxotica! (pronounced “Britzotica”) neatly describes an odd and yet undocumented pre-Beatles British musical scene where famed UK composers as well as unknown singers and bandleaders threw convention on holiday and went wild wild wild! Put together by Jonny Trunk with DJ / tastemaker and Smashing nighclub legend Martin Green, these groundbreaking new compilations shine new light on lost and forgotten corners of British culture and sound.

                                                      For this, Part Five of our planned Britxotica! series we head to lively latin tinged dancefloors where Brits could cha cha cha to the KIrchin band, “Jump In The Line” with Frank Holder and Mambo with Ido or Don. This killer collection of British dance obscurities brings us lively sounds from the rarest UK record bins, including this time an amazing cover version of the legendary loungecore hit “House Of Bamboo” plus the stunning “Jonny One Note” by Ted Heath, the track that originally introduced John Craven’s Newsround. To sum up, this is another exciting, wild and occasionally bonkers compilation by Jonny Trunk and Martin Green, two of the UKs most wild record collectors. Also, there are men in underpants on the sleeve, What’s not to like?


                                                      Various Artists

                                                      Nouvelle Ambiance : Sounds From The Pan-African Paris Underground

                                                      Paris - Brazzaville - Kinshasa - Abidjan - Douala.

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

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

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

                                                      STAFF COMMENTS

                                                      Patrick says: Nouvelle Ambiance take us back in time to early 80s Paris here with a gorgeous primer of the African and Caribbean artists operating in the French capital. Expect floor filling disco, boogie, soukous and rumba amongst a wealth of unreleased gems.

                                                      Various Artists

                                                      Harmony In My Head - UK Power Pop & New Wave 1977-81: 3CD Box Set

                                                        HARMONY IN MY HEAD is another of Cherry Red’s celebrations of a bygone era – this time, the boom in Power Pop and New Wave which followed the Punk explosion in 1977. This triple-CD box set spins off the success of the 4-CD compilation Action Time Vision (2016), which documented Punk on independent labels. New Wave was a term coined in 1977 to describe a clutch of new artists whose music shared much of the energy of punk, but boasted a more sophisticated level of musicianship and a heavier reliance on traditional pop melodies. Although the term had such a wide definition in the States that it was quickly rendered almost meaningless, it was more strictly applied in the UK, with the radio-friendly likes of Elvis Costello and Squeeze scoring numerous hits and influencing younger bands to the extent that, by the early Eighties, the New Wave itself had become Old Wave.

                                                        The British scene’s reiteration of the appeal of a more traditional pop approach saw several attempts to provide an alternative to the unsatisfactory ‘New Wave’ epithet. Nick Lowe coined the phrase “pure pop for now people” to describe his approach, early brand leaders The Pleasers described their sound as Thamesbeat (a literal update of Merseybeat), while a handful of bands (including The Monos! and The Monochrome Set) played regularly at a London club that marketed itself as Newbeat, “a reaction to punk”. But none of these terms caught on, and instead the genre became known as Power Pop. Once again, there was a significant difference between the UK and US models, but Britain had its own Power Pop scene that slowly mutated into the Mod Revival. Many of the Mod bands drew heavily on melodic 60s records (it was, after all, The Who’s Pete Townshend who had coined the term ‘Power Pop’ back in 1967), although by late 1981 that scene had in turn morphed (in London, at least) into the short-lived New Psychedelia movement.

                                                        HARMONY IN MY HEAD includes many of the New Wave/Power Pop scene’s biggest hitters alongside the more melodic Punk bands. Name acts include Elvis Costello, Squeeze, Buzzcocks, Eddie & The Hot Rods, Nick Lowe, The Jags and Wreckless Eric, who are joined by other less successful but nevertheless key players (The Records, The Freshies, The Flysetc) as well as a host of rare 45s on tiny labels, many of which have never been on CD before. The deluxe clamshell package includes a weighty booklet full of illustrations, with a 12,000-word sleeve-note incorporating band-by-band biographies by compiler David Wells.

                                                        "Remixed With Love Volume 3" is the latest edition of what has become the industry-leading disco remix series. No one knows this era of music better than Dave Lee, who under his Joey Negro alias once again turns his impeccable hand to some of the best-loved records ever committed to wax.

                                                        'I can clearly remember in the 80s having fantasies about being a remixer and dreaming of tweaking my favourite songs and re-releasing them. I really never thought it would happen. The days when I receive the parts for some of these classic recordings are literally a dream come true.' – Dave Lee.

                                                        "Remixed With Love Volume 3" has been a real labour of love, and a release several years in the making. With original parts for some of these classics hard to find, and with major labels rightly protective of songs created by legendary artists, it is a testament to both the perseverance of Lee and the esteem in which he is held as a remixer that the project was ever completed. Luckily for us ethough, here we are: "Remixed With Love Volume 3" is done, dusted and ready to deliver a healthy dose of joy to us all.

                                                        As with previous volumes, Lee has put his own inimitable spin on more than a dozen seminal records, with The Fatback Band, Patti LaBelle, Evelyn 'Champagne' King, Odyssey and many more vying for attention across a stunning three part gatefold double vinyl, double CD and digital release.

                                                        Released back in 2016, 'Remixed With Love Volume 2' included exclusive reworks of classic soul and disco records all from the original master tapes, with the collection going on to be Traxsource’s best-selling of 2016, reaching top 30 on iTunes album chart, and also being named DJ Mag’s compilation of the year. It also fetches more than a pretty penny on the 2nd hand market.

                                                        All the remixes here are 100% new and exclusive to the compilation, making "Remixed With Love Volume 3" an essential purchase for any serious disco devotee. 


                                                        STAFF COMMENTS

                                                        Matt says: Joey Negro continues the long running disco lineage of The Remixer. Taking the crown in the modern age. We salute you Dave!

                                                        "Remixed With Love Volume 3" is the latest edition of what has become the industry-leading disco remix series. No one knows this era of music better than Dave Lee, who under his Joey Negro alias once again turns his impeccable hand to some of the best-loved records ever committed to wax.

                                                        'I can clearly remember in the 80s having fantasies about being a remixer and dreaming of tweaking my favourite songs and re-releasing them. I really never thought it would happen. The days when I receive the parts for some of these classic recordings are literally a dream come true.' – Dave Lee.

                                                        "Remixed With Love Volume 3" has been a real labour of love, and a release several years in the making. With original parts for some of these classics hard to find, and with major labels rightly protective of songs created by legendary artists, it is a testament to both the perseverance of Lee and the esteem in which he is held as a remixer that the project was ever completed. Luckily for us though, here we are: "Remixed With Love Volume 3" is done, dusted and ready to deliver a healthy dose of joy to us all.

                                                        As with previous volumes, Lee has put his own inimitable spin on more than a dozen seminal records, with The Fatback Band, Patti LaBelle, Evelyn 'Champagne' King, Odyssey and many more vying for attention across a stunning three part gatefold double vinyl, double CD and digital release.

                                                        Released back in 2016, 'Remixed With Love Volume 2' included exclusive reworks of classic soul and disco records all from the original master tapes, with the collection going on to be Traxsource’s best-selling of 2016, reaching top 30 on iTunes album chart, and also being named DJ Mag’s compilation of the year. It also fetches more than a pretty penny on the 2nd hand market.

                                                        All the remixes here are 100% new and exclusive to the compilation, making "Remixed With Love Volume 3" an essential purchase for any serious disco devotee. 


                                                        STAFF COMMENTS

                                                        Matt says: Joey Negro continues the long running disco lineage of The Remixer. Taking the crown in the modern age. We salute you Dave!

                                                        "Remixed With Love Volume 3" is the latest edition of what has become the industry-leading disco remix series. No one knows this era of music better than Dave Lee, who under his Joey Negro alias once again turns his impeccable hand to some of the best-loved records ever committed to wax.

                                                        'I can clearly remember in the 80s having fantasies about being a remixer and dreaming of tweaking my favourite songs and re-releasing them. I really never thought it would happen. The days when I receive the parts for some of these classic recordings are literally a dream come true.' – Dave Lee.

                                                        "Remixed With Love Volume 3" has been a real labour of love, and a release several years in the making. With original parts for some of these classics hard to find, and with major labels rightly protective of songs created by legendary artists, it is a testament to both the perseverance of Lee and the esteem in which he is held as a remixer that the project was ever completed. Luckily for us though, here we are: "Remixed With Love Volume 3" is done, dusted and ready to deliver a healthy dose of joy to us all.

                                                        As with previous volumes, Lee has put his own inimitable spin on more than a dozen seminal records, with The Fatback Band, Patti LaBelle, Evelyn 'Champagne' King, Odyssey and many more vying for attention across a stunning three part gatefold double vinyl, double CD and digital release.

                                                        Released back in 2016, 'Remixed With Love Volume 2' included exclusive reworks of classic soul and disco records all from the original master tapes, with the collection going on to be Traxsource’s best-selling of 2016, reaching top 30 on iTunes album chart, and also being named DJ Mag’s compilation of the year. It also fetches more than a pretty penny on the 2nd hand market.

                                                        All the remixes here are 100% new and exclusive to the compilation, making "Remixed With Love Volume 3" an essential purchase for any serious disco devotee. 


                                                        STAFF COMMENTS

                                                        Matt says: Joey Negro continues the long running disco lineage of The Remixer. Taking the crown in the modern age. We salute you Dave!

                                                        This is the second collection of music from Venezuela in the 1970s and beyond to be released on Soul Jazz Records. The album once again features innovative figures in the history of underground Venezuelan music, mostly unknown outside of their home country - their music a blending of progressive rock, jazz, experimental electronics and disco, created mainly in the 1970s - during a time when the country was both a cultural and economic powerhouse in Latin America.

                                                        While much of 1960s Venezuelan rock music emulated British and USA styles and salsa dominated the dancefloors of Latin America, the 1970s saw the evolution of a new generation of creative local artists such as Vytas Brenner, Daniel Grau, Aldemaro Romero, Un Dos Tres Y Fuera who all explored the possibilities of mixing together rock with elements of electronica, funk, jazz, latin rhythms simultaneously exploring their links with Venezuelan roots music, creating a new sound which blended a multitude of new and old world influences, uniquely Venezuelan.

                                                        Most of these artists featured on ‘Venezuela 70’ remain practically unknown outside of Venezuela’s borders and yet their progressive forward-thinking music is some of the most sophisticated in the world - a stunning ‘melting pot’ mix of sounds from the cosmic and psychedelic rock of Vytas Brenner to the Moroder-esque disco experimentation of Daniel Grau and the tropical funk of Un Dos Tres Y Fuera and beyond.

                                                        Aside from the relatively known Vytas Brenner and Daniel Grau, most of the music on this album is incredibly rare (even in Venezuela).

                                                        Joe Oxley is the self-styled one-man electro / psych machine behind TVAM - arguably producing the biggest dancefloor action Wigan has seen since the legendary Casino closed its doors in the 1970’s . As 6Music’s Lauren Laverne observed “It’s like someone took Spiritualized to the club!!”

                                                        Hypnotic tracks which straddle an impressive spectrum of influence; with Boards of Canada’s irresistible nostalgia, Suicide’s deconstructed rock ’n’ roll and My Bloody Valentine's infinite noise all becoming touching points in Oxley’s musical output.

                                                        TVAM gigs blur the boundary between art and performance; via a large television sat on an 80’s secondary school-style podium, a VHS video recorder projects long-forgotten Mondo movies alongside vintage footage often sourced from hours spent poring through charity shop shelves – “What started as a passing interest became an obsession. I found so many seemingly random videos, each with its own individual meaning, now estranged from their owners. Did these people ever take up calisthenics? Did they install a model railway in their spare bedroom? Did they learn to communicate more effectively with their teenage children? Did they find something in those high-speed rally crash videos unseen by us today..?

                                                        I love the process of chopping things up and splicing back together; creating new meaning out of thin air. Combining this with the music I was making, I knew the performance had to fit. Somewhere between Adam Curtis and BBC Schools… somewhere between ‘Threads' and ‘Words & Pictures’.”

                                                        Self-produced and home-recorded, the album was mixed by the steady hands of Dean Honer (Moonlandingz, I Monster, Add (N) To X) - “It was great working with Dean. I’m a massive Add N To (X) fan and, after hearing what he was doing with Moonlandingz, I knew he’d get where I was coming from. Though having seen his collection of synths I now need to up my game.”

                                                        TVAM has remixed Amber Arcades, The KVB, TOY, FEWS and is currently putting fin-ishing touches to a remix for Tunng (who are returning the favour, watch this space…)

                                                        Crafting a world which touches on our memories but toys with our fears, a world in which information seeps under your door and pools by your feet, a world in which he seeks to define everything from abandoned meanings to subconscious desires, Psychic Data invites us to experience the psychodrama first hand.

                                                        STAFF COMMENTS

                                                        Barry says: Throbbing psychedelic riffage, phased vocal harmonies rolling along with the hazy atmospherics, TVAM have managed to mix their latent gloomy post-punk aethetic with a more driven dancefloor orientated style to great effect.

                                                        FORMAT INFORMATION

                                                        Coloured LP Info: Indies exclusive orange vinyl.

                                                        Neneh’s new record pointedly asks the question; how do we conduct ourselves in extraordinary times? In an era where the signal-to-noise ratio is more uneven than ever, what are the measures we must take to retain and remember our own personhood? It searches for answers, patiently and with great care, and with a fearlessness to acknowledge that sometimes the answers don't even exist. It’s a record that’s equal parts angry, thoughtful, melancholy, and emboldening, as Cherry and her collaborators continue to expand her ever-widening sonic palette to craft truly singular and potent music.

                                                        Work on Broken Politics began as touring wound down behind Cherry's previous full-length, 2014's Blank Project, and she felt a drive to continue creating after collaborating on that record with Kieran Hebden (Four Tet). "That last album was much angrier and forceful, whereas this one is quieter and more reflective," she states. "I haven't always been so good at getting things out so quickly, and it still took a while—but that's okay."

                                                        Cherry, writing partner Cameron McVey, and Hebden decamped to Woodstock, New York for a week-long recording session at the Creative Music Studio, a recording space founded by jazz pianist Karl Berger—who, in a stroke of providence, was a band member of Neneh's stepfather and Don Cherry as well as being friends with her mother Moki. "Being in a studio with them was like being in a familiar space. It was easy to reach into myself for the feelings I needed to be in tune with a song—and at night, Cameron and I would have dinner with Ingrid and Karl and they'd tell stories about my father. There were deep threads."

