MAGIC MIX

STAFF PICKS

ALBUMS



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Whyte Horses, whose sound is at once timeless and thoroughly modern. With a back-catalogue of multi-faceted jewels that gleam with a blinding, intoxicating light, Whyte Horses’ reputation is one of being able to piece together gloriously individual pop strands in an endlessly creative fashion.

If the music seems passionate, then that’s precisely because the people behind it are passionate. Fronted by Manchester’s Dominic Thomas - who moonlights as founder of the vinyl reissue label Finders Keepers - Whyte Horses often operates as a welcoming revolving door for talented vocalists in their own right, but on ‘Ça Plane Pour Moi’ we get to glimpse pure Whyte Horses performing within their own capabilities and hinting at the album to come names ‘Hard Times’ and scheduled for release next year.



STAFF COMMENTS

Barry says: Feel-good Piccadilly pop favourites Whyte Horses return with an instantly satisfying and beautifully produced suite of swooning jangles and glittering harmonies. Reminiscent of 60's sunshine psych and classic Britpop, 80's synth and a tasteful touch of everything inbetween, and now with a host of top guests too. Unsurprisingly brilliant.

Courteeners release their long awaited sixth album on Ignition Records - More. Again. Forever. The band’s most confident and consistent record to date, More. Again. Forever. features ten new tracks that are guaranteed to cement their place as one of the country’s biggest and best-loved bands. 

STAFF COMMENTS

Martin says: The Courteeners return for their newest and most refined outing yet, encompassing aspects of their seminal debut LP whilst pushing things further with a more mature edge and keen ear for a stadium stormer.

FORMAT INFORMATION

Coloured LP Info: RSD store exclusive clear vinyl edition. Limited to just 1000 copies in exclusive artwork sleeve.

Algiers return in 2020 with their third album 'There Is No Year', which will be released January 17th on Matador Records. 'There is No Year' solidifies and expands upon the doom-laden soul of their foundation, toward an even more epic, genre-reformatting sound, one somehow suspended in the amber of “a different era,” as described by guitarist Lee Tesche. 

STAFF COMMENTS

Barry says: Shouty melancholic rockers Algiers bring us all the feels on their newest outing, 'There Is No Year'. Clearly influenced by the torrid political climes, this rousing and hearty romp is as meaningful as is effecting, a brilliantly written call to arms.

FORMAT INFORMATION

Dinked Edition LP Info: Ultra-limited edition Dinked exclusive.
Mirriboard sleeve with reversed colours.
Gold coloured vinyl.
Exclusive bonus 7” featuring "Void" and "Can The Sub_Bass Speak?"
Hand-numbered.

Ltd LP Info: Includes a one sided flexi disc 7" containing the track "Void".

Pinegrove’s new album begins with a breath and ends with a shimmering exhalation. In between is Marigold, an urgent, multivalent meditation—and an expanded take on the blend of alt-country, indie rock and cerebral humanism that’s inspired the band’s ardent fan community. Marigold marks their Rough Trade Records debut, offering what songwriter Evan Stephens Hall calls a “heart-first” perspective.

Those familiar with Pinegrove will recognize signature elements of the band’s sound: literary yet conversational lyrics, geometrically interlocking guitars, the dynamic shifting shadows of rhythm and structure. But this effort marks the most spacious, bold, and well defined iteration of the project yet.

Formed in 2010 by childhood friends Evan and drummer Zack Levine, Pinegrove have released three previous albums — Everything So Far (2015), Cardinal (2016), and Skylight (2018) — to massive critical acclaim, garnering them a widespread and devoted listenership. They’ve described their sound as variously as introspective party music, or energetic music in the folk tradition; in any case they have combined catharsis and inventive structures with irrepressible melodies, resonant lyrics and emotive twang. Marigold finds the band expanding into the latter, spreading out over varying tempos and swelling pedal steel. But in surprising moments, the album can suddenly unfold into the band’s heaviest, most unbound offerings yet—a cavalier disregard of genre in favour of something honest and unique.

STAFF COMMENTS

Barry says: Swooning, Americana tinged rock choruses and beautifully mixed instrumentals from New Jersey's Pinegrove. Grand and momentous while still retaining the charm of more relaxed acoustic folk numbers. Lovely stuff.

FORMAT INFORMATION

Coloured LP Info: Marigold yellow coloured vinyl.

Bombay Bicycle Club

Everything Else Has Gone Wrong

“Everything Else Has Gone Wrong” is the eagerly anticipated follow-up to their fourth album, ‘So Long, See You Tomorrow’ released back in 2014.

The new album was largely recorded out in the US alongside Grammy Award winning producer John Congleton (St. Vincent/Sharon Van Etten/War on Drugs).

Speaking of the record’s title, vocalist/guitarist Jack Steadman explains: “This is an album for anyone who’s ever turned to music in a time of need. It’s about the solace one can get from listening to music or playing music. For me personally it's about the frustration of not being able to express myself to others, of leaving conversations feeling dissatisfied and misunderstood. Music’s the way I’m able to truly express myself”.

Bombay Bicycle Club have continued to grow, develop and evolve since the release of their debut album, “I Had The Blues But I Shook Them Loose”, back in 2009 when they signalled their arrival as young teenagers. With an innate ear for melody and invention, the four-piece make a very welcome return.


STAFF COMMENTS

Barry says: There have been a good run of massive synth albums from returning feel-good artists of the mid 00's and Bombay Bicycle Club are the latest and possibly most welcome of those returns. Huge neon synths, stadium echoes and hand-waving choruses bring to mind their seminal earlier works (our man Forbes is a big fan), while pushing things firmly into the 20's with crisp, crystalline production.

FORMAT INFORMATION

2xDeluxe LP Info: Ltd Edition heavyweight double vinyl (45 RPM) housed in a gatefold sleeve and includes fold out poster.

LP Info: Includes fold out poster and insert.

Pan American

A Son

    Legacy Chicago craftsman Mark Nelson’s latest offering as Pan•American is less a distillation or divergence than it is a return to his musical and spiritual beginnings. Spare, subdued, and largely acoustic, A Son unfurls like late summer dusk on the edge of town, expansive but intimate.

    Motivated by notions of “moving backward” and tracing roots – as well as a couple years of hammered dulcimer lessons – the album’s nine songs were written and recorded in his home in Evanston, Illinois, and honed during a recent solo tour in Europe. The emphasis on uncluttered arrangements and the centrality of the guitar and vocals reveal these songs as the most direct and emotional statement of his career.

    Nelson cites everything from June Tabor, The Carter Family, Suicide and Jimmy Reed as oblique inspirations, though his truest muse was creative self-inquiry: “What does music do, Where does music start? How simple can it be? How honest can it be?”

    After decades of mining post-rock pathways and latticework electronics in Labradford and early Pan•American, A Son strips away ornament and distraction in favor of a direct gaze into the heart of what is.




    French duo Double Mixte bring their digital thunderstorm of neon lit noire to the Italians Do It Better family on their debut LP. Mixed & produced by label head Johnny Jewel, Romance Noire opens the door to a new wave of Italians Do It Better artists coming in 2019. Fresh Blood. New Tears. The title track arpeggiates & boils as waves of bass flow beneath. Rhythms are carried to the ceiling by a searing cascade of disintegrating color. A heavy backbeat anchors Clara Apolit’s poetry, ready to wear for a night in the face of oblivion. The cinematic “Arlette” is a call for discovery through a darkness lit only by the glare of headlights in digital rain. Through all of this, Thomas Maan’s incantations search for the lonely, lost in the void of electronic fog. “November” finds in Clara an Anglophonic chanteuse, meditating on the cycles of time. A blend of suspended sound & an uncertain melody contracts & expands before dissolving. Romance Noire is art that both contemplates & transcends time’s firm grip. It’s a filmic journey inducing a vague sense of future nostalgia. Happy Valentine’s Day.

    Double Mixte is Clara Apolit & Thomas Maan. The duo met in Paris & there was an immediate pull to create music together. They pooled their combined interest in powerful narrative & dark 70’s French film music to write lyrically vivid songs. 


    STAFF COMMENTS

    Patrick says: Italians may well do it better, but don't forget the French know their onions (stringed I presume) about synthwave. And so Parisian duo Double Mixte arrive on the legendary IDIB with a six tracker of moody but melodic neon noir for late night diners and B-movie obsessives.

    FORMAT INFORMATION

    Coloured LP Info: Ivory coloured vinyl.

    Exploring a beautiful grey area somewhere between P.I.L., Arthur Russell, and downtown New York grit of old, the storied Tom of England (Thomas Bullock) comes forth with his epic debut long player "Sex Monk Blues".

    Mr. Bullock has been in the trenches for a long time now as a member of Tonka Hi-fi in England, Wicked Sound System in San Francsico, and lastly the back room viking disco duo Rub n Tug in New York City. Somewhere during this all he made a record for Rough Trade, produced records for Map of Africa (with DJ Harvey) and The Laughing Light of Plenty and wrote a definitive book about Mezcal all whilst touring the world.

    As touring grew tiresome priorites refocused and Thomas slowly pieced together the parts of what he wanted to become his debut solo album. In partnership with singer Bobbie Marie and studio engineer Chebon Littlefield we now see this come to fruition with these six tracks, futuristic, classic, danceable, and yes, unclassifiable Sex Monk Blues is what's going on.


    Bill Fay

    Countless Branches

      Bill Fay returns with the third album in the celebrated second phase of his recording career. A prime Fay song is a deceptively simple thing which carries more emotional weight than its concision and brevity might imply. There are ten of these musical haikus on Countless Branches, as pointed and as poignant as anything he’s ever recorded. For decades now - it’s almost 50 years since he cut his classic albums “Bill Fay” and “Time of the Last Persecution” - songs like these have been Fay’s ambassadors helping rave reviews and endorsements from the likes of Jim O’Rourke (Tortoise) and Jeff Tweedy (Wilco) which led to a huge revival of interest in his music. He had continued to make music almost every day in the intervening decades. For Countless Branches he’s completed new toplines over some of his cache of backing tracks, most of them 20 to 40 years old.

      STAFF COMMENTS

      Barry says: Brittle and almost entorely unadorned (safe for a guitar and a guitar at most), Bill Fay's crackling voice soars above these perfectly produced and stunningly stripped back Americana gems. Evocative and stunning, this is a gem in an already hugely influential career.

      FORMAT INFORMATION

      2xDeluxe LP Info: The deluxe double LP includes 7 bonus tracks.

      2xDeluxe LP includes MP3 Download Code.

      Holy Fuck

      Deleter

        Holy Fuck have today announced details of new album 'Deleter', which will be released on January 17th and is further previewed with the video for acclaimed latest single 'Luxe' (ft. Alexis Taylor). Having just concluded a US tour alongside Hot Chip, the seminal Canadian band will play a selection of European headline dates later this month (with a London show at Moth Club on October 23rd selling out immediately).

        Arriving at a moment where attention spans are shot and anxieties are going into overdrive, 'Deleter', Holy Fuck’s fifth studio LP, is a defiantly full-bodied affair. Polyrhythmic and pleasure- focused, 'Deleter' sees Brian Borcherdt, Graham Walsh, Matt Schulz, and Matt “Punchy” McQuaid utilises their signature sound - seamlessly fusing the gauzy drive of krautrock and deep house’s dreamy ineffability, expertly blending purring motorik percussion with the sort of fuggy synthetic fizz and tang they are renowned for.

        From the thrusting minimalism of opener ‘Luxe’ through to the triumphant chug of closing track ‘Ruby’, via club-ready rollocker ‘Free Gloss’ and the cosmic clatter of ‘San Sebastian’, Deleter is a record that joins the Holy Fuck dots within their widescreen, technicolour, crescendo- heavy sound.



        STAFF COMMENTS

        Barry says: It's been too long since the last Holy Fuck outing, but when a return shows this level of refinement and furthering of the sound we all expected from them in the first place, it's all worth it. Huge electronic throbs and hypnotic kosmische pulses shine through, all underpinned with a more commercial sensibility and even the unmistakeable vox of Alexis Taylor making an appearance.

        Alice Boman

        Dream On

          A deeply textural, atmospheric and immersive sounding record.

          Alice Boman’s fragile yet engulfing ethereal vocals create a vortex that listeners are sucked in by. A world where ambient, dream pop and folk merge into a unique new form.

          Produced by Fabian Prynn (EX:RE, Ghostpoet, Dan Croll) and Patrik Berger (Robyn, Charlie XCX, Icona Pop and Santigold).

          STAFF COMMENTS

          Barry says: While the progressions here may hark back to 60's soul and doo-wop, Boman's vocals are very much down the Hope Sandoval dream-pop line. Slightly melancholic but constantly immersive and warmingly nostalgic throughout.

          FORMAT INFORMATION

          Coloured LP Info: LP pressed on sun yellow vinyl with printed inner sleeve.

          David Byrne

          American Utopia On Broadway (Original Cast Recording)

            Nonesuch releases the cast album for the critically acclaimed Broadway production of David Byrne’s American Utopia, with music and lyrics by David Byrne. American Utopia began as an album, also released by Nonesuch, which received a Grammy nomination and was the first by Byrne to reach #1 on the Album Chart; it was also his first to reach the Top Five on the Billboard 200 chart. The concert tour in support of American Utopia, which inspired the Broadway show, included songs from the new album along with music from Talking Heads and Byrne’s solo career. Byrne and the ensemble performed more than 150 dates in twenty-seven countries over nine months. The NME said it ‘may just be the best live show of all time.’

            David Byrne’s American Utopia features David Byrne with Jacquelene Acevedo, Gustavo Di Dalva, Daniel Freedman, Chris Giarmo, Tim Keiper, Tendayi Kuumba, Karl Mansfield, Mauro Refosco, Stéphane San Juan, Angie Swan, and Bobby Wooten III; Davi Viera also performs on the album. The show’s design team includes Rob Sinclair (lighting) and Pete Keppler (sound). Karl Mansfield and Mauro Refosco are Musical Directors. Choreography and Musical Staging is by Annie-B Parson. Alex Timbers serves as Production Consultant.

            Fresh off a pre-Broadway engagement at Boston’s Emerson Colonial Theatre, David Byrne’s American Utopia began performances on October 4 at the intimate Hudson Theatre on Broadway and celebrated opening night on October 20. Byrne and company perform six times a week through January 19, 2020.

            David Byrne’s American Utopia is the once-in-a-lifetime Broadway event that delivers ‘an experience unlike anything else’ (Billboard) and marks a major cultural milestone in the worlds of music and theatre. Innovative pop/rock icon David Byrne (Talking Heads, Here Lies Love) shares the spotlight with a diverse ensemble of eleven musical artists from around the globe to deliver ‘a marvel of staging and motion’ (Chicago Tribune) that’s a ‘thought-provoking example of the power of live music’ (Forbes).


            Cult Of Dom Keller

            Ascend!

              Cardinal Fuzz and Little Cloud Records are ecstatic to bring forth the latest The Cult Of Dom Keller album ‘Ascend!’

              The Cult Of Dom Keller formed in 2007 and in that time have released five albums, toured Europe and played many a headline slot on the festival circuit while all the time never compromising their sound. With ‘Ascend!’ The Cult Of Dom Keller have reached the apex of their post-apocalyptic, scalp sizzling sonic freak-out vision as they pull you down a visceral black hole that leaves ears ringing and heads reeling.

              From the dystopian intro the door bursts open into ‘Hello Hanging Rope’ – a face melt of smog chocked bump and grind that throbs with a demonic menace and carries with it a swagger of Les Rallizes Denudes (think Flames Of Ice) – a total head trip. Tracks meld into each other as The Cult Of Dom Keller howl like a beast, bass and drums locked in and revved up, the keyboard wheezes and reels out wailing drones while guitars erupt with frantic head tripping fuzz a rama lama cyclonic riffs – It’s very heavy and very far-out.

              Be sure to double up on your medication before sitting down and listening to ‘Ascend!’ For fans of Chrome, Les Rallizes Denudes, The Stooges, German Oak (it is that basement vibe).

              FORMAT INFORMATION

              Coloured LP Info: A 600 Vinyl Pressing (200 x Solid Orange, 400 x Colour Marble Vinyl) and is presented in a 350gsm reverse card sleeve with full colour / size insert and download code.

              The Innocence Mission

              See You Tomorrow

                Love. Connection. Community. Understanding. Most of us experience these aspects through the prism of family and friends. But not everybody can turn those feelings into song, especially not with the beauty and sensitivity of Pennsylvania trio the innocence mission, fronted by Karen Peris and husband Don. Following their Bella Union album debut Sun On The Square, which won the band some of their best-ever reviews, they have made another exquisite and touching album, See You Tomorrow. A record steeped in awe and wonder, intense longing, sadness and joy; a rich sequence of songs that attempt to describe the essence of what makes us human.

                Sufjan Stevens, who has covered the innocence mission’s classic ‘Lakes Of Canada’, once called their music “moving and profound. What is so remarkable about Karen Peris' lyrics is the economy of words, concrete nouns which come to life with melodies that dance around the scale like sea creatures.”

                The band recorded See You Tomorrow in the Peris’ basement (and the dining room where the piano sits). Karen wrote and sang ten of the album’s eleven songs, and plays guitars, piano, pump organ, accordion, electric bass, melodica, mellotron, and an old prototype strings sampler keyboard. Don contributes guitars, drums, vocal harmonies, and one lead vocal on his song ‘Mary Margaret In Mid-Air’. Fellow founder member Mike Bitts adds upright bass to four songs including ‘On Your Side’, the album’s first single.

                FORMAT INFORMATION

                Coloured LP Info: 180 gram orange vinyl.

                Coloured LP includes MP3 Download Code.

                And You Will Know Us By The Trail Of Dead

                X: The Godless Void And Other Stories

                  Five years on from the release of their previous record, Austin’s beloved art-rock heroes … And You Will Know Us By The Trail Of Dead return with their tenth album – X: The Godless Void and Other Stories. Expansive yet concise, this album nods to the band’s traditional touchstones – the feral scree of Sonic Youth, Rush’s symphonic anthems, the textured bliss of My Bloody Valentine – while morphing effortlessly into newer forms. The synth-orchestral swell of curtain-raiser “Opening Crescendoes” recalls Hans Zimmer and Tangerine Dream, before “All Who Wander” descends from guitar-soaked high drama into simmering, murky psych. Next up, “Something Like This” offers nods to the ethereal songcraft that defined the sound of the legendary 4AD label, before everything kicks in at full pelt with “Into The Godless Void”, as noisy and thrilling an existential anthem as the band have ever put their name to. And this is just the first four songs… Work on X: The Godless Void and Other Stories began in earnest in 2018, after Keely returned to the band’s hometown of Austin following five years in Cambodia. With a new line-up having recently toured the 20th anniversary of their Madonna album, they’re also reverted to the live format of their earlier years, with Reece and Keely alternating between drums and frontman duties – a musical partnership that dates back to their high school days. Appropriately, it all feels fresh.

                  FORMAT INFORMATION

                  Coloured LP Info: Limited clear vinyl + CD.

                  OOIOO

                  Nijimusi

                    OOIOO is a name that should be familiar to anyone who’s waded into the world of rock - and so should their leader YoshimiO’s. Percussionist and founding member for the Boredoms and Saicobab and a longtime collaborator of Kim Gordon (of Sonic Youth), Susie Ibarra and Robert Lowe, among others.

                    It’s no surprise that each OOIOO record has been as energizing and enthralling as the last, which might be the most consistent thing about their eight records - each focus on and offer listeners something new.

                    ‘Nijimusi’ was mainly recorded using a conventional rock ensemble of two guitars, bass and drums but often feels more than that, the phrasing and rhythms becoming something new slowly and then all at once. It’s rock but hard to pin down exactly; psychedelic, shimmering distortion, shouts and tight instrumentation giving way to a controlled burn of instrumental breakdowns.

                    Founded in 1995, OOIOO continue to wow. After six years without releasing new music internationally they’ve created a new album that goes back to the roots of being a four-piece band.

                    OOIOO’s members came together as musicians who move freely between the audible and inaudible, rhythm and non-rhythm, noise and silence. ‘Nijimusi’ can be considered music but it is also a work of art that stimulates the sense of touch and smell, while being atmospheric and ethereal at the same time.

                    “A monument to the endless possibilities afforded by an improvisational spirit, but more importantly it highlights Yoshimi and her band’s tireless and ever-evolving voice.” - Pitchfork

                    “In the seemingly impenetrable, fantastic murkiness of Japanese experimental psych pop, more often than not, Yoshimi has been a beacon.” - FADER (cover story) 



                    FORMAT INFORMATION

                    2xColoured LP Info: Pressed on crystal clear vinyl in deluxe gatefold package designed by Qotaroo using artwork by Ooido Syoujou.

                    2xColoured LP includes MP3 Download Code.

                    Yakul

                    Getting Late

                      Yakul are a four-piece neo soul band from Brighton, UK, influenced by the likes of J-Dilla, D’Angelo and Hiatus Kaiyote, with a growing reputation within the rapidly growing new soul and jazz movement coming out of the UK at the moment.

                      Yakul released their critically-acclaimed debut EP ‘Getting Late’ in August 2019, picking up key radio support from tastemakers Gilles Peterson (6Music), Jamz Supernova (1Xtra) and KCRW (LA), alongside Spotify and Deezer official playlist support including Jazz UK and Soultronic. They released a new single ‘Holidays’ in November 2019. The EP features collaborations with leading players from the burgeoning London jazz and soul scene - Louis VI, Sheila-Maurice Grey and Charlie Stacey.
                      'Blossoming' off the EP has been nominated as the Track of the Year at the prestigious Gilles Peterson's Worldwide Awards 2020, winners to be announced in late January 2020.

                      STAFF COMMENTS

                      Matt says: The modern UK jazz landscape continues to impress as yet another emergant act display their wares. Picturesque, languid and belly-warmingly soulful; Yakul, from Brighton demand that all important Sunday afternoon slot on your player.

                      FORMAT INFORMATION

                      Coloured LP Info: Pale pink coloured vinyl

                      Keeley Forsyth

                      Debris

                        The songs comprimising Keeley Forsyth’s debut, are, she states simply, “like blocks of metal that drop from the sky”. Minimal arrangements place that elemental voice front and centre. Nerves are quietly frayed over its running time; an intimate document of personal change, we’re held in limbo until the final note is left to ring. Debris explores the darker corners of domestic life, balancing the need to create with the responsibilities that come with a family, a partner and a career. Seismic ruptures behind closed doors. “There was a lot going on in my life that was heavy and hard,” she adds. “Songs were made under that moment.”

                        Born and raised in Oldham in the north-west of England, Forsyth first made her name as an actor. Her enigmatic voice is so indelible even she is sometimes provoked to refer to it as a third person, like the characters she’s inhabited as an actor, this time populating songs sharing tales of the high and low tides, of freedom and entrapment, and of hard-won triumphs. “They’ve been in my mind for a while,” she concludes. “I have sung them to my children, and at home alone, and making this album has been an opportunity for me to discover the voice and being who sings these songs. It has changed me, and will continue to. I recognise my life again.”

                        With sparse arrangements by pianist and composer Matthew Bourne and producer Sam Hobbs, Keeley Forsyth’s music is centred around a singular, emotionally raw and magnetic vocal delivery


                        FORMAT INFORMATION

                        Coloured LP Info: Limited edition indies-only gold vinyl.

                        Coloured LP includes MP3 Download Code.

                        A Girl Called Eddy

                        Been Around

                          A little more than a year ago Elefant released a very special album from a new project called THE LAST DETAIL, a super group, formed by FUGU and A GIRL CALLED EDDY. Or in other words, Mehdi Zannad and Erin Moran. Just over a year later, here they are releasing an album that many people didn't ever think would every come, the second A GIRL CALLED EDDY album.

                          While her debut came out in 2004 to much critical acclaim and was produced by Richard Hawley, it has been a while to say the least. But here is "Been Around" and yes, it was definitely worth the wait. Very much worth it. Throughout her career she has collaborated and provided vocals on projects as varied as Ron Sexsmith ("Exit Strategy Of The Soul"), SUPER FURRY ANIMALS, to French superstar Phillip Katerine's indie classic "Parlez Vous Anglais, Mr. Katerine?". Her debut album saw her out on tour supporting acts as diverse as Josh Ritter, Rufus Wainwright, THE BEAUTIFUL SOUTH and THE CURE. And with that first record Moran has gathered a rather impressive list of fans: from Jane Birkin, Gilbert O'Sullivan, Tracey Thorn to Robert Smith, Don Henley, Jarvis Cocker and Burt Bacharach to name just a few. "Been Around" has arrived looking like a classic. Referencing her heroes from Laura Nyro, and Van Morrison, to Steely Dan and Prefab Sprout, she has put together a collection of songs that still sound completely her own. They bring an essence of the past and real heart to the present. To a 21st century desperately in need of this kind of elegance, soul and inspiration, it is welcome indeed.

                          The arrangements on this album work on a different level to Morans debut. Where that album was steeped in dark melancholy, this record seems to bathe in the warm yellow Kodachrome-glow of the best of the 1970's. A looking back, but not pastiche. A sense of genuineness and heart permeates every track. This is an album so full of detail and wonder that we could go on and on. "Been Around" is an enormous record. Made with love. Made the old-fashioned way. Perhaps that’s where its timelessness comes from. Is reaching this exceptional and rich level of composition and emotion justification for such a long silence from A GIRL CALLED EDDY? Is that a question even worth asking? You haven't heard an album like this in fifteen years. She's back. Dig in and enjoy.

                          FORMAT INFORMATION

                          Coloured LP Info: Vinyl is limited edition white vinyl plus download.

                          Coloured LP includes MP3 Download Code.

                          Mr. Elevator

                          Goodbye Blue Sky

                            “The drum clock is docking and the night tide washes up synthesized environments, woozy and recorded perfectly. In my humble opinion, Mr. Elevator has risen and ascended and risen again, top floor, time and space, he hath bended, and brain cells have been rent and spent, on the wing aloft and buoyant, a perfect rapid eye movement enhancer and neuromancer.“A capsule garden soundtrack, a killer live band, Leslie spinning a yarn through the melodious afternoon. Now its twilight, all is well: the most overweight bass soundsabound, the crystalline organs blanket breaks and backs, the whip crack of the snare is your guide here, its pretty fried and boundless in its approach.

                            “For fans of Tangerine Dream, Air, Donovan (think the Hurdy Gurdy Man LP), The Troggs, Irmin Schmidt, Egg, Stereolab, and even early Mute records.” -John Dwyer.

                            Markus Popp, the man behind Oval, is considered one of the creators of the ‘glitch’ or ‘clicks & cuts’ style within electronic music. "'94diskont" (Oval’s first release) was the first sound of a new future... the album always seemed like it was looking ahead to what the world would become, and now the world is here - Pitchfork

                            "Scis" is an album still pushing technology, still using the computer as an instrument but for the first time it seems you can most clearly hear the musician behind the screen. It’s emotive, there are loops of acoustic instruments composed together in ways that feel more organic and improvised. Popp describes extensive research into 'new vintage' and this album reflects that and his history. It employs familiar sounds or motifs in new ways and unfamiliar sounds in old ways and this combo gives it something present. There are prepared pianos, woodwinds, sweeping strings and gritty bass riffs arranged among other styles, using Oval’s signature loop-driven techniques. Moments remind us of traditional electronica and reimaginations, or of a post-club sound aesthetic; and there are moments that feel cinematic and lyrical.

                            'A triumphant return for Oval, both musically and intellectually. This is meta music for the soul.' - FACT

                            Markus Popp collaborators include Jan St. Werner of Mouse on Mars and his work has been sampled by other electronic artists, including Björk.

                            'It’s one mark of genius that the more you try to be different, the more you sound like yourself. It’s wrong to overstate the continuities over the immediately obvious difference, but this music could only have been made by one man.' - The Wire


                            STAFF COMMENTS

                            Matt says:

                            FORMAT INFORMATION

                            Coloured LP Info: Limited edition white vinyl.

                            Kiwi Jr.

                            Football Money

                              Toronto’s Kiwi Jr. presents Football Money: a dispatch stitched out of fragments, a lustrous twelve-string paint-job unraveling ten booksmart tracks in under thirty minutes. A product of two years of labor, a monument to work-life balance, the record is not unattractively scarred by its circumstance : recorded by nightfall in dormant studios, friends and enemies drafted as backup singers and engineers, Football Money untidily fuses the yin of work with the yang of life, chronicling a dual-existence, unkempt instrumentalists moonlighting as undercompensated administrators by the harsh fluorescent light of day, borne back ceaselessly into the Greater Toronto Area by night. Built from the clay of the day-to-day—as attentive to the complexities of a sporting salary cap as to the mystery of love; to the burden of Toronto rent as the reality of ruin—it’s a record of modern creation, lyrics text-wrapped in Excel spreadsheet cells, Rickenbackers detuned to the frequency of a blue-screen migraine. Kiwi kritiks delineate influences like sections of the cow—the rump: jangle; the loin: punk—and seem set on referring Football Money to the criminal court with the Modern Lovers and the Kinks cc’d but ultimately unable to prove intent. But Kiwi Jr. conjure what we think about when one thinks about Patricia Highsmith paperbacks, Peel Session Comps, and pitchers of cheap domestic : Football Money is a laser cold hit.