                                                        "It was one of the best writing periods I've had in a really long time," Cherry continues while discussing the creative process behind Broken Politics. "I got out of the waiting room and into the inner sanctum.”

                                                        "I'm very shy about taking on big themes with the airs that I've got a solution—who has the fucking solutions?" Cherry admits while talking about the album's title. "I like writing from a personal perspective, and the time we live in is so much about finding your own voice. People have been left feeling misheard, misunderstood, and disillusioned. What the fuck can I do? Maybe politics starts in your bedroom, or your house—a form of activism, and a responsibility. The album is about all of those things: feeling broken, disappointed, and sad, but having perseverance. It's a fight against the extinction of free thought and spirit."

                                                        "I have a name. You have a name. We're not just these faceless mounds you can put in the ground," Cherry proclaims when talking about her worldly vision that seeped into Broken Politics. "We're human beings with lives and stories." Art can often remind us of how it feels to live in the moment, and it can also be instructive in helping understand how to preserve that moment. Broken Politics finds Cherry at her most generous and benevolent towards a world that is often anything but. She puts it best in the chorus of LP track "Fallen Leaves," in her own defiant way: "Just because I'm down/ Don't step all over me.”

                                                        STAFF COMMENTS

                                                        Barry says: Neneh Cherry's unmistakable vocal style and soulful leanings are harnessed here by the dreamy, otherworldly percussion and electronic momentum of Kieran Hebden (Four Tet) on production duties. His impeccable ear for sonic space only accentuates her flawless songwriting skills, making for a brilliantly listenable and absorbing outing.

                                                        The latest release from D.U.D.S. is a deepening of the sinister sonic territory they have been exploring, in various forms, since they formed. Bass lines and percussion lope through the undergrowth while jagged guitars pierce the ears. Then there’s the brass section, which works less as a means of driving home a song’s point, than as a warning that whatever comes next is unlikely to be anything you expect. Lyrics are still somewhat hard to make out, emerging from the rhythmic chaos at intervals, as though you were listening to the recording of an Old Testament prophet, preaching from the ruins of the twenty first century. I don’t know what kind of band D.U.D.S. are supposed to be. There are labels you could apply to them, terms like ‘wave’ and ‘punk’ with various prefixes designed to qualify the fact that they don’t really sound like anyone else. Immediate makes that fact all the more obvious and all the more compelling.

                                                        "Sometimes you catch something unexpected which resets a switch, excites and engages. I caught D.U.D.S. a couple of years ago on a whim, they were visiting Newcastle supporting their debut album. I had never heard them or of them but the moment their perfectly disjointed music hit the room, I was all smiles. Warping brass shapes through the room entwined with guitars played as percussively as they are melodically, the whole sound coalesces into a rolling ball of spiked energy.
                                                        Their take on punk rock welds the caustic atonality of The Fall to the coiled funk of Liquid Liquid. Both drenched in negative information and loaded with dance floor impact. Lyrically themes explore the human condition a lurching dread and this dichotomy of no-wave funk and the lyrical creep is the hook the grabs me/you/us and forces a regular return."
                                                        - Bish (Opal Tapes).


                                                        STAFF COMMENTS

                                                        Barry says: D.U.D.S have had their fair share of mind-blowing arty Indie and are now embracing their more esoteric jazz-fuelled desires with this rhythmic but ever-changing collection of syncopated jams and meandering weirdo funk, think Primus on valium.

                                                        When the new Halloween movie hits theaters in October 2018, it will have the distinction of being the first film in the series with creator John Carpenter’s direct involvement since 1982’s Halloween III: Season of the Witch. Carpenter serves on the new David Gordon Green-directed installment as an executive producer, a creative consultant, and, thrillingly, as a soundtrack composer, alongside his collaborators from his three recent solo albums, Cody Carpenter and Daniel Davies.

                                                        The new soundtrack pays homage to the classic Halloween score that Carpenter composed and recorded in 1978, when he forever changed the course of horror cinema and synthesizer music with his low-budget masterpiece. Several new versions of the iconic main theme serve as the pulse of Green’s film, its familiar 5/4 refrain stabbing through the soundtrack like the Shape’s knife. The rest of the soundtrack is just as enthralling, incorporating everything from atmospheric synth whooshes to eerie piano-driven pieces to skittering electronic percussion. While the new score was made with a few more resources than Carpenter’s famously shoestring original, its musical spirit was preserved.

                                                        “We wanted to honor the original Halloweensoundtrack in terms of the sounds we used,” Davies explained. “We used a lot of the Dave Smith OB-6, bowed guitar, Roland Juno, Korg, Roli, Moog, Roland System 1, Roland System 8, different guitar pedals, mellotron, and piano.”

                                                        Unlike the Lost Themes albums, where the composers wrote the soundtracks for imaginary movies, Halloween saw the Carpenters and Davies collaborating on music set to images for the first time. Though it marked a significant change from their previous creative process, the trio thrived under the constraints and tight deadlines that film scoring work demands.

                                                        “Being limited by the length of time in scoring the sequence, we focused on the director’s tempo, timing, and vision,” Davies said. “He would tell us what he had in mind, how long the cue should be, what emotion he wanted, and we would take it from there. It’s only the three of us, there is no elaborate system. We wrote, performed, and orchestrated everything.”

                                                        For John Carpenter, who reunited on the new film with original Halloween star Jamie Lee Curtis, composing the score felt like a homecoming. Not only had he not worked on a Halloween movie in 35 years, he hadn’t composed a soundtrack since his 2001 sci-fi thriller Ghosts of Mars.

                                                        “It was great,” Carpenter said of the experience. “It was transforming. It was not a movie I directed, so I had a lot of freedom in creating the score and getting into the director's head. I was proud to serve David Gordon Green’s vision.”

                                                        For Cody Carpenter, John’s son, and Davies, his godson, it was surreal to work on something that means so much to generations of fans, and that they grew up around.

                                                        “It was an honor for us to be involved, and we are really happy to be a part of something that so many people are anticipating and excited about,” Davies said. “Working together with both the director of the new Halloween and the creator of the original Halloween was really a fantastic experience.”

                                                        STAFF COMMENTS

                                                        Barry says: It's hard to think of horror films without thinking of Carpenter's legendary scores, so it was exciting news that the master of soundtrackery returned with the same collaborators seen on his most recent solo efforts to produce this cinematic masterpiece. Brooding synth throbs, tense string pulls and gloomy, shadowy ambience. As expected, top stuff.

                                                        FORMAT INFORMATION

                                                        Dinked Edition LP Info: DINKED STORES EXCLUSIVE:
                                                        Pumpkin Orange colour.
                                                        With a FREE 12"x12" Art Print.

                                                        Coloured LP Info: Blood knife coloured vinyl.

                                                        Cleveland, OH’s Cloud Nothings return with their loudest record to date. Undeniably one of the finest and most captivating live acts on the face of the planet, this record goes further towards capturing that power and intensity than any of their previous releases.

                                                        The album was produced by legend of heavy music Randall Dunn (Sunn O))), Earth, Oren Ambarchi, Marissa Nadler, Black Mountain) at Sonic Ranch in El Paso, TX.

                                                        Weighing in at just over thirty minutes it’s a singular listen that reflects the band’s live tenacity - one that sees them surge through the tracks at a speed hitherto unseen on previous outings - the perfect antidote to 2017’s ‘Life Without Sound’.

                                                        STAFF COMMENTS

                                                        Barry says: Brilliantly dynamic thrashing punky riffs, angular math-rocky riffing and snarling vox, all brought together into Cloud Nothings' newest outing. Richly melodic but filled with unexpected twists and turns, forging an interesting and rewarding listen. Definitely one for blasting out at the skate park.

                                                        FORMAT INFORMATION

                                                        Deluxe LP Info: Initial copies of the LP pressing will be housed in a
                                                        mirri-board sleeve.

                                                        Driven by fans raising £10,000 to help replace all equipment robbed after a Paris show in early 2017, a new album became the instant focus in the summer of 2017 for a rejuvenated The Lucid Dream.

                                                        ‘Actualisation’ is soaked in the influence of acid house, amalgamated with dub and kosmische. It will again see them acknowledged for venturing into pastures new, setting themselves apart from ‘genres’, ‘scenes’ or what any other act are currently doing.

                                                        The album was penned over the summer of 2017 by Mark Emmerson (vocals/guitar/synths), using only the classic Roland 303/808 synths, bass and vocals as tools for writing. Inspiration for the writing was formed via continuous listening to the Chicago to UK acid house works of 1986-1992, the focus predominantly on the groove.

                                                        Several months on from those writing sessions and The Lucid Dream have completed their 4th album in 5 years. A record made for the dancefloor.

                                                        Recorded at Whitewood Studios, Liverpool, with Rob Whiteley, the album is produced alongside long-time collaborator Ross Halden (Ghost Town Studios, Leeds), with mastering via Dean Honer (All Seeing I/I Monster/The Moonlandingz).

                                                        The confrontational techno-punk of ‘Alone In Fear’ opens the album, a 9-minute attack fuelled by the frustration and anger spawned by Brexit, government and a realisation of what 2018 Britain currently is.
                                                        Recent single ‘SX1000’ (the first work from the album, unveiled via 12' vinyl in April this year) is the band’s first move into pure acid house. The acid house fusion runs throughout the record, represented furthermore by ‘Ardency’, a track already praised by live critics when aired live for the first time earlier this year as ‘even on first hearing, would’ve raised the roof of The Hacienda’.

                                                        The 2-part opus of ‘Zenith’ follows, commencing with a space-dub/house instrumental groove before building into a track that will go for your head as much as your hips. Only ‘Breakdown’ harks back to sounds of old for the band, a little reminder of the skull-crushing impact they can make when stripped to the bare bones. ‘No Sunlight Dub’ closes the album, a dark-dub that invites the classic acid-house tool (Roland 808) into the dub. The track makes a stop-off into drum ‘n’ bass/jungle along the way before rounding up in a manner suited to Lee Perry, King Tubby, Augustus Pablo and other Jamaican greats.

                                                        The Lucid Dream formed in Carlisle, Cumbria, in 2008. A string of sold-out 7″s was followed by the debut longer player, ‘Songs Of Lies and Deceit‘, in August 2013. The initial vinyl pressing of the debut album (500 copies) sold out within 2 days, and was backed by a main stage slot at Kendal Calling, and supports to Death In Vegas and A Place To Bury Strangers (full UK tour).

                                                        The bands 2nd album (‘The Lucid Dream’) was released in March 2015 to further acclaim. This included 2 BBC 6 Music sessions and plays across most shows on the station, as well as plays from BBC Radio 1 (Huw Stephens) and BBC Radio 2. Further press followed from Uncut, The Skinny, Louder Than War, and Drowned In Sound, who named the album #7 UK album of 2015. Supports to Clinic and A Place To Bury Strangers also coincided.

                                                        3rd album, ‘Compulsion Songs’ was released in September 2016, on Holy Are You Recordings. The vinyl pressing of the album sold-out within a day, prompting an immediate 2nd press, with pre-sales of the album topping 1,000 before release. The album was backed by a headline UK tour, and a main slot at Liverpool International Festival of Psychedelia (for which they were singled out for major plaudits from The Quietus, The Skinny and Drowned In Sound). The album again received acclaim from the likes of Mojo, Uncut, Classic Rock Magazine, BBC Radio 2 (Huey Morgan) and across the board on BBC 6 Music (Lauren Laverne, Marc Riley, Tom Ravenscroft, Gideon Coe, Stuart Maconie).


                                                        STAFF COMMENTS

                                                        Barry says: Lucid dream just keep getting better. after 2016's 'Compulsions Songs', they've returned for this distorted, acidic slice of propulsive action. Half way between smooth Factory Floor-y techno and post-punky indie, these Carlisle bunch are making big waves. This one is killer.

                                                        FORMAT INFORMATION

                                                        Coloured LP Info: 300 copies on limited red vinyl.

                                                        At 83 years of age, Lee Scratch Perry proudly presents world his next full length solo album (complete with dub versions!), continuing his all-conquering roots & dub legacy.

                                                        Re-united with producer Daniel Boyle, the album was created over 2017 & '18 and sees a continuation of the raw, analogue sound the pair had cultivated over previous releases.

                                                        Using strictly vintage analogue equipment, they employed Neuman valve and RCA Ribbon microphones, and RAK’s early model vintage API desk to record. The ‘sound’ for the album was sculpted in these sessions - vintage, but punchy, which was then blended with Lee’s choice of super rare and custom analogue effects. Ursa Major Space Station and Stargate delays and reverbs, old choruses, plate and spring reverbs and tape delays were used to create a tight vintage feel but retaining the rawness of the 'Low Fi' roots sound Lee was (always) aiming for.

                                                        With the music coming together, the vocal sessions were held in Abbey Road studio 3, again using vintage RCA ribbon mics, over driving their EMI TG console and Fairchild compressors to create a pleasantly distorted lo-fi vocal sound.

                                                        Lee and Daniel then returned to Daniels Rolling Lion Studio to mix and dub the album live, on the mixing console - which resulted in some very authentic sounding, vintage-Perry-era dubs. A triumph for fans of that original Black Ark sound and a ridiculously strong addition to Perry's ongoing discography.



                                                        STAFF COMMENTS

                                                        Barry says: The undisputed (not entirely undisputed) master of reggae returns, and it really is a wonder that he can keep coming up with the goods, but the goods are here for all to see. Head-bobbing off-beat guitar strums, dubs, we get the whole lot. It's Lee Perry, what more do you need to know?

                                                        Insecure Men

                                                        Karaoke For One: Vol 1

                                                          In case you don't know by now, Insecure Menare led by Saul Adamczewski (Fat White Family) and his schoolmate Ben Romans-Hopcraft. There debut album was a glorious mess of  exotica, easy listening, lounge and timeless pop music.They now return with this 10 track covers record, feat. takes on Bruce Springsteen, The Pogues, The Carpenters, Peter Andre et al.

                                                          STAFF COMMENTS

                                                          Barry says: It's a completely bizarre but thoroughly brilliant re-working of some karaoke classics from Insecure Men here, including the Police, the Denny's and PETER BLOODY ANDRE. WTAF / This is brilliant. Special shout-out to the Pogues' 'A Rainy Night In Soho'.

                                                          FORMAT INFORMATION

                                                          Coloured LP Info: Blue Moon coloured vinyl limited to 500 copies.

                                                          Coloured LP includes MP3 Download Code.

                                                          The songs of Will Oldham have been written most often for the aliases of Palace or Bonny. Their identities, kept necessarily separate from Will's, the songs were written to create a singular encounter, to be shared among those who choose to listen. Songs of Love and Horror is a rare entry in this ouvre: a Will Oldham album, with the writer taking a turn as singer. As befits the nature of this project, the songs are sung and played by Will alone, in a setting enjoyed by fans of his music - that of one voice and one guitar, the better to savor the spare changes and starkly-cut lyrics, operating in quiet tension and ultimate collaboration. Will brings to the songs all that he has learned from his stage-crafting fellows over the years, singing new versions that quiver like fresh young things in the air of today.

                                                          Autumn 2018 sees the release of a celebrated lyrics archive that has been growing for over 25 years in the form of a book- the words to the songs sung by Bonnie 'Prince' Billy and Palace Music, written by Will Oldham. The book, to be released by W.W. Norton, is titled Songs of Love and Horror, the same as this album and can be seen as a companion piece. Both celebrate not one legacy, but rather a confluence of them, flowing in the stream towards an unknown and often unknowing future, with the hope that these notes in a bottle ever pass on through.

                                                          Live From The Ryman was primarily recorded during the group’s six sold out nights at Nashville’s legendary Ryman Auditorium in 2017. The album features 13 live versions of songs from their last three critically acclaimed, award-winning studio albums - Southeastern (2013), Something More Than Free (2015), The Nashville Sound (2017).

                                                          FORMAT INFORMATION

                                                          2xColoured LP Info: Green/Gold vinyl.

                                                          2xColoured LP includes MP3 Download Code.

                                                          Cave

                                                          Allways

                                                            CAVE are kind of beyond time. You might feel like it’s been awhile since you’ve seen or heard them but when you see or hear them again, that moment will feel like ‘Allways’.

                                                            During the making of the last album, ‘Threace’, CAVE was in the process of becoming a quintet. They toured the world afterwards, playing on four continents and eighteen countries - as close to everywhere as they could get. Then they took a minute. They recorded it over time, in Chile and then Chicago. You can hear all of this, the energy of liveness, the reps, and consolidating expanded possibilities within their new alignment, the time away, the distance and the freshness of returning to recorded sounds, everywhere on ‘Allways’.

                                                            In the past, much has been made of CAVE’s use of particular compelling tropes but their inspiration comes from everywhere - Miles, psych, beats, exotica, library music, rock, punk, the Germans, the New York guys too, minimalists, the Dead, music from India, everywhere. This is a bunch of guys playing rock-based music in a way that pushes them forward from everything they’ve experienced. When you listen to the new CAVE you hear guitars - lots of them - bubbling under, scratching, fanning, locking in and taking off, soaring on acid-washed wings, with keys that pump, burr and whoosh in and out of the rhythms.

                                                            Half-speed mastering of ‘Allways’ at Abbey Road has allowed the activity at all frequencies to present with a liquid fullness and ripe detail. ‘Allways’ is a blueprint for your ears to read and a map for CAVE to follow through the world.

                                                            Kiran Leonard is a 22 year old musician from Saddleworth, Greater Manchester. Debut album proper Bowler Hat Soup (2014) and follow-up Grapefruit (2016) were both recorded at home, with Kiran playing virtually every instrument himself. Dervaun Seraun (2017), a concept album in five movements inspired by five pieces of literature and arranged for piano, strings and voice, was an ambitious departure from his usual sound.

                                                            Western Culture now sees him return to the signature sound of his first two records, yet marks a huge sonic progression thanks to the involvement of his venerable live band on record for the first time, as well as being the first to have been made in a professional studio (Old Granada Studios in central Manchester). Please read on for Kiran's statement on the record, discussing the themes within.

                                                            I like the phrase “WESTERN CULTURE” very much because it is a resounding clang from a hollow vessel, connoting so much (grandeur; authority; hostility) without possessing a concrete meaning in of itself. What does ‘western culture’ consist of? This question changes shape depending on who is speaking: e.g., ’culture’ is constantly evolving and autonomous, rapidly reacting to and altering the present in which it unfolds, but is simultaneously regarded as something static and possessed, corresponding roughly to ‘tradition’ or ‘heritage’, something people can call on when the world seems precarious and alien and antagonistic. And so very often when we talk about culture, we reveal our personal conceptions of world events and of what is to be done.

                                                            "“WESTERN CULTURE” — these heavy phrases without substance are of great importance because they are easily manipulatable agents with the potential to sustain great impact on the real world. Not every issue stems from language, and sometimes we allow our discourses to replace real things, which belittles violence and misunderstands the very real violence that phrases inflict. But I wanted to write about the relationship between the two, and show how a lot of very real brutality is distorted and justified by how we choose to depict it.

                                                            "In part, then, it is a response to brutality. We seem inundated by a brutality beyond our comprehension: the kind of nationalisms and capital, and the brutality of not knowing. The latter is particularly damaging because it is so difficult to oppose what you can’t understand/articulate. I wrote this record about all this not because I wanted the real world to be eclipsed (that is; I didn’t want to self-absorbedly change a problem of violence into one of self-expression) but because I don’t understand any of this, and the struggle to depict the world and lived experience in a more truthful way is waged discursively.

                                                            "Process of understanding; process of recognising perspectives beyond your own, and the historical, political forces of imbalance that engender them. I am interested in where songs might fit into all this; I think that it might be a valid means of approaching an articulation of violence, but I also suspect there is something totally absurd about the whole venture."


                                                            Papercuts

                                                            Parallel Universe Blues

                                                              Over the course of five stellar albums, Papercuts’ Jason Quever has shown himself to be a top-notch song-writer and producer, equally at home with lush, baroque textures and more stripped-down arrangements.

                                                              His skill in the studio has helped him build-up an enviable resume recording, producing and playing with artists including Luna, Beach House, Cass McCombs, Dean Wareham/Dean & Britta and Slumberland’s own The Mantles. Papercuts’ new album “Parallel Universe Blues” reflects Quever’s recent move from long-time musical home San Francisco to Los Angeles and all of the searching and self-exploration that accompanies leaving your home, your friends and your scene.

                                                              The sound is intimate and close, nicely balancing the sonic concerns of the last few Papercuts records. The opening pair of songs “Mattress On The Floor” and Laughing Man” superbly sets the table for the rest of the album: perfect Spectorian pop songs echoed down through The Velvet Underground, LA’s Paisley Underground, Spiritualized and The Jesus and Mary Chain. Never sacrificing song-writing for atmospherics, “Parallel Universe Blues” is a superb addition to the Papercuts catalogue.

                                                              Its themes of self-examination are as a timeless as the tunes themselves, the dreamy autumnal mood perfectly captured in the pastoral cover art. The album is a triumph and points to more great things in the future from Quever and Papercuts.

                                                              St. Vincent

                                                              MassEducation - Reimagined Piano Versions

                                                              Whether crafting baroque art-rock or flashy electro-pop, stripped-down performances have always been an integral, if overlooked, element of Annie Clark’s output as St. Vincent. She covered Jackson Browne’s “These Days” on her 2006 debut EP, but her muted live version from 2007 surpasses it; without a cushion of woodwinds, Clark’s 2009 acoustic rendition of Actor opener “The Strangers” became a hypnotic reverie. Such recordings rested off the beaten path, but consistently displayed Clark’s affinity for musical intimacy.

                                                              All this makes MassEducation, Clark’s spare, album-length reimagining of last year’s world-conquering Masseduction, an unexpected though not necessarily surprising entry in the St. Vincent catalog. But unlike the acoustic albums that have proliferated in the post-MTV Unplugged era — where artists have turned down the distortion to offer a patina of prestige, if not prestige itself — MassEducation feels more deliberate.


                                                              On Masseduction, the cascading synths, unrelenting drum machines, and plaintive guitars Clark recorded with hot pop producer Jack Antonoff (Taylor Swift, Lorde) seemed inseparable from her melodies and lyrics — even if she emphasized in interviews that the tunes were the most intimate and realized of her career. Her characterization of the material was prescient: It’s tough to imagine another St. Vincent album with songs malleable enough to be stylistically translated en masse in this way.    -ew.com

                                                              FORMAT INFORMATION

                                                              Ltd LP Info: Black vinyl 180gsm.
                                                              Foil stamp and emboss title treatment Letter insert – Now letter size 8.5 x 11. On special paper.

                                                              As the frontman for the epic British drone-pop band The Verve, Richard Ashcroft proved himself the spiritual descendant of rock & roll icons like Mick Jagger and Jim Morrison - rivetingly charismatic, menacingly serpentine, and possessed of an almost shamanic intensity, he embraced and articulated the anthemic fervor of rock music with a power and eloquence unparalleled by any of his contemporaries.

                                                              Featuring ten new songs, all of which were written by Ashcroft, ‘Natural Rebel’ was produced by the singer-songwriter alongside Jon Kelly (Paul McCartney, Kate Bush) and Emre Ramazanoglu, Bobby Gillespie). The majority of its recording took place at State of the Ark Studios in Richmond, with further sessions at The Bunker, Tileyard Studios and Hoxa HQ.

                                                              FORMAT INFORMATION

                                                              Coloured LP Info: RSD stores exclusive Orange vinyl edition.

                                                              Charalambides

                                                              Charalambides: Tom And Christina Carter

                                                                Charalambides founders Tom & Christina Carter follow a vision of iconoclastic music as transformative force. Touching on the outer limits of acid folk, psych rock, and improvisation, their sound remains uniquely personal & consistent.

                                                                Since 1991, Charalambides has released many recordings on labels like Siltbreeze, Kranky & Wholly Other. Despite Tom and Christina Carters prolific solo careers and numerous other projects, Charalambides has existed in an unbroken trajectory for over two-and-a-half decades, outlasting the genres that critics and other yardstick-makers have tried to cram them into.

                                                                Their recent performances and recordings retain the directness and delicate menace that mark their early releases, even as they explore an interlocking musical telepathy honed by years of artistic collaboration. Aptly tilted Charalambides: Tom and Christina Carter, the newest album from Charalambides furthers the duos deep psychic understanding of music. Laid down in two sessions with no overdubs, the album entwines their best-known approaches into a raw, fragile, wordless and hypnotic whole. Its definitely the duo at their most exquisite.

                                                                Final Release By Minus The Bear. Cover Art Features A Painting By Bassist Cory Murchy Engraved On The A & B Sides. “Invisible” Remix By Sombear Aka Bradley Hale Of Now, Now (1,000 180g black vinyl, 2,000 Coke Bottle Green) W/ Dl Coupon. “That dichotomy between dark imagery and danceable, inventive rock has always been a hallmark of Minus The Bear's sound” - Noisey // Minus the Bear is a product of the first two decades of this century. From their first show in 2001 to their impending dissolution at the end of 2018, the Seattle band thrived on the musical awakening in the era of the mp3, the internet, poptimism, and the crosspollinations generated from an expanded consciousness of new music forms.

                                                                With their final EP, Fair Enough, Minus the Bear closes the book on their hybrid of art-rock, indie pop, and warehouse party appeal. The opening track “Fair Enough” went through a variety of permutations before the band found new meaning in its lyrical lament of lost passions and finding “the exact moment we turned it off”. The other songs of Fair Enough are a continuation and culmination of Minus the Bear’s diverse sounds. The up-tempo drumbeats, lush electronics, and nimble guitar work that initially set them apart are on full display during “Viaduct”. “Dinosaur” has the groove of early hits of “Fine + 2 PTS”, but crafted with the understated Steely Dan-eque delivery of their more current slow jams. The EP closes with a nod to their ongoing remix collaborations, this time with a rave-up reinvention of “Invisible” by Sombear. 

                                                                FORMAT INFORMATION

                                                                Coloured LP Info: Indies-only coke bottle green LP.

                                                                Coloured LP includes MP3 Download Code.

                                                                Farao

                                                                Pure-O

                                                                  Pure-O, the new LP by Berlin-via-Norway musician Farao, is a prog-pop exposition on the curious dichotomy between beauty and destructiveness in sex and relationships. Where so much modern pop attempts to tug similar thematic threads only to succumb to naiveté and euphemism, Farao grabs these subjects and dives headlong into a neon pool of synthesizer, zither, drums, and soaring vocals without sacrificing maturity, complexity, or artistry. Musically, she references 90’s R&B, and the untapped goldmine of Soviet disco. But the most important pillar of Pure-O – its living, breathing, biological quality-- is entirely Farao’s own. To be sure, all of the electronic ingredients are in the exact right places on Pure-O.

                                                                  Soviet-made synth tones ripple out fr om an undefined center lik e a Frank Stella painting, with sharply angled lines of color buzzing with concentric, hand-painted ecstasy. Rolling vocal melodies carry descriptive turns of phrase to gratifying heights, echoing in listeners’ minds long after their ears. In the spaces between all this electricity, there are shimmering microcosms of Alice Coltrane-esque acoustics that provide the album with an unmistakably rich, tactile marrow. Perhaps, then, we’re hearing Farao’s early youth in Norway finding perfect equilibrium with her adulthood in Berlin on Pure-O.

                                                                  She says of the time she spent recording, “I was in the process of learning how to conduct myself while not getting sucked in to the whirlpool that is Berlin party culture,” and of her childhood “It wasn’t a place I felt stimulated creatively, and felt quite lonely there growing up, which made me turn to music as a language for a set of emotions I didn’t know how to release otherwise.” It’s precisely this relationship between quiet reflection and overstimulation that makes the album unlike anything of its genre. In an age when non-electronic pop seems like an outlier, Farao constructs a bridge of humanity from the organic to the inorganic, rounding out the hard edges and sharpening the soft ones, thereby transplanting a healthy, beating heart into modern synth-pop. 

                                                                  FORMAT INFORMATION

                                                                  Coloured LP Info: Limited transparent vinyl.

                                                                  Coloured LP includes MP3 Download Code.

                                                                  Co-produced by Joel Ford (Ford & Lopatin, Airbird), this record plays as a single continuous piece of 21st century psychedelic music and features Krell’s most bewitching sound experimentation to date. Moreover, the stories Krell sings on this record – some biographical, many from the most knotted corners of human life – are deeply personal and human(e). The Anteroom - with its blizzardous electronic noise, fragile melodies and poignant poetry - reclaims the experimental core of the HTDW project.

                                                                  FORMAT INFORMATION

                                                                  2xColoured LP Info: Double heavyweight silver vinyl, 4-page booklet.

                                                                  2xColoured LP includes MP3 Download Code.

                                                                  CD Info: Jewel case, 12-page booklet.