                              Just Joans

                              The Private Memoirs And Confessions Of The Just Joans

                                Acerbic yet winsome Scottish indiepoppers The Just Joans return with the dazzlingly maudlin The Private Memoirs and Confessions of the Just Joans, a deeply personal collection of songs that hazily recall the past and contemplate the futility of the future. A titular twist on the classic gothic horror novel The Private Memoirs and Confessions of a Justified Sinner by compatriot James Hogg, the new album is the follow-up to 2017’s You Might Be Smiling Now… and contains the kind of melodies and mockery that led Uncut to class the band as the point at which “Stephin Merritt lies down with The Vaselines.” At the forefront remain the mischievous lyrics and heartfelt vocals of siblings David and Katie Pope, aided and abetted by Chris Elkin on lead guitar, Fraser Ford on bass guitar and Jason Sweeney on drums. Yet it is the recruitment of multi-instrumentalist Arion Xenos and guest appearance of Butcher Boy’s Alison Eales to arrange strings that have helped elevate the band’s music to new heights. Their progression is most noticeable on lead single “Dear Diary, I Died Again today”, a painfully beautiful admission of everyday anxiety and “When Nietzsche Calls”, the triumphant cry of a spurned lover revelling in the misery of their ex to a backdrop of trumpets and violins.

                                The juxtaposition of the fragility shown in these tracks with the menace of “Wee Guys (Bobby’s Got A Punctured Lung)” – an observation and understanding of the casual violence that once cast a shadow over the band’s hometown – highlights The Just Joans’ ability to seamlessly flip between sensitivity and danger, and sums up why Highway Queens described them as the “perfect Glasgow kiss.” The Private Memoirs and Confessions of the Just Joans is a veritable smorgasbord of misery, longing and unrequited love; stories of small town resentments, half-forgotten school friends, failing relationships and awkward workplace conversations. As David explains: “It’s a collection torn from the pages of the diary I haven’t kept over the past 25 years. There are songs about places and people I vaguely remember, feelings I think that I once may have felt and the onset of middle-aged ennui.” Despite entering new territory with the addition of brass and strings, they have nevertheless maintained the DIY ethos that made them darlings of the underground indie-pop scene, with each song on the album recorded and produced by the band in various gloomy bedrooms around Glasgow. “The Just Joans have documented the romantic pratfalls of a generation of indie kids with a sardonic wit and a shambling musical style where Stephin Merritt lies down with The Vaselines” 

                                FORMAT INFORMATION

                                LP includes MP3 Download Code.

                                Mythic Sunship

                                Changing Shapes

                                  Mythic Sunship played three shows at the 2019 edition of Roadburn - ”Changing Shapes” documents the most ferocious and courageous of the three. It follows 2018's ”Another Shape of Psychedelic Music”, where the band incorporated saxophone player Søren Skov, and ventured deep into uncharted sonic territory, somewhere in between fuzzed out space rock and free jazz. A sound that's both challenging and deeply engaging. As the festival described the album before the show: “The kind of album people talk about years afterward. The kind of album that isn’t for everybody, but for those whom it touches are never quite the same again.” ”Changing Shapes” is a continuation of those ideas, not just a live performance of previous material (only two tracks from ”Another Shape...” are featured on this set). Søren Skov joins the band again here as the five-piece burns through a handful of lengthy pieces in front of an ecstatic audience. It's an immersive listen, from the curious opening notes of ”Awakening”, to the relentless roar of ”Ophidian Rising”. ”If Mythic Sunship aren’t the shape of psychedelic music to come, it’s in no small part because there are so few out there who could hope to match what they do.” -The Obelisk ”It’s the sound of a band that have fully found their mojo and can just hammer out these sonic slabs that are devoid of cliche and scream originality.” -The Fragmented Flaneur ”They grind out massive riffs and tribal beats like a soundtrack to the apocalypse...This is psychedelic music unlike you’ve heard before.” -Complex Distractions 

                                  FORMAT INFORMATION

                                  LP includes MP3 Download Code.

                                  Various Artists

                                  Festival Compilation (Fuzz Club Eindhoven 2018)

                                    As With all Fuzz Club titles, this is for Indies Only. Fuzz Club Eindhoven 2018 - Festival Compilation. 

                                    Compilation album made especially for the Fuzz Club Eindhoven festival and includes lots of previously unreleased tracks, remixes and cover songs from bands that took part in the festival. Including Kikagaku Moyo, The Warlocks, Whispering Sons, The Telescopes, Snapped Ankles, Teeth Of The Sea and more. Triple record with 180g coloured vinyl in a heavy trifold sleeve and printed inner sleeves. This record is almost a kilo! Limited to 500 copies. 

                                    FORMAT INFORMATION

                                    3xLP Info: Available on 3x180 gram coloured vinyl.

                                    Field Music

                                    Making A New World

                                      Field Music’s new release is “Making A New World”, a 19 track song cycle about the after-effects of the First World War. But this is not an album about war and it is not, in any traditional sense, an album about remembrance. There are songs here about air traffic control and gender reassignment surgery. There are songs about Tiananmen Square and about ultrasound. There are even songs about Becontree Housing Estate and about sanitary towels. 

                                      The songs grew from a project for the Imperial War Museum and were first performed at their sites in Salford and London in January 2019. The starting point was an image from a 1919 publication on munitions by the US War Department, made using “sound ranging”, a technique that utilised an array of transducers to capture the vibrations of gunfire at the front. These vibrations were displayed on a graph, similar to a seismograph, where the distances between peaks on different lines could be used to pinpoint the location of enemy armaments. This particular image showed the minute leading up to 11am on 11th November 1918, and the minute immediately after. One minute of oppressive, juddering noise and one minute of near-silence. “We imagined the lines from that image continuing across the next hundred years,” says the band’s David Brewis, “and we looked for stories which tied back to specific events from the war or the immediate aftermath.” If the original intention might have been to create a mostly instrumental piece, this research forced and inspired a different approach. These were stories itching to be told.

                                      The songs are in a kind of chronological order, starting with the end of the war itself; the uncertainty of heading home in a profoundly altered world (“Coffee or Wine”). Later we hear a song about the work of Dr Harold Gillies (the shimmering ballad, “A Change of Heir”), whose pioneering work on skin grafts for injured servicemen led him, in the 1940s, to perform some of the very first gender reassignment surgeries. We see how the horrors of the war led to the Dada movement and how that artistic reaction was echoed in the extreme performance art of the 60s and 70s (the mathematical head-spin of “A Shot To The Arm”). And then in the funk stomp of Money Is A Memory, we picture an office worker in the German Treasury preparing documents for the final instalment on reparation debts - a payment made in 2010, 91 years after the Treaty of Versailles was signed. A defining, blood-spattered element of 20th century history becomes a humdrum administrative task in a 21st century bureaucracy.

                                      FORMAT INFORMATION

                                      Coloured LP Info: Limited transparent red 180 gram vinyl housed in a gatefold sleeve.

                                      Aoife Nessa Frances

                                      Land Of No Junction

                                        On the eponymously titled final song of her debut album Land of No Junction, Irish songwriter Aoife Nessa Frances (pronounced Ee-fa) sings “Take me to the land of no junction/Before it fades away/Where the roads can never cross/But go their own way.” It is this search that lies at the heart of the album, recalling journeys towards an ever shifting centre - a centre that cannot hold - where maps are constantly being rewritten.

                                        The evocative phrase is the result of a fortuitous misunderstanding. Reminiscing about childhood visits to Wales, Aoife’s musical collaborator and co-producer Cian Nugent, mentioned a train station called Llandudno Junction, which she misheard. “Land of No Junction later became a place in itself. A liminal space - a dark vast landscape to visit in dreams… A place of waiting where I could sit with uncertainty and accept it. Rejecting the distinct and welcoming the uncertain and the unknown.” Reveals Frances.

                                        The songs traverse and inhabit this indeterminate landscape: the beginnings of love, moments of loss, discovery, fragility and strength, all intermingle and interact. Land of No Junction is shot through with a sense of mystery - an ambiguity and disorientation that illuminates with smokey luminescence. Yet, through the haze, everything comes down to what, where and who you are. Frances has built a universe full of intimacy and depth, with lyrics written through a process of free thought writing. It lends the record fluidity, each song in dialogue with the next not only through language, but the way each musical choice complements or threads into another.

                                        Navigated by the richness of Aoife’s voice, along with the layers gently built through her collaborators’ instruments (strings, drums, guitars, keys, percussion), gives a feeling of filling up space into every corner and crack. A remarkable coherent sonic world: buoyant and aqueous, with dark undercurrents. The crossroads as a place where someone can be stuck, static in the face of the future, becomes instead an amorphous realm, where the remnants of the past and what is unknown meld together and come to an understanding. Where nostalgia and newness ebb and flow in equal measure.


                                        Georgia

                                        Seeking Thrills

                                          Georgia’s new album, ‘Seeking Thrills’, is a musically daring story of hedonism, self-discovery and, above all, the transcendental power of the dancefloor.

                                          The North West Londoner has been on a long, dazzling journey since the release of her critically acclaimed debut album in 2015. Her first self-titled collection of percussive, punk-inflected pop songs was lauded by The Guardian, Vice, The FADER and others - but nobody predicted the about turn she would make when she returned with two rough-hewn diamonds of house music in 2019.

                                          FORMAT INFORMATION

                                          Coloured LP Info: Available to independent retailers on red heavyweight vinyl with 16-page booklet and digital download code.

                                          The Big Moon

                                          Walking Like We Do

                                            The British gang arrived like a breath of fresh air with their Mercury Prize nominated debut album ‘Love In The 4th Dimension’ back in April 2017. Fronted by Juliette Jackson, The Big Moon unleashed song after song fizzing with melody and charm.

                                            The forthcoming second album, Walking Like We Do, was recorded in Atlanta alongside Grammy Award winning US Producer Ben H. Allen III (M.I.A./Deerhunter/Bombay Bicycle Club).

                                            The band are Juliette Jackson, Soph Nathan, Celia Archer and Fern Ford. 


                                            FORMAT INFORMATION

                                            Coloured LP Info: Orange Heavyweight vinyl.
                                            Gatefold with spine.
                                            A3 poster.
                                            Download card.

                                            LP Info: Black Heavyweight vinyl.
                                            Gatefold with spine.
                                            Download card.

                                            Erratics & Unconformities is the first album by Craven Faults. It follows three EPs: Netherfield Works, Springhead Works and Nunroyd Works. Long-form analogue electronic journeys across decades and continents, and swathes of post-industrial northern Britain.

                                            The journey on Erratics & Unconformities picks up where Netherfield Works left off. We take the canal towpath out of the city. We fork north shortly afterwards. Is this where it started? The terrain gradually becomes more rugged. Familiar. Wild. Evidence of human activity is less immediate in this glacial landscape. It’s there if you seek it. But easy to ignore. If you listen carefully, you can still hear the weight of the ice-sheet carving its way through the rock.

                                            Everything in its own time. The output from the old textile mill Craven Faults calls home is no longer as linear as it once was. There was no clear start point for the project, rather simply rediscovering the joy in experimentation with no material goals. Some of the recordings that make up Erratics & Unconformities go back almost seven years. Tracks have come and gone in that time. They don’t leave until they’ve undertaken a stringent quality control process. It started slowly, but has picked up momentum in the last eighteen months. Recorded and re-recorded to the correct level of imperfection, and then left to breathe. Mixed and re-mixed. Carefully compiled when the time was right.

                                            The journey is just as important as the destination.


                                            STAFF COMMENTS

                                            Matt says: Inna kinda Will Bevan / Burial type fiesco, Craven Faults has got us all eagerly scratching our heads trying to work out who this post-industrial-obsessed Northerner could possibly be! The music is phenomenal, conjuring desolate sonic canvasses of a forgotten North. His interest in textile mills and the history of the industrial revolution, alongside other lesser known monuments of northern England show an artist with a keen interest in local history; but his application of these ideas and themes to his musical composition is nothing short of breathtaking. A majestic artist in the making - get to know.

                                            FORMAT INFORMATION

                                            2xLP Info: Black vinyl edition.

                                            Another win for the Glowing Pin as Müller & Wandt drop a fresh new age groover on a killer club dub tip. Elsewhere Phazer Boys, Suzanne Kraft, Philipp Otterbach and River Yarra remix the pscht out of their favourite tracks from ‘Instrumentalmusik..’. Expect Goan hits, cosmic trips, loved up rave and chilled out wave on this flawless five tracker.

                                            Growing Bin becomes Glowing Pin for the most anticipated rematch of the century. Back at the beginning of 2018, Wolf Müller and Niklas Wandt went head to head for a box office smash, throwing a high school percussion tray, wall of hardware and voodoo skull into the ring for the tribal trip of ‘Instrumentalmusik Von Der Mitte Der World’. Now the multi-instrumental duo face off once again, but this time it’s a royal rumble with Phazer Boys, Suzanne Kraft, Phillip Otterbach and River Yarra all bringing the noise to the Glowing Pin.

                                            Müller and Wandt dominate the action on the A1, playing loose with sampler vox, serene pads and future primitive rhythms on the unreleased ‘Fun Dub’ of the also unreleased ‘Dub Dub’. Imagine Ferris Bueller’s trampoline tumble trading Chicago to the Weissenhof and you’ll sense the mood of this New Age groove. Germany’s number one party dudes, those freaky Phazer Boys take a break from dropping killer Candomblé cuts to reach for the lasers on the A2, taking ‘Ahu’ to another dimension. Dripping in neon body paint and armed with fire poi, the Düsseldorf duo power up progressive house sequences, didgeridoo bass and thumping tribal house percussion for a wall-shaking, speaker-breaking remix.

                                            The B1 belongs to synth whiz Suzanne Kraft who revels in glistening, gliding glory on an expansive remix of ‘Auflösung’. Sleek, serene and futuristic, the track shimmers like Fritz Lang’s Metropolis, free from inequality and rendered with the 5D(ub?) majesty of a DMT breakthrough.
                                            B2 hears Salon associate and serious talent Philipp Otterbach take over on a stripped back and psychedelic post punk dub of ‘Expedition’. Angular bass by Süne Große and a stuttering rhythm underpin astral flourishes and the hazy vocals of Lucas Croon before the African elements begin to move to the forefront.
                                            Last man standing is Australian outlier River Yarra, who leads us into the Krautback with a chugging dub of ‘Weltraumsandalen’. Lent a lysergic sparkle by a percolating one-note bassline, this slow motion stunner masters perpetual motion amid the eerie echoes of the bush, organic percussion and electronic animal cries fading into the night. Let the pins glow again.

                                            STAFF COMMENTS

                                            Patrick says: Not content with turning out the hottest LP of 2018 (back in stock now!), Wolf Müller & Niklas Wandt swap Growing Bin for Glowing Pin for this remix spectacular. Calling on Phazer Boys, Suzanne Kraft, Philipp Otterbach and River Yarra, the drum-loving duo serve dub-not-dub, wavey pop, prog house, post punk and cosmic wobble, all with the required amount of weirdness. Essential business for the fun loving DJs of the world!

                                            The Flaming Lips

                                            The Soft Bulletin - Live At Red Rocks

                                              On 26th May 2016, The Flaming Lips performed their universally acclaimed 1999 album The Soft Bulletin in its entirety with the Colorado Symphony at Red Rocks Amphitheatre in Morrison, Colorado. This particular event has been regarded by those in attendance as one of the most awe-inspiring, moving and magical moments of a lifetime. For the Lips and their fans, perhaps the apex of a magnificent interpretation that will remain as rewarding and emotionally-charged as it was that night in 2016. The Flaming Lips performed the 12-track album in its original sequence with new arrangements accompanied by a 69-piece orchestra and 56-strong chorus. The performance was conducted by the internationally celebrated conductor Andre De Ridder.

                                              Now, the resulting live recording is being released to celebrate the 20th anniversary of The Soft Bulletin. The album was the band’s breakthrough moment and featured the hit singles “Race for the Prize” and “Waitin’ for a Superman.”

                                              ‘Special Edition Part 1’ is the first release of a long envisaged double album project with separate chapters. The next journey, Part 2 will be released in 2020 after stringent road-testing with audiences over 35 shows across New Zealand, UK and Europe celebrating the release of the Part 1. These upcoming live performances will allow the band to fully explore new song-writing technology and give rise to a slamming Part 2.

                                              The new album follows on from 2015’s ‘BAYS’ LP, which saw support from Financial Times, Resident Advisor, Dummy, the DJ Mag and Clash-acclaimed ‘Blackbird,’ second album ‘Dr Boondigga and the Big BW’ - which gained rave reviews by The Guardian and BBC Music - and the band’s record breaking debut album ‘Based on a True Story’, which went nine times platinum and remained in New Zealand’s top 40 charts for over two years after its release in 2005.

                                              The album cover artwork is by Wellington artist Otis Chamberlain, a continuing evolution from his creation for the its first single ‘Trickle Down’, a work that's morphed from digital cover art to the band’s massive summer tour backdrop and the recently released late-night buttery steppers ‘Kamo Kamo’.

                                              FORMAT INFORMATION

                                              2xColoured LP Info: Indies exclusive coloured vinyl - one disc transparent violet vinyl the other purple.

                                              Purple Heart Parade

                                              Desolation Angel E.P.

                                                Manchester's Purple Heart Parade are set to release their third EP on January 10th through premiere post-rock ambassadors Club AC30. Purple Heart Parade have had a number of support and festival appearances alongside Temples, Toy, Swervedriver, The Telescopes, Sean Lennon, as well as securing slots at Liverpool Psych Fest, The Secret Garden Party, Kendal Calling and Portugal's Reverence Festival. The band's rise is also gaining interest from highly esteemed peers, with noted admirers including the likes of The Verve's Nick McCabe, Ride's Mark Gardener, Primal Scream's Simone Butler and Sean Lennon to name but a few.

                                                "A swirling vortex of pounding drums and steely vocals that gives way to a melodic, trance-inducing rift." – NME.

                                                FORMAT INFORMATION

                                                Coloured LP Info: Vinyl is solid purple/orange split coloured.

                                                Coloured LP includes MP3 Download Code.

                                                BubbleTease Communications and Running Back team up once again for Mim Suleiman’s fifth studio album on vinyl and compact disc. Produced by Baltimore-via-Sheffield house music monolith - Maurice Fulton - we find the Zanzibar-born-UK-based vocalist and percussionist dancing and prancing to the 14 songs featured here with a vibrancy and presence that should transcend tradition genre boundaries and the demographics associated with each. You're gonna find indie kids shacking their shit in the dance whilst ravers contemplate the deep multi-cultural message contained within.

                                                The tropes of house and disco are mixed here with wonderful rhythmic adventures, infectious futuristic pop and ultramodern African music, while the mesmerizing and addictive lyrics are sung in Swahili and deal with love and affection, freedom, oppression, unity and everyday life. Enchanting, entrancing and entertaining all the way. And of course, highly recommended by us here at Picc HQ. 


                                                STAFF COMMENTS

                                                Matt says: Nice, colourful and vibrant album with maximum crossover potential. Maurice Fulton producing Mim Suleiman is a match made in Swahili-indie-dance leftfield heaven! Batshit in parts, adventurous throughout and highly, highly listenable - another masterpiece to add to Fulton's bulging catalogue.

                                                The fourth album from ephemerals, 'the third eye' sees them build and develop the work they started on their Alice Coltrane inspired record – 'egg tooth' as they continue their ever-evolving musical journey.

                                                Fusing styles including spiritual jazz, psychedelia, and spoken word, to convey an identity that is unmistakably their own. The core of the work is built from the honest and incisive compositions of Hillman Mondegreen combined with the unmistakably emotive vocal delivery of singer Wolfgang Valbrun.

                                                Experimenting with recording and mixing techniques to illustrate the artistic concepts behind the songs has been key in the overall character of the record. Hard panning is used to group together specific sounds and instruments to the left and right to convey masculine and feminine sides within the track as within the individual.

                                                For songwriter Hillman Mondegreen, the LP is a deeply personal and conceptual body of work using ambiguous harmony to discuss gender identity, polychords to demonstrate the power of being between the gender binaries, and modal changes to remove the homeliness that you find in traditional major/minor songs, speaking to the alienation of being transgender.

                                                Although drawn from Hillman's personal experiences the writing is always universal, and singer Wolfgang Valbrun relates the pieces to his own experiences of a young black man leaving the USA to live in a new country where even language had to be re-learned to discover where he fit in in this new world.

                                                The band has evolved exponentially over the course of four albums, and they continuously push beyond the boundaries of traditional genre ideas and traverse unexplored musical territories.

                                                Gerard Hanson fans are currently enjoying a feast of new and old music from the electro stalwart, with Frustated Funk reissuing a double 12" a few months ago and now this brand new LP on Forgotten Future.

                                                One of the most revered and respected of the knob twiddlers, Hanson's aliases (Convextion, ERP), since 1995, have created some of the most unique and atmosphere-riddled pieces to have graced the techno and electro cannon. His scarce, quality-controlled output, coupled with his shyness towards publicity and an almost none existent touring schedule have earned his a diehard set of fans across the world, culminating in a now historical European debut here in Manchester in 2006 at the old Rampant Lion pub for (Wet Play precursor night), Detroit Public Radio - !!!

                                                Anyway, what's in store on "Exomoon" I hear you ask? Well, the most emotion-charged neon-lit futurescapes I've heard for a while. Imagine if you were piloting a drone around nocturnal Tokyo in the year 2055. The reduction in combustion of fossil fuels resulting in a serene, quiet and crystal clear environment. You're darting around at sky-scraper height, surveying the cityscape in your precision, hovering craft. These are the kind of images I get right through "Exomoon", but everyone will have their own interpretation - the common theme evoking lucid dreams of science fiction megaworlds; A.I.-induced calm and an omnipresent, highly sentient, alien-robot hybrid that governs over all.

                                                Highly, highly recommended! 


                                                STAFF COMMENTS

                                                Matt says: Gradually elevating himself to mythical demigod of electro, sitting alongside high priets Drexciya and Aux88, Convextion's ERP alias ushers forth a new era for hi-def electro. Harnessing new energy models and renewable fuels, this wide-spectrum trip should satify the most die-hard electro fans.

                                                Golden Bug & In Fields

                                                Vibrations Métalliques

                                                Höga Nord Rekords, the home of higher sounds, deeper drug chug and entirely psychedelic listening hook heads everywhere up with a long player of leftfield lysergia from Golden Bug & In Fields.

                                                Golden Bug previously graced the label with the mogadon groove of a totally spangled 7", and the Frenchman finds the perfect foil for his sound, teaming up with In Fields to push the envelope on 'Vibrations Métalliques'. Hazy metallic ambience swells and churns through electronic eddies, breaking into slow-disco grooves, unhinged acid licks, pitch black stompers and smudged frequencies. Eccentric, exotic, expressive and utterly irrestible. Another winner from the Swedish imprint!

                                                Shorelights

                                                Summer Cottage Soundscapes

                                                  Phwoooar you lucky buggers! We've been doing a spot of clearing out for the new year and have uncovered sealed copies of this phenomenal project by dub-techno pioneer Rod Modell, joined by fellow luminaries, Walter Wasacz and Christopher McNamara.

                                                  An exercise in suspended, elevated bliss; coalesced with the dub-shards and infinite echo(space) that characterizes much of Rod's productions; this is a weightless and euphoric experience which should set the listener as far away from the skip / search buttons as fathomably possibly and instead soak them in a synthetic blanket of electrostatic, techno-dub transcendence!

                                                  Originally released in 2017, it's absolutely criminal that these copies have been hidden in the shop this long! Form an orderly queue (read: get your arse down t'shop or ont website PRONTO) and get involved in some seriously horizontal sonic exploration.

                                                  Highly recommended! 


                                                  STAFF COMMENTS

                                                  Matt says: Recently unearthered from under my desk (!!!) this is a sublime Rod Model (and friends..) release which exists on a shimmering plane of blissful excellence. There's only a few copies so don't fuck about.

                                                  El Tipo Mas Bonito En La Generacion De Los Feos (Greg Beato)

                                                  S/T

                                                  Limited edition Greg Beato album / comp here under an alt alias and released on his own Ni Un Pero imprint. Existing fans should be kept more than interesting with his vigorous mix of bangin' and clatterin' drums, metallic textures and hefty kick drums. Haphazardly contrasting stark, industrious moods with glimmers of harmony. Rhythmically strong throughout, paying most obvious tribute to the years of house and techno music that precede it. This isn't some pastiche though, every track feels real and honest and battered out of Beato's boxes with abandon.




                                                  STAFF COMMENTS

                                                  Barry says: Proper dark resonant electronic acid mayhem here from Beato, with snapping bit-crushed percussion, industrious squealing 303's and frantic, crescentic melodies. Killer.

                                                  Wolf Müller & Niklas Wandt

                                                  Instrumentalmusik Von Der Mitte Der World

                                                  Growing Bin burst into 2018 with a bang, crash and symbol splash, uniting a premier pair of percussion obsessives for a supernatural mission into the heart of the rhythm.
                                                  Dressed in the pitch black of Dusseldorf stands Wolf Mueller, master of the tropical drums and seven time Salon Des Amateur breakdance champion. Repping Cologne and Berlin is Niklas Wandt, Germany’s funkiest drummer and a mixed musical artist as adept in experimental jazz as demented Eurodance. Standing toe to toe in a no holds barred, no drum unstruck groove contest, these two titans will make you swing your pants like a Crash Bandicoot victory dance... so stretch out and step into "Instrumentalmusik von der Mitte der World".
                                                  Taking to their task with the joyful abandon of two big kids getting creative with the Kindergarten music tray, Müller & Wandt marry dripping electronics, Froesean pads and rubber-limbed basslines with tribal polyrhythms, C2 claps and Indonesian shakers - and that‘s only on the A1. Comprising of three trance-inducing epics, a handful of medium-sized movers and a couple of freeform interludes, this dynamic double pack could almost pass as a lost Library masterpiece; but our mind guides go Furthur, fusing esoteric funk and free-jazz freak-out a truly transportive experience. Prepare to enter a world of techno totems and neon skulls, shades of Yello and excellent birds. Within these grooves lies a transdimensional pathway between the Temple of Doom, the Twilight Zone and De Palma‘s Paradise, brought to life in a shamanic rite.

                                                  Forget the healing frequencies of Growing Bin‘s ambient outings, this time we‘re dancing for mental health.


                                                  STAFF COMMENTS

                                                  Patrick says: Growing Bin continue to smash it with this MASSIVE double LP from Dusseldorf disco king Wolf Muller and percussion freak Niklas Wandt. Packed with all manner of tropical drums, kosmische tones and infectious grooves, this is retro-futurist dancefloor exotica like you've never heard it before.

                                                  Gaz Coombes

                                                  Sheldonian / Live / EP

                                                    The EP consists of four songs recorded live at the Oxford Sheldonian earlier this year and is to be released on 20th December on digital and vinyl.

                                                    The EP comes following his charity concert at the Sheldonian Theatre to mark the 350th anniversary of Christopher Wren’s iconic building. Gaz performed a bespoke set with an orchestral arrangement with Luke Lewis conducting. All proceeds from the concert were donated to two local charities, Yellow Submarine of which supports people with learning difficulties, and the Young Women’s Music Project (YWMP) with Suzy Bowtell of the charity opening the show.

                                                    Previously, Gaz released his album ‘World’s Strongest Man’ back in 2018 which was the follow up to 2015’s ‘Matador’ – a record conceived, recorded and mixed in the studio equivalent of solitary confinement. It transported Gaz from ‘former Supergrass frontman’ to hugely respected Mercury and Ivor Novello nominated solo artist in the space of ten months. After this came ‘Salamander’, the first release after the highly acclaimed album. The track was written and recorded by Gaz at his Oxford studio, co-produced alongside long-time collaborator Ian Davenport, and featured guest performances from members of his incredible touring band.


                                                    FORMAT INFORMATION

                                                    Coloured LP Info: Turquoise (transparent) Vinyl.

                                                    Rostam

                                                    Live At Third Man Records

                                                      Recorded shortly after his solo debut album Half-Light (and about 2 years following his departure from Vampire Weekend), Third Man had the distinct pleasure of hosting Rostam, as he graced the Third Man Blue Room stage in Nashville with a penetratingly thoughtful yet cheery set of whole-hearted indie electronica, fi lled out with bongos and a string section.

                                                      The live document is a very special one because it contains only songs from Half-Light, tour-tight and with clever nuances, nods and charm that can only be captured live. Not to say that this was anything but an outstanding live recording, complete with expertly commanded vocals and elegantly crafted strings. For those of us who weren’t able to see live, a standout moment is the playful fourth track “Wood”, which nourishes a lush, dynamic, beautiful little world into The Greater Consciousness. This live album was recorded direct-to-2” tape in the Blue Room.

                                                      Nurse With Wound

                                                      Trippin' Music

                                                        3 LP Box set in three different coloured dayglo vinyl LPs, with a fold out insert. There is no track listing - no Side A, B etc. This music is to be played in whichever order the listener wants to. The box and insert all have new artwork by Babs Santini. All new material. 

                                                        FORMAT INFORMATION

                                                        3xColoured LP Info: 3LP Box Set Neon Orange/Yellow/Green.

                                                        Following his debut 12” “Human”, Armonics teleports back to the Slow Motion mothership with his debut mini-album: "Nuovi Orizzonti". Dreamy, lo-fi fuzz emanates from cassette tape and vintage circuit boards to synthetic travel music that will jettison you into outer space. The Mediterranean’s answer to Legowelt. Strap in. Tune out.

                                                        STAFF COMMENTS

                                                        Patrick says: The label dub Bari's Francesco Strippoli the Mediterranean's answer to Legowelt, but frankly that doesn't do him justice. The six tracks which make up this debut mini-LP do share the tapey hardware aesthetic of the Dutchman, but for me there's more feeling here, a romanticism you only find in Southern Europe, which takes this to a different level.