                                                                  Hellions

                                                                  Rue

                                                                    Generations of people have strived for harmony since those words were written, yet were at a point in history where we seem to be more divided than ever. Perhaps the question we should be asking is: how can we overcome our struggles with one another if we don't fully understand the one raging inside ourselves? There's never been a better time for an album that explores this tussling duality that Hellions guitarist and co-lyricist Matthew Gravolin describes as ͞the co-existence of a Jekyll and Hyde operating within a person at any one time." Rue is that album, and one that builds upon the marriage of theatrical dynamics and thoughtful lyricism that defined the genre-melding Australian quartets critically acclaimed previous offering, 2016͛s third collection Opera Oblivia. The resulting record is deeper and darker, with melodies that are more beautiful, and riffs, courtesy of guitarists Matt and Josh Campiao and drummer Anthony Caruso, that are more seismic. At its heart, Rue is a concept album dealing with our journey towards lasting purpose in spite of our flaws, though its authors agree it's open to interpretation. Even the title, Rue, represents multiple things, meaning both repentance and compassion. So what do Hellions rue? ͞The complexity of the human condition and, by extension, the world in its current state of affairs, they say. The tracks on Rue are divided into the pessimistic and humanitarian sides of life. 

                                                                    FORMAT INFORMATION

                                                                    Coloured LP Info: Blue and pink Splatter.

                                                                    Exit North

                                                                    Book Of Romance And Dust

                                                                      Exit North Announces Lush, Atmospheric and Melancholic Debut Recording Book of Romance and Dust. New quartet featuring Japan co-founder Steve Jansen, Thomas Feiner, Ulf Jansson, and Charlie Storm traces the edges of darkness and hope across a nuanced, provocative song cycle Exit North’s Book of Romance and Dust is an uncompromising and unconventional debut album that explores the collective psyches and diverse influences of its renowned members. Over a 4-year collaborative timeline, Steve Jansen, Charlie Storm and Thomas Feiner have contributed in multiinstrumentalist capacities and Ulf Jansson has focused on piano and keyboards. All the instruments one associates with the world of rock are involved, but employed within an eclectic mindset. The recording also features trumpet, harmonium and a string quintet.

                                                                      Legendary jazz bassist Lars Danielsson contributes upright bass. Feiner’s deep, rich vocals are vivid and emotional. They pair perfectly with the recording’s spectral qualities, incorporating the ambient and orchestral, the meditative and kinetic. The album is one that rewards repeated engagement. Full of layers and complex lyrical turns of phrase, the record requires an investment to absorb. It also includes an instrumental in “North” that finds Jansson conveying melodic intrigue in the absence of a voice. “The group has a patience and attention to detail that I find rare to come across these days,” said Jansen. “Most people want to rush the process and find the nuggets as quickly as possible, but the years spent on this album have been well worth it. The recording reflects a constant pursuit for the best we can achieve without a concern for the time it takes. This type of music is timeless, so there is no bandwagon to rush towards. We each have great attention to detail and a determination to avoid superfluous musical and lyrical content. We wanted to dig deep and express our connections with music and make the type of album we felt represented a culmination of our years of experience.” A co-writing partnership first formed when Feiner worked with Jansen on his 2007 solo album Slope. Jansen sensed a kindred spirit and pursued a long-term working relationship. Feiner was already partnering with Jansson on other projects and brought him into the fold. The trio officially planted the seeds for a new group.

                                                                      Feiner then realised the potential of inviting renowned Swedish producer and engineer Charles Storm to join the group. The two met years earlier at a Jansen performance in Stockholm, so Feiner was aware of Storm’s appreciation for Jansen’s previous output. They also had a mutual friend in Jansson. Everyone felt a sense of trust, shared experiences and camaraderie that informed their sessions. “The creative process for us is successful because we can communicate progress in composition and structure without being too precious about personal choices,” said Jansen. “The tracks have been through a number of changes and this process of raising the bar was only achieved by never resting on our laurels or believing one person’s own way is the best way. It’s truly a collaborative band in that sense. It’s why we credit all the music to the entire group.” Exit North is truly about generating an aural gravity that pulls the best out of its participants. Those who admire Jansen’s instrumental, experimental solo output, as well as his song-based work with Japan and Rain Tree Crow, will find much to enjoy on Book of Romance and Dust. Similarly, the audience Feiner has cultivated with his group Anywhen and its acclaimed recording The Opiates, will encounter a related, spacious aesthetic. Jansson and Storm have also worked on countless sessions across myriad genres that have enriched the global mindset they brought to this expansive ensemble. 

                                                                      Jr. Thomas & The Volcanoes

                                                                      Rockstone

                                                                      Recorded with OG reggae royalty in LA with Brian Dixon. Jr. Thomas & The Volcanos’ sophomore effort "Rockstone" is more than just a love letter to the roots of Jamaican music. It’s an actual love letter. Tom McDowall aka Jr. Thomas explains, 'I could write a musical love letter to all things I loved: my wife, my family, my friends, my band mates. I could write a song to tell me to "Chin Up£ when times got tough. I could give gratitude to the Jamaican artists that paved the way for the beautiful music we now call reggae. I could write a song about what it’s like to lose someone important to you. Or write a song to invigorate me spiritually. Music is healing and that’s the best therapy there is for me.'

                                                                      "Rockstone" isn’t just another throwback record to an era gone by. It’s a record that takes risks within the genre, but more importantly it’s a genuinely honest record. 'I called the album "Rockstone" because true love cannot be defeated. It lives forever. We write tributes on our tombstones because they live on beyond our lives as a remembrance of something special and important to us.' 


                                                                      STAFF COMMENTS

                                                                      Matt says: Rocksteady and ska aren't really my bag usually. But this inventive album from a skilled vocalist and ingenious band have got me hooked. Their modern slant is just enough to rekindle interest in this old, foundation reggae style. There's a sugary, rose-tinted ethos with almost doo-wop chorus parts - it's a fabulously pure and honest album - just buy it!

                                                                      What do you get when you combine the best hip-hop producer in Boston with one of the best upcoming lyricists in NY? "Well Done". In the style of classic producer & MC albums, Statik & Bronson deliver intricate rhymes and head-nodding beats on this noteworthy release. Coming straight out of Flushing, Queens, NYC, Action Bronson personifies the golden era of East Coast, New York hip-hop. Repping Boston, New York & New Hampshire Statik Selektah is known as the 'east coast boom bap ambassador' and holds down weekly radio slots on Eminem's Shade 45. He has produced & worked with Nas, Joey Bada$$, 2 Chainz, Mac Miller, 50 Cent, Jadakiss, John Legend, Wale, Bun B & many more. Check out "Well Done” and get reminded of how good rap used to sound.

                                                                      STAFF COMMENTS

                                                                      Matt says: After working with Freddie Gibbs earlier in the year (and delivering one of my albums of the year...) I was truly excited to see what fruits a Statik Selektah and Action Bronson collaboration would yield... I wasn't disappointed: a sprawling double LP full of the wry New Yorker's wit and dry explicit humour combined with that familiar, all-important old skool BOOM BAP from one of the best beatsmiths on the planet. Essential hip-hop record!

                                                                      FORMAT INFORMATION

                                                                      2xColoured LP Info: Red vinyl double LP

                                                                      Widely available for the first time in forty-five years, featuring ‘It’s A New Day’, one of the most sample breaks in history.

                                                                      Record collectors, producers and crate diggers like a good creation myth, and Skull Snaps’ self-titled ‘debut’ had it all. A mysterious funk trio, who recorded one album under a curious name, housed it in a sleeve that looked more like a proto-metal album, and released it through a label (GSF Records) that folded shortly afterwards? Everything pointed towards the Skull Snaps album as a single totemic object, packaged in a way that predicted its own disinterment almost twenty-five years later.

                                                                      For those who sampled it, myth maintenance was advantageous, both for their reputations and for their consciences. Likewise, an unsanctioned 1995 reissue on Charley Records removed the credits from the inner sleeve to further sever the record from its context - or perhaps because the label couldn’t quite face using the names of artists they had no intention of paying. Either way, owning the record was a right of passage, as Amir Abdullah once wrote: “If you don’t have Skull Snaps in your collection, your collection is weak.”

                                                                      Featuring sleeve notes by Anton Spice. Licensed from Sam Culley.

                                                                      STAFF COMMENTS

                                                                      Barry says: One of the most legendary funk oddities of all time makes it's way as a fully licensed reissue, full of soulful grooves, heart-warming harmonies and smooth, funk power. An absolutely essential pick-up this one. Get it while you still can.

                                                                      This is a great, long lost album from the Dub Surgeon now finally released on Ark to Ashes. Engineered by one Ricardo Villalobos (!!) and a big one for fans of Rhythm & Sound, Echospace & Seekers International, this is oceanic and thoroughly psychedelized DUB MUSIK for the deep heads and should demand your immediate attention!

                                                                      Devoid of traditional rhythmic structures, ideas and motifs drift in on waves of white noise and electrostatic; the 'rainforest' fx and exotica idents indeed predating the SKRS INTL blueprint by some years.

                                                                      Smothered in tape delay and aquatic reverb, the music rests below the surface of a crystalline sea, an ancient dub story lost in the vast currents of the Pacific but, like a message in a bottle, impossible the destroy and ready to be uncovered by human life once again...

                                                                      Highly, highly recommended!


                                                                      STAFF COMMENTS

                                                                      Matt says: Oh my! Just when you've exhausted the SRKS catalogue, here comes these 13 blissful tracks, suspended inna dub dreamscape, ready to take you off into another world. So good.

                                                                      MØ's New LP 'Forever Neverland' drops on October 19th, another stellar statement from the Nordic pop megastar. She explains: “Diplo and I are long time collaborators now. One of the many reasons I love working with him is because I always feel like it's a free and creative process and I always like the end product. We both loved ‘Sun In Our Eyes’ from the beginning and what makes it special to me is that It's a combination of the two ingredients I'm always craving in music: uplifting and melancholy vibes.”“It's the lead single for my new album 'Forever Neverland' and it's about imaginary love and living in a bubble which are also subjects on the album. This song feels like both a coming together of everything Wes and I have done so far but also a new beginning which is fitting with a new album.” 

                                                                      The Future Sound of London's long and varied history stretches back almost 25 years and as such a vast amount of unreleased material exists in the FSOL archives. "Archived 9" brings together another 12 such tracks; in some cases these are completed but unreleased songs from that time, in others the songs have been reconstructed or enhanced and then further mixed to form the journey. This album is not just a collection of random off-cuts. It is a fully realized album, worthy of sitting alongside the rest of the band's critically acclaimed work. Did you know - The Future Sound of London were the first band to distribute their music via the internet, in 1994. Did you know - The Future Sound of London were the first band to use ISDN technology to transmit their music via the internet and also to radio stations across the world - a system that has now been adopted by the radio industry worldwide. (No I did not; but as I often say, every day's a school day here at Piccadilly Records... - ed).

                                                                      DJ Vadim returns to the Dubcatcher kitchen for another feast of reggae, dancehall and digital bass pressure. A futuristically-leaning interpretation of the JA standards, mixed with the occasional bit of UK flaver, it sees Vadim relocate from London to Barcelona and as such, is more sun-flecked, energetic and party-focused.

                                                                      As usual, a royal guest list reading like an A-2-Z of global talent: Mr Lexx (Major Lazer), Suku from dancehall legends Ward 21, BAY-C from TOK, Red Fox & studio 1 legend Earl 16 plus UK grime champion Killa P.

                                                                      If you've ever been lucky enough to see this multi-textured and incendiary DJ play live, then this album should take you right back to front left, twerking and jerking you're way through myriad styles of bass culture. Also sounds mega soundtracking a hot box session in a blacked out Honda Civic! Big ting!


                                                                      Various Artists

                                                                      Damaged Goods 1988-2018

                                                                        Seems like only yesterday but it's 30 years since the first Damaged Goods release! As part of the anniversary celebrations we’re releasing this compilation bringing together a selection of top tracks, deep cuts, lost gems and personal favourites. Punk, garage and indie are all well represented, with artists including Thee Headcoats, Holly Golightly, Johnny Moped, Manic Street Preachers, Cowbell, Pete Molinari, Fabienne Delsol, Thee Dagger Debs and many more!

                                                                        The past is a foreign country and there’s certainly been many changes in the musical climate since 1988. Formats have come and gone (and returned!). Online, digital and streaming music were all pure science fiction then. But good music is as they say timeless. With this in mind we bring you some of the best music Damaged Goods Records has released since its humble beginnings in Ian Damaged's front room. With 500 releases to date it was difficult to whittle this collection down onto two pieces of vinyl and two shiny compact discs but we’re happy with the result. As a handy best-of or taster for further investigation we hope you’ll enjoy this selection.  Place it on your turntable, crank up the volume and enjoy! 


                                                                        Switched-On Eugene documents the Eugene Electronic Music Collective and some of the many synthed-out gures in and around Oregon’s iconic hippie stronghold during the 1980s. Whether connected by membership, geography, or the tape trading scene, the artists in and around the EEMC shared compelling visions of the future we now inhabit, vividly captured on home-recorded tapes and distributed via zines, classi eds, and local radio. Switched-On Eugene is a deep dive into a heretofore forgotten sonic microcosm unlike any other. 

                                                                        STAFF COMMENTS

                                                                        Barry says: A brilliant and enthralling document of the all-encompassing electronic maelstrom of the 1980's, from outsider synth grooves, more percussive outsider electronics and shuddering industrial shadows. Brilliantly varied and thoroughly worthwhile. Another Numero stormer.

                                                                        Travel can inspire in surprising ways: Kurt Vile discovered as much making his first record in three years, the eclectic and electrifying Bottle It In, which he recorded at various studios around the country over two very busy years, during sessions that usually punctuated the ends of long tours or family road trips.

                                                                        Every song, whether it’s a concise and catchy pop composition or a sprawling guitar epic, becomes a journey unto itself, taking unexpected detours, circuitous melodic avenues, or open-highway solos. If Vile has become something of a rock guitar god—a mantle he would dismiss out of humility but also out of a desire to keep getting better, to continue absorbing new music, new sounds, new ideas—it’s due to his precise, witty playing style, which turns every riff and rhythm into points on a map and takes the scenic route from one to the next.

                                                                        Using past albums as points of departure, Bottle It In heads off in new directions, pushing at the edges of the map into unexplored territory: Here be monster jams. These songs show an artist who is still evolving and growing: a songwriter who, like his hero John Prine, can make you laugh and break your heart, often in the same line, as well as a vocalist who essentially rewrites those songs whenever he sings them in his wise, laconic jive-talkin’ drawl. He revels in the minutiae of the music— not simply incorporating new instruments but emphasizing how they interact with his guitar and voice, how the glockenspiel evokes cirrocumulus clouds on “Hysteria,” how Kim Gordon’s “acoustic guitar distortion” (her term) engulfs everything at the end of “Mutinies,” how the banjo curls around his guitar lines and backing vocals from Lucius to lend a high-lonesome aura to “Come Again.”

                                                                        These journeys took Vile more than two years to navigate, during which time he toured behind his breakout 2015 album b’lieve I’m goin’ down, recorded a duets album with Australian singer-songwriter-guitarist Courtney Barnett, opened for Neil Young in front of 90,000 people in Quebec, famously became a clue on Jeopardy, hung out with friends, took vacations with his wife and daughters. “I’ve been bouncing around a lot and recording all over. My family would meet me in the middle of America, and we’d go on a road trip somewhere. I would record in between all that stuff.”

                                                                        As Vile prepares for another round of lengthy tours and countless shows, these songs should prove good company, reminders of the love and responsibility he has toward those he leaves at home and those
he meets along the way. That makes the sentiments resonate more strongly and lends Bottle It In an emotional weight. “It’s like that moment on the airplane,” Vile says, “when you’re on your way somewhere and you have that burst of panic. When you’re terrified of dying, that’s when you want people to know you love them.”

                                                                        STAFF COMMENTS

                                                                        Andy says: Everything we love about KV in one superb LP. More dynamic than his last outing and the most beautifully produced of all his albums, Bottle It In also features a cover of Charlie Rich's Rollin With The Flow: a massive, classic, country-pop beaut, which is possibly the prettiest thing he's ever committed to tape.

                                                                        FORMAT INFORMATION

                                                                        2xDinked Edition LP Info: DINKED STORES EXCLUSIVE:
                                                                        Orange/Yellow Splatter Vinyl
                                                                        Die-Cut Sleeve
                                                                        Custom Rounded Corners
                                                                        Ltd to 800 numbered copies to Dinked Shops only.

                                                                        2xColoured LP Info: Blue vinyl edition.

                                                                        2xLP Info: Standard black vinyl.

                                                                        It's been a hell of a recent past for John Grant, who, aside from getting the unquestionable delight of getting to see our faces every time he comes to Manchester (and us, his), has produced a superb album with Stephen Mallinder of Cab Voltaire and Wrangler fame under their collaborative moniker, 'Creep Show', and a string of live dates in the diary. All of this while recording his oft-teased new LP, 'Love Is Magic'. 

                                                                        'Metamorphosis' kicks things off, bringing together stabbing saw-waves and Grant's unmistakeable vocal acrobatics, tumbling atop off-piste melodic turns and new-beat percussives, setting a brilliantly warped precident before what may well be Grant's finest work to date in the stunning titular piece, 'Love Is Magic'. Treading familiar minor-key ground, we get a solemn but hopeful progression played out by stabbing synth lines and huge gated snare hits, covering all the sonic space necessary while keeping the mess down to a minimum and allowing John's voice to really shine before launching into the mindblowingly beautiful chorus (the vocal harmonies, attributed to Paul Denton of Midlake have an ethereal and dynamic momentum that is unmistakeable) and staggered but determined forward-thrust. 

                                                                        I could keep running through the tracks, but some of our readership would doubtless give up or expire before i'd finished blathering on, so i'll keep it to a few key points. 'Smug Cunt' while clearly filled with the wry venom we've come to know and love from Grant is an unimaginably deep cascade of dytopian synth pulses and resonant bass,  launching into a spine-tinglingly effective culmination of gloom and euphoria. 'He's Got His Mothers Hips' brings the camp disco vibes spectacularly, with a truncated snappy analogue bassline swirling around beneath the syncopated vox before exploding into a major key serotonin release in the hand-waving chorus. 

                                                                        Move on a little and the spoken-word commentary of 'Diet Gum' takes an admittedly hilarious step into the leftfield, perfectly illustrating JG's clever tongue-in-cheek sense of humour 'Did you really think you could seduce me in a leisure suit?... well.... fair enough' and captivating presence before bringing it back to the sublime with the tear-inducing majesty of 'Is He Strange'. Stunning piano and vocal harmonies meet together into the perfect storm of majesty and misery. The closing duo of 'The Common Snipe' and 'Touch And Go' are once again perfectly matched, with the minimalistic backline and flickering sample and hold synth lines peaking lightly behind the former, and the anthemic, rolling stagger of the latter closing off a stunning and career-defining collection. It's a testament to Grant's sphere of influence and ability as a songwriter and producer that so many influences can be absorbed into his sound without sounding forced or disjointed. A brilliantly melodic, heart-warmingly anomalous wonder.  

                                                                        STAFF COMMENTS

                                                                        Barry says: Once again, John Grant pulls out a diverse range of influences (we've seen what records he buys!) into a cohesive and superb combination of off-piste vocal timbres, mind-melting synths and spine-tingling melodies. Punctuated with moments of introspective melancholy but quickly resolved into a warm bath of huge rock progressions and gritty synth swirls. Absolutely brilliant, and undoubtedly the best work of his career.

                                                                        FORMAT INFORMATION

                                                                        2xColoured LP Info: This deluxe version is 140g clear vinyl. Includes 16 page 'Hymn Booklet' containing lyrics along with a 24 page photo booklet which includes photos taken by John Grant.

                                                                        2xLP Info: 140g black vinyl. Includes 16 page 'Hymn Booklet' containing lyrics.

                                                                        Les Big Byrd

                                                                        Iran Iraq IKEA - Piccadilly Exclusive Bonus Disc Edition

                                                                        FOR PREORDERS ONLY ALL FORMATS COME WITH AN EXCLUSIVE 18 TRACK PNKSLM CD SAMPLER.

                                                                        PNKSLM Recordings are beyond excited to announce the second full length from Stockholm's Les Big Byrd. Consisting of Jocke Åhlund, Nino Keller, Frans Johansson & Martin "Konie" Ehrencrona, Les Big Byrd have been consistently one of the most exciting bands at the forefront of the Swedish music scene. Following on from 2014's "The Worshipped Cats" LP (A Recordings). 

                                                                        Long awaited second album from this stargazing psychedelic pop collective, with a slick production that ensures the trip is an aural joy.

                                                                        Fans of follakzoid / hookworms / will find much to lose themselves in on this album!!

                                                                        STAFF COMMENTS

                                                                        Barry says: Part psych, part electronic, part motorik rock, Les Big Byrd manage to take every idea from their sphere of influence and mix them into a cohesive and absorbing whole. Brilliantly dynamic, hugely varied and most of all, richly rewarding. Well worth getting early for that bonus disc too! Ace.

                                                                        FORMAT INFORMATION

                                                                        Coloured LP Info: Ultra limited white vinyl edition - limited to just 350 copies worldwide.

                                                                        We humans weren't made for modernity; the rush of the rat race, the disconnect of social media, the prison industrial complex, spice zombies and Brexit. It's pretty confusing stuff right? Now I ain't no fancy pants medical doctor (like Drs Dre, Oetker and Rob) but I'd advise you take a little time to unwind your mind with the wonderful sounds of Calm. 

                                                                         For the uninitiated, Calm is the stage name of Japan's Fukagawa Kiyotaka, a legendary producer, musician and selector who's spent the last twenty years packing yearning, heart swelling emotion into his deep house, ambient and downtempo creations. His previous album, 2015's "From My Window" resonated deeply with Hell Yeah boss Marco, who reached out and found a kindred spirit. Over the course of a couple of days playing records, relaxing and enjoying each other's company, a friendship was born and the seeds were sown for a brand new album on Marco's mighty Hell Yeah.

                                                                        Two years later and the sublime "By Your Side" is here. A ten track journey through drifting rhythms, dreamy melodies and sumptuous chords which has already cast a spell over the likes of Balearic titans Moonboots, Phil Mison and Chris Coco. 

                                                                        Pek within Andrea Amaducci's special artwork and find the delights within. Majestic opener 'Space Is My Place' transports you straight to a blue sky paradise with rippling chords reflecting the warm sun and is ripe to become a modern classic. 
                                                                        From there Calm's masterful synths keep you flat on your back and gazing up to the heavens as gently drums roll beneath the brilliant 'Afterglow and First Star' and then 'Ending of Summer, Beginning of Autumn' is a little more reflective as it rues the end of warmer days. 
                                                                        ‘Sky, Colour, Passing' is floating celestial bliss with angelic harmonies, 'Shadows and Lights' is a lazy Sunday soundtrack with delicate piano keys and the gentle chug of 'Before Landing' glows with cosmic light and warms you with astral disco grooves that will be the jewel in any open air DJ set. 
                                                                        After the sensuous moments of 'Mellow Mellow Sadness' encourage you to reach out and hug someone close, 'Shade of Tree' washes over you like a seaside breeze before the final two tracks layer up synth modulations and quietly epic guitars into rousing pieces of slow motion euphoria. 



                                                                        STAFF COMMENTS

                                                                        Patrick says: Japanese producer Calm joins the Hell Yeah clan via this sumptuous double LP of blissful Balearic vibrations, extending summer indefinitely with an instant classic.

                                                                        Tess Parks & Anton Newcombe

                                                                        Tess Parks & Anton Newcombe

                                                                        Tess Parks and Anton Newcombe will release their second full-length album on 12th October 2018. The 9-track eponymous album was recorded in Anton Newcombe’s Cobra Studios in Berlin last year and was mostly co-written by the duo. The lead track ‘ Right On’ perfectly showcases the complementary mix of Tess and Anton’s musicianship and style. The pair first collaborated in 2015 on the album ‘I Declare Nothing’, which saw NME call Tess’ smoky, smouldering vocals ‘particularly impressive’, while UNCUT compared them to a ‘darker, edgier Hope Sandoval’.

                                                                        STAFF COMMENTS

                                                                        Barry says: Another brilliant outing from Tess Parks & Anton of Brian Jonestown Massacre, with the head-nodding psychedelic chug of the latter being beautifully accentuated by the lysergic, drifting vocals of the former. A stunning continuation of their already mindblowing first LP, but much more refined and focused. Brilliant.

                                                                        FORMAT INFORMATION

                                                                        Coloured LP Info: Limited clear vinyl.

                                                                        Goatman

                                                                        Rhythms

                                                                          Rhythms' is the debut album by Goatman, a new solo project by one of the mysterious members from the Swedish collective GOAT.

                                                                          Recorded in GOAT’s northern Swedish home town of Korpilombolo In late 2017 - the 6 tracks on Rhythms reveal a true collision of African Rock, Jazz, Reggae, Gospel and Psych, but all put through the famous GOAT filters.
                                                                          Rhythms is a very apt title for the album as each track is an exploration of the ‘groove’. From the Fela Kuti‘esqe drums and horns jam of Jaam Ak Salam, to the frantic gospel-jazz of Carry the Load. From the fuzzed Can via the ‘Bristol sound’ track of Hum Bebass Nahin, to the cinematic, Spacemen 3‘esqe drones of the album closer Baaneexu. The end result is quite an astonishing and very unique album, like what you would expect from an album made by a member of GOAT – an album that is hard to put your finger on, but one that you will keep revisiting, the more it’s sounds reveals itself.

                                                                          Goatman plays all the instruments on the album bar some additional drums by Hanna Östergren from fellow Swedish bands Hills and Träd, Gräs & Stenar, and an added horn section courtesy of Johan Asplund, David Byström. One of the standout highlights of the album though is the collection of great guest vocalists Goatman has enlisted. Tracks Jaam Ak Salam and Aduna feature the very special voice of Senegalese singer Seydi Mandoza. You will also hear the vocals of Swedish based singers Amanda Werne on Carry the Load and Amerykhan on Hum Bebass Nahin. Goatman’s passion for traditional and contemporary music from around the world can be clearly heard when listening to Rhythms.

                                                                          The level of authenticity and willingness for exploration that Goatman has captured truly shows a fanatical respect for the music he is greatly influenced by. But at the end of the day, Rhythms is an album that has a sole purpose, and that is for to you to enjoy, dance and have fun too! 


                                                                          STAFF COMMENTS

                                                                          Barry says: Who doesn't want more Goat related music? Everything they've put out has been gold, and this side project by the MAN from GOAT (get it?) is no exception. Snappy percussion, rolling horns and fuzzed-out psychedelic soloing, pulsing grooves and richly hypnotic bass. If you liked Goat, there's no way you won't like this.

                                                                          FORMAT INFORMATION

                                                                          Coloured LP Info: Indies exclusive pink/black swirl edition.

                                                                          LP Info: Black vinyl edition.

                                                                          'acr:set' is a career spanning compilation released on coloured double vinyl, CD and digitally on 12 October 2018. The two new tracks, ‘Dirty Boy’ and ‘Make It Happen’ were recorded at Oxygene in Manchester, and both appear on the new best of compilation, acr:set. ‘Dirty Boy’ is a classic slice of A Certain Ratio pop funk and features the voice of Tony Wilson preparing the band for ‘The Fox’ recording session in his own inimitable fashion, plus vocals from Barry Adamson, who returns a favour to the band after they reworked 2017’s ‘I Got Clothes’. The album is made up of tracks that feature in the band’s incendiary live show (hence the title), and includes rare 7” and 12” mixes alongside the two new recordings andsleeve notes by DJ and writer Dave Haslam.

                                                                          STAFF COMMENTS

                                                                          Barry says: An essential package featuring some of the greatest ACR tunes to be committed to tape, with definitive 12" versions sitting brilliantly alongside a couple tracks exclusive to this release. An essential for any fan, and sure to make a few new fans as well!

                                                                          FORMAT INFORMATION

                                                                          2xColoured LP Info: Dark green and silver coloured vinyl, with limited 10" x 8" photographic print, signed by A Certain Ratio and photographer Paul Husband.

                                                                          2xColoured LP includes MP3 Download Code.

                                                                          Anna St. Louis

                                                                          If Only There Was A River

                                                                          If Only There Was A River is the first full-length studio album from Anna St. Louis. The songwriter, who originally hails from Kansas City, began writing songs after moving to Los Angeles five years ago and has previously released a cassette of recordings on Woodsist / Mare Records, appropriately titled First Songs. The tape received notice from NPR: All Songs Considered, Pitchfork, and Stereogum.