                                                        Written in Toronto and Montreal between 2017-2018, this debut LP from Ex-Terrestrial is in part the residue of long drives through Belgian countryside listening to shadow music. "Gamma Infolded" is a reflection of the fractured self, a culmination of distractions erected into intricate edifices. Dense foundations of dissonance support quirky, smile-inducing melodies in curious and odd states of being. All that can break is broken and all that is amplified is nullified.




                                                        STAFF COMMENTS

                                                        Matt says: Rising cosmic shaman Ex-Terrestrial continues to conjure up spellbound dance music in the same vein as RAMZi, Aiwo, (the more esoteric side of) Firecracker etc etc. Check!

                                                        Since 2000 Mapstation has been the solo moniker for TAL label founder and Kreidler member  Stefan Schneider. There has not been a new Mapstation release since 2009’s The Africa Chamber which had former Fela Kuti member Nicholas Addo-Nettey on percussion. The new album "Present Unmetrics", is not entirely a stand-alone creation either. There are guest appearances by Thomas Klein (Kreidler) on percussion, Michael Acher (The Notwist) on Sousaphone and an outstanding vocal contribution from Japanese singer Haco, all deeply woven into the digital topographics of the music.
                                                        "Present Unmetrics" offers a collection of radically subtle music. The guiding principle of the album was to construct direct and nuanced tracks which embody a sense of open-ended incompleteness and heterogenous dynamics.
                                                        Out of sync bass arpeggios, infused with uneven rhythms, fractured synth stabs and intimate melodies, frequently created here with a Schlumberg sine wave generator, are continuously engage with experimentation, both on sound and structure.
                                                        Expertly pieced-together and produced in timeless fashion, "Present Unmetrics" displays all the coherence and artistic authority of an album on a constant quest so vital to the music of Mapstation. An album that couldn’t have been made by any other than Mapstation.


                                                        STAFF COMMENTS

                                                        Patrick says: Brooding and hypnotic electronix here from Kreidler's Stefan Schneider, who once again utilises his Mapstation moniker to take us on a mindbending trip into his unique musical galaxy.

                                                        This split release unites two female underground acts, both of whom have recently become pivotal parts of the contemporary electronic musical landscape in Japan. Hot on the heels of the highly acclaimed “Paredo EP” compilation, the “Super Mild” split album is the second outing by Kopy and Tentenko on TAL. Their newest works punctuate their highly individual approaches to contemporary experimental dance music.

                                                        Tentenko is a Tokyo-based electronic music producer. Her career began in 2013 when she joined the mainstream idol group BiS. Immediately after her departure from BiS in 2014 she commenced work on her solo project under her artist name Tentenko. Since then she has radically reinvented her music away from glossy J-POP towards weird and industrial rooted dancefloor. Tentenko first made a name for herself on the alternative Japanese music scene with a steady flow of live performances as well as collaborations with members of the legendary Japanese noise band Hijokaidan.

                                                        For a few years now Kopy has been an unpredictable and charismatic part of the vital electronic music scene of Osaka. She has quickly garnered a reputation for creating her live sets exclusively with borrowed electronic equipment. Her name Kopy very much originates from this "concept“. Apart from a few performances at Düsseldorf’s famous nightspot Salon Des Amateurs, she has been invited by Lena Willikens to her showcase at the Meakusma Festival in 2018. Her sinister dancefloor mystique is heavily steeped in the free spirited noise and rhythm cultures of her hometown.


                                                        STAFF COMMENTS

                                                        Patrick says: In an international meeting of experimental electronic lunacy Japanese artists Kopy and Tentenko take a side each on this split LP for Dusseldorf label TAL. Buzzing electronics, clattering machine rhythms and twisted samples all turned inside out for the open minded dancers.

                                                        It's ten years since Joe Morris enjoyed his first release of original music. In the ensuing decade Joe has sharpened his skills indelibly, gaining a reputations with an ear for music with depth, emotion and feeling. Fitting then his tenth year in the studio sees him release his debut album. Designed as a 360 view of his kaleidoscopic musical palette, "Exotic Language" is a nine song opus taking in deep house, new age, ambient and Afro textures. 
                                                        Opener "Firefly Island" is a horizontal mood setter, washing over you with its gorgeous soundscapes. "Perfume" sees a delightful collaboration with Private Agenda who lend their unique, dreamy vocals. "A Dance With Jupiter" takes inspiration from classic Chicago house music while "Echo Station" is an experiment in Dub. Things get spacey and ethereal on "Celestial Plantation", "Dream Clouds" is an ode to early Italian deep house. "Acid Safari" is a wigged out slow burner and "Spirit Walker" takes inspiration from Larry Heard and Afro house. Final track "Milo's Theme" is a bitter sweet closer to the album, with a guest appearance by Joe's nine month old son.

                                                        STAFF COMMENTS

                                                        Patrick says: Killer self released debut LP from Leeds head Joe Morris here, who puts his love of Balearic moods, warm house bass tones and nuanced disco rhythms into ten top tracks for DJs and dreamers. Whether he's drifting through horizontal ambience or hitting the floor with a humid jacker, Joe keeps both melody and mood at elevated levels.

                                                        Czarface

                                                        The Odds Czar Against Us

                                                        Czarface, iron clad crime fighter, heroically returns to his lair after two spine-chilling adventures with MF Doom and Ghostface Killah. In his secret hideout, he has whipped up a few uncanny surprises for longtime Czar fans. Expect curveball concepts, solo exploits, and noggin nodding neck-snappers alike. “The Odd Czar Against Us” sees Czarface go full Voltron, employing every asset in his arsenal, maximizing lyrical efforts from Inspectah Deck & Esoteric and pulse-pounding production from in-house beatsmith 7L & Jeremy Page. This album stands to be the group’s most ambitious and challenging effort to date. Are the odds against him this time, or are they against the underworld? Tune in to find out! 

                                                        STAFF COMMENTS

                                                        Matt says: Hip-hop's newest supergroup go on an audio crime spree to end the decade on a high that's perfectly justified given their meticulous and creative energies for the last few years.

                                                        Kashual Plastik 007 is more than just a double agent, it's a costume changing fifth columnist, destroying and reassessing how we could or should release music in this spoon-fed era.

                                                        Established scholars Georgia, alongside freshers NAR, Paul Arambula and KC, mix drinks with F_ingers (a combo of Carla dal Forno, Tarquin Manek & Samuel Karmel (CS + Creme); A.K. Klosowski, the 80´s experimental tape artist from Hamburg, rubs shoulder pads with Brannten Schnüre fresh from their blinding album via Low Company; Nadine Byrne from Swedish noisesters Ectoplasm Girls; Andre Uhl, musician and futurologist - there's plenty of seats on top. The busload of creators on this anthology weave a psychedelic, dream-like state, with drones, opiated melodies and stellar visions.

                                                        STAFF COMMENTS

                                                        Patrick says: Though this isn't the weighty wonder of the wooden-box edition which dropped earlier in the year, a hand stitched, screen printed gatefold is still a worthy way to package this outstanding collection of experimental electronics, avant-garde lullabies and deepest ambient.

                                                        FORMAT INFORMATION

                                                        2xLP Info: Limited gatefold 2xLP + insert in screen-printed sleeve

                                                        Eddy Current Suppression Ring

                                                        All In Good Time

                                                          It is impossible to deny no one sounds like Eddy Current. I was hooked from riff one and I was lucky enough to do a full tour of Australia with them years ago—good fucking boys, simple as beer and chips, and that satisfying live. But that’s not to say there aren’t odd complexities to their definitive sound. “You can smell Mikey Young’s guitar approach like Sasquatch rustling the bushes, every time you think you see the bend ahead, you go into a tunnel or backtrack for a moment, then back to a nice place you can call home. Rob [Solid]’s bass is pub-fuzz groove. It’s shellson- the-floor and leaning-against-the wall-with-one-hand-while-youhave- a-piss thinking: maybe you can take that guy? Only one way to find out— oh wait, he’s smiling…nice bloke! Danny [Young]’s drums are a clinic in reservedness: 4-on-the-floor. This guy’s Charlie Watts in the looking glass, every hit a necessity—solid, not flashy, like the lead street tough in a ‘70s flick. He don’t say much, but it counts. And then there is Brendan [Huntley], be-gloved lead mensch in this quartet. Singing with earnest street poet confidence, his message coming in on the weird-wire, hard to describe, best to just listen and see: a pubpunk- priest. “We are very pleased to have these boys back on the streets. It had been far too long.” - John Dwyer.

                                                          STAFF COMMENTS

                                                          Barry says: Castle Face definitely have a sound, and this newest one from Eddy Current Suppression Ring fits right in, seamlessly. Grooving guitars, frantic freak-outs and snarling vocal madness all embellish a satisfying and groove-led odyssey. Ace stuff.

                                                          Sufjan Stevens & Timo Andres

                                                          The Decalogue

                                                            Oscar- and Grammy-nominated composer, vocalist and multi-instrumentalist Sufjan Stevens releases his acclaimed score for Justin Peck’s ballet The Decalogue via his own label, AKR. Performed by the pianist Timo Andres, the recording is the first time the score, premiered during the New York City Ballet’s 2017 season, is available to the public. 

                                                            The Decalogue is the third collaboration between NYCB Resident Choreographer Peck and Stevens, following 2012’s Year of the Rabbit and 2014’s Everywhere We Go. The piece was widely praised upon its premiere; The New York Times lauded the “beauty and charm” of Peck’s choreography as well as Stevens’ “romantically modernist études.”

                                                            Brooklyn-based composer-pianist Timo Andres is a Nonesuch Records artist, who has written major works for the Boston Symphony, Carnegie Hall, the Barbican, the Takács Quartet, the Concertgebouw, and elsewhere. He performs regularly with Gabriel Kahane, and has frequently appeared with Philip Glass, Becca Stevens, Nadia Sirota, the Kronos Quartet, John Adams, Ted Hearne, and others. As a pianist, Timo has performed at Lincoln Center, for the New York Philharmonic, the LA Phil, at Wigmore Hall, for San Francisco Performances, and at (le) Poisson Rouge. Upcoming highlights include a curated program for the Cincinnati Symphony (featuring Dance Heginbotham and a performance of Andres’s cello concerto, Upstate Obscura), and a solo piano recital for Carnegie Hall. Previous work with Sufjan Stevens includes the orchestration of “Principia” for Justin Peck and the New York City Ballet.

                                                            A singer-songwriter currently living in New York, Sufjan Stevens’ preoccupation with epic concepts has motivated two state records (Michigan and Illinois), a collection of sacred and biblical songs (Seven Swans), an electronic album for the animals of the Chinese zodiac (Enjoy Your Rabbit), an expansive EP in homage to the Apocalypse (All Delighted People), a full length partly inspired by the outsider artist Royal Robertson (The Age of Adz) and two Christmas box sets (Songs for Christmas, vol. 1-5 and Silver & Gold, vol. 6-10). BAM has commissioned two works from Stevens, a programmatic tone poem for the Brooklyn-Queens Expressway (The BQE) and an instrumental accompaniment to slow-motion rodeo footage (Round-Up). Stevens’ Planetarium, a collaborative album with Nico Muhly, Bryce Dessner and James McAlister imbued with themes of the cosmos, was released in 2017 to widespread critical praise.

                                                            2015’s highly acclaimed Carrie & Lowell explored his relationship with his mother in the wake of her death; a companion collection of outtakes, remixes and demos, The Greatest Gift Mixtape, was released in 2017. The songs “Love Yourself” and “With My Whole Heart” were released in 2018 in celebration of Pride Month, with a portion of the proceeds benefitting the Ali Forney Center in Harlem, NY and the Ruth Ellis Center in Detroit, MI. Stevens also contributed three much-lauded songs to Luca Guadagnino’s critically acclaimed film Call Me By Your Name, including the Oscar-nominated “Mystery of Love.”

                                                            Various Artists

                                                            Full Beam - For Gees Only Volume 2

                                                            Ok finally after months and months of broken promises, Full Beam! - For Gees Only volume 2 is upon us. Get ready for 8 absolute nuggets from the deepest caverns of boogiedom. Pharaoh B and his Pyramid Suite crew have overloaded the hydrofoil for this one. You know the rules: Vinyl only no digi ever and no repress ever. 300 for the universe so buy or cry. ONE PER GEE (discogs sharks i'm talking to you - don't even think about getting ya mam to order another copy on your behalf we will find you out). ALL HITTERS NO SHITTERS. Strictly not for choppers. This is serious gear peops - guaranteed to blow nappers clean off. No sound clips either - you're gonna have to trust us - your bravery will be rewarded. Mega rare tackle - get your orders in before it's too late.

                                                            STAFF COMMENTS

                                                            Matt says: Market leaders in boogie & street soul return with more sounds made famous on their acclaimed NTS show and played at their rousing MCR parties. As Pharaoh Brunson himself says - 'all hitters no shitters!'. Worth it for that £500 "Money Talks" track alone.. DO NOT SLEEP!

                                                            Nineteen tracks of Russell’s most personal work. Featuring collaborations with a stacked roster of downtown New York musicians. More than forty years after Russell recorded several nearly finished songs, Broderick worked diligently with Audika to complete them, and performed audio restoration and additional mixing.

                                                            Over the past decade, the visionary musician Arthur Russell has entered something close to the mainstream. Sampled and referenced by contemporary musicians, his papers now open to visitors at the Performing Arts Library at Lincoln Center in New York, and his name synonymous with a certain strain of tenderness, Russell is as widely known as he’s ever been.

                                                            Thanks to Russell’s partner Tom Lee and to Steve Knutson of Audika Records, who have forged several records from Russell’s vast archive of unfinished and unreleased work, the world now hears many versions of Arthur Russell. There’s the Iowa boy, the disco mystic, the singersongwriter and composer, and the fierce perfectionist deep in a world of echo. While all of these elements of Russell are individually true, none alone define him. Now, after ten years of work inside the Russell library, Lee and Knutson bring us Iowa Dream, yet another bright star in Russell’s dazzling constellation. Blazing with trademark feeling, these nineteen songs are a staggering collection of Russell’s utterly distinct songwriting.

                                                            And although Russell could be inscrutably single-minded, he was never totally solitary. Collaborating here is a stacked roster of downtown New York musicians, including Ernie Brooks, Rhys Chatham, Henry Flynt, Jon Gibson, Peter Gordon, Steven Hall, Jackson Mac Low, Larry Saltzman, and David Van Tieghem. Musician Peter Broderick makes a contemporary addition to this list: more than forty years after Russell recorded several nearly finished songs, Broderick worked diligently with Audika to complete them, and performed audio restoration and additional mixing.

                                                            STAFF COMMENTS

                                                            Patrick says: P.S. Disco fans need to check the mega "I Kissed The Girl From Outer Space!

                                                            Patrick says: This collection of previously unheard demos and sketches, diligently restored, completed and compiled by Peter Broderick finds the genre-fluid outlier in cornbelt-country mode, treating us to tender ballads, aching Americana and dreamy power pop across four sides. I didn't need any more convincing that he was a once in a lifetime talent, but the brilliance of this set is making my soul hurt.

                                                            Ground & Water, Blu and Damu The Fudgemunk have released yet another standout project as part of their already-incredibly noteworthy catalogues. But this time, they’ve done it together. After collaborating in different ways over the years, the two joined forces for a release that’s every bit as dope as you’d hope considering who’s involved. From the Los Angeles rapper’s tight-as-ever rhymes to the Washington, D.C. native’s crunchy production, Ground & Water captures exactly why Blu and Damu are so revered. For Damu, that meant diving into the storied discography of his new partner-in-rhyme. While the producer always thought highly of the emcee’s talents, he says he realized that Blu’s much greater than people give him credit for.

                                                            That led to the excitement of creating Ground & Water, because Damu knew he’d get to tell a story through a cohesive release. The story is one that treads personal, introspective territory that Blu delivers like only he can. On standout track “Share The Love,” Blu and guest Raw Poetic (one of Damu’s frequent collaborators) tackle the dusty, meditative production with thoughtful raps about wanting to see the world in a better place with inspirational lines like, "Stop being so tight, and be more lovable/ I guarantee more opportunities open up for you." Similarly, Blu bares his soul on instant highlights “Feet on the Ground,” “Rhymes & Gemstones,” and “Grey Heaven." His verses take a deep dive into relatable topics like faith, guilt, spirituality, humility, and so much more, proving that his pen game is as sharp as ever. “When you listen to the lyrics and digest the subject matter, there's a lot of depth in his words,” Damu says of his collaborator. “I wanted to provide a similar depth in the music.” To say he matched Blu’s efforts would be an understatement, which you could find out for you 

                                                            STAFF COMMENTS

                                                            Millie says: Collaborating to make this incredible hip hop album is Blu & Damu The Fudgemunk. Amazing production and beats, not to mention the impacting lyrics which hold so much depth and relevance. This needs your attention!

                                                            FORMAT INFORMATION

                                                            Coloured LP Info: Blue Vinyl LP.

                                                            Neka Neka' (on General Purpose) is the first solo release by multi-disciplinary artist, Ex Ponto (Ivan Mašic). Coming of age during the mid-90s Melbourne rave scene, Ivan was infected with music by the legendary Kate Bathgate on 3RRR community radio.
                                                            Hearing music by the likes of Oliver Lieb, Will E Tell, HMC & and other producers of the time, an infection quickly turned into a music obsession that lives on today.

                                                            In the following years Ivan would go on to manage one of Melbourne's longest running record stores (Dixons Records) and in 2005 built a recording studio, aptly named The Womb. From 2005-15, he produced and played on over 20 albums for improvisation collective, Council of Elders and experimental, no-wave band, Wunderlust.
                                                            'Neka Neka' is a nod to ex-Yugoslavian experimentalists of the 80s (Rex Ilusivii, Kozmetika, Miha Kralj etc) and the thriving, late-night hedonism of Belgrade's Club 20/44.


                                                            STAFF COMMENTS

                                                            Patrick says: Excellent experimental electronics and wave here from lesser known Melbourne musical mainstay Ex Ponto. Amid the buzzing textures and immersive compositions, the humid "Straight To The Tropics" and Bush-of-Ghosts styled "Stuck In Oberon" sparkle particularly.

                                                            Energized by the funky sounds of 1970's West Africa but existing in a very modern space, Flammer Dance Band introduce their hybrid sound on new label Lyskestrekk Records. Packed with hip-shaking grooves, uplifting vibes, vibrating synths, screaming saxophones and crispy drum breaks all recorded in a warm and stuffy shack in Oslo and bolstered through some intricate but totally sympathetic electronic elements, "Flammer" is a charming and soulful homage to an era with a unique and rich sound: a truly raw and authentic sounding Afro-funk LP which brings new life to the existing cannon through some skilled and inspired musicianship and some brilliant writing. Fela eat your heart out! A precursor to, I imagine, an ambitious tour schedule; I'm already craving to see these perform live. With dreamy artwork to boot this is a lovely piece for Afro fans old and new - highly recommended!

                                                            "Tangerin" serves as a coda to the qualities that have established Celeste as one of the most instinctive and generous underground DJs in the current landscape of dance music. Beginning as a record store assistant at Idle Hands in Bristol and now a fixture of some of the world’s most acclaimed clubs and festivals, Celeste’s instincts and curiosity have forged a musical space that is very much her own. Here, whether in sweat-drenched basements or to vast numbers, she strikes a common cause between the melodic richness of the legacy of the music of Detroit, alongside the natural ease with which she carries across tempos that embody UK Soundsystem traditions. "Tangerine" is Celeste’s most fully-realised contribution thus far to this continuum of musical culture.

                                                            More than that, Tangerine is an innate extension of Shanti’s self, telling stories beyond her record box and delving into her personal history. There is her manipulated voice serving as a bedrock in tracks. There's a kalimba, recorded at her father's home in Chile.

                                                            There are, of course, her rich synthesizers that wrap her tracks like velvet cloaks, providing the familiar warmth and colour we know from her work so far on labels such as Idle Hands and Future Times. There’s even her characteristic paintings on the cover. Here, on her very own Peach Discs, the label she co-runs with goodfriend Gramrcy, Celeste naturally delivers her most impressive and wholly personal work.

                                                            'When I made music for EPs, sometimes I felt restricted,' she says. 'I would think too much about creating the moments on the dancefloor I love - seeing visions of ecstatic people hugging, I didn’t give myself free reign to express all of myself. Writing an album made me feel free of all this because it seemed like an open-ended project. I could just keep creating until I felt like stopping'.


                                                            STAFF COMMENTS

                                                            Sil says: I love this producer. Real deal house music for the heads the like it deep, but still like to party and dance front left. She gets my vote.

                                                            The Heliocentrics’ debut album, "Out There" (2007) was a confounding piece of work. Drawing equally from the funk universe of James Brown, the disorienting asymmetry of Sun Ra, the cinematic scope of Ennio Morricone, the sublime fusion of David Axelrod, Pierre Henry’s turned-on musique concrète, and Can’s beat-heavy Krautrock, "Out There" pointed the way towards a brand new kind of psychedelia, one that could only come from a band of accomplished musicians who were also obsessive music fans. Drummer Malcolm Catto and bassist Jake Ferguson are the Heliocentrics’ masterminds and producers, and guitarist Ade Owusu, percussionist Jack Yglesisas and keyboardist Ollie Parfitt hold constant presence within this ever-evolving ensemble. They have been playing together for over a decade and their collective drive is to find an individual voice. The Heliocentrics search for it in an alternate galaxy where the orbits of funk, jazz, psychedelic, electronic, avant-garde and ethnic music all revolve around The One Back at Now-Again with 13 Degrees of Reality, the Heliocentrics have returned to develop this epic vision of psychedelic funk, while exploring the possibilities created by their myriad influences – Latin, African, and more.

                                                            Thus, the electro-Latin fusion of "Descarga Electronica" sits next to weeping strings piled atop "Collateral Damage’s" chunky rhythms, which nearly misses the undulating swing of "Wrecking Ball", a dirge as irresistibly funky as it is devastating. No surprise, then, that the Heliocentrics have earned lifetime fans in the likes of questing spirits like Madlib (with whom Catto has collaborated on numerous Yesterdays New Quintet projects), DJ Shadow (both as a touring ensemble and in the studio), Quantic and Ethiopian jazz giant Mulatu Astatke, with whom the Heliocentrics recorded and released "Inspiration Information 3", the fourth classic Mulatu album – released nearly forty years after his other three. "Out There" may have been one hell of an opening volley, but having spent some years in the wild running among mavericks like Astatke and Oriental Jazz pioneer Lloyd Miller, the Heliocentrics have realized that their strongest statements are made somewhere between the persistent fuzz of Owusu’s distorted guitar, Catto’s impossible syncopation and Ferguson’s looping bass lines. "13 Degrees" of Reality is one of the most distinctive musical statements you’ll hear all year.


                                                            STAFF COMMENTS

                                                            Matt says: Nicely uncatagorisable LP from this celebrated psyche-jazz-soul outfit. Literally had me scratching my head for about 10 mins to decide which section to put it in - which can only be good thing!

                                                            U-Bahn

                                                            U-Bahn

                                                              Australia's U-Bahn came stomping into 2019 with a collage of glam-pop and new wave. Describing their music as 'nostalgia for futures that never came to pass; suburban boredom and sexual dystopias', the Melbourne 5-piece will thrill and baffle audiences alike with their debut LP, teeming with futurist art-punk.

                                                              Originating from singer Lachlan Kenny's bedroom recordings, a chance meeting between him and Zoe Monk over the purchase of a vintage drum machine, followed by the recruitment of Leland Buckle, Jordan Oakley and Mitch Campleman, the band quickly honed their live show before taking their ideas to the stages of the Melbourne DIY circuit. Kenny was eager to set down their ideas on vinyl; crafting a suite of self-recorded and mixed songs that's charm lies in their lo-fi production values, as Kenny relates: 'I think that that naive, ill-informed recording process ultimately aided in giving the record its character.'

                                                              There's a distinct agenda that the band identify with, something clearly audible in their music. From Beta Boyz' satirical jabs at toxic masculine culture, to the tale of cat-calling told in Scantly Clad, the band lyrics deftly weave between surreal flights of fancy and serious social critique. In their own words, Right Swipe's Tinder tale “pens a tongue in cheek narrative detailing the deceptive exploits of your everyday ‘f**k boy”, while Damp Sheets “encourages sexual exploration - but for god sakes, rubber up and protect yourself from the dreaded ‘southern lice'”, as Kenny characterises the track. Bubblegum centrepiece Right Swipe is draped in reverb, analogue synths and off-beats - while their clear penchant for melody and memorable hooks shines through the bizarro aesthetics. Its addictive chorus shows the band can leave you humming despite their abstract thinking; the synths and bass swirl around Kenny’s ironic/serious lyrics, 'baby you can't resist the manipulation'.

                                                              From their heavily aestheticized stage-show, to the joyously unsettling homages to Kubrick evident in the Beta Boyz music video - U-Bahn want you to know. “We take things very seriously, inside music and in the world at large. However, we don’t want surrealism, or Marxism, to get in the way of the audience’s experience. We won’t limit our creative outpourings by labelling ourselves as anything other than neurotic music-nerds. Let the audience come to their own conclusions.”

                                                              The band approaches song writing like children at play; open to anything, delighted with results that seem weird or amusing. Kenny explains, 'The intention has always been to make music with no categories or creative barriers, drawing from the concept of 'Organised Sound' rather than any Rock & Roll ethos.' This methodology, along with their clear love for outsider art, Devo and R. Stevie Moore – the aristocratic glamour of Brain Eno combined with the icy robotics of Kraftwerk; the wild ride of genres and ideas that define U-Bahn’s style is steeped in a heritage of music’s strange and unforgettable mavericks.

                                                              With the creation of their follow-up album already under way, festival appearances and tours on the horizon, as well as an audience buzzing with anticipation for what will come next from the band, U-Bahn are poised on the brink of taking their tales of the eccentric and the marvellous to the stages of the world. 


                                                              J A surfaces on RUBBER with six disorienting wave tracks, reigniting the catalogue after a short hiatus. Crafted by Andrea Noce (Eva Geist, As Longitude) and Jonida Prifti (Acchiappashpirt, Opa Opa), these productions find elegance in their noir aesthetic and sketch-like composition, breathing filmic atmospheres of its creative process and the hedonist self alike. Straying away from the societal drift for efficiency and make belief, this record was produced over a timespan of five years, while shifting between Berlin and Rome. Dancing and loafing, mirrors were splintered and scattered shards reflected a new light. Here, Noce's serpentine sense of melody guides uncharted signatures of reverberating syncopated drums, while soundscapes move in and out as apparitions fogging the mind. The poetic spoken-singing of Prifti subdues the tracks, through a linguistic form where Albanian and Italian intertwine, channeling her scientific field into art. Cleverly processed, the vocals take on many shapes, blurring lines between instrumentation and recognition, creating meaning where language ends.

                                                              STAFF COMMENTS

                                                              Patrick says: Killer machine vibrations and wave preoccupations from Andrea Noce and Jonida Prifti here, who marry stuttering rhythms with sparse synthesis and fx-laded vox across six chilly cuts.

                                                              Kojaque and Luka Palm have dropped their new collaborative project, ‘Green Diesel’. Additionally, Kojaque has been confirmed to tour with slowthai across Europe in October.

                                                              Describing how the pair’s ‘Green Diesel’ project came about, Kojaque says: “we started out wanting to make a short project, 4 tracks or something, but the more we worked together the more the tunes piled up, until we had like 11 tracks together, we kept working on um and finessing then and chose the ones that flowed together the best. The project is all energy, we pushed each other to make it and to get it to a place we’re both really happy with. I think you can see a lot of passion in the project and some bangin fuckin tunes.” The mixtape sees production from New Machine (Phoenix), the Soft Boy label’s peers - Kean Kavanagh (Date Night, Airbnb + more), Matt Finnegan (Spit Dat Out) and a special feature from Scottish MC ‘CHLOBOCOP' on ‘Chew Toy’.

                                                              2019 has already been a remarkable one for Kojaque, whose ‘Deli Daydreams’ project continues to take him far beyond the city of Dublin that inspired it. A conceptual tape based around a week in the life of a Deli worker, the project became the first of its kind to be nominated for the prestigious Choice Music Prize in Ireland (following an outcry from critics and fans alike at its initial eligibility). Along the way, Kojaque has built an impassioned global audience (all totally DIY): from a rack of sold-out headline shows – including the likes of XOYO in London – and worldwide festivals (SXSW, Glastonbury, Longitude) to being invited to tour with Slowthai and Lana Del Rey (in Dunlin’s 30,000-cap Malahide Castle). Kojaque was also recently selected for YouTube Music’s ‘Foundry Programme’ alongside the likes of Omar Apollo and Flohio (previously shortlisted artists include Rosalia, Dua Lipa and Dave) as he continues work on his next solo album this year.

                                                              A fellow Soft Boy alumni, meanwhile, Luka Palm is a Swedish-born rapper from Stockholm who grew up in Dublin, and has been a staple of Ireland's underground hip-hop scene since the release of his track ‘Pink Lady’ in 2015. Currently a member of Kojaque's live show and a close collaborator on previous tracks such a ‘Politiksis’ and ‘Date Night’, it was a natural occurrence for them both to collaborate and create a record together.


                                                              FORMAT INFORMATION

                                                              LP Info: Green marbled vinyl.

                                                              Juan Moretti

                                                              Cats Do Not Care About Glasses

                                                              Summer might be fading away, but the good time grooves keep on coming courtesy of Hell Yeah’s next album project: Cats Do Not Care About Glasses is the latest from all round musical talent Juan Moretti, who fuses together jazz, hip hop, electronics, soundtracks, musical experimentation and much more into a freeform album of intoxicating sonic journeys.