                                                                          On her proper debut, St. Louis spreads her wings and expands on the promise hinted at on First Songs. To achieve that end, she enlisted Kyle Thomas (King Tuff) and Kevin Morby to produce the album, which was engineered by Thomas in his home in Mount Washington, LA. The collection of eleven songs also features Justin Sullivan (Night Shop) on drums and multi-instrumentalist Oliver Hill (Pavo Pavo). While hints of influences like Loretta Lynn, John Fahey and Townes Van Zandt peek out of the corners of the songs, this album is not a nostalgic affair. Rather it marks the emergence of an artist fully coming into their own.

                                                                          “Being from the Midwest means a certain tone is woven into ones’ fabric. And every now and then, someone comes along who has the power to convey that feeling in their cadence alone. And so all hail Anna St Louis, who lets us into her world of heartache, wonder and a never-ending, never-beginning dance with time. Her album is for the mystics, reminding us that the world is full of magic at every turn, if only we let ourselves see it. Sometimes just by stating a simple observation, St. Louis lets us in on an infinite truth that perhaps we wouldn’t have seen otherwise. To step into the world of Anna St. Louis is to step into a world where the heart leads straight to the soul and where everything is cloaked in beautiful mystery. If Only There Was A River is a record of longing-of a soul reaching for more.” - Kevin Morby.

                                                                          STAFF COMMENTS

                                                                          Barry says: Brilliant midwest Americana from Anna St. Louis, bringing a more languid form of country than the deep south tend to produce, full of rich, soaring strings and tenderly plucked guitars, forming a beautiful backdrop to St. Lewis' mesmeric voice. Every bit the hazy summer album.

                                                                          Jassbusters is Connan Mockasin’s third album and first in five years. An unclassifiable, unconventional album that neither picks up from nor abandons the modes of 2013’s widely-embraced Caramel or its 2010 predecessor Forever Dolphin Love, Jassbusters foreshadows a five-part melodrama film titled Bostyn 'n Dobsyn, created by Mockasin.

                                                                          Jassbusters soundtracks the unpredictable narrative of the film in eclectic, electric ways.

                                                                          Whether bending genres or collaborating with artists like James Blake, MGMT, and Charlotte Gainsbourg, Connan Mockasin has always maneuvered in mysterious ways. After touring with the likes of Radiohead and Neil & Liam Finn (Crowded House), the R&B surrealist continues assembling a cult around his theater, nay spectacle of life with Bostyn ’n Dobsyn screenings and Jassbusters performances throughout October and November 2018.

                                                                          STAFF COMMENTS

                                                                          Barry says: Smooth as silk, Connan Mockasin smashes out some softly sung utterances and syncopated jazzy flourishes on his newest LP for the excellent Mexican Summer. Weirdo R&B meets with shimmering lounge and almost-vertical soul in this thoroughly entertaining suite. Brilliant.

                                                                          FORMAT INFORMATION

                                                                          Indies Exclusive LP Info: Limited edition vinyl includes a deluxe fold-out poster.

                                                                          Indies Exclusive LP includes MP3 Download Code.

                                                                          Primal Scream

                                                                          Give Out But Don't Give Up - The Original Memphis Recordings

                                                                          “In 1993 Primal Scream went to Memphis to make an album with Tom Dowd and the Muscle Shoals rhythm section, that album never saw the light of day , until now .....” Bobby Gillespie 2018.

                                                                          Following the recent discovery of these tracks in a box lurking in Andrew Innes’ basement, Primal Scream now release the original studio recordings from Memphis of the tracks that eventually became their 1994 album ‘Give Out But Don’t Give Up’.

                                                                          Teaming up with legendary producer Tom Dowd and the Muscle Shoals rhythm section of David Hood (bass) and Roger Hawkins (drums) at Ardent Studios in Memphis, the resulting recordings from those classic sessions showcase the more country soul, rock’n’roll side to a band who continue to surprise. It’s Primal Scream as you’ve never heard them before.

                                                                          Dowd’s deft production, coupled with the merging of this sublime rhythm section and one of the UK’s best ever bands, led to the creation of nine glorious tracks that run the gamut between blues, gospel and brilliant songwriting, available for the first time.

                                                                          “I felt we went down there with such good intent, but somehow we lost our way afterwards,” Bobby Gillespie admits. “There’s definitely a lesson to be learned about how creativity can go down the wrong track. We’re a band that constantly keeps moving and doesn’t look back, but, for years, I felt bad about us going to Memphis and not doing what we set out to do. Hearing these songs after all this time has made everything all right again. I feel redeemed.”

                                                                          After their genre-defying breakout album ‘Screamadelica’ (1991), now widely regarded as one of greatest albums of all time, Primal Scream relocated to Memphis in 1993 to record what would become ‘Give Out But Don’t Give Up’.

                                                                          Once the band and Creation Records’ boss Alan McGee heard the recordings, however, they were both confused and underwhelmed. Their inner punks got the better of them and they brought producer George Drakoulias onboard to overhaul the recordings, with the band replacing, guitar, bass and drum parts over several sessions in the ensuing weeks until they were left with what became ‘Give Out But Don’t Give Up’.

                                                                          STAFF COMMENTS

                                                                          Andy says: Song for song, this is actually The Scream's best album, and this unfiltered version an absolute necessity!

                                                                          FORMAT INFORMATION

                                                                          2xLP Info: 2LP 180 gram heavyweight vinyl, plus free download code.

                                                                          2xLP includes MP3 Download Code.

                                                                          In this age of constant connectivity, switching off has become one of the great luxuries of modern life and it’s one of the reasons Jaakko Eino Kalevi has called his new album ‘Out Of Touch’. He explores what he calls this “essential, blissed out” state on his second album for Weird World as he meditates, in classic Jaakko fashion, on the merrygo- round of the daily grind.

                                                                          FORMAT INFORMATION

                                                                          Indies Exclusive LP Info: Indies exclusive features deluxe insert featuring comic strip designed by Jyrki Nissinen plus LP pressed on 180g heavyweight black vinyl with digital download
                                                                          code.

                                                                          Pleasureland is the newest work from Canadian-born artist Haley McCallum, known professionally as Haley Bonar for the past 15 years. In 2017, she changed her surname to reflect her maternal family name, now performing under thename HALEY.Stark, minimalist, and melodically entrancing, Pleasureland stands in a class entirely of its own, forging new but not unfamiliar ground for the Minnesota-based artist HALEY.

                                                                          Harkening back to her 2011 release Golder, which featured two instrumental tracks, McCallum has taken the instrumental concept a few steps further in a bold musical statement which features no vocals. This time, McCallum’s musicianship and artistry take the lead. Transitioning from the erratic, synth-driven intro of "Credit Forever Part 1" into the deeply enchanting "Give Yourself Away", which blends piano melodies in the style of French Romanticism with the production stylings of Brian Eno to build a sonic landscape which is as lovely as it is uneasy.

                                                                          In the stoner-metal burner "Syrup", McCallum’s lead guitar swaggers lazily over a fuzzed out, intense layer of distortion, featuring long-time collaborator and guitar wunderkind Jeremy Ylvisaker and Low's Steve Garrington on bass. The intimate and devastating "Pig Latin" showcases McCallum’s extraordinary gift for melody, carried by world class saxophonist Mike Lewis (Happy Apple, Bon Iver), tracked live in Haley's bedroom.

                                                                          Mixed by Shuta Shinoda (Anna Meredith, Ghostpoet), McCallum’s production shines through in a new light. Sparsely interlacing the organic and digital, Pleasureland moves through the gamut of grief, perception, and empowerment, eliciting both the uneasiness of a world shifting unexpectedly as well as the innate capacity for goodness and beauty. Here, McCallum displays her long time mastery of simple and haunting melodies that remain with the listener long after, replacing explanation through words with a pallet of sonic exploration wrapped up into just twenty-seven minutes.

                                                                          FORMAT INFORMATION

                                                                          Coloured LP Info: Indies exclusive white vinyl with red splatter.

                                                                          Coloured LP 2 Info: White vinyl edition.

                                                                          Whilst holding evident inspiration from previous times, the sound this London-founded duo present is progressive and distinctly new in every sense. Idyllic at times; gritty in others, each bar is as enchanting as the last, leaving you in a melancholic trance. Offering poignant lyricism that explores modern anxieties that plague many, the duo manage to imbue feelings of empowerment, fighting such struggles with a deceivingly sanguine sound. This seamless juxtaposition is perhaps their best trait.

                                                                          FORMAT INFORMATION

                                                                          2xColoured LP Info: Transparent natural vinyl.

                                                                          Elvis Costello And The Imposters

                                                                          Look Now

                                                                            Elvis Costello and The Imposters – Steve Nieve (keyboards), Davey Faragher (bass), Pete Thomas (drums) – have made a sensational new album that ranks alongside the best work this singularly great artist has ever produced.

                                                                            Recorded in Hollywood, New York City and Vancouver, British Columbia, ‘Look Now’ is beautiful in its simplicity, reflective in its lyrical vision, surrounded by melodies and orchestrations that are nothing short of heavenly. It’s the first album Costello has made with The Imposters since the 2008 release of ‘Momofuku’ and his first new album since the acclaimed 2013 Roots collaboration, ‘Wise Up Ghost’.

                                                                            Anyone anywhere in the world who has seen Elvis Costello and The Imposters live can testify to their unmitigated swagger. Costello’s suspicion that it was time to return to the studio was confirmed while on the ‘Imperial Bedroom & Other Chambers’ tour of the USA, last summer and he realized the power and sheer musicality of The Imposters had never really been fully captured on one record.

                                                                            FORMAT INFORMATION

                                                                            2xDeluxe LP Info: 4 bonus tracks in the deluxe edition.

                                                                            2xDeluxe CD Info: 4 bonus tracks in the deluxe edition.

                                                                            Auntie Flo joins the Brownswood roster to deliver his third and most ambitious album to date. The Glasgow-raised producer, of Goan-Kenyan heritage, has often featured collaborators from different spots he’s visited, and this new record takes that approach to another level. Contributions come from a globetrotting cast of friends, including Laurie Pitt, of Glasgow’s Golden Teacher, Senegalese multi-instrumentalist Mama nDiack, UK producer and singer Andrew Ashong and Cuban percussionist Yissy Garcia.

                                                                            It arrives as the natural companion piece to his Radio Highlife show on Worldwide FM, the online station run by Brownswood boss Gilles Peterson. Regularly touring to DJ in various cities around the world, it’s a pursuit that’s gone hand-in-hand with the global slant of his music - with the local radio often being his first introduction to new cities. It follows in the path of Glasgow’s Highlife club night which he co-founded, playing music from West Africa and Latin America which broke out of the city’s house and techno mould. Likewise, his own music has always been laced with percussion, ideas and inspirations that reflect a far-reaching perspective.

                                                                            His previous long-players, "Theory of Flo" and "Future Rhythm Machine", were released on the Glasgow-based Huntleys & Palmers imprint. His dancefloor-minded singles have found a home on labels like Sofrito, Kompakt and Mule Musiq. His music, his DJ sets and the influential club night have drawn acclaim from publications like The Guardian, FACT and The Wire. "Radio Highlife", in many ways, marks the zenith of this producer's career thus far, and should be investigated by all lovers of far-flung music. Recommended. 


                                                                            STAFF COMMENTS

                                                                            Matt says: Really nice to see this artist find his stride. One of the first to embrace what now seems to be standard practice in dance music. Auntie Flo's electronic-afro hybrids laid the blueprints for many other ideas. "Radio Highlife" is the high water mark of his discography.

                                                                            "Kawuku Sound is the coming together of UK producers Contours & Cervo and Ugandan percussion troupe Fonkodelis Arkestra. This is the culmination of a month-long creative process that was born out of the Nyege Nyege affiliated Boutiq Studio in Kawuku, Kampala - Uganda.'

                                                                            "Kawuku Sound" features traditional East African Buganda drumming interpolated with electronic production and ideas from the two Mancunian producers. Perfectly encapsulating the Banana Hill ethos it seeks to update and reinvent trad African sounds with more nightclub-focused production.

                                                                            Musically, the hypnotic and incessant percussion lines of the Fonkodelis Arkestra permeate through every track, giving each tune a sense of urgency and drama thats in keeping with the dramatic local landscape. Wooden flutes glide effortlessly into synthesized pads, while on other tracks, Contours distinctly jazzy influences licks and passages take centre stage, with the ethnic percussion simply ushering it forward at a steady pace.

                                                                            It's also undeniably NOW. With physical borders and cultural isolation being extinguished through the global world wide web, now more than ever are we seeing the cross-pollination of ideas alongside the co-ownership of ideas and artworks. While some see this as a negative, rife with cultural appropriation, I personally see it as an expansion of the global consciousness, as we seek to reach out and merge with other cultures and peoples and surely a positive message to the future generations - we are one!



                                                                            STAFF COMMENTS

                                                                            Matt says: Local badmen (in the good sense, they're a pair of gents!) Contours and Cervo come together with Ugandan percussionists Fonkodelis Arkestra to create this deep, jazzy and soulful fusion LP, which translates traditional African sounds to a contemporary club setting.

                                                                            Andy Rantzen ('longside Sheriff Lindo) practically owns the Australian digi-dub genre. Active from the early 90s, unlike Lindo who only really produced two albums, Rantzen (who hailed from an industrial background) carried on producing throughout the 90s and into the 00s; touching on dub, minimal wave, lo-fi and techno with his own unique and intriguing flair. Also well known alongside Paul Mac as Itch-E & Scratch-E his ability to blend all the disparate elements of rave and free party culture into a cohesive, sophisticated and solid body of work is second to known, making him one of the most under-rated and accomplished producers in our humble opinion.

                                                                            Since Efficient Space excavated Andy Rantzen’s mind-bending “Will I Dream?”, the rest of the world has become better acquainted with the darker & dubbier side of one of Australia’s rave superstars. Making it perfect time for another selection of tracks from Andy’s incredibly diverse oeuvre, 6 songs that sit somewhere between 80s digital reggae, 90s rave and the horizon of our accelerating future.

                                                                            "Lifting the Veil" speeds up snappy drum programming and a thundering bassline to breakneck speeds, pitting them against sombre chords and strings, perfectly capturing the reflective headspace of a night drive through babylon. “Cosmic Vibrations” harks back to the development of fully computerised rhythms emanating from Jammy and Tubby’s Waterhouse studios, by way of Erskineville. In the same vein, “Bedtime for Boo Boo” sees Andy joined on the boards by the aforementioned dub technician Sheriff Lindo, creating a dynamic digi-dub number that is sure to come alive on any soundsystem worth its weight - a worthy showcase for two of Australia’s finest reggae talents.