                                                              Moretti is a bassist, drummer, composer, arranger, visual artist, DJ, hard clubber and good food lover who has been plotting his own route since the early nineties. He is co-founder of the 3IO jazz band and Things Happen nu disco duo who has been involved with theatre shows, short soundtracks, visual installations, festivals, DJ sets, experimental art and more. Drawing on all that and heading off into the unknown, out of his comfort zone and into brave new sound worlds, he goes where the compositional process takes him without a view to any specific genre or style.

                                                              That plays out across the seven suburb tracks, with opener ‘Flare’ managing to be a worldly ambient piece as well as a slow motion acid track, a blissful balearic trip but also a majestic melodic masterpiece. ‘Fahrenheit’ fuses cosmic Sun Ra jazz with glistening electronics that drown you in warm sunshine, and ‘Insane’ has a tropical feeling and gentle bossa rhythm, but intensely freeform synths that tie you up in knots.

                                                              The midpoint sinks you into the breezy wind instruments, afro vocals and gently lilting guitar licks of ‘Fortaleza’ before ‘Claustrophonic’ is another celestial electronic jazz epic with withering sci-fi synths and live drums that constantly evolves. A swaggering dub beat and drifting sax line make ‘Moroboshi’ a low key beach club classic in the making, and finally ‘Backdoor (Mad The Cat)’ is a lush hip hop vibe awash with breezy licks and steamy chords.

                                                              This is a brilliantly inventive album that brings together jazz, electronics and hip hop in truly magical new ways.

                                                              Plunge Remix is a new compilation of remixed Fever Ray songs. Fever Ray is the solo project of the Knife’s Karin Dreijer and ‘Plunge’ was the first release in eight years since her celebrated self-titled debut in 2009. Remixers were chosen with the goal of creating music for Fever Ray to dance to. Released over a period of almost two years, the tracks will now sit together for the first time. The A-side opens with the full throttle electro-house of Tami T's remix of "Mustn't Hurry", before Bunny Michael incorporates future proofed R&B and footwork into a fresh mix of "IDK About You", a perfect companion to the psychedelic freakout Faka cooks up on the A3. On the B-side, Karin's bro and Knife companion Olof Dreijer gets slinky with a wonderful organic techno mix of "Wanna Sip", fellow art-synther Glasser conjures an epic space-synth translation of "Falling" while Sissel Wincent merges trance and techno in a huge floor melter to close the side. The intensity continues on the C1 as r&S affiliate Paula Temple slams a Berghain sized wrecking ball through "This Country", before a stepping UK bass styled mix from Aasthma offers a bit of rhythmic variation. Lisbon's usually breakneck DJ Marfox sticks to a relatively stately 130 with a bleeping twist on "Plunge" which manages to sound like a lost UR set from a Portuguese slum, while personal favourite Tzusing closes the package out with a chugging industrial incarnation of "Mustn't Hurry" tailor made for our current dystopia.

                                                              Scattered Purgatory

                                                              Lost Ethnography Of The Miscanthus Ocean

                                                                Formed in Taipei, Taiwan in 2013 and comprised of members Lu Li-Yang and Lu Jiachi, Scattered Purgatory is a name derived from a Taoist ritual which expiates the souls of the innocent from a state in between life and death and then at last, release.

                                                                They owe as much to krautrock influences Popol Vuh and Cluster as to SPK, Taj Mahal Travellers and Sunn O))).

                                                                Taipei, the basin city of dense population and humidity, has immeasurably inspired their music. If an analogy were used to describe the duo’s sound it would be the equivalent of the massive use of long shots in Taiwan’s 1980s wave of new cinema. Scattered Purgatory employs a similar approach with an oriental narration, geographically and spiritually.

                                                                “Lost Ethnography of the Miscanthus Ocean” contains six of their earlier works from 2013 to early 2014.

                                                                The original release was on cassette from Guruguru Brain which was sold out in less than a month. There is a new added track on Side D2. 'Miscanthus Ocean' only for the LP version.

                                                                The album is dedicated to Grass Mountain and the incredibly hot, humid summertime in Taipei. This is also the echo of their instrumental trio period before they move on to digital composing.

                                                                “Forged from the same clouded waters that sprang Popul Vuh, Ash Ra Temple and Cluster. The album works with atmosphere as its medium, building tension through a massive cavern of sound that feels as if its sprung up slowly on all sides. The listener is trapped in glacial ice and moved with an inching dread towards fates unknown “ Raven Sings The Blues review of Sua-Hiam-Zun.


                                                                FORMAT INFORMATION

                                                                2xColoured LP Info: Gatefold double gold vinyl.

                                                                Zoe McPherson & Rupert Clervaux

                                                                Plafond 5

                                                                Radically shapeshifting and surrealist, as spinning sonic prisms taunting the ears, 'Cercle Vicieux' and 'Cercle Vertueux' channel Fluxus artistry, straying past jazz-licked drones, avalanching low end and blood red scatting. Scenes both condescending and anxious -- this release is carried by its interwoven conflicts, where strange attractors reveal knots at each listen. The fifth Plafond is a special joint project tying the synchronicity of two contemporary minds. Both Zoe Mc Pherson and Rupert Clervaux are known to actively transgress art forms, reconstituting production methods through respective audiovisual and literary pursuits. The listener is relocated in their musical interzone, bordered by avant-garde experimentalism on one side, and bass-heavy club mutations on the other. This ambiguation lays out a gateway, one through which modern producers can re-adopt the revolutionary energy of those who unraveled conventions on music and sound in the first place -- a 'Cercle Vertueux', indeed. Comes in a hand printed sleeve with multiple tints grey and silver, including an Obi-strip, by the BAKK Interzone Alcazar.

                                                                STAFF COMMENTS

                                                                Barry says: Booming, sub-sonic bass and rhythmic sidechains take hold in one installment while the echoes of chamber classical instrumentation and reverbed vocals tear through the acoustic percussives and shadowy pianos. Hypnotic and entirely spellbinding.

                                                                Brand new album from stand alone producer RAMZi whose totally unique and enticing sounds have garnered her some loyal support amongst the more ritualist and shamanic music adventurers.

                                                                Latest LP "Multiquest Niveau 1: Camouflé", sees eleven different compositions that poke at the otherworldly and ethereal. Unusual melodic motifs clash with found sounds, AM radio chatter and a backdrop of stimulating frequencies - whether it be gentle, tuned subs or the pitter patter of celestial wind chimes. There's a holographic and hallucinatory nature to the whole piece, like you're looking through the dimensions of a philosopher's stone into events past, present and all-encompassing. RAMZI's allure is in the mystic and unspoken, in strange rhythms andsonic witch craft. "Multiquest Niveau 1: Camouflé" details the beguiling soundscape beautifully, and by the end of the release you feel like you've explored new lands...

                                                                Highly recommended! 


                                                                STAFF COMMENTS

                                                                Matt says: RAMZi pours more heady & noxious content into her cauldron of sonic witchcraft resulting in an extremely transportative journey.

                                                                New LP from modern electronic stalwart Space Dimension controller, whose rise from fresh faced R&S signing to world-conquering techno king has been well documented here at Piccadilly.

                                                                For his mother label the Belfast native has conjured up another star-gazing array of electronic tracks that skip through tempos and styles whilst always being accompanied by his trusty machines.

                                                                Following the magnificent, self-released "Redemption Of The Cryonauts", the producer is exploring his new found confidence with an intrepid focus; wandering through slinky, electro-landscapes, hurtling through 5D techno and wallowing in rich soundbeds of synthetic textures.

                                                                There's a narrative and cinematic quality to the album, as if you're exploring deep space with (real name) Jack in the cockpit and you as his trusty navigator as you cruise past disco, kosmische, boogie and electronica waymarkers, all ably reconstructed by the producer's arsenal of outboard. The refined and considered level of musicality is nothing short of breathtaking, and should ensure the album finds plenty of favour outside the immediate dance music / night club-centric worlds in which the producer / DJ has previously inhabited. An absolute masterpiece - recommended! 


                                                                STAFF COMMENTS

                                                                Matt says: He's really finding his stride now. Turning his hand to myriad styles and tempos but always with a cohension and flair that'll be familiar to his followers. He's still got plenty more to give (judging by his fresh faced press shots anyway - Ed) so we're just enjoying the journey with this incredible artist.

                                                                FORMAT INFORMATION

                                                                2xColoured LP Info: Purple vinyl.

                                                                Various Artists

                                                                Killing Eve: Season One (Original Series Soundtrack)

                                                                  As post-episode surges towards song-seeking app Shazam testify, Holmes and music supervisor Catherine Grieves left no box unmarked with their BAFTA-winning music for Seasons 1 and 2 of BBC America’s Killing Eve. Adapted from Luke Jennings’ Codename Villanelle novellas by lead-writers Phoebe Waller-Bridge (S1) and Emerald Fennell (S2), the Emmy-winning spy series has established itself as a swaggering, slippery, playful and punchy thriller of cat/mouse obsession like no other. And it comes with killer soundtracks to match, modern classics of pick’n’mix curation cut from the cloth of cinematic style but tailored with a moody, mischievous vivacity of their own

                                                                  As Grieves tells the tale, it became clear during early talks that strong female voices, multiple artists and a great composer would be crucial ingredients of the show’s music. A music supervisor whose work has ranged from The Inbetweeners Movie to Lynne Ramsay’s You Were Never Really Here via various TV hits (Wolf Hall, Collateral, The Casual Vacancy and beyond), Grieves already knew of the Belfast-born Holmes’ formidable CV. In between his work as a DJ, rock’n’soul remix artist and band-leader, Holmes’ screen output has ranged from music movies (Good Vibrations) and sundry retro-cool Steven Soderbergh pics (Out of Sight, the Ocean’s Eleven/Twelve/Thirteen trilogy and more) to various stylish TV dramas, among them London Spy.

                                                                  FORMAT INFORMATION

                                                                  2xColoured LP Info: Initial pressing on clear vinyl with red splatter and die-cut sleeve. Gatefold sleeve with matt finish and spot gloss on “Killing Eve” logo.

                                                                  Various Artists

                                                                  Killing Eve: Season Two (Original Series Soundtrack)

                                                                    As post-episode surges towards song-seeking app Shazam testify, Holmes and music supervisor Catherine Grieves left no box unmarked with their BAFTA-winning music for Seasons 1 and 2 of BBC America’s Killing Eve. Adapted from Luke Jennings’ Codename Villanelle novellas by lead-writers Phoebe Waller-Bridge (S1) and Emerald Fennell (S2), the Emmy-winning spy series has established itself as a swaggering, slippery, playful and punchy thriller of cat/mouse obsession like no other. And it comes with killer soundtracks to match, modern classics of pick’n’mix curation cut from the cloth of cinematic style but tailored with a moody, mischievous vivacity of their own

                                                                    As Grieves tells the tale, it became clear during early talks that strong female voices, multiple artists and a great composer would be crucial ingredients of the show’s music. A music supervisor whose work has ranged from The Inbetweeners Movie to Lynne Ramsay’s You Were Never Really Here via various TV hits (Wolf Hall, Collateral, The Casual Vacancy and beyond), Grieves already knew of the Belfast-born Holmes’ formidable CV. In between his work as a DJ, rock’n’soul remix artist and band-leader, Holmes’ screen output has ranged from music movies (Good Vibrations) and sundry retro-cool Steven Soderbergh pics (Out of Sight, the Ocean’s Eleven/Twelve/Thirteen trilogy and more) to various stylish TV dramas, among them London Spy.

                                                                    FORMAT INFORMATION

                                                                    2xColoured LP Info: Initial pressing on red vinyl with black splatter and die-cut sleeve. Gatefold sleeve with matt finish and spot gloss on “Killing Eve” logo.

                                                                    The latest volumes in this highly acclaimed “London Is The Place For Me” series - Volume 7 & Volume 8 are presenting the music of the Windrush generation: the post-war, London recordings of West Indians and West Africans, in the first wave of modern migration to Britain. Volume 7 - Calypso, Palm-Wine, Mento, Joropo, Steel & Stringband overflows with diverse musical styles, including steel band, stringband, calypso, joropo and mento.

                                                                    STAFF COMMENTS

                                                                    Millie says: Ranging from Marie Bryant, The Lion, Billy Sholanke, Trinidad Steel Band and a whole host of brilliant artists, Volume 7 is the next installation of music from the Windrush generation, this is vital listening.

                                                                    The latest volumes in this highly acclaimed “London Is The Place For Me” series - Volume 7 & Volume 8 are presenting the music of the Windrush generation: the post-war, London recordings of West Indians and West Africans, in the first wave of modern migration to Britain.  Volume 8 - Lord Kitchener In England 1948-1962 is devoted to the great calypsonian Lord Kitchener.

                                                                    STAFF COMMENTS

                                                                    Millie says: Volume 8 carries just as much great sounds in the series London Is The Place For Me, dedicated to Lord Kitchener, he’s been titled the greatest calypsonian of the post-war age, and rightly so!

                                                                    For Music For Dreams’ collector’s series, the Danish label aim to bring us something a little different, something a little out there. After eclectic contributions from Jan Schulte, Moonboots and most recently Basso, they now lend the slot to Belgian sonic globetrotter DJ soFa. As always, he’s been granted supreme curatorial sovereignty, and the man held them to that one. For "Elsewhere Jr I", soFa takes us on a trip to the alluring and magical reality of childhood - and a trip, it is. The double LP features both new and old compositions from a wide range of countries, all centered around the youngest citizens of planet earth. The compilation has been 2.5 years in the making, with soFa collecting obscure pieces from all over the world and inspiring young collaborators to produce new tracks mostly by means of analogue synthesizers and vintage drum machines. The result is a thematically and sonically homogenous collage of cosmic children’s music.

                                                                    soFa starts us off with Milo Kolarov’s exercise in sonic imagery ‘Analogue Beam’, a story about animal characters, presented to us as distinct motifs of bleeps and blitzes. Next up is the surreal jigsaw puzzle dub ‘Totti und Pippo’ by Jah Limonardi Und Die KleineGräfinDubski. Here, we come bouncing on giant, iridescent mushrooms, lulled deeper and deeper down the rabbit hole by incantations of a child’s voice. Throughout, the record is full of these synaesthetic properties, immersing the listener in creative ways, nudging you down hidden experiential pathways. On the surface, soFa’s selections are pleasantly engaging, often blooming with charming grooves and whimsical melody. But then occasionally something else creeps into picture, some alien trace imbuing the unassuming tunes with a spectral strangeness. Take for example ‘Der KleineRoboter’ by VolkersMusikspiele. Here we’ve got a classroom of children performing a cheerful verse about being little robots, suspended beneath the droning of an icy locomotive synth. Two layers, subverting and transmuting each other.

                                                                    On the B- and C-side, our host for the hour spins us into a 16-bit midi mania straight outta the 90’s Nintendo-sphere. PallaTemplouf’s ‘Ping enKeun’ evokes the ominous mood of unknown threats lurking behind every corner, while Jan Turkenburg’s ‘In Hyperspace’ takes us through uncharted galaxies searching for lost space-treasures. On the final side, we’ve gone through the chocolate factory and come out the other side a bit less dazed and a bit more habituated to the weirdness of it all. PM Production’s ‘Pêle-Mêle’ twists a non-sense nursery rhyme mantra around a trudging bassline, while Thomas Natschinksi’s ‘Robotertanz’ returns to the robot-theme in a 70’s-inspired, hypnagogic space-funk-ballad. One of the few songs on the compilation that actually sounds like something out of the vast rock-pop continuum we’re familiar with.

                                                                    Elsewhere Jr I is a record that simultaneously infuses your reality with harlequin mystique and reminds you of what goes lost in the integration into the adult society. It’s both hyperreal and magical, with important lessons for young and old alike in an increasingly disenchanted world. Definitely something you haven’t heard before. 


                                                                    STAFF COMMENTS

                                                                    Patrick says: MFD hand the controls over to DJ soFa for the latest instalment of their Collectors Series, and the Elsewhere man continues his search for strange synthwave and cosmic pop, but refines his focus on children's songs. Any chump out there writing this off as twee needs to check their attitude and the clips - might I suggest you start with the masterful "Robotertanz".

                                                                    The motor hasn’t had time to cool down and the belt drive is feeling the fatigue. But Charles Maurice is the kind of DJ who just can’t let a turntable rest. After steaming up the slipmat with three sexy compilations of French Boogie, Charles Maurice is back with Volume 4.

                                                                    In the late 70s and early 80s, while France was still firmly tuned into variety-show pop, a few enlightened ears and souls picked up the hypnotic beat of funk from across the Atlantic. These first warrior monks spread the good word in discotheques, jumped on newly available frequencies to fill the airwaves and, in some cases, took up instruments themselves to unabashedly build on the U.S. model.

                                                                    In a short decade stretching from the late 70s to the late 80s – just a blip on the scale of music history – they turned out material in abundance. Lush productions with colorful covers, groovy typeface and creative photo shoots…

                                                                    But first and foremost, they made music weaned on, spoon-fed and imbued with funk. Music defined by a groove with a robotic beat (Djeneba) that clearly hears hip-hop banging on the door, where layers of synthesizers, handclaps (Eric Chotteau), horns and African percussion line up and follow the all-powerful lead of the swelling slap bass (Cyrill). Music that tells everyday stories, both humorous and lovelorn (Serge Delisle), and often packed with pheromones just waiting to be released on the dance floor or sofa (Chris O’Hara). Shaped by synthetic textures, these productions are also spiced with Caribbean and Creole arrangements that reflect the West Indies’ critical contribution to French Boogie (Wai Kop, Acayouman).

                                                                    With his immaculate tailoring, slicked back hair and clipped moustache, Charles Maurice has once again transformed himself into a HiFi stylus to explore the groove traced by this specifically French musical style. From 45 to 33 rpm, he has traveled the black spiral to bring us a new selection that proudly features a number of rarely heard pieces and even an unreleased track by Marco Attali. True to form, Monsieur Charles carefully crafted this fourth volume from his personal collection of impeccably restored and mastered vinyl recordings.

                                                                    Charles Maurice, where French elegance meets uncompromising musical taste.

                                                                    STAFF COMMENTS

                                                                    Millie says: French Disco Boogie Sounds Vol.4 brings us some of the best tracks yet, from Dwight Druick to Cyrill there’s no holding back on Volume 4 with full blasts of disco groove and funk for all.

                                                                    After being blown away by a few tunes - probably just as you will be after listening to this - Samy Ben Redjeb travelled to the infamous capital city of Somalia in November of 2016, making Analog Africa the first music label to set foot in Mogadishu (Not sure Afro 7 would agree - Ed). On his arrival in Somalia Samy began rifling through piles of cassettes and listening to reel-to-reel tapes in the dusty archives of Radio Mogadishu, looking for music that ‘swam against the current’. The stars were aligned: an uncovered and unmarked pile of discarded recordings was discovered in a cluttered corner of the building. Colonel Abshir - the senior employee and protector of Radio Mogadishu’s archives - clarified that the pile consisted mostly of music nobody had manage to identify, or music he described as being ‘mainly instrumental and strange music’. At the words ‘strange music’ Samy was hooked, the return flight to Tunisia was cancelled.

                                                                    The pile turned out to be a cornucopia of different sounds: radio jingles, background music and interludes for radio programmes, television shows and theatre plays. There were also a good number of disco tunes, some had been stripped of their lyrics, the interesting parts had been recorded multiple times then cut, taped together and spliced into a long groovy instrumental loop. Like everywhere in Africa during the 1970s, both men and women sported huge afros, bell-bottom trousers and platform shoes. James Brown, Stevie Wonder, Marvin Gaye and The Temptations’ funk were the talk of the town. In 1977, Iftin Band were invited to perform at the Festac festival in Lagos where they represented Somalia at the Second World Black and African Festival of Arts and Culture. Not only did they come back with an award but they also returned with Afrobeat. While Fela Kuti’s ‘Shakara’ had taken over the continent and was spreading like wildfire throughout Latin America, it was the track ‘Lady’ that would become the hit in Mogadishu.

                                                                    Mogadisco was not Analog Africa’s easiest project. Tracking down the musicians - often in exile in the diaspora - to interview them and gather anecdotes of golden-era Mogadishu has been an undertaking that took three years. Tales of Dur-Dur Band’s kidnapping, movie soundtracks recorded in the basements of hotels, musicians getting electrocuted on stage, others jumping from one band to another under dramatic circumstances, and soul singers competing against each other, are all stories included in the massive booklet that accompanies the compilation - adorned with no less then 50 pictures from the ‘70s and ‘80s. As Colonel Abshir Hashi Ali, chief don at the Radio Mogadishu archive - someone who once wrestled a bomber wielding an unpinned hand-grenade to the floor - put it: ‘I have dedicated my life to this place. I’m doing this so it can get to the next generation; so that the culture, the heritage and the songs of Somalia don’t disappear.’

                                                                    FORMAT INFORMATION

                                                                    2xLP Info: Includes a 16 page lp sized booklet.

                                                                    2xLP includes MP3 Download Code.

                                                                    Various Artists

                                                                    Sin City Jukebox - Volume Two

                                                                      When I visited New Orleans in 2004 in struck a friendship with a cab driver named Herb H. Franklin. He showed me great record shops and restaurants and told me his interesting life story. Herb was born in 1930 in Wiggins, Mississippi, and he moved down to the coast town of Biloxi with his parents at the age of 10. He later trained to be an auto mechanic, but as he hated getting grease under his fingernails, he opted to do what he did best – hang out in bars. So in 1950 he took a bartending job at The Smithwick's – a watering hole in Biloxi, just off Beach Boulevard. When his boss retired in 1955, Herb H. Franklin became the new owner of the bar. A month of renovation followed and the place reopened in Fall 1955 as Sin City, an unofficial name, as the sign outside the bar just said "Liquor." Herb said it was a long, rectangular room with a bar on the left, chairs and tables to the right, and a stage for live music at the end. The pool tables were relocated to a side room to make "plenty of space for sinning," according to Herb. There were rockin' bands on the weekends, sweaty dancers every night, and a jukebox that was wired to the house sound system so it could be heard over the general ruckus of the bar. And that jukebox did its work until the mid-1960s, when Herb closed the place. Amazingly, however, every 45 that ever graced the Sin City jukebox remained in Herb's possession. Whenever the jukebox operator came to bring in the new tunes, Herb gave him some small change to keep the replaced ones. As a result, 15 years of serious record collecting took place, without Herb even giving it a second thought. And here are some of his tunes...

                                                                      Various Artists

                                                                      Piccadilly Records Compilation 2019

                                                                        Do not adjust your sets / swap your reading specs, we’ve gone and done another record! After the success of last year’s inaugural Piccadilly vinyl, we’ve worked our magic once again to bring you another compilation LP, jam packed with musical magic from our top 20, as well as the gold medallists in the reissue and compilation categories. 

                                                                        Buckle up as we blast off into the sonic stratosphere with the ‘Piccadilly Records Compilation 2019’.

                                                                        W.H. Lung get things off to a flying start with the existential motorik and art pop perfection of ‘Second Death Of My Face’, a soaring combination of searing synthwork, sophisticated lyrics and propulsive rhythm which segues perfectly into the psychedelic throb and shoegaze shimmer of Lorelle Meets The Obsolete’s ‘Líneas En Hojas’. The tempo settles into a riverbank lilt for the haze of Vanishing Twin’s summertime serenade ‘Magician’s Success’, before coasting through the orchestral beauty of Prefab Sprout’s ‘Sleeping Rough’ and Shana Cleveland’s nuanced acid folk. Closing out the A-side perennial Piccadilly favourites Moon Duo take an arp out of Apta’s book and walk us through the cosmos with the optimistic space disco of ‘Stars Are The Light’.

                                                                        The spaced out synth tones remain for B-side opener ‘101FM’, a stomping coming of age cut from fierce MC Little Simz, who hands the baton to a lovelorn Cate Le Bon for her swooning ‘Daylight Matters’, a songwriting masterclass if ever I’ve heard one. Our own modular maestro Apta enters the fray next, working the filters for a beatific Balearic rework of Horsebeach’s ‘Trust’, before fellow knob-twiddler Andrew Wasylyk picks a path between Air (French band) and Air (Japanese Ambient imprint) with the evocative and pastoral beauty of ‘Journey To Inchcape’. Continuing the theme of cinematic and serene, Portico Quartet tug at each one of our heartstrings with the immersive electro-acoustic nocturne ‘Gradient’, a perfect precursor to Ghia’s end of night anthem ‘You Won’t Sleep On My Pillow’, a stand out track from the exceptional ‘Proper Sunburn’ compilation.


                                                                        FORMAT INFORMATION

                                                                        Ltd LP Info: Limited to 500 copies.

                                                                        IDLES

                                                                        A Beautiful Thing: IDLES Live At Le Bataclan

                                                                          ‘A Beautiful Thing: IDLES Live at Le Bataclan’ is the brand new live album from IDLES, recorded at Le Bataclan in Paris on 3rd December 2018, at the close of a 90 date world tour. The album celebrates the band’s success over the last two years, featuring songs from ‘Brutalism’ and ‘Joy as an Act of Resistance’, and highlights their overall message of unity, and of healing through community.

                                                                          “Our show at Bataclan was the end of a very long journey for us. On that tour we learnt so much about ourselves, each other and the audiences we have grown with over the past 10 years. That show was nothing short of catharsis and nothing more than love. We love what we do and the people who have carried us here, there was no hiding that at Bataclan and we are so very grateful that the moment was captured in all its glory, love and fatigue. Long live the open minded and long live the moment.” - Joe Talbot


                                                                          STAFF COMMENTS

                                                                          Barry says: A beautiful thing indeed, Idles bring all of their vitriol and political fire to the legendary Bataclan, and it couldn't be more perfect a performance. Rawkous, huge and scathing, a live album not to be missed.

                                                                          FORMAT INFORMATION

                                                                          2xColoured LP Info: Neon Clear Orange Vinyl.

                                                                          2xColoured LP includes MP3 Download Code.

                                                                          2xColoured LP 2 Info: Neon Clear Lime Green Vinyl.

                                                                          2xColoured LP 2 includes MP3 Download Code.

                                                                          2xColoured LP 3 Info: Neon Clear Pink Vinyl.

                                                                          2xColoured LP 3 includes MP3 Download Code.

                                                                          Portrait. A collection of brand-new analogue recreations of songs from throughout Yann Tiersen’s career - 25 tracks including 3 new songs. Recorded in Yann’s home studio in Ushant with an array of collaborators. Features 3 tracks originally featured on the Amelie From Montmartre soundtrack including Yann’s signature tune, ‘Comptined’UnAutreÉté (L’Après-Midi)’. Includes collaborations with John Grant, Gruff Rhys (Super Furry Animals), Blonde Redhead and Stephen O’Malley from Sunn O)))

                                                                          All vinyl editions will be packaged with an exclusive 7” single including alternative versions of ‘Comptined’UnAutreÉté (L’ Après-Midi)’ from the Amelie From Montmartresoundtrack and the title track from his debut album, Waltz of the Monsters. These versions will be exclusive to the vinyl and not available anywhere else.


                                                                          STAFF COMMENTS

                                                                          Barry says: One of the most legendary voices in modern classical and sountrackery (who could forget the 2001's 'Amélie'?) joins us with his most recent outing, a revisiting of some of his most unforgettable moments, and joined by some of the most important voices in modern music (John Grant, Stephen O'Malley of Sunn, Blonde Redhead etc.) a stunning collection, and yet more proof Tiersen stands as the figurehead he does today.

                                                                          FORMAT INFORMATION

                                                                          3xIndies Exclusive LP Info: Limited edition triple clear vinyl, triple gate fold sleeve

                                                                          2xCD Info: Double CD.

                                                                          A dub companion to the critically-acclaimed "Rainford" album that sees the Upsetter and co-producer Adrian Sherwood radically re-version the original tapes with a host of guest musicians including Brian Eno and Vin Gordon.

                                                                          If "Rainford" is 2019’s "Roast Fish, Collie Weed & Corn Bread" then "Heavy Rain" is it’s "Super Ape".

                                                                          As well as highlighting the deft musicianship of the original backing band on the "Rainford" sessions (which include core On-U luminaries from Creation Rebel, Tackhead and Dub Syndicate) these re-works also invite some further players into the cosmic mix. Brian Eno makes an unexpected right channel entry into “Here Come The Warm Dreads”, a heavily processed sound system overhaul of Rainford highlight “Makumba Rock”, cheekily re-titled as a nod to Eno’s own debut solo album. This completes a circle started in 1981 with African Head Charge’s My Life In A Hole In The Ground similarly referencing the contemporary collaboration between Eno and David Byrne, and their “vision of a psychedelic Africa”.

                                                                          Elsewhere, legendary trombonist Vin Gordon (one of the hornsmen on Bob Marley & The Wailers Exodus amongst many other classic sides) lends his distinctively woozy blowing to tracks such as “Rattling Bones And Crowns” (a late night flipside to “Kill Them Dreams Money Worshippers”) and “Crickets In Moonlight” (“Cricket In The Moon” refracted through some beautifully louche late summer heat haze lens). On the closest the album has to a title track, “Heavy Rainford” strips back the narrative from “Autobiography Of The Upsetter” to ride the rhythm with all sorts of mixing desk tricks, anchored by the killer “I Am The Upsetter” hook from LSK.

                                                                          It’s important to note that it’s not all Rainford re-works though: “Dreams Come True” and “Above And Beyond” are Scratch and Sherwood originals, heard here for the first time and equally strong material for this purple patch in the career of an unstoppable Jamaican maverick and true musical pioneer.

                                                                          FORMAT INFORMATION

                                                                          Coloured LP Info: Silver vinyl with full colour printed inner, in reverse board outer sleeve + download card.

                                                                          CD Info: Jewel case with 4 panel booklet.

                                                                          DJs, producers and unrivaled selectors, Danny McLewin and Tom Coveney aka Psychemagik have kept us painfully in suspense for this, their debut album proper: "I Feel How This Night Should Look".

                                                                          Known for their beautiful production work, vast record collections and transcendent mixtape journeys, they boast one of the most impressive and comprehensive remix outputs in contemporary electronic music for names including Roisin Murphy, Noel Gallagher, Haim, Bryan Ferry, Beyond The Wizards Sleeve, Paul Weller and Metronomy.

                                                                          "I Feel How This Night Should Look" is an album with a phenomenal backstory. It spans back over a decade back to when Tom and Danny first met in 2008 and produced the ten tracks over an intensive two year period following the birth of Psychemagik. It was recorded at a number of esteemed locations primed for sonic craft including Kate Bush’s old workspace, George Martin’s Air Studios Lyndhurst Hall, where the duo recorded a seventeen piece string section and Toe Rag Studios recording drums onto tape. This album is a true labour of love.

                                                                          The first taste of the album comes via first track, the effortlessly smooth and immediately deep "We Can Be One" feat. Quinn Lamont Luke. An invigorating and ethereal cut offset with the acid rifts and the balearic vocals of New York’s Quinn Lamont Luke. "Something To Believe" features English garage rock royalty Holly Golightly which spans a sound palette as diverse and invigorating as one of the pair’s vastly eclectic DJ sets. The afro-harping "Seahorse" is graced by the airy, wordless vocal styling of British jazz legend Norma Winstone. "Triumph Of The Gods" featuring Renate Staal Nygård is an epic, piano and orchestra led tour de force, a funk fuelled soundtrack for a thriller yet to be made.

                                                                          "Ghost Particle" glides along at cruising altitude featuring Canterbury’s wilfully underrated Syd Arthur, whilst "Above The Clouds" and "Cosmic Forest" are exquisite string and synth-led cosmic disco. "Le Paix Est Un Fleur" deftly mixes psychedelic delights and easy listening.

                                                                          A testament to the duo’s deep understanding and love of their craft, an LP which hones a layered intelligence that only long-term dedication to the art and craft of the DJ can deliver.


                                                                          Burial

                                                                          Tunes 2011 - 2019

                                                                            Topping off Hyperdub's 15th year, Burial selects 'tunes’ from the last eight years of his EP releases on the label, for this very welcome two CD collection.

                                                                            Sequenced by Burial, ‘Tunes 2011-2019’ shows the depth and brilliance of his post-‘Untrue’ development; from long, twisting, collage works which travel through unexpected zones, to a more pointed, poppier side, and back again to the haunted, open horizons of his beatless pieces.

                                                                            We hope this collection of Burial's work is familiar, yet unfamiliar, to each listener.

                                                                            17 tracks across 150 minutes, all previously released, six being available on CD for the first time.

                                                                            STAFF COMMENTS

                                                                            Barry says: Though his albums have possibly garnered the most adoration than anything else, Burial's post-LP outings have been an absolute rollercoaster of unbelievable groove and unrivalled ingenuity. For those of you that didn't snag the EP's, or if you're a CD buyer, 'Tunes' is absolutely essential.

                                                                            Nolan Potter's Nightmare Band

                                                                            Nightmare Forever

                                                                              “Nightmare in name only, the inspiration runs white-hot with this one—the wizard’s gaze cast over a distant landscape, bits of ash and motes of incinerated earth float in the air, the smell of ozone and fried metal sting the villager’s noses...“But hope’s bell rings eternal! A flower of beauty is standing up in the sole ray of sun, the clouds are withering away, retreating back to dark cloaks behind crusted-over frost-fractal windows. Darkness cannot usurp the crown, light is king and will eliminate the darkness, chase it out of the unfathomable corners and brush away the webs of evil...remnant factions will always remain but they will be hunted with pure magical riffage. “These are the peak and valleys of the mighty Nolan Potter’s Nightmare Band, conceptual in feel and flow, a lovely lilting ride and then, up through the floor boards, a warrior incants into the frothing night a huge band, heavy and tumultuous like a war machine rumbling thru the ash, clearing the way for folks to continue their idyll. Dreamy and lucid keys, strings, drum corps, slippery guitar and buff bass, ripe flutes and breezy vocals. For fans of Embryo, the Mothers, Pink Floyd, Mahavishnu Orchestra, Moody Blues, the Stark Reality, and Placebo. They’re from Austin, Texas, but you’d swear it’s from 1972 Europa-Mothership. Like their vodka, it surpasses expectations and fucking crushes.”

                                                                              —John Dwyer

                                                                              STAFF COMMENTS

                                                                              Barry says: Jagged time signatures and soaring progressive melodies are wrought out of a solid core of momentous hypnotic guitar lines and a psychedelic soup of reverb and distortion. A (not surprisingly) off-kilter outing from the ever reliable Castle Face and a scintillating listen.

                                                                              Richard Youngs & Paul Refree

                                                                              All Hands Around The Moment

                                                                                For their first meeting, Richard Youngs (Glasgow) and Raül Refree (Barcelona) have created a suite of stately, circular longform songs that manage to connect Tim Buckley’s Happy Sad to Federico García Lorca to plainsong liturgy. The largely acoustic and quietly urgent All Hands Around The Moment finds Youngs in an impassioned and emotional space he’s rarely inhabited since Sapphie, elevated by lush chamber folk / jazz compositions that incorporate piano, guitar and more, performed by both Youngs and Refree. The four pieces that build the whole of All Hands Around The Moment harness transcendence in repetition, and feature gorgeous progressive minimalism in full spectrum. Dark existential themes flow into mystic uplifting expressions of humanity, without missing a beat. In its timelessness and prescience, the realities present in All Hands Around The Moment make for a powerfully engrossing listen from top to bottom. Richard Youngs & Simon Wickham-Smith 20 Years 

                                                                                Cabaret Voltaire

                                                                                Methodology '74 / '78 Attic Tapes

                                                                                  This vinyl box set charts the development of Cabaret Voltaire, starting from their early experimental period of '74/'75. Included on the release are the original recordings of classics such as 'Nag NagNag', 'No Escape', 'The Set Up', 'BaaderMeinhof', 'Here She Comes Now' and 'Do The Mussolini (Headkick)', all later re-recorded with new equipment and released by Rough Trade in the late '70s.

                                                                                  Cabaret Voltaire were at the forefront of the UK Electronic Movement throughout the ‘70s. Initially a three piece, Richard H. Kirk, Stephen Mallinder and Chris Watson began by playing around with recorded sounds manipulated by basic reel-to-reel tape recorders in Sheffield in 1973. Way ahead of their time, these ideas cumulated in 1975, when the three staged their first performance of these sound experiments and assumed the name Cabaret Voltaire, taken from the name of the club started in Zürich by the principals of the Dada art movement during the First World War. As part of the confrontational energy of punk, and inspired by the Dada and Situationist art movements, these early recordings have lost none of their power in the intervening years, especially when the relatively primitive equipment used at that time is considered.


                                                                                  STAFF COMMENTS

                                                                                  Barry says: Cabaret Voltaire were known for having an incredibly diffuse and brilliantly esoteric output, and the Attic Tapes only goes to show that there is so much more unbelievable material hidden out there somewhere. Outsider electronics, clanging industrial and bunker techno all sit wonderfully together in this huge 7LP box.

                                                                                  FORMAT INFORMATION

                                                                                  LP Box Set Info: 7LP box set. Clear vinyl + signed art print. Limited to 500 copies.

                                                                                  FREE SHIPPING This item has FREE UK shipping!

                                                                                  Mount Eerie With Julie Doiron

                                                                                  Lost Wisdom Pt. 2

                                                                                    Eight new songs written in early 2019 about devotion and release. Julie graciously came back to the northwest and recorded this kind-of-sequel to the Lost Wisdom from 11 years ago. This one goes deeper. We recorded with the doors wide open and between breaths you can hear birds, jackhammering in the distance, and on some songs night air.

                                                                                    STAFF COMMENTS

                                                                                    Barry says: Elverum returns for his second album (though the first for a LONG time), and it has moved on a little bit from the gloom of his previous two outings. Though the subject matter is a little lighter, it still deals with lost love and missed opportunities, but with Elverum's perfect songwriting and the combination of his voice and Doiron's beautiful harmonies are something to behold.

                                                                                    The Comet Is Coming

                                                                                    The Afterlife

                                                                                      "The Comet is Coming follow up to their critically acclaimed “Trust in The Lifeforce of the Deep Mystery” with “The Afterlife” EP, their second title to be released under the Impulse Records! Label

                                                                                      Gang Starr is undoubtedly one of the most revered, beloved and influential groups in Hip Hop. Over the course of their distinguished career, they became a cultural institution and a brand you could ultimately trust. With a handful of indelible classic albums on their resume, DJ Premier and Guru’s catalogue has not only persevered but mastered the test of time. Simply, Gang Starr did not follow trends, they created them. Though they never “officially” disbanded after the release of their last project (The Ownerz 2003), Premier and Guru still remained infinitely connected to each other even as they embarked on solo paths.

                                                                                      Premier winning three Grammy’s along the way and assisting in turning fast rising artists such as Nas, Jay-Z, Notorious B.I.G. and many others into rap royalty; and his imprint included work with artists such as Drake, Christina Aguilera, Kanye West, Dr. Dre, Snoop, Mac Miller, The Game, Ludacris, Maroon 5, Common, Mos Def, Rakim, KRS-One, Janet Jackson, D’Angelo, DJ Khaled, Joey Bada$$, Royce 5’9, Twenty One Pilots, and Miley Cyrus; all of which spoke to his diversity and ability to traverse genres

                                                                                      In turn, Guru would go on to release his own quartet of highly influential Jazzmatazz projects

                                                                                      In the interim, fans always clamored for another Gang Starr album. Though there were whispers and murmurs over the years, nothing ever panned out and the possibilities of that project being willed into existence seemingly grew more remote as the years passed by. After Guru tragically passed away in 2010 the hope seemed to vanish altogether. The one person who refused to give hope was DJ Premier.

                                                                                      One Of The Best Yet is many things. Yes, it’s the first new Gang Starr album in sixteen-years and it is a historic event to be celebrated and rejoiced, but it symbolizes much more than that. One Of The Best Yet further cements Gang Starr’s legacy. This literal gift of an album not only harkens you back to Gang Starr’s seminal work of the past, but it re-establishes their impact in a modern-day perspective.

                                                                                      Taeha Types

                                                                                      Mechanical Keyboard Sounds: Recordings Of Bespoke And Customised Mechanical Keyboards

                                                                                      Yes, at last! Kinky keyboard porn! Whisper porn! Vinyl Porn! And all at the same time.! And what an ASMR treat we have for you here. Recordings of 12 incredible bespoke mechanical keyboards made and recorded by the master of this modern art, Taeha Types. Yes, this is actual typing sounds on amazing future / retro / cutting edge keyboards. Every track different. Every keyboard different. Listen and weep. Or sleep. Or something. An INCREDIBLE and UNIQUE listening experience. The first mechanical keyboard album EVER!!!

                                                                                      HISTORY:
                                                                                      For the last few years a small scene has been growing. The mechanical keyboard scene. It’s now quite a big scene actually. It makes total sense as most of us use keyboards everyday, so why not have an amazing keyboard to use instead of the total crap one you have. I mean just look down. It’s shit isn’t it. So, some people worked out that things could be improved. A lot. So they started to make incredible, kinky keyboards, using both old and new tech: and the possibilities and options in construction are endless. There are key cap options (GMK ABS, PBT etc etc), spring options (Cherry MX, Pandas, Alps etc etc) and even backplate options (steel, aluminum, copper etc etc), and of course case options too. And all these options make a big or little difference. And once made these keyboards are carefully lubricated spring by spring to give them that little extra smoothness and “ping”. The results are beautiful, fetishistic, futuristic in an odd retro style, and they sound AMAZING when they are typed on. This is classic ASMR / whisper porn, the gentle click and rattle of carefully lubed springy keyboards make the hairs on the back of your neck rise. Either that or they gently woo you into a peaceful, sublime state. This is a classic and groundbreaking new Trunk album for our modern stressful times.

                                                                                      The recordings on this album are the first ever release of mechanical keyboard sounds. They are from a selection of (enhanced) keyboards from the 80s, 90s and now. They were recorded by the master maker of the modern mechanical keyboard, Nathan from Taeha Types. He has a large following on Instagram, YouTube (videos of his hands typing on his keyboards hit 10K in just a couple of days after upload), and he now has over half a million views on his Twitch channel where he constructs keyboards live.

                                                                                      Sleevenotes on the album have been put together by Jonny Trunk and Stu London (AKA Futurecrime) from the London mechanical Keyboard scene. He knows what the fuck he is talking about. And you might not understand it, but you can catch up real quick. Like I did.

                                                                                      Album mastered by Jon Brooks, who also really understand these sounds. And if you don’t, don’t worry, lots of others will.


                                                                                      The Liminanas

                                                                                      Le Bel Été

                                                                                        Taken from the movie ‘Le Bel Été’, written and directed by Pierre Creton, this new album from The Limiñanas is the first OST written by Lionel Limiñanas. The main theme ‘One Blood Circle’ features French pop legend Etienne Daho.

                                                                                        Lionel Limiñana about writing this soundtrack: "We met Pierre during the Shadow People tour, he came to the concert and wrote to us asking for music for his film "Le Bel Été". Pierre sent me the script. I thought I didn't have time to work because of the tour but I took a three-day break to give it a try. I wrote a theme and then two, three...... I had a work base and I was able to continue at the hotel or in the band's van, which explains why the music is very electronic. I invited Ivan Telefunken, Pascal Comelade's Catalan guitarist, to play on some melodies. When we arrived in St Malo for La Route du Rock festival we met Etienne Daho with whom we had wanted to work for a long time. We played the script to Etienne and the demo of "One Blood Circle", the main theme of " Le Bel Été". Etienne worked on the text and quickly returned to the studio in Paris to record his voice and choirs. The O.S.T. was done."


                                                                                        Mark Kozelek With Petra Haden

                                                                                        Joey Always Smiled

                                                                                          Mark Kozelek teams up with violinist and singer Petra Haden for a new LP called Joey Always Smiled. Along with Haden, it features contributions from Sonic Youth’s Steve Shelley, character actor Kevin Corrigan, regular Kozelek collaborator Ben Boye, and more. And following six originals with very Kozelekian song titles, the record closes out with a folky, beautifully spare cover of Huey Lewis & The News’ immortal Back To The Future soundtrack hit ‘The Power Of Love”

                                                                                          Dead Kennedys

                                                                                          DK 40

                                                                                            The Dead Kennedys released their first single, “California Uber Alles" in 1979, which started a punk rock revolution in San Francisco and means that 2019 is the 40th Anniversary year of this legendary pioneering punk band. The 40th Anniversary campaign officially kicked off in November on Record Store Day’s Black Friday with a limited edition LP of the 1978 Iguana Studios Rehearsal Demos. This LP was so successful that it actually charted on the Billboard Top 200!

                                                                                            The Dead Kennedys were and still are one of the most influential bands in the history of punk rock. They sold a lot of records, but even more importantly, they helped inspire a million people to start punk rock bands, they were the leaders of the revolution! Their lyrics were political in nature, antiestablishment and anti-authority and they always took a stance for First Amendment Rights. Their live shows were always high energy and powerful and that power is evident in the 3 performances included in “DK 40,”which includes all of their classic songs, including “Holiday In Cambodia.” It has been 15 years since the last Dead Kennedys release, but it will be worth the wait. “DK 40” is a must for any fans of the Dead Kennedys and vintage Punk Rock!

                                                                                            FORMAT INFORMATION

                                                                                            FREE SHIPPING This item has FREE UK shipping!

                                                                                            Saadia Jefferson is a glorious act of vandalism on Yemeni traditions led by inventor, carpenter, musician and composer Eyal El Wahab.

                                                                                            Dismantling lyrics, melodies and compositions from Yemeni folk songs, El Khat delve into uncharted sonic territory updating Yemen’s ancient culture. Using an orchestra of instruments old and new, many repurposed from junk objects and turned into instruments that sound similar to traditional Arabic and North African lutes and percussion, Tel Aviv based El Khat have imagined an indelible stamp of polyphonic, harmony soaked, pan-Arabic braindance.

                                                                                            Hover over the tracks and you can pick out certain influences such as Omar Souleyman and dabkefolk characterised by trance-inducing chants ("Wahed Mozawej"), the searing Ethiopique organ of Mulatu Astatke ("Ala Jina Nuhayiykum"), and the unashamedly sing-along choruses of Bowie or McCartney ("Balagh Al Achbaab"), but the over-arching concept within Saadia Jefferson is Eyal’s sense of identity, or lack of it, as a Yemeni Jew living in Tel Aviv.

                                                                                            The album is the rewards of a self-imposed mission to discover Eyal El Wahab’s Yemeni roots.


                                                                                            FORMAT INFORMATION

                                                                                            Ltd LP includes MP3 Download Code.

                                                                                            Hurt Valley

                                                                                            Glacial Place

                                                                                              During a trip to Death Valley, California in 2010, two friends decided to drive an old Saturn station wagon down a four wheel drive road into the wilderness. After a few hours of driving through the canyons, ever so slowly so not to bottom out the car, they came upon a clearing. It was filled with burned out vehicle carcasses and double wide trailers that had all been shot at, set on fire, vandalized, and finally left to become relics of the desert. It was surreal in the sunset of painted rocks and dead silence. Upon returning home to an A-frame house in Sugarloaf California, Brian Collins started Hurt Valley as a recording project. Many ideas and songs were fleshed out next to a wood burning stove and firelight. Fast forward a few more years, and with a relocation to Los Angeles in 2014, Hurt Valley became a routinely worked on project. What happened next, along with the comings and goings of many different friends and neighbors, was the recording of a series of songs over the course of a few years. Days, nights and weekends, and anytime in between, songs were crafted and recorded in a living room, in an apartment, in Los Angeles. This is what would become Glacial Pace, an album that is part memoir, part dream, part feeling—good, bad, and in between

                                                                                              Various Artists

                                                                                              Tim Burgess & Bob Stanley Present Tim Peaks

                                                                                                The Pacific North West and the English North West are damp, mossy, riddled with steep, unexpected valleys, dotted with abandoned mills, and frequently cloaked in mist. Most of the year you’d be wise to wear waterproofs. David Lynch set Twin Peaks in the former; it’s not a great leap to imagine it being re-cast and set in the latter. As for the soundtrack? Well, that’s what this album is about.

                                                                                                • Charlatans singer Tim Burgess and Saint Etienne’s Bob Stanley have known each for three decades now. Aside from a shared love of Factory Records and the Fall, they both consider Twin Peaks to be the greatest TV show ever. They also share a love of cafes, but Tim has gone the extra mile and set up the Tim Peaks Diner, a huge draw at festivals, combining tea, coffee and music. This, then, is a soundtrack for the Tim Peaks Diner after dusk – put a couple of quid in the jukebox and the plangent guitars of Durutti Column, Dean McPhee & Galaxie 500 colour the air.

                                                                                                • Included here are rare recordings on Factory Records (Stockholm Monsters, the Royal Family & The Poor), and groups that appeared in the wake of the Fall (Blue Orchids, the Fates); from South Wales there are minimal miniatures by Young Marble Giants and the Gist, as well as Gwenno’s ice crystal electronica. Not that the music needs to originate from Britain at all – there are tracks here from Sweden (El Perro Del Mar), New Zealand (the Chills) and the US, too (Chastity Belt).

                                                                                                • Compiled by Tim Burgess and Bob Stanley, this is the soundtrack to the Tim Peaks Diner after the sun’s gone down, and it contains some of the most beautiful and atmospheric independent music made in the last 40 years. Outside, the mists are rising and the rain is falling; inside, the coffee is hot and the music perfectly matches the mood...


                                                                                                Various Artists

                                                                                                Odyssey: The Sound Of Ivor Raymonde Vol II

                                                                                                  ‘Odyssey: The Sound Of Ivor Raymonde Vol II’ is Bella Union’s follow-up to the critically acclaimed ‘Paradise: The Sound Of Ivor Raymonde’.

                                                                                                  This new compilation is a further celebration of the great British arranger, musical director, producer and songwriter Ivor Raymonde, who died at age 63 in 1990. Bella Union, the label behind both releases, is run by Ivor’s son Simon Raymonde.

                                                                                                  Like ‘Paradise’, ‘Odyssey’ has been compiled by Simon with author, journalist and music historian Kieron Tyler. Simon explains that: “The research Kieron and I did for Paradise showed us that there was still an extremely rich seam of his music to be uncovered. A follow-up volume was increasingly inevitable.”

                                                                                                  ‘Paradise’ told the story of a British musical great for the first time. Classic Sixties hits like Billy Fury’s ‘Halfway To Paradise’, Dusty Springfield’s ‘I Only Want To Be With You’ (co-written by Ivor) and The Walker Brothers’ ‘Make It Easy On Yourself’ were collected. All were arranged or produced by Ivor and heard alongside just-asfantastic tracks by David Bowie, Sonny Childe, Cindy Cole, Tom Jones, Los Bravos and Helen Shapiro. ‘Odyssey’ is additional confirmation of the seemingly limitless scope of Ivor’s talents. More hits are featured: the Alan Price Set’s irresistible Top Five interpretation of Randy Newman’s ‘Simon Smith And The Amazing Dancing Bear’, Dusty Springfield’s kinetic ‘Little By Little’, Frankie Vaughan’s epic chart topper ‘Tower Of Strength’ and the aural drama of Marty Wilde And His Wildcats’ ‘Endless Sleep’.

                                                                                                  There are also lesser-known tracks by best-sellers: Los Bravos’ Raymonde-composed soul stomper ‘Brand New Baby’, Cat Stevens’ moody ‘Blackness Of The Night’ and the extraordinary 1966 Walker Brothers’ album track ‘Where’s The Girl’, which pointed to where the solo Scott Walker would soon be heading.

                                                                                                  Although Ivor Raymonde was a back-room figure, he made the Top 30 in early 1963 as the clandestine vocalist with The Chucks – a studio demo had been made with no intention of it ending up in record shops. Then, it was issued and a band name needed. Ivor plumped for The Chucks and ‘Loo-Be-Loo’ began rising up the charts. On Odyssey, it is at last given its context.

                                                                                                  Going into the reasons for a follow-up to ‘Paradise’, Simon adds “I knew there was more but even a serial curator, late-night trawler like me, at some point thinks ‘the best stuff must now surely be all discovered.’ But finding tracks like Christopher Colt’s ‘Girl In The Mirror’ is like unearthing a rare Donovan track produced by Ray Davies. Probably my favourite discovery was The Martells’ ‘Time To Say Goodnight’ which Ivor produced when he worked at Decca Records. They only released one seven-inch single which sells for over £200, so it’s quite a rarity and more importantly a banger of a track.”

                                                                                                  Instead of Ivor, the cover image of ‘Odyssey’ is of Ivor’s wife Nita.

                                                                                                  FORMAT INFORMATION

                                                                                                  2xLP includes MP3 Download Code.

                                                                                                  Various Artists

                                                                                                  Buzzsaw Joint Cut 6 - Dusty Stylus

                                                                                                    Buzzsaw Joint was born of a club offering Londoners the chance to revel in the sounds of good ol’ trashy rock’n’roll in all its vintage vinyl forms. Club top-cat, Fritz, then took the primitive Buzzsaw sounds online with a series of savage Mixcloud mixes created by record fiends from all over the globe. Now, the high-octane energy of Buzzsaw Joint has manifested into the physical form with a run of compilations on Stag-O-Lee. Get your ears around the wild’n’weird sounds of the extraordinary and inimitable Buzzsaw Joint! Dusty Stylus is a music junkie who lives in the country, a hundred kilometers north of Melbourne, Australia. He spent the late 80s drumming in 60s garage bands and now mainly gets his buzz from collecting post war blues, R B, and good old Aussie garage rock. He hosts a couple of nights, including the ever greasy Bacon Fat, and is often on the DJ bill at the phenomenal Slow Grind Fever. For the sixth Buzzsaw Joint cut, Dustys dusted off a purely top shelf selection of his rare 45 and 78 rpm records. Take the edge off with a hit of this gear here.

                                                                                                    Various Artists

                                                                                                    Hoochie Koo Volume II

                                                                                                      Here you are! A second batch with essential tunes from the hallowed nights of the Hoochie Koo. To us, this is dance floor material. Some of these versions you won't find anywhere else. The Hoochie Koo is a high octane extravaganza inspired by the risqué Rock ‘N’ Roll lifestyle of the early days, delivering an explosive mix of rare 50s/60s tunes, a live - Soundsystem for the dancefloor, Gogo dancing - and the raunchiest Burlesque in town. We’d like to thank all the Queens & Cowboys, frenetic musicians, sultry showgirls and self acclaimed dancing kings. A big shout to the collaborating venues for helping us set a benchmark. And the almighty Bassy Club, that will stay in our hearts forever...

                                                                                                      The music: Crazy Lover sets the mood. Thunder is tweaked a bit to kindle the floor, followed by the Earthshaker featuring the crazy honking of our Sax-player, Florent. Rock-a-Chika is an homage to the leader of our GoGo team, because her name is Chika ! Bassy Boogaloo had been recorded years ago at one of our wild nights at the infamous Bassy Club (R.I.P) Snacky is the soundtrack for the quirkiest Burlesque performer we ever had: Snacky The Drag King!

                                                                                                      Furthermore: a hiccup rock, the Nabout dance, atmospheric surf and a French Mambo version of the all-time classic Istanbul.

                                                                                                      Various Artists

                                                                                                      Speedy Wunderground: Year 4

                                                                                                        For Speedy Wunderground, 2019 has been a vital and pivotal year. As well as label boss Dan Carey having produced an array of critically-acclaimed albums including regular collaborator Kate Tempest’s ‘The Book Of Traps And Lessons’ (alongside Rick Rubin), as well as the two Mercury Prize-nominated offerings from Black Midi (‘Schlagenheim’) and Fontaines D.C. (‘Dogrel’) - the 7” imprint he runs alongside Alexis Smith and Pierre Hall has been developing and growing and is fast-becoming recognised as one of the most exciting new labels in the country, culminating in an AIM Award nomination for Best Small Label, hitting their landmark 30th single release and putting out their very first non 7” / compilation releases.

                                                                                                        Among those artists / tracks involved in this collection are: the Krautrock assault-on-the-senses of Scottibrains (Speedy house band featuring Dan Carey and Boxed In’s Oli Bayston and Liam Hutton), mixed by Orla Carey, the 13 year old daughter of the producer; ‘bmbmbm’ (7” single version), the first ever official release from London’s enigmatic genre-defying black midi (who Carey recently performed this track with at The Mercury Prize show, in which guitarist Matt Kelvin unleashed an awe-aspiring forward flip straight after running into a piano).

                                                                                                        There’s also Squid’s LCD-meets-Television punk-disco workout ‘The Dial’; the twisting and turning art-rock of Black Country, New Road’s ‘Athen’s, France’ and in the label’s strong tradition of new / unlikely collaborations the skittering post-punk jam of All We Are & Alex Karpranos’ ‘Heart Attack’ - Carey having worked with the former on their self-titled debut and the latter on their third long-player ‘Tonight:Franz Ferdinand’.

                                                                                                        Also present is the blistering jangle-drenched pop of newcomers Tiña; the acerbic existential lyricism of Leeds’ Treeboy & Arc and the powerful post-punk poetry of Ireland’s Sinead O’Brien.

                                                                                                        “This definitely feels like a definitive collection for us” say label corunner / A&R Pierre Hall, “we love all the compilations, but this just feels like a real snapshot in time, all the bands and artists involved - despite being separate releases - all feel really connected.”

                                                                                                        FORMAT INFORMATION

                                                                                                        LP includes MP3 Download Code.

                                                                                                        First compilation from huge stable of new sounds, the US based, Big Crown. This is something of a highlight reel for what has been released in the three years since the label's inception. Some of our artists are world famous at this point while some of them are still under the radar. Even though not all BC artists can be found in the same aisle of our shop, after listening to "Crown Jewels Vol. 1", it should be clear how they all fit on the same record label. A label defined by taste and not genre, you'll find the languid but fiery soul of Lee Fields nestled right up to the exotic funk of Bacao Rhythm & Steel Band whilst The Shacks and 79.5 career through psyche and disco flavours respectably. However the cohesion and sequencing mean that you're never left disorientated or confused. Instead "Crown Jewels Vol. 1" places the listener on a journey into sunshine soul decadence. It's like you're on a 3-day road trip down highway 101 with the roof off, the sun blazing and loaded on nothing but good times. A great snapshot of this incredibly tasteful and exemplary label. Recommended.

                                                                                                        Using the platforms of fabric and FABRICLIVE that the London club has nurtured over the past 20 years, fabric Records presents the past and future with 20 artists across 20 original tracks made especially for this release, for the 20th Anniversary celebration of the beating heart of EC1.

                                                                                                        fabric is widely acknowledged to have long supported the underground London house and techno scene. The breadth of talent here displays the far-reaching arms of the night that includes the the melodic techno of Nina Kraviz, the shuddering electro of Steffi and evolving experimental house of Margaret Dygas. New resident IMOGEN drives darko techno whilst Marcel Dettmann’s is a classic late-night sound. Houndstooth’s Call Super takes things down a deep melodic notch and Maya Jane Coles steps up with a playful slice of house. British dance music pioneer Sasha closes out on a euphoric high with layers of building vocal and melody.