                                                                            Flip the disc to find “Move It”, the most concentrated dose of the jungle vibes that permeate the EP. Rantzen channels the headrush sonics, breakneck drums and euphoria of D’n’B’s heydey, nailing the red-eyed early AM atmosphere of a Sydney warehouse ca. 95 - and it's just as likely to cap off the night of many a secret inner west location to come. “Magic Lantern” marries a dreamy synthesizer melody with a wicked, subby bassline. If there was a dancehall scene in “Ferngully”, this would’ve been the soundtrack, with enough low end to really rattle the treetops. On closer “Dub Generator”, a slightly-creepy mechanized voice urges you to 'leave your worries at the door...come and join your friends upon the floor' - an introduction to the dancefloor or an induction into some sinister cult? Whatever the message, the dub chords and massive bassline lull you into the headspace where these words take hold.

                                                                            All songs recorded at Masking Tapes, Liquid Blue and 1/66 Enmore Rd, 1997-2000.


                                                                            STAFF COMMENTS

                                                                            Matt says: One of the most highly anticipated releases of the year for me this folks. Anyone with a penchant for dub, digital esoterica or lo-fi electronix needs this in their life. Sublime.

                                                                            To be released on World Mental Health Day, part of the album’s proceeds will be donated to a UK-based mental health charity. 'I often wonder how sadness moves through people,”' Emika says, 'through time, through stories and history, and if it's something that becomes us rather than coming from us.'

                                                                            emikarecords.com Invites fans to anonymously share their experiences of depression and create a waterfall of comments inspired by the song "Wash It All Away Studio".

                                                                            Given its years of manifestation behind the scenes of other projects, "Falling In Love With Sadness" reflects a renewed understanding of Emika’s own genealogy, kindred lineage and its connection to modernity. Marking a drastic departure from the menacing, stripped-down qualities of albums past, Emika has surfaced with a new upwelling of sound gracing the bittersweet, melancholic and sanguine.

                                                                            With the interplay of genres both rhythmically and melodically intertwining between spacey, dub tinged "Promises", lush synth pop hooks on "Escape" and the title track's soulful electro wriggle, a full spectrum of musicology remains primary to the ever-evolving chroma of Emika’s umbrous sound.

                                                                            Further characterized by the breathy sibilance and sultry tones of Emika’s noirish, vocal aesthetic, the album navigates through the morose and trappings of misanthropy by illuminating a narrative of emotional resilience and recovery.

                                                                            Co-produced with Robert Witschakowski of The Exaltics, and continuing her collaboration with guitarist Chris Lockington (as heard on "Drei" and "Dva"), "Falling In Love With Sadness" provides a fifth solo album for Emika, but moreover, defines itself as an overture for her future works.


                                                                            FORMAT INFORMATION

                                                                            Coloured LP Info: Vinyl limited edition, includes album poster and lyrics booklet, crystal clear vinyl, silver layer printed on cover art, % donated to charity.

                                                                            Daniel Brandt, co-founder of acclaimed German ensemble Brandt Brauer Frick, is set to release his second solo album for London imprint Erased Tapes on October 12th. Titled Channels, the new record follows the release of the London and Berlin based producer’s solo debut Eternal Something from 2017. The seven-track LP is Brandt’s biggest statement yet, with the album’s thrilling avant-garde framework interweaving chord-driven techno, orchestral flourishes, rich electronic textures and hints of dark cinematic pop. Following on from Eternal Something, which captured a contemplative kind of isolationism, with Channels Brandt set out to create an album that captures the essence of minimalism whilst lending it to a more playful context. After performing and recording Steve Reich’s Six Pianos in a group of six, Brandt began regularly composing long meditations on the piano, something that permeates the sound of the new record. Its frenetic energy and shape-shifting identity was also born out of touring with his new band Eternal Something — comprised of Brandt on piano, drums and synthesisers, Pascal Bideau on guitar and bass, plus Florian Juncker on trombone — and a desire to translate both the sound and spiritual unity of their live shows in which musicians locked together to create an intriguing meld of expansive works. Intricate floor-filler and lead track ‘Flamingo’ synthesises the measured pacing of Detroit techno with an orchestral background. As with all of the tracks on Channels, ‘Flamingo’ began life as a sketch with very basic instrumentation, before taking it into the studio to rehearse with his band members, giving the album a live and visceral sound that sets it apart from his debut; “It was a great experience to do it this way as I have always wanted to have the chance to try out something in a live setting before recording it in the studio and not the other way round,” explains Daniel. “The actual typical rock band recording style that I never had the chance to do before.”

                                                                            The album’s most immersive, club-ready track ‘Sailboats III’ is built with a vivid and pulsating bass line that takes inspiration from a Lichtenstein painting, as well as the UK bass scene and producers like Tessela and Lord Tusk. The blossoming cosmos of ‘Cherry Dream’ is informed by Tangerine Dream’s iconic soundtrack to the film Risky Business, a compelling reinterpretation of Love On A Real Train replete with darker, electronic elements and live orchestration. ‘Daze’, co-written with guitarist Pascal Bideau, chimes with an acoustic melody and is carried by a rhythmic percussive pulse, whilst the understated ‘Ltd’ was stylistically inspired by Steve Reich’s Electric Counterpoint as well as Daniel and his band’s live improvisations with orchestral collective Stargaze, whose founder and conductor André de Ridder contributed violin on the album. Title track ‘Channels’ melds instrumental ambient with melodramatic embellishments, whilst the record’s closer ‘Twentynine Palms’ takes its name from the vast Californian desert, and was written while Daniel was travelling there, evoking the widescreen and rapturous sound of open space and nature. With Brandt also being skilled as a filmmaker, directing and producing visuals for BBF and Eternal Something, much of the new album’s creative ideas reference a rich visual palette. He directed the video for ‘Flamingo’, a sideways glance at the art world that takes the concept behind John Cage’s 4’33” and turns it on its head. “The video for Flamingo is deliberately non performance — people sitting in a room and watching basically nothing, never really sure if anything is ever going to happen. It’s also a play on John Cage’s 4’33”, except in this instance there isn’t even a performer present.” — Daniel Brandt

                                                                            Daniel’s passion for film even prompted him to kick start his own online television channel Strrr.tv in 2017 that since attracted a lot of attention with guest moderators including BBC Radio DJ Gilles Peterson, modular synth legend Suzanne Ciani and Berghain bouncer Sven Marquardt counting amongst the most popular episodes.

                                                                            Recorded between Berlin and London, Channels is a deeply enthralling listening experience, which sees Daniel Brandt build upon his distinctive percussive sound whilst exploring new and expansive horizons.

                                                                            The music is taken from a project originally commissioned by London’s Science Museum to live score Fritz Lang’s 1927 cinematic landmark, Metropolis on it’s 90th anniversary. The band performed the score live at the Science Museum’s IMAX in April 2017 in an event that was part of the acclaimed Robots exhibition and series. This new release is a studio recording of the 150 minute score, recorded in its entirety and mixed by Nik Void with the exception of the tracks ‘Heart of Data’ and ‘Babel’ which was mixed by award-winning producer Marta Salogni. ‘A Soundtrack For A Film’ will be made available for the first time as a box set comprising four x 12" vinyl on the band’s own imprint H/O/D Records.

                                                                            The artwork is by British artist Haroon Mirza adapted and arranged by Nik Void in collaboration with illustrator Sam Moore. Factory Floor are Nik Void and Gabriel Gurnsey whose electronic improvisational style of performance has seen them at home in gallery spaces like Tate Modern, to clubs like fabric and Berghain to a remote volcanic Island of Stromboli in collaboration with artist Haroon Mirza. Their critically acclaimed second album 25 25 was released in the summer of 2016 on DFA Records. 

                                                                            Following on from 2016's superb 'Serpent Music' on label extraordinaire, PAN, Yves Tumor follows up by moving to Warp for the brilliant new LP, 'Safe In The Hands Of Love'. 

                                                                            From the throbbing sidechained electronics and fragmented vocal accentuations of 'Economy Of Freedom' it becomes clear that we're in for something pretty special. Equally obtuse and euphoric, fragments of sound are smeared liberally across a detritus-riddled backdrop of throbbing bass and static crackling before lurching into a beautiful and eerie redux. 

                                                                            This sort of dystopian noise is riddled throughout, but liberally freckled with moments of cohesive and frankly mindlblowing songwriting. 'Noid' for example, is based upon a clattering percussive loop and driving bass (Mr. Tumor really loves that bass synth), but encompasses aspects of hip-hop and soul to boot, vocals rhythmically bobbing in and out of the stereo field, lending a momentous urgency to proceedings before the swooning yang to the former's yin, employing similar vocal phrasing but swapping about the clattering instrumental maelstrom for a sleazy, warped lounge turn. 

                                                                            There are moments of divine clarity scattered throughout the whole LP, balancing the sometimes overwhelming cascade of noise and malaise, but it's these moments that make the comparitive unease so satisying, lending moments of calm to an otherwise claustrophobic affair. Perfeclty balanced spine-tingling melodies are teased out of the decay, fittingly warped and then put to work alongside the dystopian foreground. As ever, a stunningly written and perfectly balanced juxtaposition of chaos and peace. 


                                                                            STAFF COMMENTS

                                                                            Barry says: Yves Tumor smashes it out of the park once again for this shuddering, post-apocalyptic suite of scattered melodies, broken rhythms and oppressive atmospheres, punctuated with moments of deserved beauty and blessed resolution. Killer.

                                                                            FORMAT INFORMATION

                                                                            2xLP Info: 2LP in paper inners, in gatefold sleeve with 12”
                                                                            insert and digital download code.

                                                                            Moses Boyd is at the forefront of the New British jazz scene having worked and recorded with like of Giles Peterson, Four Tet, Sons Of Kemet, Zara McFarlane and more. With 2 MOBO Awards to his name and Multiple Releases via his Label Exodus Records. Moses has established himself as one of the leaders in bringing the worlds of Jazz and Electronic music together.

                                                                            This latest release is taken from the same sessions that brought us Rye Lane Shuffle. Displaced Diaspora is a collection of music from Moses Boyd recorded in 2015 that features some of the now leaders of the New British Jazz Scene Such as Theon Cross, Nubya Garcia and Nathaniel Cross. As well as the Iconic British Soul Vocalist Terri Walker, Saxophonist and Bata Player Kevin Haynes and his group, Grupo Eleggua and Rapper Louis VI. The music is a mix of Jazz, Yoruba chants with Hip Hop and electronica influenced beats.

                                                                            STAFF COMMENTS

                                                                            Millie says: Moses Boyd is back with a bang, returning with more beautiful jazz. I should insert my usual ‘I love jazz so much’ segment here, but it really is brilliant. Matched with several contributors such as Kevin Hayes, Zara McFarlane and Terri Walker... it's a work of art!

                                                                            Sometimes in improvised music there can be a distance between listener and players, a sense you’re sitting back and admiring their interplay and abstraction – but with Szun Waves’ second album, you’re right in there with them, inside the playing, experiencing the absolute joy the three musicians feel as they circle around each other, exploring the spaces they’ve opened up.

                                                                            The three members already have sparkling pedigrees of their own. Norfolk’s Luke Abbott is well known for his explorations of the zones between pure ambience and the leftmost fringes of club culture. With Portico Quartet and Circle Traps, Jack Wyllie has been in the vanguard of UK fusions of jazz, classical and club music. Australian drummer Laurence Pike has likewise found a unique voice in improvised and experimental music-making, whether in the bands Triosk or PVT, or as a solo artist.

                                                                            The trio’s musical relationship has grown naturally and steadily, and it shows. From Wyllie adding shimmering sustained sax notes to Abbott’s gorgeous ambient pieces in 2013, Szun Waves emerged when Pike was added to the mix, energizing the sound but still keeping its levitational qualities. Their 2016 self-released debut album hit a natural groove, and now they’re in a place of pure spontaneity: "New Hymn To Freedom" is a document of six entirely live improvisations – no edits or overdubs – and its title couldn’t be more apt. 


                                                                            STAFF COMMENTS

                                                                            Matt says: Phhwwooar. This should keep the youngsters 'turned on' as the jazz cats used to say. A modern spiritual jazz / electronica masterpiece? Youbetcha. NICE.

                                                                            FORMAT INFORMATION

                                                                            LP Info: Repress on black vinyl.

                                                                            Matthew Dear is a shapeshifter, oscillating seamlessly between DJ, dance-music producer, and experimental pop auteur. He is a founding artist on both Ghostly International and its dancefloor offshoot, Spectral Sound. He writes, produces, and mixes all of his work. He straddles multiple musical worlds and belongs to none, now nearly 20 years into his kaleidoscopic career, with five albums and two dozen EPs plus millions of miles in the rearview of his biography.

                                                                            Bunny is the name of Matthew Dear’s fifth album. His first since 2012, it bounces into plain sight preceded by two slyly different singles in 2017: the moody, urgent "Modafinil Blues” and the buoyant, blithe, Tegan and Sara-featuring “Bad Ones.” Bunny follows both modes, among others, parading down a rabbit hole of unhinged phrasings, dreams, and interludes. It saunters in the shadows; it stands brightly in the moonlight. Bunny is a dual vision of avant-pop; an artistic reckoning from a 21st-century polymath; persona splintered, paradox paraphrased, a riddle rendered.


                                                                            FORMAT INFORMATION

                                                                            2xColoured LP Info: Very limited white splatter vinyl.

                                                                            LP includes MP3 Download Code.

                                                                            Chai

                                                                            Pink

                                                                              Japanese culture has long since developed a fascination with the cute, the innocent, the throwaway; it’s termed ‘kawaii’, more of a cult than a concept, and it runs through the veins of incoming hyper-animated four-piece Chai.

                                                                              Hailing from Japan’s Nagoya region, the band formed around identical twins Mana and Kana, before close friends Yuna and Yuuki completed the line up.

                                                                              Imagine a world dominated by bright colours and squeaky clean plastic, where endless cartoons and guilt-free meal times combine to offer hymns to empowerment, and a rejection of the mundane. Imagine Chai’s electrifying, hallucinatory, but wonderfully real debut mini-album ‘Pink’.

                                                                              Plugged in to pop culture on a 24/7 basis, Chai practically have modems for stomachs and phone lines for veins. Just the first glitter-strewn belch to eminate from Chai, ‘Pink’ is the kind of guilt-free hyper-pop overdose you’ve waited your entire life to hear. It’s cute, but beneath the surface there’s a whole new world to explore.

                                                                              The Aints!