                                                                                                        FABRICLIVE represents the finest in dubstep, drum n bass, jungle, breaks and experimental beats. Houndstooth’s Special Request opens in trademark jungle style leading on to drum & bass luminaries Source Direct and J Majik. Shackleton and Pinch & Trim started playing the club during the birth of the UK dubstep scene and give a taste of the evolution of bass music. Daniel Avery and B.Traits show off their dancefloor versatility, while Rupture founder Mantra plants a flag for London’s vibrant musical future. Closing are two of the club’s longest associates Groove Armada and original resident James Lavelle as UNKLE.

                                                                                                        FORMAT INFORMATION

                                                                                                        2xLP 1 Info: LP1 is the 'Fabric' compilation.

                                                                                                        2xLP 2 Info: LP2 is the 'Fabriclive' compilation.

                                                                                                        Jack Peñate

                                                                                                        After You

                                                                                                          Over a decade in the making, ‘After You’ was produced in collaboration with Paul Epworth, Inflo and Alex Epton. Prayer, the first single from the album, features Peñate playing several instruments, as well as the production credit he set out to achieve. It carries more than a nod to gospel, all set around a glorious pop hook, played on a Farfisa organ. Its musical and lyrical complexities belies the fact it was written in twenty minutes. “Once we had written it, all the pieces of the past ten years fell into place. It was like a puzzle coming together.”

                                                                                                          Former Spankrock member turned producer and jazz drummer, Alex Epton came on board and set to bring together 10 years worth of work into a cohesive album in XL’s New York studio, adding in additional programming and production as well as drums and percussion. Paul Epworth, with whom he created Everything Is New, came back in and worked on several tracks.

                                                                                                          The album doesn’t just draw on his musical journey of the past ten years, it brings in influences from the music he heard as a child. Loaded Gun has a prechorus that Lennon and McCartney would have liked to have written. As a child his brother would play him Jungle music. There’s elements of that too. His dad ran acid house raves – that’s in there. But perhaps, the most poignant track is Gemini. With nothing more than piano, vibraphone and drum beat, the words of Peñate’s grandfather, the writer and artist Mervyn Peake, are read by his uncle Fabian. And it’s not the only family tie. The artwork for the album, and the first video, has been done by Peñate’s cousin, the acclaimed artist, Eddie Peake. “We both grew up with an uncanny focus on what we wanted to do, but had never worked together,” says Jack. His work is both incredibly joyous and melancholy, and it does something to me that music does to me too.”

                                                                                                          If Peñate’s ambition was to be able to make a sound that sounded like a feeling felt, and to be able to master studio production, and to be able to have longevity in his career, then it’s safe to say that with After You, that ambition has been realised.

                                                                                                          STAFF COMMENTS

                                                                                                          Barry says: Peñate returns after a full decade (almost) to reiterate his dedication to smooth, richly produced soulful downbeat business, and it doesn't disappoint. Full of momentum and perfectly measured instrumentation bolstered with Peñate's unmistakable acrobatic vocal bliss.

                                                                                                          FORMAT INFORMATION

                                                                                                          Coloured LP Info: Indies exclusive blue and red split vinyl.

                                                                                                          Rebirth drop a total doozy here with ‘Drum’n Voice Remixed’, a killer companion to the LP by the legendary Billy Cobham with Italian’s finest music producers and composers Novecento.

                                                                                                          Acclaimed as jazz-rock fusion's greatest drummer, Billy Cobham has dedicated his whole life to musical exploration and creative expression. Throughout his career he has collaborated with artists like Miles Davis, Horace Silver, Airto Moreira, George Benson and appeared on over 300 recordings, including icons like Peter Gabriel, Quincy Jones, Jack Bruce, Bob Weir, and James Brown. Cobham’s dramatic, explosive power mixed with emotional spontaneity, extraordinary dexterity, and complex style of play brought him global attention and critical acclaim. The first album ‘Spectrum’ is a masterpiece and still considered a reference album today.

                                                                                                          ‘Drum’N Voice’ is a collaborative project with the Nicolosi family, known collectively as Novecento. After reaching the top of the European and American charts with their Italo Disco hits, they decided to explore new ideas and evolve their music leading to a jazz and ambient territory and collaborating with some incredible artists.

                                                                                                          The album, recorded between Milan, London, Los Angeles and New York, also feature collaborations with incredible artists like Eumir Deodato, Stanley Jordan, Frank Gambale, Gregg Kofi Brown, George Duke, Brian Auger, Bob Mintzer. Billy delivers an amazing creativity and listening experience that unveils its unique style in playing drums and percussions.

                                                                                                          The collection include amazing reworks from Motor City Drum Ensemble, Max Loderbauer & Ricardo Villalobos, Folamour, Gerd Janson, Khidja, Danny Krivit, Lexx and S.A.M.

                                                                                                          STAFF COMMENTS

                                                                                                          Patrick says: Fusion legend Billy Cobham's collaborative venture with Novecento gets the remix treatment here, and Rebirth have nailed the A&R work. Lauderbauer and Ricardo get freaky with a jazzy bit of minimal tech, MCDE, Gerd and S.A.M. nail the floor-filling 4/4s while Khidja steal the show for me with a twisted bit of machine voodoo.

                                                                                                          Brand new on cult Manchester imprint Youth comes Firecracker-affiliated duo Georgia. Comprised of Brian Close and Justin Tripp and based in Chinatown, New York, the pair make galvanized futurescapes and granular rhythms; populated by 5D holographic melodies that hint at the oriental influences present around the act's locale.

                                                                                                          Utilizing intricate and advanced synthesis and sound design methods, robotized vox and thumb piano patterns are mangled and morphed on track "Baiala Ghalic" while phazed tom patterns meet reversed murmurings in a kind of Event Horizon battle cry on "Window 5". There is infact, a lot of vocal utterances that find their way into the transmission; albeit fractured, frequency shifted and distorted beyond its original intention. Perfectly demonstrated on final track: "NY MBL". When Georgia explore rhythmic canvasses it's a highly textured and detailed affair, the level of freeform development unfathomably precise yet sounding natural and loose. 

                                                                                                          Georgia are masters of sonic craft; equal to, and working alongside acts like Burnt Friedman, Kilchhofer, Vladislav Delay, Jan Jelinek and perhaps the electro-jazz side of Moritz Von Oswald (Trio). Recommended!




                                                                                                          STAFF COMMENTS

                                                                                                          Matt says: A tour de force of otherworldly sonic design and future-gazing synthesis; Georgia paint the soundscapes of the next millennium for us to digest right now.

                                                                                                          Graeme Miller & Steve Shill

                                                                                                          The Moomins: Winter Wunderland Edition

                                                                                                          Imagine, if you will, a foreboding homemade electro-acoustic, new age, synth driven, proto-techno, imaginary world music Portastudio soundtrack for a Polish-made animated fantasy based on a Finnish modern folk tale and created for German and Austrian TV, composed in 1982 by two politically driven post-punk theatre performers from a shared house in Leeds.

                                                                                                          To even the most perspicacious and adventurous of alternative music fans the genuine bloodline of this previously-unreleased record already begins to sound like an entire record collection in one sitting. It would be surprising if this project’s ambitious and exotic credentials didn’t tick at least one box on your musical matrix and without one drop of unnecessary nostalgic hyperbole this project already sounds like the perfect fantasy record that you’ve never heard. Alternatively, we could just say The Moomins and, for many, things would instantly begin to make perfect sense.

                                                                                                          From the same social landscape as Gang Of Four, The Mekons and Impact Theatre Co-operative - armed with a Wasp synthesiser, an ocarina and a cassette of the Robinson Crusoe music taped off the TV, Graeme Miller and Steve Shill used minimum means for maximum mayhem, instilling over 35 years of dreamlike illusory fuzziness and freakiness into the memories of a generation of school age TV addicts waiting for the next 5 minute fix of outernational fuzzy felt folklore. Collected here, all in one place for the first time, Finders Keepers in close collaboration with the original composers finally bring the original homemade micro-melodies and reintroduce them to a musical landscape where fans of vintage electronics, concrète tape effects, pocket percussion and domestic synths are finally ready to be reunited with the magnetic music of Moominvalley.

                                                                                                          Mysterious trio Mount Kismet are dropping debut single 'Teenage Fantasy' on Oct 11th, and their debut album "Warmer Lanes" on Nov 15th via Disco Halal.
                                                                                                          Strung together by the dark, alluring vocals of French-Canadian artist C.A.R., the 1st single, 'Teenage Fantasy' combines sparse, synth-driven cold wave with the kind of Middle Eastern electronic elements that have become synonymous with Disco Halal. The track will feature alongisde 9 other tracks on Warmer Lanes.
                                                                                                          Based between Berlin and London, Mount Kismet is a project driven by an eastern music obsession and a taste for the heavy pulse of drum machines and the rumbling of analog synthesisers. The group's only other release, the track 'Prunes & Dunes', was included in Perfect Strangers, a 'various artists' compilation put out on Disco Halal last year.
                                                                                                          An established artist in her own right, C.A.R. has previously collaborated with the likes of Maceo Plex, Red Axes and Bawrut.
                                                                                                          Based in Berlin, but firmly rooted in the diverse and forward-facing musical scene of Tel Aviv, Moscoman's Disco Halal label hails from beneath the minarets of the Holy Land. The imprint exists to present a tight-knit and growing community of musicians and producers, each transmitting their unique musical identity, yet each united by a unique sensibility, as well as a harmonious balance of rhythm and experimentation

                                                                                                          STAFF COMMENTS

                                                                                                          Barry says: Warmer lanes is a rich, saturated combination of driven, worldy percussives and well produced dancefloor melodies. Sumptuous analogue instrumentation and warm, hazy atmospherics make for an alluring and intoxicating mix.

                                                                                                          Merzbow

                                                                                                          Pulse Demon

                                                                                                            "Pulse Demon" is one of the most celebrated releases of Masami Akita's storied 4 decade long career. Composed entirely by live noise concrete and the use of a fuzz box, "Pulse Demon" eschews all overdubs and studio trickery, laying Merzbow bare. What follows in these recordings is the pure essence of unfettered noise. The rawness in "Pulse Demon" is palpable; praised as "genuinely extreme, downright torturous sounds that are strangely compelling in their shredding intensity." (A.V. Club) upon its original release in 1996. Remastered by James Plotkin (Isis, Electric Wizard, Full Of Hell, and more,) the "Pulse Demon" reissues features "Extract 1", a never-before released track that was recorded as part of the original "Pulse Demon" sessions.

                                                                                                            STAFF COMMENTS

                                                                                                            Barry says: If you imagine the sound of someone putting together a particularly complicated Ikea flatpack, with a contact mic gaffer taped to the screwdriver, you're halfway there. Fortunately, the other half reveals itself through repeated listens and studious concentration. If you know MB, you know what this is and if you don't and you like a bit of avant noise, you need to give it a go.

                                                                                                            For the surreal German supernatural thriller, Frost’s dynamic and ominous orchestrations provide a striking backdrop. Says Frost: “Working in this strange and beautiful world of light and shadow has been a gift and an endless source of inspiration”. Ben Frost is an Australian composer and producer based in Iceland. His albums include: Steel Wound (2003), School of Emotional Engineering (2004), Theory of Machines (2007), By the Throat (2009), Sólaris (with Daníel Bjarnason) (2011), Aurora (2014), The Centre Cannot Hold (2017), Fortitude OST (2017, 2018) and more. Dark is set in a German town in present day where the disappearance of two young children exposes the double lives and fractured relationships among four families. The story takes on a supernatural twist that ties back to the same town in multiple time periods.

                                                                                                            STAFF COMMENTS

                                                                                                            Barry says: Furthering his already prolific output on the soundtrack scene, top-tier noise merchant and ambient god Frost brings out two parts to his superb score for German Netflix outing, 'Dark'. The first cycle is a bit more of a brooding affair (as with Stranger Things) and perfectly soundtracks the rising unease and supernatural strangeness of the whole situation.

                                                                                                            FORMAT INFORMATION

                                                                                                            Coloured LP Info: Anorak yellow vinyl.

                                                                                                            Coloured LP includes MP3 Download Code.

                                                                                                            Ben Frost

                                                                                                            Dark: Cycle 2 (Original Music From The Netflix Series)

                                                                                                            For the surreal German supernatural thriller, Frost’s dynamic and ominous orchestrations provide a striking backdrop. Says Frost: “Working in this strange and beautiful world of light and shadow has been a gift and an endless source of inspiration”. Ben Frost is an Australian composer and producer based in Iceland. His albums include: Steel Wound (2003), School of Emotional Engineering (2004), Theory of Machines (2007), By the Throat (2009), Sólaris (with Daníel Bjarnason) (2011), Aurora (2014), The Centre Cannot Hold (2017), Fortitude OST (2017, 2018) and more. The award-winning mystery series DARK transcended borders and connected with audiences around the world. The second season continues the story of four families and their attempts to change their fate within their tightly knit community. Through eight hour-long episodes, they experience how every decision irretrievably influences the present, the past and the future.

                                                                                                            STAFF COMMENTS

                                                                                                            Barry says: The second part of Frost's soundtrack for 'Dark' ramps things up a little, with tension and in turn musical intensity building to breaking point through a shadowy and foreboding electronic soundcape. Typically mindblowing work.

                                                                                                            FORMAT INFORMATION

                                                                                                            Coloured LP Info: 'Transparent natural' vinyl.

                                                                                                            Coloured LP includes MP3 Download Code.

                                                                                                            Starting with the following year’s Under Wires And Searchlights, they’ve created an explorative body of instrumental work that’s shifted between electronica, dub, minimalism, avant-jazz and ambient music. Along the way they’ve collaborated with the likes of Jah Wobble, remixed Max Richter and Vök and provided soundtracks for art installations and other visual media. They’ve also had their own music remixed by Biosphere and Japan’s Steve Jansen, among others. The new album offers ample evidence of a band in its prime. Marconi Union still sound vital and original, enthused by the possibilities that music has to offer. “We’ve never wanted to repeat ourselves,” states Talbot. “We’ve made ten albums and have been going for 17 years, but it still feels fresh. That’s been so important for us all the way through. We’re looking to do new things all the time” co-founder Richard Talbot says.

                                                                                                            Indeed, the exquisite Dead Air bears only a passing resemblance to its 2016 forerunner, Ghost Stations. The trio have dispensed with beats, brass and guest musicians this time around, opting instead for a more intimate and textural approach, a constantly evolving soundworld of tones and sensory impressions. Dead Air also bears little resemblance to the trio’s initial vision for it. “The album we set out to make had far more of a rhythmic element,” explains Talbot, “ but fairly late in the process, we decided to completely change direction.” This is entirely in keeping with Marconi Union’s guiding methodology. Ideas remain fluid throughout the writing process, until Talbot and bandmates Jamie Crossley and Duncan Meadows ultimately settle on what feels right to them.  As such, Dead Air is a sublime testament to their collective instinct.

                                                                                                            STAFF COMMENTS

                                                                                                            Barry says: Marconi Union have been a constant source of pleasure for me here, with their wonderful capability to imbue any sound with all sorts of majestic overtones and euphoric, airy ambience while still retaining a momentum and sense of progression. Lovely stuff.

                                                                                                            Beat Happening

                                                                                                            We Are Beat Happening

                                                                                                              Domino release ‘We Are Beat Happening’, a box set of the band’s entire recorded output. Six albums across seven LPs that showcase how the band created an international network of underground pop entirely on their own terms. The albums have been newly remastered by Frank Arkwright at Abbey Road Studios and this will be the first time the entire Beat Happening catalogue has been in print in over a decade.

                                                                                                              The story of Beat Happening - Calvin Johnson, Heather Lewis and Bret Lunsford - began in Olympia, Washington at the dawn of the 1980s. After playing their first ever shows in Japan, the trio released five albums and four EPs throughout 1984 to 1992 and, whilst they may have played their last show in 1992 and made their final recording in 2000, it’s tricky to define their cessation. Along with the music they made and the shows that they played, Beat Happening created a connectivity that is still completely present.

                                                                                                              FORMAT INFORMATION

                                                                                                              LP Box Set Info: 7x180g vinyl and 40-page booklet.

                                                                                                              FREE SHIPPING This item has FREE UK shipping!

                                                                                                              Recording at Malcom Catto's analogue studio has been an ambition of Greg's for a long time, not only for the studio itself but for Malcolm's skill using this vintage equipment, very few people can achieve such an incredibly big sound.

                                                                                                              Earlier this year we grabbed the chance to get the full Greg Foat group joined by Binker Golding (Binker and Moses) on Tenor Saxophone, Malcolm Catto on drums and Hugh Harris (The Kooks) on Guitar on the session.

                                                                                                              Moving to a more rhythmic space, you could call it Jazz funk or Fusion, but labels suck so just listen and appreciate the pure sense of space Malcom achieves with this recording. Instruments float in space, aided by the Vintage EMI desk and a host of valve equipment which has taken Malcolm a lifetime to collect. In amongst the more rhythmic pieces we also have some classic Foat style compositions; 'Lake Kussharo' and 'The Dreaming Jewels' as emotive and personal as ever, a feeling that can only be expressed and articulated in music. These past few years will no doubt be looked back on with great favour in musical history, with prolific and high quality output in all his various projects this LP is his crowning achievement of 2019. A strong year indeed!




                                                                                                              STAFF COMMENTS

                                                                                                              Matt says: Foat without Hampshire? Still a delectable prospect I assure you, as the esteemed UK jazz luminerie moves through fusion and funk with a confident stride. Warmed through some classic vintage equipment this is raw Foat!

                                                                                                              Preservation Hall Jazz Band

                                                                                                              A Tuba To Cuba

                                                                                                              The legendary Preservation Hall Jazz Band present the soundtrack to ‘A Tuba To Cuba’, the critically acclaimed documentary directed by TG Herrington and Danny Clinch. The film follows Ben Jaffe of New Orleans’ famed Preservation Hall Jazz Band as he seeks to fulfil his late father's dream of retracing their musical roots to the shores of Cuba in search of the indigenous music that gave birth to New Orleans jazz. ‘A Tuba To Cuba’ celebrates the triumph of the human spirit expressed through the universal language of music and challenges us to resolve to build bridges, not walls.

                                                                                                              Preservation Hall Jazz Band’s Ben Jaffe said of ‘Kreyol’ from the soundtrack: “Every evening in Havana people gather along the waterfront to socialize. I’ve always been taken by the tempo at which people stroll, like New Orleans, there’s a very particular rhythm to their walk. That rhythm was the inspiration for ‘Kreyol’. In fact, ‘Kreyol’ is the Cuban spelling of ‘Creole.’ You can feel that same Creole influence in New Orleans, it’s one of our many shared connections with Cuba.”

                                                                                                              At a moment when musical streams are crossing with unprecedented frequency it’s crucial to remember that throughout its history New Orleans has been the point at which sounds and cultures from around the world converge, mingle and resurface, transformed by the Crescent City’s inimitable spirit and joie de vivre. Nowhere is that idea more vividly embodied than in the Preservation Hall Jazz Band, which has held the torch of New Orleans music aloft for more than 50 years, all the while carrying it enthusiastically forward as a reminder that the history they were founded to preserve is a vibrantly living one.

                                                                                                              FORMAT INFORMATION

                                                                                                              LP includes MP3 Download Code.

                                                                                                              Tune-Yards

                                                                                                              Sorry To Bother You: Original Score

                                                                                                                Tune-Yards’ original score for Boots Riley’s acclaimed surrealist social satire 2018 film ‘Sorry To Bother You’ (starring Lakeith Stanfield and Tessa Thompson) has been praised by Billboard as “a simultaneously erratic and ecstatic medley of instruments and vocal layering”. Tune-Yards’ score album follows the 2018 release of ‘Sorry To Bother You: The Soundtrack’ by The Coup. Director Boots Riley described the score as “the film’s musical voice” and explains the difference between the score and the soundtrack: “The characters can’t hear [the score]; the soundtrack, the characters can [hear].” The score also includes dialogue samples from the film and four bonus tracks never before heard in the film. The bonus tracks feature up-and-coming Oakland artists including Chhoti Maa as well as Lyrics Born and Lateef the Truthspeaker.

                                                                                                                At last, the long mooted, hotly anticipated DETOX TWINS debut full length finally hits the racks this November. Following a slew of instant sell out, hugely acclaimed 45s, the first LP is utterly wonderful despite the apparent silence during its preparation, the wait is more than worth the while.

                                                                                                                Comprising the duo of Mark Vorderhaus (recently returned to the UK after a period in Berlin where almost all the LP was recorded) and Devi von Teufel. Ten absolute high end, synth pop nuggets, each one superbly crafted with the ageless electronics and pop savvy-ness of Mark’s writing and electronics, icily coated with Devi’s Germanic, Nico-esque vocal delivery.

                                                                                                                Based heavily on the tracks which formed the bulk of the duo’s 7” releases on PY, these are an absolute joy and work superbly and seamlessly well over the course of the album.

                                                                                                                Hugely recommended to fans of early Mute / Blackwing studios output, Fad Gadget, DAF, The Normal and co; their music is often described as “typifying the PY sound” as imagined by label head Dom, upon his setting up Polytechnic Youth in 2014.

                                                                                                                A record that has that rare trait of sounding timeless in its (very European) nod to that key period of electronic pop from the mid ‘70s whilst also sounding utterly fresh and new in 2019.

                                                                                                                A fabulous record released as a vinyl only pressing on tasty half black and half pink vinyl, in a pressing of 500 only.

                                                                                                                STAFF COMMENTS

                                                                                                                Barry says: Any PY stuff is pretty much an instant buy for me anyway, but this outing from Detox Twins is even more my bag. Chiptuney arps and psychedelic echoing vocal snippets ride atop frenetic percussion and rich, digital strings. Reliably brilliant, as expected.

                                                                                                                FORMAT INFORMATION

                                                                                                                Ltd LP Info: Pressing of 500 on duo coloured (half pink | half black).

                                                                                                                Yoshio Ojima

                                                                                                                Une Collection Des Chaînons I And II: Music For Spiral

                                                                                                                  WRWTFWW Records is insanely happy to announce the first ever double CD reissue for both volumes of Yoshio Ojima’s superb environmental music project Une Collection des Chaînons I and II: Music For Spiral, originally released in 1988. The twenty track opus is sourced from original masters and comes as a double digipack CD with liner notes in English and Japanese. This marks the inaugural release from the ESPLANADE SERIES by WRWTFWW Records which focuses on the works of Yoshio Ojima and friends.

                                                                                                                  Une Collection des Chaînons I and II gathers selected music pieces conceptualized and produced for sound-designing the Wacoal Art Center in Aoyama (Tokyo) also known as Spiral, a hub for a wide range of sophisticated cultural proposals spanning visual arts, theatre, music, design, fashion, and lifestyle.

                                                                                                                  Named after its superb curled-shaped structures laid in a vast atrium, Spiral is a monumental work of architecture by Fumihiko Maki, designed according to the principles of Metabolism, a movement advocating the fusion of the notions of megastructures and organic biological growth - in essence, evolving designs and constructions, adapting to human needs naturally.

                                                                                                                  Evolving, organic, adapting, these are notions that perfectly describe Yoshio Ojima’s divinely designed brand of environmental music. Based on a meticulous work on timbres and textures, it approaches sound design in relation to various contexts, sizes, and feelings. CD 1 flows from the eerie and levitating "Entrance" to the quirky "Esplanade (LIVE)", the gentle and reassuring "Flius", and the measured and ravishing escalation of "Mensis". On CD 2, the nanoscopic neoclassical lullaby "Les Trois Grâces" brings attention to the importance of small details, "Pulse at Soothe" starts with the minimalism of a Satoshi Ashikawa piece and slowly drifts into mystical landscapes and cavernous echoes, "Entomology" and its melancholic artificial forest evokes a Twin Peaks mirage, and "Atrium" literally feels like a floating visit of a gigantic open space structure.

                                                                                                                  Sitting alongside Midori Takada’s Through The Looking Glass, Satoshi Ashikawa’s Still Way, Hiroshi Yoshimura’s Green, or Yutaka Hirose’s NOVA, as a pivotal work of Japanese environmental/ambient/minimalist music, Une Collection des Chaînons (which translates as a collection of links) is a delicately laid out sonic landscape connecting space and emotions, architecture and humanity, adjusting and transforming through the ears of the listeners.

                                                                                                                  A note from Yoshio Ojima: "Please listen to this album at around the same volume as daily life sounds such as air conditioners and refrigerators."


                                                                                                                  Rarely does an artist appear, as if out of thin air, with a full body of work where lyrically lush songs carry you into other worlds as if they were your own. Erin Durant's second album, Islands is an odyssey of sorts, with songs that blur the line between reality and fiction. Produced by TV On The Radio’s Kyp Malone, the eight songs deliver clarity within mystery and adventure in their uncluttered vignettes. “The New York-via-New Orleans songwriter recalls Joni circa For the Roses, or Joanna Newsom at her most freewheeling, on this lovely, shaggy piano ode to love lost,” writes The Guardian. Stereogum writes she "makes breezy, romantic songs that boast the vocal effervescence of Regina Spektor with the rootsy introspection of Julie Byrne.”

                                                                                                                  Born and raised in New Orleans, Durant has been based in New York for over a decade. She composes most songs on piano, songs that tend to unfold structurally like a memory or a scene from a movie. As a performer, Durant usually transports a 232-pound ¾ size piano to venues without one. To hear her play the instrument makes plain her case for the extra effort. Her music is rooted in an ongoing dialogue between the physicality of her playing and the high, clear tone of her voice. Enmeshed with one another, it’s a display of an artist in full possession of herself and vision. Islands sprawls out in front of you, weaving disparate stories into an overarching narrative. Islands is a continuously shifting landscape, with a knowing nod to the inevitability of these shifts. Durant’s collaboration with Malone introduced an expansiveness in sound. She knew she wanted the songs to be fuller. They welcomed more instrumentation into the fold, including a complete rhythm section, the hum of pedal steel, and warm flourishes of brass and woodwinds. These are generous songs intended to breathe. They never fall into a grid. Instead, they pause and gallop, expand and contract, and pass through time unhurried. 

                                                                                                                  FORMAT INFORMATION

                                                                                                                  Coloured LP Info: Sand coloured vinyl.

                                                                                                                  Graeme JD Ronald

                                                                                                                  Danielle

                                                                                                                    Graeme JD Ronald releases Danielle, his first new music in five years, and the first to be released under his own name, since his band Remember Remember went on hiatus following their acclaimed 2014 album Forgetting The Present. The 12 track mini album is the soundtrack to the extraordinary documentary of the same name, directed by Gareth Warland, who was shortlisted for the Young Director Award at Cannes this year for his work  The film tells the story of 27 year-old Danielle MacGillvray and her six year-old son Peter, who live in the beautiful and stark landscapes of the Outer Hebrides, Scotland. The story of a mother, runner, horse rider and fire-fighter living with Multiple Sclerosis, Danielle is a short film about fighting to live your best life possible, despite the obstacles.

                                                                                                                    FORMAT INFORMATION

                                                                                                                    10" LP includes MP3 Download Code.

                                                                                                                    Homeshake

                                                                                                                    Helium Remixes

                                                                                                                      Over his first three albums, Homeshake’s Peter Sagar followed his own idiosyncratic vision, a journey that took him from sturdy guitar-based indie-pop to a bleary-eyed take on lo-fi R&B. With his fourth album, Helium, released in February 2019, Sagar put down roots in aesthetic territory all his own. Following the release if Helium, Sagar invited some of his favourite contemporary artists to remix tracks of their choosing and the results were outstanding – from Jessy Lanza’s soulful reworking of “Like Mariah,” the taut techno of Laurel Halo’s remix of “Another Thing,” the skittering footwork reinterpretetation of “Just Like My” by DJ Taye and DJ Paypal under the TAYE // PAL moniker, to the bouncy leftfield house remix of “All Night Long” by rising star Ciel.


                                                                                                                      Various Artists

                                                                                                                      Spiritual Jazz 10: Prestige

                                                                                                                      'Esoteric, modal and deep jazz from Prestige Records, 1961-73'
                                                                                                                      The tenth edition of our Spiritual Jazz series takes a closer look at the music Prestige was recording at the start of the 1960s. This was the period when the modal jazz sound pioneered by Miles and Coltrane was starting to percolate through the jazz underground.

                                                                                                                      In its heyday, Prestige was the only jazz label that could hold a candle to Blue Note. Prestige was always quick off the mark to record new artists, and in the years after Kind of Blue the label was quick to release some of the most innovative early explorers of the new style.

                                                                                                                      Founded as New Jazz in 1949 by 20-year old jazz fan and entrepreneur Bob Weinstock, Prestige was the only other imprint besides Blue Note to capture the iconic jazz sounds of the 1950s, and like its rival it grew to be an icon itself.

                                                                                                                      If Blue Note documented the sound of hard bop in its most carefully crafted and beautifully presented form, the low-key, jam-session approach that Weinstock preferred meant that the music captured by Prestige has a tough, unfiltered energy that was a lot closer to way it was being played live, night after night, by New York's most prominent jazz musicians.

                                                                                                                      Featuring Afro-Eastern visions from Yusef Lateef and Ahmed Abdul-Malik, deep modal excursions from Mal Waldron and Walt Dickerson, and essential spiritual jazz grooves from Gary Bartz and Idris Muhammed, Spiritual Jazz vol. 10 documents the sound of modal jazz in full flight, unabashed and authentic from the pioneers!

                                                                                                                      STAFF COMMENTS

                                                                                                                      Matt says: This momental series turns its spotlight onto the Prestige label, and more specifically their 1961-73 output. If you like your jazz deep, modal and esoteric, then this is for you!

                                                                                                                      Jazzman Records bring us the sound of the unsung musicians who – in the midst of the Vietnam War and the fallout of the Civil Rights struggle – created some of the most beautiful Spiritual and meditative music of the era. Sometimes funky, sometimes mellow, but always trying to say something about the world in which we live.

                                                                                                                      Existing completely under the critical radar and largely ignored or unknown by music fans and critics alike, most of the musicians featured in this album won't be familiar to even the most seasoned aficionado. Their records, frequently turned down by distributors and record stores, saw little attention when first released - and have seen even less since. But in this era of musical apathy, where so many music junkies look to the past for their musical fix, we have re-discovered hidden, obscure and esoteric jazz musicians who looked to the four corners of the earth - and beyond - for inspiration. Here we evaluate Spiritual Jazz – music that is a snapshot of the era after Coltrane, a time which saw the evolution of an underground jazz that spoke about the reform of the soul, the reform of the spirit, and the reform of society: a music which was local and international at once, which was a personal journey and a political statement, and which was religious and secular in one non-contradictory breath.

                                                                                                                      The music on this album reflects the social and historical forces at work during the closedown of the '60s dream; music made by close-knit collectives and individual visionaries, by prisoners and eccentrics, by mystics and political radicals. It includes music by acknowledged masters, and moments of brilliance by unsung figures known to us from just one or two recordings. It is the jazz music of America in the age of civil rights, brutal repression, political assassination and war; a music that would guarantee the survival of the spiritual dimension in a society that was angry and traumatized, but nevertheless had seen hope of better days to come. Soul jazz; Black jazz; Spiritual jazz.

                                                                                                                      STAFF COMMENTS

                                                                                                                      Matt says: Repress of this iconic record that kickstarted this legendary series...Buy now or cry later!

                                                                                                                      Beck

                                                                                                                      Hyperspace

                                                                                                                        Beck's 14th album feels like an amalgamation of previous albums, given a light dusting of pop sheen, thanks to the production of Pharrell Williams amongst others.

                                                                                                                        It's largely set at a fairly slow pace, with nods to the folk tinged melancholy of ‘Sea Change’ or ‘Morning Phase’, some lovely slo-mo synth-soaked pop and occasional upbeat moments: "Saw Lightning" harks back to his "Loser" days and is as upbeat and catchy as anything he's ever done.

                                                                                                                        On ‘Hyperspace’, he's hit the sweet spot between his adventurous, experimental past and the more accessible 'pop' leanings of his recent releases.

                                                                                                                        STAFF COMMENTS

                                                                                                                        Barry says: As ever, a brilliantly produced and impeccably conceived outing from the ever-reliable Beck. This one has a little more reliance on big rock choruses contrasting to Morning Phase's hazy atmospheres and languid curves. It's as brilliant as anything he's done for a long while, and shows clearly that there's no end to this man's talents, at least not yet!

                                                                                                                        FORMAT INFORMATION

                                                                                                                        Indies Exclusive LP Info: Metallic silver coloured 180 gram vinyl in a gatefold sleeve.

                                                                                                                        Indies Exclusive LP includes MP3 Download Code.

                                                                                                                        LP Info: 180 gram black vinyl in a gatefold sleeve.

                                                                                                                        LP includes MP3 Download Code.

                                                                                                                        A stunningly accomplished work, ‘Deep Rave Memory’ is an insight into Fearless’ worlds – both metaphysical and geographical. Pulsating in unison with the heartbeat of a modern metropolis, it was recorded at the Metal Box’ – his studio located on the peninsula of land where the River Lea meets the Thames.

                                                                                                                        The haunting and wistful blue ambient ‘Vision of You’ leads into the bracingly chilly ‘New Perspective’, which evokes a heavy rush where perceptions are blurred and vision is freeze framed, via elements of techno-soul, Sheffield Bleep and Mika Vainio. A snarling beast of a track, the relentless machine funk of ‘Devil on Horseback’ perfects the pure cathartic release of dark ‘n’ hot body music, whilst ‘Acid Angels’ is a throbbing low-fi 303 requiem, which encapsulates that perfect dancefloor moment, when the first light breaks through the shutters.

                                                                                                                        A future classic and the album’s modus operandi, title track ‘Deep Rave Memory’’s discordant filter passes sweep across a hypnotic melody, communicating a deep sense of warm nostalgia and taking you on an epic journey – stretching out a single riff over 12 minutes – akin to the krautrock greats of which Fearless is so fond. ‘Atlas of Insanity’ is big room techno with pounding kicks, death-whip metallic snares and head spinning, spiralling synth lines that drill into your core. This is raw, impulsive and frantic music that sizzles with electric effervescence. The Germanic kosmische idyll of ‘Driving with Roedelius’ is a homage to one of Richards’ heroes – Hans-Joachim Roedelius – and was inspired by his experience playing a set consisting solely of the electronic pioneer’s music, at a festival celebrating his life and career. On the album's closer, Fearless recounts, “‘Broken Beauty’ is something I’ve always strived for in my art. It’s inspired by Robert Frank, William Eggleston and the way they could take the most inane object a turn it into something of beauty. It’s equally schooled by the aggressive simplicity of King Tubby’s dubbing and the transcendence of Joy Division’s ‘Decades’. The sparse allure of the best dub and techno is something I’m always striving for; being able to conjure emotion with the fewest possible elements; to not fix what’s broken, but to make it shine.


                                                                                                                        STAFF COMMENTS

                                                                                                                        Matt says: Deep n dark electronix from Richard Fearless whose Drone label, run with his wife, showcases the producer's new outlook - indebted to dub and Detroit techno and more akin to what you might hear in one of Fearless' DJ sets.

                                                                                                                        FORMAT INFORMATION

                                                                                                                        2xLtd LP Info: Indies exclusive - only 150 copies for the UK.

                                                                                                                        In the ten years since Danny Brown’s magnum opus XXX was released, he has permeated both underground and mainstream music culture with an authentic and ever-evolving persona and a sound wholly his own, transcending genres and any parameters the world around him might impose. He set the blueprint for many of today’s critical darlings and opened doors for so many following his personally audacious start. Today, Brown announces his long awaited and much anticipated return with his fifth studio album uknowhatimsayin¿, slated for a physical release on November 8th via WARP. Executive production is from the iconic rapper and producer Q-Tip of A Tribe Called Quest. Q-Tip’s involvement in uknowhatimsayin¿ marks the first time the legendary artist has executive produced an album since Mobb Deep’s The Infamous. Brown’s lyrics balance earnest storytelling with laugh-out-loud one-liners, especially apparent on “Dirty Laundry” as Danny raps about his sexual exploits and reminisces on his rocky path to stardom. Brown’s star turn as an artist and individual are both clearly demonstrated on uknowhatimsayin¿, the next stop on Brown’s journey and one that solidifies his reputation as an innovator and hip-hop’s favorite curiosity. In the truest sense, it is a modern classic that defies genre and reimagines what a hip-hop album can and should be in 2019.

                                                                                                                        STAFF COMMENTS

                                                                                                                        Matt says: One of the most recognizable voices in modern rap, and a flag bearer for Detroit, comes through with a new album. A tasty bunch of collaborators, Q-tip (!!) on production duties plus Brown's completely unique lyrical style mean this'll be a last minute entry to rap albums of the year. Check!

                                                                                                                        FORMAT INFORMATION

                                                                                                                        LP includes MP3 Download Code.

                                                                                                                        Anne Müller

                                                                                                                        Heliopause

                                                                                                                          Classically trained at Frankfurt University of Music and Performing Arts under the renowned cellist and conductor Michael Sanderling, Anne Müller performed as a cellist in many of Berlin’s symphonies for some time before choosing a different path with her music and focussing on novel approaches to classical instrumentation. A profound believer in the power of artistic collaboration, Anne’s skilled cello playing and instinctive composition became extremely sought after. Following her work with Nils Frahm, an enduring partnership with singer-songwriter-composer Agnes Obel ensued, touring for five years together and featuring on two albums (Philharmonics and Aventine) and most recently, working with multiinstrumentalist Markus Sieber (aka Aukai) on his 2019 album Reminiscence. In between all this, Müller also co-founded the progressive live project Solo Collective along with violinist/singer Alex Stolze and pianist/conceptual artist Sebastian Reynolds, releasing Solo Collective Part One in 2017.

                                                                                                                          A solo record in every sense of the word, Müller wrote, recorded, arranged and produced Heliopause. The album is named after the boundary where the sun’s wind ceases to have influence. It is ultimately, the border of our solar system. The name struck a chord with Müller since the two voyagers sent on an exploratory mission 42 years ago, recently crossed the Heliopause, entering into interstellar space and losing power from our own sun. Müller recognised herself in this moment, not only approaching the same age, but also breaking new ground; having relied on collaborating with so many other stars and now venturing into the unknown with her first solo statement; “Heliopause marks the end of a long journey but also the start of voyages to explore strange new worlds” Boldly opening the album with Being Anne, it sees Müller embrace her new found freedom with the most experimental piece on the record, placing the cello in a completely new context. Playing the strings of a broken down piano with a plectrum and scratching parts of the key mechanism to produce a rhythm, the once lost instrument is given a new lease of life among looped cello drones and drums. “I used the sounds of a tiny piano I got from my mother that she bought when she was a student and didn’t have any money. Later it stood for years in our little summer garden house, where I practiced on it constantly for my piano lessons. Even though it’s old and not in the best shape, I love the way it sounds and call it my little circus piano”.

                                                                                                                          The atmospheric swells of noise on Being Anne are juxtaposed beautifully with the most stripped back and exposed song, Solo? Repeat!. The J.S. Bach and Gaspar Cassadó influenced piece sees Müller go solo in its purest form: unaccompanied cello. Lead single Nummer 2 is so titled as it’s the second piece Anne ever wrote. A mixture of old sounds and newer structures, its repeated arpeggio conjures drama and displays Müller’s dexterous production abilities. Drifting Circles meanwhile provides the album’s climax, amid an orchestra of looped cellos and vocals. Referencing the minimalism of contemporary composers such as Steve Reich and Philip Glass, it builds to a crescendo of harmonics, allowing the cello to sore as it crosses the border from minor to major. Both as the closing title track and album as a whole, Heliopause crosses these physical and invisible borders throughout, sending the cello as a typically classical instrument to exciting new and uncharted territory

                                                                                                                          STAFF COMMENTS

                                                                                                                          Barry says: Müller's 2010 outing with Nils Frahm, '7 Fingers' was one of my early highlights on Erased Tapes, and this long awaited follow-up is just as good. Obviously, being a solo record rather than a collaboration, the focus is entirely on Müller here, and she manages to pull off a stunning set of atmospheric ambient chamber classical and swimming minimalist brilliance. Gorgeous.

                                                                                                                          Maija Sofia

                                                                                                                          Bath Time

                                                                                                                            Maija Sofia, one of Irelands most lauded young folk artists has produced a timeless debut album, inspired by story-driven traditional folk-ballads, shone through the lens of punk DIY ethos. Following the success of lo-fi dream-pop single ‘Flowers’, Maija Sofia releases her debut album ‘Bath Time’ Sofia took inspiration fromstory-driven traditional folk ballads and shone them through the lens of a punk DIY ethos. The album name comes from the ritual of daily bathing, a whimsical place where most of the lyrics were written. The album deals with the ways in which women's voices, stories and desires have been sidelined and misrepresented throughout history. From Edie Sedgwick to Bridget Cleary, Sofia's songs imagine a world in which silenced women speak back..


                                                                                                                            The album was recorded by Chris Barry at Ailfionn Studio and features performances by Ronan Kealy (Junior Brother) and Niall Murphy (Oh Boland). The Gold Shoes’, is a mystical, ethereal opening before the melancholic ‘Hail Mary’, which starts soft, but the music grows in power as Sofia interrogates the sexual hypocrisy of the Catholic church, and the harp feeds into the haunting sound with effortless complexity and depth. ‘Edie Sedgwick’, named after the muse of Andy Warhol has alt-country elements from lap steel player Niall Murphy (Oh Boland) and cellist Laura McCabe (Molly Sterling). ‘The Wife of Michael Cleary’ is an ode to Bridget Cleary, killed by her husband in 1895. Michael Cleary believed his wife had been abducted by fairies with a changeling left in her place. The male vocal is provided by off-kilter alt-folk Junior Brother, with singing in the round building tension.


                                                                                                                            ‘The Glitter’ is disturbingly beautiful, an ode to Jean Rhys, a troubled novelist from the Carribean who came to England aged 16 and dealt with issues of displacement and unbelonging. As is ‘Cobweb’ with Sofia’s rich contralto “I didn’t know I was on my own. I’m only as wise as you.” ‘Morning’ mourns lost relationship and the failure of trying to fix a flawed lover. ‘Elizabeth’ dwells on the troubled love affair between Elizabeth Siddal and the Pre-Raphaelite painter Rossetti.. ‘The Trees They Do Grow High’ is a disturbing English folk ballad sung from the point of view of a woman forced to marry an inappropriately younger man.. The album wraps around the listener like a velvet cloak, time is irrelevant, and the pain and complexity of female life has been sharply observed by Sofia. 'Bath Time' is a collection of songs written between Dublin, London and rural Galway, it was recorded slowly over several months by Chris Barry in Ailfionn Studio in Dublin. The guitar and vocals tracks were recorded all in one take and then others we brought in to finish the piece - Niall Murphy from Oh Boland plays lap steel and synths, Christophe Capewell who plays with Lisa O'Neill played fiddle, harp by Meabh McKenna, synths by Clara Tracey, and Cello by Laura McCabe, and some guest vocals by Ronan Kealy (Junior Brother). 

                                                                                                                            STAFF COMMENTS

                                                                                                                            Barry says: Beautiful brittle guitar pieces, cavernous echoes and Sofia's transportive vocal prowess form together into a haunting and effecting whole. Brilliantly original and reassuringly heartfelt.

                                                                                                                            Leonard Cohen

                                                                                                                            Thanks For The Dance

                                                                                                                              In a posthumous new album, Leonard Cohen has robbed death of the last word. 'Thanks for the Dance' is not a commemorative collection of B sides and outtakes, but an unexpected harvest of new songs, exciting and vital, a continuation of the master's final work.

                                                                                                                              Seven months after his father passed, Adam Cohen retreated to a converted garage in his backyard down the street from Leonard's house, to work with his father again, to stay in the company of his voice. From their previous collaboration on 'You Want It Darker' there remained bare musical sketches, at times little more than vocals. Leonard had asked his son to bring these works to completion.

                                                                                                                              "In composing and arranging the music for his words, we chose his most characteristic musical signatures, in this way keeping him with us" - Adam Cohen

                                                                                                                              STAFF COMMENTS

                                                                                                                              Andy says: Brand new songs, NOT odds'n'sods and leftovers; this record feature material L.Cohen was working on in the months before his death. Who better to bring them to fruition than his son, Adam.

                                                                                                                              FORMAT INFORMATION

                                                                                                                              Deluxe LP Info: 1x 180gsm heavy weight black 12" vinyl.
                                                                                                                              12" Gatefold sleeve, 4/0, 370gsm Fedrigoni sirio ultra black, high embossing on front and back, gold hotfoil on front and back, back printed 2 hits of white.
                                                                                                                              1 12" Inner sleeve, 4/0185gsm Fedrigoni sirio ultra back, pms gold.

                                                                                                                              Finnish psych-pop voyager Jaakko Eino Kalevi returns with a new release called ‘Dissolution’ via Weird World. Never one to repeat himself, these seven songs come from a sparkling new constellation in the Kalevi universe as he draws deep for a set that explores the cosmic implications of a life being well lived. On this release, Jaakko teams up with the Berlin- based Taiwanese singer Yu-Ching Huang; as he sings in his native tongue, she responds: “I won’t make contact / I enter the limit state.

                                                                                                                              STAFF COMMENTS

                                                                                                                              Patrick says: Finland's king of psychedelic curveballs, quirky Balearic and off kilter synth jams returns with 'Dissolution', continuing his groove heavy journey into absurdist pop but with deeper emotional connection and a richer sound than ever before.

                                                                                                                              FORMAT INFORMATION

                                                                                                                              LP includes MP3 Download Code.

                                                                                                                              Deerhoof

                                                                                                                              Halfbird

                                                                                                                                Recommend If You Like: DEERHOOF (!), Blonde Redhead, Sonic Youth, Stereolab, Animal Collective, Liars, Lightning Bolt // “...the best band in the world...” Pitchfork // Deerhoof and Joyful Noise Recordings will issue the first ever vinyl edition of the band’s third LP, Halfbird. Originally released in July 2001 by Menlo Park Records, Halfbird is 14 tracks of playful absurdity and pummeling energy, featuring founding member Greg Saunier (drums - guitar - vocals); Satomi Matsuzaki (vocals - bass); and Rob Fisk (guitar). 2019 sees the 25-year anniversary of Deerhoof being a band. To celebrate the occasion, three labels that have worked with Deerhoof over the course of their expansive and colorful career will each reissue one of the first three Deerhoof LPs: 1997's The Man, The King, The Girl (Polyvinyl); 1999's Holdypaws (Kill Rock Stars); and 2001’s Halfbird (Joyful Noise Recordings). 

                                                                                                                                STAFF COMMENTS

                                                                                                                                Barry says: One of Deerhoof's classics gets the reish treatment, and the timind couldn't be better. What else could you want in these troubling times than a slab of grooving, psychy noise rock.

                                                                                                                                FORMAT INFORMATION

                                                                                                                                Coloured LP Info: Pink & Yellow split colour vinyl.

                                                                                                                                Coloured LP includes MP3 Download Code.

                                                                                                                                The unassailable DJ Shadow finally returns to our humble shelves with an ambitious and exceptional double album, "Our Pathetic Age", once again on Mass Appeal. "Our Pathetic Age" is the result of an intensely creative period that found the hip-hop and electronic innovator delving further into original composition and experimentation. The first half of Our Pathetic Age features 11 new instrumental works that balance some of Shadow’s most menacing sounds with beams of hope, including his first fully composed orchestral piece. Mindblowing swathes of synth heft surge to trap percussion, sci fi sequences and distorted jukes, or else jazzy syncopation carries nebulous melodies into the upper atmosphere.
                                                                                                                                The second half of Our Pathetic Age is a full album of vocal collaborations, ranging from Run The Jewels, Nas and Dave East to Sam Herring, Paul Banks and Wiki, Inspectah Deck, Ghostface Killah and Raekwon. Shadow notably reunites with his early Solesides collaborators Lateef The Truthseeker and Gift of Gab (Blackalicious). It also features St. Louis MCs Rockwell Knuckles and Tef Poe, fellow Bay Area musicians Fantastic Negrito and Jumbo is Dr.ama, and Brookyln MC Stro. Full track list with collaborators is below.

                                                                                                                                "More than anything, I try to get a sense of the mood of society as a whole. The subtle signals that humans send each other, the way people behave, their frustrations and ebbs and flows. In my part of the world, people are scared. There's rampant homelessness, and a real fear of falling into generational poverty. People are addicted to, and addled by distraction; they're angry and confused, and disaffected by their own governmental institutions. There's songs on the record that are inspired by this energy and seek to harness it, to make sense of it. In some cases, there's attempts to salve the wound; in others, the songs merely observe but don't offer solutions. I want the album to reflect the times we live in, a signpost in the ground to mark the era...Our Pathetic Age." - DJ Shadow.

                                                                                                                                The album was produced by DJ Shadow, and the album art was created by Paul Insect, who also designed Shadow’s The Mountain Will Fall and Outsider covers.


                                                                                                                                Coldplay

                                                                                                                                Everyday Life

                                                                                                                                  Coldplay return with their first new studio album in nearly four years. Everyday Life is a double album (single CD), presented in two halves: Sunrise and Sunset, featuring a stunning array of music, that is sure to surprise and delight their massive global fanbase.


                                                                                                                                  FORMAT INFORMATION

                                                                                                                                  2xLtd LP Info: Double, heavyweight black vinyl in uncoated board sleeve with gold and holofoil detail. Also contains download card and 24-page booklet.

                                                                                                                                  Ben Lee

                                                                                                                                  Quarter Century Classix

                                                                                                                                    “In January 2019 I found myself stuck in a Chicago hotel room during the ‘Polar Vortex’. I was performing there with my duo Radnor & Lee over a few nights when temperatures dropped, leaving me unable to do much outside my hotel room for 4 days. Chicago is a city that holds a special history for me, and I found myself spending a good chunk of time staring out my hotel window, reflecting on my first trip there in 1993 to record my debut solo album ‘Grandpaw Would’ at Idful Studios with Brad Wood. But more than the details of that trip, I was struck by how vividly memories started flooding back to me of being a 15 year old mega fan of music, and in particular, indie rock. I LIVED for the records that I loved and the bands who made them. I’m not sure you are ever a fan of bands the way you can be as a teenager. It’s pretty sacred.

                                                                                                                                    “I started re-listening to some of my favorite songs from that period in that hotel room, by the Beat Happening, Pavement, Fugazi, The Breeders, Guided by Voices. It struck me as crazy that these songs and the feelings that accompanied them were now over 25 years old. It started seeming odd to me that for some reason, indie rock hasn’t been canonized the same way ‘60s and ‘70s rock has. After all, Dinosaur Jr were my Led Zeppelin, Sonic Youth were my Grateful Dead and Built to Spill were my Steve Miller Band. These were my classics!

                                                                                                                                    “I always travel with my portable studio gear, and I immediately sat down and started learning and recording a collection of my favorite songs. I spent my 4 days of the 2019 Polar Vortex creating the blueprint for what would become ‘Quarter Century Classix’. When I got home to LA, I invited my friends Julianna Barwick, William Tyler and Mary Lattimore to my home studio to add their magic to my recordings as I knew they grew up in reverence of the same records I did. These three genius musicians became the ‘band’ who you can hear framing these covers and I am eternally grateful for their talent and generosity. Later, Maria Taylor, Mike Watt, Petra Haden and Joey Waronker all showed up to play too.

                                                                                                                                    “To some people these songs are just footnotes in pop culture history. But to me, they are the essence my own personal history. I wanted to make this record a tribute to these bands, to these songs, and to the irreversible way music can touch and transform the life of young person. I hope you enjoy ‘Quarter Century Classix’.” - Ben Lee

                                                                                                                                    STAFF COMMENTS

                                                                                                                                    Barry says: This is clearly a labour of love for Lee & co, and the dedication and appreciation for the source material shines through these covers. With his keen ear for melody, and addictive hints of alt-folk and classic indie, 'Quarter Century Classix' is a triumph.

                                                                                                                                    FORMAT INFORMATION

                                                                                                                                    Coloured LP Info: Blue and pink split vinyl.

                                                                                                                                    Health & Beauty

                                                                                                                                    Shame Engine / Blood Pressure

                                                                                                                                    On first glance, the line-up on Shame Engine / Blood Pleasure, the seventh studio album from Chicago’s Health&Beauty, might indicate a passing of the torch. The recording features a large cast of musicians from the outfit’s past and its present helping the band’s founder and sole constant Brian J Sulpizio achieve his idiosyncratic vision—a sound and ethos he’s been kicking around, retooling, and finessing for more than 15 years, a few years after moving to Chicago from his native Defiance, Ohio in 2000. From song to song the band’ssound encapsulates detail-rich pop songs, extended jamming inspired by Chicago’s free jazz legacy, and devastatingly potent country-folk tunes. Sulpizio has never been hung up on genre, but his imagination and musicianship has allowed him to bring far-flung ideas to beautiful fruition.

                                                                                                                                    A good chunk of the beautifully scorching new album was cut right after a quartet version of the group—with guitarist Jake Acosta, drummer Seth Vanek, and bassist Bill Satek—had finished an intensive three-week tour at the end of 2017. The new album conveys a directness and scorching power that seems to stem from the band’s live performances, whether the harrowing, droning blues of the opener “Saturday Night” or the soulful Irish-tinged folk-rock of “Recourse.” In reality, Shame Engine / Blood Pleasureis simply the latest chapter in an evolving tome, but it’s absolutely the most gripping and satisfying instalment in that process yet.

                                                                                                                                    Over time many musicians have collaborated with Sulpizio—some in short bursts, others, like keyboardist Ben Boye and drummer Frank Rosaly, over the long haul—and the new record includes some fresh faces. Sulpizio is that rare beast with a keen ear for detail—no doubt a byproduct of his frequent work as an engineer and producer for some of Chicago’s most beloved bands—as well as an abiding love for the spontaneity and heated interaction of live gigs. His epic improvisational abilities have been a constant in the bands led by Ryley Walker—where the guitarist cemented his bonds with both Boye and Rosaly— but he’s always focused on serving the band rather than grandstanding. Even within Health&Beauty he frequently cedes lead guitar duties to others: check out Acosta’s post-Eddie Hazel fantasias on “Saturday Night.”

                                                                                                                                    Shame Engine / Blood Pleasure, like its predecessors, is undeniably the product of his fertile mind, but it wouldn’t sound the way it does without the input and ideas of his collaborators. “We all have too much to gain by working with as many people as makes musical sense to us, and I really enjoy having Health&Beauty records run a wide musical gamut,” explains Sulpizio of the peripatetic line-ups of the band over time. “I've loved working with everyone I've played with over the years. Some versions of Health&Beauty seemed to live out a natural lifespan; some may come back together again. I really can't express enough how grateful I am to get to make music with the people I've worked with. Their contributions amaze me, ranging up to songwriting. Making music, going to shows or sessions or rehearsals, is joy and catharsis for me.”


                                                                                                                                    FORMAT INFORMATION

                                                                                                                                    2xLP includes MP3 Download Code.

                                                                                                                                    Shit And Shine

                                                                                                                                    Doing Drugs, Selling Drugs

                                                                                                                                      Fifteen years and forty releases into their career, Shit And Shine return to Riot Season with some trademark aural filth. As if you’d expect anything different. Right?. ‘Doing Drugs, Selling Drugs’ is the sound of a man going back to the harsh sound of the early Shit And Shine works, and mixing it up with his recent dirge rock outings with USA/Mexico. It’s nasty. Mastered by James Plotkin.

                                                                                                                                      STAFF COMMENTS

                                                                                                                                      Matt says: One of my most consistently favourable artists returns with a new album and it is a DOOZY freaks. Distorted and guttural, repetitive and incessant, it's the sound of an inward existential crises on meth amphetamine, ramped up well into the red and set alight with pyrotechnics. Mega.

                                                                                                                                      British-Japanese Producer/DJ Maya Jane Coles has amassed an astonishing level of international success and uncompromising studio credentials maintaining a uniquely focused approach; writing, producing, engineering, arranging and mixing every element of her output mastering genres from techno and house through to hip-hop, dubstep, folk, pop and beyond. Following on from Maya’s award winning 2015 eponymous debut LP as Nocturnal Sunshine and unlocking a true representation of her musical identity, Maya announces the release of the album ‘Full Circle’ on her own imprint I/AM/ME.

                                                                                                                                      The new album from Nocturnal Sunshine is another exciting glimpse into an artist internationally renowned for her unique and skillful creative vision. The drop of an unannounced single ‘Foundation’ at the end of 2018 sent out the first signal; something was building. The acclaimed ‘U&ME’ EP followed, the momentum of new music while Maya toured the world merely hinted at what was in store from the experienced studio producer. Introduced here with debut single “Pull Up” Feat. Gangsta Boo & Young M.A., Maya Jane Coles’ assured, and bold production teems with confidence; continuing her line of grungy breakbeats and uncovering new depths in hip-hop and trap-esque realms.

                                                                                                                                      Across ‘Full Circle’ LP, Maya seamlessly navigates through ranging tempos and moods, all instilled with a strong sense of freneticism all unified within an unmistakable Nocturnal Sunshine sonic sensibility. Evident to the width of her talents with her own collaborations with Tricky, Nadine Shah, Kim Ann Foxman and Miss Kittin et al; Maya has previously lent her production skills to other acts; producing for others from Chelou to Little Boots as well as remixing the electronic undergrounds finest; Bonobo, Bookashade and Tiga; to leftfield acts like The XX, Massive Attack and Little Dragon through to pop’s most credible; DuaLipa, Sia, Sam Smith, Florence & The Machine, and even the legendary Ella Fitzgerald alongside a massive underground dominating Nocturnal Sunshine bootleg remix of Lizzo’s “Tempo” ft. Missy Elliot.

                                                                                                                                      More so, Maya’s breakthrough track “What They Say” track was slowed and looped to form the backing track for Nicki Minaj’s “Truffle Butter”. The track also featuring Lil Wayne and Drake would receive a Grammy, BET & Soult Train Nominations and ranked 66 for the best-selling tracks of 2015 by Billboard, with artists such as T.I., Tyga and Ludacris releasing cover versions. The track has now sold over a million copies around the world. Maya’s beat was then latter sampled again on “Swish Swish” Katy Perry’s collaboration with Nicki Minaj.