                                                                              The Church Of Simultaneous Existence

                                                                                “Rock music in the seventies was changed by three bands —the Sex Pistols, the Ramones and The Saints.” - (Bob Geldof)

                                                                                THE AINTS! THE CHURCH OF SIMULTANEOUS EXISTENCE

                                                                                Forty years after the release of one of the great Australian debut albums of all time Ed Kuepper returns with a brand-new band and a brand new contender for the title.

                                                                                When the heavily lauded, heavily influential first incarnation of The Saints split in 1978, Ed Kuepper, the sonic architect and primary songwriter of the original band and their three albums: the proto-punk classic (I’m) Stranded (1977), the r’n'b infused Eternally Yours (1978) and the brass-laden genre-defying Prehistoric Sounds (1978) left behind a plethora of unreleased material, however, rather than attempt to salvage what could have been Kuepper chose to move on forming the legendary Laughing Clowns performing and recording in Australia and the U.K. from 1979 through 1984 before embarking on an ARIA award winning solo career that has kept him touring and recording steadily since 1985.

                                                                                Come 2017 though, and the 40th anniversary of The Saints seminal debut Kuepper was persuaded it was time to revisit and celebrate the music of his youth. Recruiting like-minded souls in Sunnyboys bassist Peter Oxley, drummer Paul Larsen Loughhead (The Celibate Rifles / The New Christs), jazz pianist Alister Spence and trumpeter and brass arranger Eamon Dilworth the band performed as The Aints! Play The Saints (’73 - ’78) covering Kuepper’s tenure with the band and all the classics including This Perfect Day, Know Your Product, Swing For The Crime and (I’m) Stranded to large crowds and a hugely appreciative response. But rather than purely recycle those formative songs Kuepper began to introduce the new-old material to an audience eager to hear what else Kuepper had been sitting on since 1978. A further positive response from the music department of the ABC saw these two iconic Australians join forces and bring to light what is in essence, the long lost fourth album by The (original) Saints. 

                                                                                FORMAT INFORMATION

                                                                                Ltd LP Info: First vinyl pressing (500 for UK/EU) will have DL code for album, and instrumental versions also.

                                                                                2xCD Info: First pressing of the CD (1000 for UK./EU) version comes with the bonus INSTRUMENTAL VERSIONS (subsequent pressings will be single CD).

                                                                                David Bowie

                                                                                Loving The Alien 1983 - 1988 (BOX SET)

                                                                                  The follow-up to the awarding winning and critically acclaimed DAVID BOWIE ‘FIVE YEARS (1969 – 1973)’ and DAVID BOWIE ‘A NEW CAREER IN A NEW TOWN (1977 – 1982)’ will be released on 12th October.

                                                                                  The box contains newly remastered versions of David’s most commercially successful period ‘LET’S DANCE’, ‘TONIGHT’, ‘NEVER LET ME DOWN (ORIGINAL and 2018 VERSIONS)’, the live album ‘GLASS SPIDER (Live Montreal ’87)’, the previously unreleased ‘SERIOUS MOONLIGHT’ live album, a collection of original remixes entitled ‘DANCE’ and the non-album / alternate version / b-sides and soundtrack music compilation RE:CALL 4.

                                                                                  The highlight of this latest box is the brand new production of the 1987 album ‘NEVER LET ME DOWN’ by Bowie producer / engineer Mario McNulty with new instrumentation by Bowie collaborators Reeves Gabrels (guitar), David Torn (guitar), Sterling Campbell (drums), Tim Lefebvre (bass) as well as string quartet with arrangements by Nico Muhly and a guest cameo by Laurie Anderson on ‘Shining Star (Makin’ My Love)’.
                                                                                  The seeds of this new reimagining of the albums were first sown in 2008 when David asked Mario McNulty to remix the track ‘Time Will Crawl’ and record new drums by longtime Bowie drummer, Sterling Campbell along with strings. The track was issued on the iSelect compilation to much acclaim, and in the notes, for that record, David remarked ‘Oh, to redo the rest of that album’.
                                                                                  The new re-workings have revealed ‘Never Let Me Down’ as a very strong collection of songs with a dark thematic thread running through them. Fans listening to ‘NEVER LET ME DOWN (2018)’ would be forgiven for thinking that they were listening to a brand new ‘lost’ Bowie record.

                                                                                  Also in each box is the never before released ‘SERIOUS MOONLIGHT’ live album recorded in Montreal in 1983. Originally mixed at the time by Bob Clearmountain, the double album captures Bowie on what at that time was his most successful tour. The artwork features shots taken by photographer Denis O’Regan.

                                                                                  Exclusive to each box is ‘RE:CALL 4’ and ‘DANCE’. The former a new compilation featuring remastered contemporary single versions, non-album singles, album edits, b-sides and songs featured on soundtracks such as Labyrinth, Absolute Beginners and When The Wind Blows. ‘DANCE’ features 12 contemporaneous remixes some of which are appearing on CD and vinyl for the first time and is named after an unreleased Bowie remix album that was originally slated for release in November 1985.

                                                                                  The box set’s accompanying 84 page book features rarely seen and previously unpublished photos by photographers including Denis O’Regan, Greg Gorman, Herb Ritts and many others as well as historical press reviews and technical notes about the albums from producers/engineers Nile Rodgers, Hugh Padgham, Mario McNulty and Justin Shirley-Smith. 


                                                                                  FORMAT INFORMATION

                                                                                  LP Box Set Info: 88 Page hardback book
                                                                                  Let’s Dance (remastered) (1LP)
                                                                                  Serious Moonlight (Live ’83) (previously unreleased) (2LP)*
                                                                                  Tonight (remastered) (1LP)
                                                                                  Never Let Me Down (remastered) (1LP)
                                                                                  Never Let Me Down (2018) (previously unreleased) (2LP - side 4 is etched)*
                                                                                  Glass Spider (Live Montreal ’87) (previously unreleased on vinyl) (3LP)*
                                                                                  Dance (2LP)*
                                                                                  Re:Call 4 (non-album singles, edits, single versions, b-sides and soundtrack music) (remastered) (3LP)*

                                                                                  FREE SHIPPING This item has FREE UK shipping!

                                                                                  CD Box Set Info: CD Box Set:
                                                                                  128 Page hardback book
                                                                                  Let’s Dance (remastered) (1CD)
                                                                                  Serious Moonlight (Live ’83) (previously unreleased) (2CD)
                                                                                  Tonight (remastered) (1CD)
                                                                                  Never Let Me Down (remastered) (1CD)
                                                                                  Never Let Me Down 2018 (previously unreleased) (1CD)*
                                                                                  Glass Spider (Live Montreal ’87) (2CD)
                                                                                  Dance (1CD)*
                                                                                  Re:Call 4 (non-album singles, edits, single versions, b-sides and soundtrack music) (remastered) (2CD)*

                                                                                  FREE SHIPPING This item has FREE UK shipping!

                                                                                  Cocteau Twins

                                                                                  Treasure Hiding: The Fontana Years

                                                                                    There was perhaps a sense, after a while, that the world was taking The Cocteau Twins for granted. Late Eighties reviews had routinely described them as The Voice of God, yet 4AD, concerned that we’d get tired of appreciating the rarefied genius which shimmered in front of our noses, would keep reminding us that they were truly special. The irony was that The Cocteaus were themselves evolving, morphing, reconstituting and taking on new shapes. This wasn’t widely registered at the time. It can be now, as The Fontana Years demonstrates a musical marvel which still makes your ears feel like they’re sucking citrus fruits after years of licking ashtrays, while the rings of Saturn crash-land in your front room.

                                                                                    This 4-CD set brings together the two albums the band recorded for Fontana along with B-Sides, EP’s, Radio One sessions and the odd rarity. The set was mastered at Abbey Road from the original tapes and approved by Robin Guthrie.

                                                                                    Housed in a study box designed by James Issacs – the booklet contains photos a discography from the era as well as a sleeve note by noted author Chris Roberts.

                                                                                    Various Artists

                                                                                    The Hoochie Koo - Volume 1

                                                                                      This is the first volume in the Hoochie Koo series. The soundtrack to Berlin's best club night! Limited edition of 700 copies.

                                                                                      It's Saturday night in Berlin and the Hoochie Krew is stirring it up. DJ Don Rogall surveys the crowd, takes a sip of beer, and slides a 10" screamer onto the deck. As the scruffy yowl of a guitar unites with an insistent upbeat, a man in a beret shouts into a mic, speaking in tongues, transported, "Wobedoowop! Do the Camel Twist!" Go-go girls in leopard print bikinis undulate to the wail of a sax. A sultry showgirl appears like a mirage and peels off a crystal-crusted glove to whistles and whoops. It's a juke joint, a barrel house, an alternate time and dimension, with the whole room flailing in giddy unison, spirited into that raw, earthy, elemental rhythm. That is the Hoochie Koo. 


                                                                                      Macadam man Sacha Mambo turns on the red light, fills up the smoke machine and gets very weird with the second instalment of his Danzas Electricas compilation. Where the first volume saw a who's who of deranged diggers firing a wealth of obscure obscenities through the mangle, delivering a double pack+ of edit action, this new collection presents only artists from nowadays and takes distance from the edits to push original and weird electronic music of close artists friends from Dresden, Copenhagen, Berlin, Prague, Lyon and Hamburg. Some of them are already relatives of Macadam Mambo : Konsistent, Wosto, Heninspace Eva Geist or Sacha himself and it introduces new acts : Ekstern (Nixxon & Spacelex), Service, Houschyard or Sauerstofff to present a good mixture of kraut, punk and industrial tracks, which never get lost in the dark.

                                                                                      STAFF COMMENTS

                                                                                      Patrick says: Uncompromising weirdshit here as Sasha Mambo invites his nearest and dearest to dive headlong into the dark wired sound. Opting for originals rather than edits, this is the perfect soundtrack for the witching hour.

                                                                                      For years, Phosphorescent’s rise was a steady one: tours got a little better, rooms got a little bigger, and with it the music became more intricate, more ambitious in its recording and arrangement. Then came Muchacho, a juggernaut that to date has sold over 100,000 worldwide, with lead single “Song for Zula” now well over 50 million streams. Now, five years later, Phosphorescent returns with his seventh studio LP, C’est La Vie. Recorded in Nashville at Matthew Houck’s own Spirit Sounds Studio, C’est La Vie reveals a crystallization of what made Muchacho such a breakout — a little sweetness and a little menace, sometimes boot-stomping and sometimes meditative.

                                                                                      A lot of life was lived between these records: Houck became a father (twice), built his studio, escaped New York. And C’est La Vie does have a hefty, career-spanning feel. But there’s a newfound wisdom, too, a deeper well for all that livin’. The magic of Matthew Houck’s music has always been the way he weaves shimmering, almost golden-sounding threads through elemental, salt-of-the-earth sounds. It’s not experimental, exactly, but it’s singular and it’s definitely not traditional. That knack, the through-line across the Phosphorescent catalogue, is front and centre here.

                                                                                      STAFF COMMENTS

                                                                                      Barry says: Even just listening to the title track alone gives you a decent impression of quite how stunning this collection is, shining and rich with orchestral instrumentation, heart-wrenching lyrics and twinkling synth pads. Think classic rock with a modern twist, a slightly smaller-scale War On Drugs or a less crap U2. Proper lovely.

                                                                                      FORMAT INFORMATION

                                                                                      Coloured LP Info: Indies exclusive clear vinyl.

                                                                                      Coloured LP includes MP3 Download Code.

                                                                                      Produced in its entirety by Marshall, Wanderer includes appearances by long-time friends and compatriots, as well as guest vocals courtesy of friend and recent tour-mate Lana Del Rey. Written and recorded in Miami and Los Angeles over the course of the last few years, the new album Wanderer is a remarkable return from an iconic American voice.

                                                                                      Wanderer’s 11 tracks encompass “my journey so far,” says Marshall. “The course my life has taken in this journey - going from town to town, with my guitar, telling my tale; with reverence to the people who did this generations before me. Folk singers, blues singers, and everything in between. They were all wanderers, and I am lucky to be among them.”

                                                                                      STAFF COMMENTS

                                                                                      Barry says: A beautifully produced, bittersweet collection of twinkling guitars, acoustic percussives and Marshall's unmistakable vocal stylings. Brimming with low-key country influences, rhythmic momentum and enchanting, hypnotic drive. Quintessentially Cat Power, superb.

                                                                                      FORMAT INFORMATION

                                                                                      Coloured LP Info: Indies exclusive clear vinyl.

                                                                                      Father John Misty

                                                                                      Live At Third Man Records

                                                                                        In September last year, Josh Tillman stopped by our Nashville headquarters on an otherwise ordinary Tuesday afternoon and surprised us all with a lunchtime solo, acoustic set before his sold-out Ryman Auditorium performance. We, of course, had our 1955 Scully Lathe warmed at the ready to capture the occasion.

                                                                                        As is typical for direct-to-acetate recordings in the Blue Room, Josh warmed up the room (and our engineers) with two songs before we started cutting the LP. He began with the debut performance of his newly penned “Mr. Tillman” (foreshadowing its release as the first single on God’s Favorite Customer 9 months later). We then used the second song as an opportunity to carve a 12” on-the-spot single of “Now I'm Learning to Love the War,” which was promptly handed it to a lucky attendee for safe keeping. If you want to know more about that, you’ll have to scour the depths of FJM’s fan net.

                                                                                        Live at Third Man Records covers songs from all three Father John Misty albums out at the time of its recording, heard here stripped totally bare.

                                                                                        STAFF COMMENTS

                                                                                        Barry says: Next up in the legendary line-up of Third Man Record Sessions comes Father John Misty, legendary miserablecore troubador and acoustic fiddler. Here we see him run through a what's what of favourites, old and new and cutting them to vinyl for the Nashville institution.

                                                                                        Louisa Roach isn’t a protest singer. The ambitious, melodic psych pop this Merseyside artist makes under the moniker She Drew The Gun is too abstract for that label, more dreamy than didactic. But it’s fair to say this rising star – winner of Glastonbury’s Emerging Talent contest in 2016 – works adjacent to that tradition, taking inspiration from the likes of underground folk legend Malvina Reynolds, and contemporary poets such as Kate Tempest and Manchester’s Toria Garbutt.

                                                                                        “I’ve always felt drawn to music that says something,” explains Roach, “music that goes beyond simple love songs. As a songwriter, you’ve got the whole spectrum of human experience to draw from; half of that is the bigger picture stuff.”

                                                                                        It’s mostly the latter that drives Roach’s music, from her promising 2016 debut, Memories of the Future ["Junkyard Scouse soul, built ingeniously on a Wirral council budget” ★★★★ Uncut] to her brilliant, forthcoming follow-up,