                                                                                                                                      Previously released Nocturnal Sunshine singles ‘U&ME’ and ‘Foundation’ feature on the new album alongside new solo material ‘Tied Up’, ’To The Ground’; bumpin’ cuts, un-earthly vocals and gritty bass a-plenty. Maya invites a collective of close friends and peers to collaborate across the project; each artist is encapsulated in the fresh sound-wall that is upon first listen unquestionably Nocturnal Sunshine…reflective in class and focused in statement. Opening with a cinematic and acutely pensive feel, ‘Wildfire’ features Berlin via Buenos Aires rave punk, Catnapp. A downtempo affair, the nature of Catnapp impacts with attitude over Jungle-esque breaks. Calling upon similar rave influences Queer Alt Queen, Peaches on ‘Possessed’ before the haunting and enigmatic vocals of singer-song writer Chelou takes hold on closing track ‘Something About Drama’

                                                                                                                                      Elsewhere, the world of Nocturnal Sunshine unfolds in differing forms, introducing the wraithlike yet delicate vocals of Ry X on the experimental ‘Gravity’ and the soulful leaning chords of Thomas Knights on ‘Closed Eyes’. Unearthing hip-hop insights throughout, skit-style interludes ‘I’m Ready’ and ‘Lessons Of Life’ provide intelligently crafted periods of relief from the gripping intensity and breadth of the project that her huge fanbase continue to crave. Whilst the presence of legendary Three 6 Mafia’s Gangsta Boo on ‘Ridin’ Solo’ and ‘Pull Up’ ft Young M.A. anchors the urban roots of Maya as a producer married with the dark depths of CHA$EY JONES engulf on ‘Dash’; a distinctively murky dubbed out grime cut. As the story of Nocturnal Sunshine continues to unfold, her ‘Full Circle’ LP showcases the form and talent of an incredible producer on limitless musical adventure of self-identity.


                                                                                                                                      STAFF COMMENTS

                                                                                                                                      Matt says: Someone I've kept a keen eye on since her very first murmurings all them years ago, MJC never disappoints - futuristic, techy, but always grooving and pleasurable on the senses, hi-tech music for lovers, dreamers and dancers.

                                                                                                                                      A wise man once mused: “Defining Balearic is very much akin to nailing lemon jelly to a Las Salinas beach hut; messy, sure, but ultimately a lot of fun.”
                                                                                                                                      Ibicencos brothers, Andres Y Xavi, may not need to wash their hands but they are clearly open to producing deeply lovely music inspired by the White Isle as their debut album, ‘Vibraciones y Sentimientos’, attests.

                                                                                                                                      The Andres y Xavi story goes as follows: After years of playing other people’s music, Xavi decided that he wanted to conceive his own record. Through an inventive charity offering ‘direct-to-disc’ recordings at €50 a pop, he seized the initiative but realised he needed some chops to ‘get shit done’. Andres walked in the room. From then on the two high plains drifters began to realise that unlikely dream and a highly sought-after seven-inch record (two people want it on Discogs - twice as many as there are copies!) emerged: a live percussive free flowing re-working of J-Walk’s Soul Vibration.

                                                                                                                                      15 minutes after walking into that studio they had their jaw-dropping debut release in the can and the record Xavi had long dreamed of. Then time passed….

                                                                                                                                      Andres (aka Glenn Fallows of The Impellers and many more acts besides) was tired of destroying Hammond organs and shredding guitar riffs. He decided he needed a new direction. In what some might consider a strange decision, he invited Xavi (aka BAOL's Steve KIW) back to the studio and they rekindled their mysterious alchemy.

                                                                                                                                      Andres knew how to make music; Xavi knew the music they needed make… and here lie the fruits of that captivating, yet highly unlikely, partnership. Ten tracks of corporate-free heavenly bliss recorded between the summer of 2015 and spring’s 2018 - seven original compositions and three cover versions. A re-recorded version of Soul Vibration also appears; its veritable creator, Martin Brew, had this to say: “barely recognisable from the original”, and, “this is brilliant, I love it so much.” DJ Shadow and Underworld are also given the Andres y Xavi interpretive treatment.

                                                                                                                                      Before the tracks had even been mastered they were receiving support from Phat Phil Cooper, Balearic Ultras, BAOL and Picko-d (One Million Sunsets).


                                                                                                                                      The Adventurous Sounds Of Mattias Uneback

                                                                                                                                      Voyage Beneath The Sea

                                                                                                                                      Join Mattias Uneback (known from Ixtahuele and The Test Pilots) on a fantastic underwater exotica adventure in sound! Sail the high seas, explore their depths, marvel at their strange and colorful inhabitants! This is visionary music inspired by the space-age underwater themed exotica recordings of the early 1960's as well as the peculiar aquatic library type albums of 1970s.

                                                                                                                                      The songs are amusing and entertaining one moment, dramatic and fierce the next - but most of all, serenely beautiful. Using a variety of both classical andnovel instrument; from exotic percussion and full-scale orchestra and choir to vintage electronics, Mr Uneback paints a vivid and living tableau for the receptive listener. This is exotic orchestral seduction for those willing to embark on a journey of imagination. Submerge yourself in the sounds! 

                                                                                                                                      Ben Frost

                                                                                                                                      Catastrophic Deliquescence (Music From Fortitude 2015-2018)

                                                                                                                                      From 2015 to 2018 electronic musician and composer Ben Frost soundtracked Sky Atlantic’s ‘Fortitude’. Over three seasons, his glacial compositions accompanied the critically acclaimed crime drama that takes place on the Arctic Circle and features Christopher Eccleston, Stanley Tucci, Michael Gambon and Sofie Gråbøl. The series was created by Simon Donald.

                                                                                                                                      STAFF COMMENTS

                                                                                                                                      Barry says: Another suite of tectonic glacial ambience and oppressive neo-industrial drone from the ever-reliable Ben Frost. Shuddering, otherworldly bliss.

                                                                                                                                      FORMAT INFORMATION

                                                                                                                                      2xColoured LP Info: White vinyl.

                                                                                                                                      2xColoured LP includes MP3 Download Code.

                                                                                                                                      "I can only bear intimacy, really, and after that formality and servility. The horrible thing is familiarity." And so we come to the end...a new vinyl-only compilation from Blackest Ever Black, consisting of all-new recordings unavailable elsewhere, plus a pair of tracks - Carla dal Forno's much-loved cover of The Kiwi Animal's 'Blue Morning', and Scythe's zero gravity blues 'Flower, Drop' - appearing on this format for the first time. Jonas Tiljander (Brainbombs, Bremen) dons his solo Brainman guise for the corrosive synth-scaping of ‘Kilonova’; Ian Martin, whose SEER radio broadcasts were a significant early influence on the label, manifests the pure astral melancholia of ‘Missing Realism’; Hypnotic Sleep and associated band The Fulmars offer two iterations of bittersweet Low-German DIY pop, and Unchained a gorgeous, evergreen-dazed guitar instrumental in ‘Gray d’Aboukir'. 'Dawn Swoop', a suspenseful miniature from Jam Money (Spillage Fete), might just be one the most perfect two minutes in the label's catalogue.There are contributions too from two superheroes in the BEB universe: Bobby Wratten (The Field Mice), withthe gorgeous, tremulous ‘The Munich Post’ from his current project Lightning In A Twilight Hour, and Bridget Hayden, who gives us the heart-stopping, elegiac drowned-folk of 'Solace'. 

                                                                                                                                      STAFF COMMENTS

                                                                                                                                      Barry says: A fittingly beautiful and diverse requiem for a killer label, 'A Short Illness...' features a host of superb electronic acts, burning ambience and gloom abound. Unmissable, much like the rest of their considerable catalog.

                                                                                                                                      Various Artists

                                                                                                                                      Soul Jazz Records Presents Space Funk: Afro-Futurist Electro Funk In Space 1976-84

                                                                                                                                      ‘Space Funk’ is a lovingly compiled collection of superb, rare and off-the-wall space funk and electro, mostly released on small independent labels in the late 1970s and 1980s. Features music by Jamie Jupitor, Solaris, Robotron 4, Juju & the Space Rangers and many more intergalactic space warriors.

                                                                                                                                      STAFF COMMENTS

                                                                                                                                      Sil says: Let crate diggers do the hard work and Soul Jazz to deliver another superb compilation of rare electro and funky space funk. Which such striking cover and great selection how can you say no to this. My compilation of the week without a doubt.

                                                                                                                                      FORMAT INFORMATION

                                                                                                                                      2xLP includes MP3 Download Code.

                                                                                                                                      Various Artists

                                                                                                                                      Peaky Blinders OST Series 1-5

                                                                                                                                        Peaky Blinders is a British crime drama television series primarily set in Birmingham, England following aftermath of World War I. Starring Cillian Murphy as ‘Tommy Shelby’ – the gang’s leader, the show follows the exploits of the Shelby crime family. The fictional gang is loosely based on the Peaky Blinders, a real urban youth gang who were active in the city from the 1890’s and early twentieth century. The show is known for its dark and dramatic soundtrack. The soundtrack is a window into the mind of Tommy – a tortured ex-soldier with a sensitive side who appears to be suffering from PTSD after fighting in the trenches during World War One.

                                                                                                                                        This 3LP set will feature music and key clips of dialogue from all 5 series the show, the 5th series aired late 2019 to critical acclaim. The album will feature Nick Cave’s title opening track Red Right Hand and PJ Harvey’s cover recorded exclusively for the show. Other artist’s music featured on the show and set to appear on this release are The White Stripes, Laura Marling, Arctic Monkeys, Royal Blood, Radiohead, The Last Shadow Puppets, Queens of the Stone Age, David Bowie, Foals, Black Sabbath, Idles, Joy Division and Richard Hawley who has covered Bob Dylan’s “Ballad Of A Thin Man”.

                                                                                                                                        STAFF COMMENTS

                                                                                                                                        Mine says: A soundtrack that features not one but three Nick Cave songs can only be a winner if you ask me. This sometimes pensive but often raucous collection of songs perfectly soundtracked the many dramatic scenes in Peaky Blinders, or, as Cillian Murphy better describes it: 'The sound has this “peakiness” to it.'
                                                                                                                                        Includes the iconic 'Red Right Hand', the one Bad Seeds song even Barry admits he likes!

                                                                                                                                        Should you find yourself taking a Thames-side stroll in the shadow of the City of London, keep an eye out for the headphone-clad figure of Ilan Pdahtzur. While be-suited bankers and frustrated office workers scurry home to their families, Ilan can frequently be found casting admiring glances towards the blinking lights of towering skyscrapers while filling his ears with the synthesizer-driven sounds of lesser-known 1980s dance music.
                                                                                                                                        Ilan, an avid but little-known record collector best known for sharing the artwork of obscure and under-appreciated early-to-mid ’80s club cuts on his popular Instagram feed, has been digging for vibrant, kaleidoscopic records since his teens. Now, thanks to Spacetalk, he’s been given a chance to offer a glimpse into his neon-lit nocturnal musical world.
                                                                                                                                        The result is Night City Life, a killer collection of 1980s synthesizer songs inspired by Ilan’s admiration for the glow of London’s late night skyline. Over the course of 13 essential tunes, Ilan escorts us on a vibrant sprint through rare Italo-disco, steamy South African synth-boogie, fizzing American freestyle, oddball Austrian electrofunk and so much more.
                                                                                                                                        There are naturally a fair few sought-after cuts present, but also a fine selection of under-appreciated gems that for one reason or other have been all but ignored since they were released three and a half decades ago. In fact, some selections are so obscure that barely any information exists about them online.
                                                                                                                                        Check for example Preludio’s “Mysterious Nights”, an evocative fusion of slow electronic grooves, dreamy chords and twinkling piano motifs previously buried on a lesser-known album of unremarkable German synth-pop, or the dollar-bin brilliance of Fragile’s sweet synth-pop gem “We’ve Got Tonight, Boy”, a cut that Ilan says is capable of “wrapping itself like tendrils around your soul”. He’s not wrong.
                                                                                                                                        At the other end of the scale you’ll find the ultra-rare Italo-disco breeziness of Friend of Mine’s incredible “Just Your Pride” and Mac & Monica’s soulful 1986 South African synth-boogie cut “You’re So Good To Me”, copies of which regularly change hands for hundreds of pounds online. Ilan originally reached out to the men behind the record last year to tell them how one of their other forgotten gems had been played on a Boiler Room session; naturally, they were thrilled.
                                                                                                                                        There’s plenty to admire elsewhere on the compilation, too, from the waves of analogue synths, bubbly melodies and bobbing beats of the instrumental dub version of Brian Tatcher’s “Hot Love” – a cold-war era cut inspired by the idea of love blossoming in the midst of a nuclear meltdown – to the Bobby Orlando-esque freestyle bustle of Janelle’s “Don’t Be Shy (Dub)” and the sparkling post-boogie brilliance of Jarmaz’s “Night City Life (Disco Remix)”, a track Ilan has listened to countless times while admiring the midnight skyline of his home city.


                                                                                                                                        STAFF COMMENTS

                                                                                                                                        Sil says: Covering an ample part of the interdimensional disco spectrum, this comp is going to keep crate diggers asking for a volume 2 pronto! A future classic.

                                                                                                                                        Amidst her jam-packed touring schedule, Amelie Lens runs the hugely popular Exhale party series and her own record label, Lenske. She also makes time to interact with her hundreds of thousands of die-hard fans who shower her with love at gigs and on social media.

                                                                                                                                        For her Fabric presents mix Lens has pulled together 74 minutes of unreleased and all exclusive music from some of her favourite acts, many of whom are breakthrough techno artists. While Lens is known for her full throttle DJ sets, the mix is a more nuanced affair. Opening with atmospheric snippets, it moves on to bangers and hi-energy synths. There are a few more pummelling contributions before the mix is brought to a spectral, deeply satisfying close.

                                                                                                                                        STAFF COMMENTS

                                                                                                                                        Matt says: New on our radars and hot to trot, Amelie Lens' quick ascention up the techno ranks has been bolstered by a well-respected firm of supporters - Richie Hawtin, Adam Beyer and pretty much the entire Antwerp scene are behind her. It's no wonder as she alludes at a maturity and depth in techno that belies her reletively short spell in the limelight. One to watch for sure...

                                                                                                                                        FORMAT INFORMATION

                                                                                                                                        2xLP includes MP3 Download Code.

                                                                                                                                        There’s a new musical wind blowing through Germany - and especially in Berlin. After years of having been the techno capital of the world, the city now is embracing a much wider musical palette. Attracting a new generation of sonic adventurists, international jazz musicians as well as German talents.

                                                                                                                                        These highly skilled performers are searching for something new, merging different styles and influences. It’s a fact: jazz no longer ‘smells funny’. And after London and L.A., Berlin is on its way to becoming a new hotspot for the next generation of jazz-influenced musicians.

                                                                                                                                        Thanks to its free hedonistic spirit as well as a blossoming scene of new live clubs, festivals and happenings. This compilation showcases some of the most interesting artists on the new German scene to date.

                                                                                                                                        Yet while other new jazz movements are more influenced by hip hop and R&B, these young German ‘jazz’ musicians have audibly steeped themselves in their own heritage: Krautrock and electronic music.

                                                                                                                                        The majority of the tracks on this compilation were composed exclusively for this release or have only seen a limited release via the artists’ own channels. A few have already been released in 2018/19 on small labels. 

                                                                                                                                        Various Artists

                                                                                                                                        Christmas Crooners

                                                                                                                                          Since the incredible and unexpected success of Irving Berlin’s ‘White Christmas’ recorded by Bing Crosby on May 29, 1942, the practice of Christmas Songs has become a tradition that has spread throughout the world. ‘White Christmas’ by Bing Crosby still holds the record for the best-selling single in history with more than 50 million copies sold worldwide. Includes songs from Frank Sinatra, Bing Crosby, Dean Martin, Nat King Cole, Johnny Mathis, Harry Belafonte, Charles Brown, Eddie Fisher, Perry Como, Frankie Laine, Gene Autry, Eddy Arnold, Dick Haymes.

                                                                                                                                          Various Artists

                                                                                                                                          Christmas Divas

                                                                                                                                            Since the incredible and unexpected success of Irving Berlin’s ‘White Christmas’, recorded by Bing Crosby on May 29, 1942, the practice of Christmas Songs has become a tradition that has spread throughout the world. This compilation includes Ella Fitzgerald, Peggy Lee, Jo Stafford, Connie Francis, Judy Garland, Doris Day, Vera Lynn, Dinah Shore, Dinah Washington, Julia Lee, Rosemary Clooney, Mabel Scott, June Christy and The Andrews Sisters.

                                                                                                                                            Bonnie Prince Billy

                                                                                                                                            I Made A Place

                                                                                                                                              Bonnie “Prince” Billy stays busy - in the past five years he has released albums of previously-recorded songs by Susanna Wallumrod, Mekons, Merle Haggard; even himself) and a collaborative record with Bitchin Bajas! The only thing he hasn't done is a new album of Bonny originals - in case you weren't counting, 2011's Wolfroy Goes To Town was the last one. That's from the first half of the Obama presidency, for chrissakes!

                                                                                                                                              Things happen for reasons that are often bigger than ourselves and outside of our control. They happen suddenly or they happen slowly - but they always happen one day at a time and day after day. Here's Will Oldham, on the confluence of marketplace, values, aesthetic and process that slowly built new album I Made A Place:

                                                                                                                                              "In recent years, the whole world of recorded music, in the way that such music is conceived, perceived, recorded, released and distributed, has been atomized. I tried holding my breath, waiting for the storm to pass, but this storm is here to stay and its devastation is our new landscape. What else is a person to do except what he knows and feels, which for me is making records built out of songs intended for the intimate listening experiences of wonderful strangers who share something spiritually and musically? I started working on these songs thinking that there was no way I was going to finish them and record and release them. This was a constructive frame-of-mind that protected the songs until this frightening moment when we let go of them and give them to you."

                                                                                                                                              The world has changed. Some things will never change. Some are gone forever. Thankfully, this isn't one of them: the wait for new Bonnie “Prince” Billy is now on a timer. What's more, the new single drops a bit of Apocalypse WOW. Picking up in a sense where last year's "Blueberry Jam" left off, "(At The) Back of the Pit" considers what to do with the things we love when it comes time for the death (and therefore, rebirth) of our painstakingly-built'n'kill't world. It's an affirming country jam: elegiac early moments give way to jaunty roots-rock strides, a horn section soulfully charting the long rays at the end of the day as well as the first rays of the new rising sun as they light on all our hopeful tomorrows.

                                                                                                                                              STAFF COMMENTS

                                                                                                                                              Barry says: I think it's probably hard for someone as resolutely productive as Mr. Billy to reach the moment in a songs creation where it feels like there is no more work to be done. Fortunately for us, these delicate, tender country ballads finally reached the light of day, and we're all the better for it. As brilliantly produced and perfectly balanced as any of his previous work, whilst being more focused and melodic. Gorgeous stuff.

                                                                                                                                              FORMAT INFORMATION

                                                                                                                                              Coloured LP Info: Indies only deluxe edition on transparent red vinyl.

                                                                                                                                              Toy

                                                                                                                                              Songs Of Consumption

                                                                                                                                                TOY, who released Happy In The Hollow, their fourth, and by far most acclaimed album to date, in January of this year on Tough Love Records, have announced details of Songs Of Consumption, an 8-song collection of unique interpretations of tracks which have inspired the band.

                                                                                                                                                The idea was originally birthed when the band recorded four covers for the bonus 7"s that came with the Dinked and Rough Trade versions of the last album. 3 of those songs feature here alongside 5 new recordings completed last month, which comprise tracks by Stooges, Amanda Lear, Nico, The Troggs, Serge Gainsborough, Soft Cell, John Barry and Pet Shop Boys/Elvis/Willy Nelson (depending on how you know the song).

                                                                                                                                                Talking about the album, TOY said:

                                                                                                                                                Songs of Consumption sonically is a continuation and development of the themes conceived on Happy In The Hollow and it will show people where we are going towards musically. The DIY approach was explored further utilising more of the electronic elements that we touched upon before. Drum machines, stripped down arrangements and rudimentary production give a primitive sound that we thought suited the choice of songs. Some of the songs have very big sounding production, so we wanted to experiment with them by going in a different direction.

                                                                                                                                                Music is consumed voraciously now whereas these songs came from a time when the song was of the most important thing and that's what was appreciated. Stripping them back to the essence of what they are was also something we wanted to explore. Also, we wanted to make a covers record with songs by people that influenced us in the past few years and it’s as much about the way they dealt with their ideas, and how they put themselves in uncomfortable situations in order to make something that in the end is simple. It’s a homage to the spirit of these people, that helped us to untangle ourselves from our inherent complicated nature and create a new space where we can exist.

                                                                                                                                                Additionally, having played a sold-out tour of the UK in February, including a mesmerising show at Village Underground in London, the band have announced a couple of very special shows at the end of the year.

                                                                                                                                                Playing under the banner of ‘Hollowed Out – A night of strange sighting and unhabitual ritual’ the shows will see them re-imagining songs from Happy In The Hollow. In London they will be joined by AV artist Sculpture, live performances from The Thelma Death Stare and Ducasse, DJ sets from Cherrystones and Sheet Noise and live visuals from Daisy Dickinson. In Manchester they will be joined by Mutabase and a DJ set from Sofie K.

                                                                                                                                                STAFF COMMENTS

                                                                                                                                                Barry says: It's nice to hear a selection of (superb) covers from Toy, expanding their sound into this diverse range of covers. Though the songs are not their own, it gives us an insigt into their influence, and honestly couldn't be any more their own. Swathes of guitar noise and succinct percussive throbs work their way behind Dougall's recognisable vocals, all accompanied with their ever present crystal-clear synths and melodic sensibilities. Lovely stuff.

                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                Coloured LP Info: LP is on cream opaque vinyl and is exclusive to Indie stores.

                                                                                                                                                Jeffrey Lewis & Voltage

                                                                                                                                                Bad Wiring

                                                                                                                                                  Jeffrey has received jaw-dropping praise from practically every major news and music outlet over the years, as well as awed testimonials from the likes of David (Silver Jews) Berman, Jarvis (Pulp) Cocker, Ben (Death Cab For Cutie) Gibbard, Will Oldham and others… and this new album “Bad Wiring” makes it completely clear why. In all of indie-rock there is no force like Jeffrey Lewis. Although mostly recognized for his lyrical skills (as well as his illustration/comic book skills), the secret weapon in Lewis’s arsenal has been his slow evolution from DIY folkie in the late 90s to barn-burning indie-rock live sensation.

                                                                                                                                                  New band name The Voltage is a bit of a slight-of-hand, as the musicians are the same bassist, Mem Pahl, and same drummer, Brent Cole (also of the Moldy Peaches), that Jeffrey has been touring the world with for the past four years as “Jeffrey Lewis & Los Bolts.” But Jeffrey continues his tradition of using a new band name for each release… and as Jeffrey says, “everybody knows most good bands have a ‘v’ in their name… Velvets, Nirvana, Pavement, Vaselines, Violent Femmes, Camper Van Beethoven, Modern Lovers, etc!” Recent Jeffrey Lewis band names like “The Rain”, “Los Bolts” and “The Voltage” are also in reference to the fact that Jeffrey’s middle name is Lightning, the result of being born on the Lower East Side in the 1970s to hippie parents. It was almost his first name but got moved to the middle name when he was born!

                                                                                                                                                  The album was recorded and produced in Nashville by Roger Moutenot, the man responsible for producing all of the classic Yo La Tengo albums. Moutenot, who also worked on Lou Reed’s “Magic and Loss” album, and Sleater Kinney’s “Hot Rock” album was definitely the right man to capture these twelve new Lewis songs in the studio. As Lewis explains, “As an experience of working with a producer, it was a dream come true. I obviously worship a number of the records Roger had produced in the past, so I specifically sought him out. The fact that he’s in Nashville was just accidental, we would have traveled to record with him anywhere. Now when people hear we made our album in Nashville, everybody’s like, oh, I guess this is your country album…”

                                                                                                                                                  With the endlessly creative musical variety on display from Jeffrey Lewis & The Voltage, and Lewis’s writing as sharp as ever, “Bad Wiring” could be the greatest album of Jeffrey’s 18-year career. Having one solid band line up for a few years in a row has certainly helped. Keep an eye out for a couple other interesting Jeffrey Lewis projects to be released in 2019: Jeffrey’s new giant-size comic book issue (Fuff #12) and Jeffrey’s first book Revelations in the Wink of an Eye: My Insane Musings on Watchmen from Conspiracies to Stupidities. But mostly look for Jeffrey Lewis & The Voltage to be playing at a venue near you, on their UK pre album-release tour in September!


                                                                                                                                                  STAFF COMMENTS

                                                                                                                                                  Barry says: With one eye on a mind-bogglingly huge range of genre influences, Lewis manages to craft a sound entirely unlike anything you've hard before. Old school jangly indie sits comfortably alongside punky riffs and Lewis' trademark American twang, giving more than a hint of the attitude and drive of 90's college rock without the pomp and cheese that comes along with it. A singular talent, and possibly his best LP yet.

                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                  Dinked Edition LP Info: Exclusive Pale Blue vinyl.
                                                                                                                                                  Exclusive Die Cut cover.
                                                                                                                                                  Bonus 7” (2 additional tracks ONLY available on Dinked Vinyl).
                                                                                                                                                  Artworked inner bag.
                                                                                                                                                  Sticker Sheet insert.
                                                                                                                                                  Numbered Edition of 550.
                                                                                                                                                  Download card.

                                                                                                                                                  Coloured LP Info: Poppy Red coloured LP.
                                                                                                                                                  Sticker Sheet insert.

                                                                                                                                                  Headland

                                                                                                                                                  What Rough Beast

                                                                                                                                                    Headland is a collective of Australian musicians that compose, record and perform soundtrack music for surf films in various forms. The group leader is Murray Paterson, an old surfer himself, who in between wrangling two red-headed boys, finds time here and there to record bits and pieces of guitarbased music. Mostly he heads to Nashuaville where his longtime colleague from a previous life in arts education, Les Dorahy, has set up a small recording studio in the old Booyong General Store, situated in the Byron Bay Hinterland. Whenever friends visit their part of the world, they drop past and join in. Most of the music remains instrumental but this new album is a collection of songs. One of Murray’s comrades from his days with Tex Perkins and The Dark Horses is Joel Silbersher. Joel has been a longtime Headland collaborator–playing bass and guitar–but while recording material for the new album, vocal melodies kept finding their way into Murray’s instrumentals. Soon there seemed enough of a coherent lyrical theme to build an album around. There’s a song about installing a dishwasher. There’s one about a soccer ball filled with blood, and one from the point of view of a lizard. The topic of love among the elderly gets a look in, and there’s a drone called Face in the Sky, which is about a face in the sky.

                                                                                                                                                    There is some nice instrumentation touches here too with cello (Tahiti Jones), pedal steel (Danny Widdicombe), double bass (Melissa ‘Curly’ Hunt), violin/melotron (Amanda Brown – GO BETWEENS), percussion (Luke Peacock) and organ (Whitey White) fleshing out the core band of Paterson, Silbersher, accordionist Les Dorahy and drummer Brock Fitzgerald. During the recordings, a good friend of the band, Australian rock legend Spencer P. Jones sadly departed. One of his melodies and lyric was dovetailed to a Paterson instrumental and Ode to Death Trip became an emotional tribute to mark his passing. A couple of other covers appear on the album. There is a surprising, acoustic rendition of Motörhead’s Deaf Forever and a version of John Sebastian’s Darlin’ Be Home Soon. This last is a relic from 2007 when following a hard-drive meltdown at Nashuaville, the only remaining recording of a late night jam was an unedited headphone mix. It seems though, it was impossible to exclude this from the collection.

                                                                                                                                                    There’s still enough of the spacious Australian land- and seascapes to satisfy fans of the previous Headland albums (sound/track 2013, Cosy 2015, True Flowers from this Painted World 2017), journeys through a sonic architecture centred around the motion of the ocean and it’s meeting with the coastline. But a narrative of loss and longing sits on the surface here: Silbersher’s voicing is an emotive thread that breaches at all the right times. There are references to the likes of Alex Chilton, Nick Drake and Daniel Lanois but Christian Pyle (Prawn & Spanner Studio) brings a sensitivity to the mix so that any references float rather than reveal themselves in bold relief. What Rough Beast marks the development of an ensemble and documents a sense of meaning embedded with the tone of place.

                                                                                                                                                    STAFF COMMENTS

                                                                                                                                                    Barry says: A beguiling mixture of Red House Painters style expansive morose rock and brittle, jazzy acoustic stuff. Flickering guitar and soaring ambience bring to mind expanses of land and weightless dreaming. Thoroughly lovely and always surprising.

                                                                                                                                                    Tindersticks

                                                                                                                                                    No Treasure But Hope

                                                                                                                                                      Three years since their last album proper, singer Stuart Staples decided Tindersticks’ return called for something special and No Treasure but Hope, is very much that! Rich in intuitive warmth, lush melodies and an inquisitive spirit, it’s an album that casts a fresh light on Tindersticks’ core qualities, bathed in the glow of a band intent on rediscovering what they can do. Expanding the horizon without losing the focus, No Treasure but Hope manages to collect some of the band’s most immediate work in one outstanding album. This is the bands twelfth record, the earliest Tindersticks release being in 1991. Over the course of the band’s rich history, Staples has found a voice in film composition as well. This includes a soundtrack to Claire Denis’ science-fiction film High Life (2019), which features vocals from actor Robert Pattinson.


                                                                                                                                                      STAFF COMMENTS

                                                                                                                                                      Barry says: For their first album in three years, Tindersticks bring us a haunting collection of brittle piano-led ballads, rich in atmospheric ambience and shimmering with reverb. songs like 'Trees Fall' and 'See My Girls' revel in the sort of off-piste vocal turns you'd expect from Nick Cave, and help to cement Staples & Co. as one of the most creative musical forces out there.

                                                                                                                                                      FORMAT INFORMATION

                                                                                                                                                      Coloured LP Info: Indies exclusive clear vinyl. First pressing comes in a limited edition die-cut sleeve.

                                                                                                                                                      Chicago-based contemporary electronic musician Steve Hauschildt has composed panoramas of synthesized sound for over a decade. First within his former band, Emeralds, an American touchstone of 2000s home-recorded psychedelic noise music, and later across a steady and critically-acclaimed stream of solo releases spanning ambient techno, arpeggiated electronica and post-kosmische styles utilizing synthesizers, computers, and digital processing. In 2018, he extended a collection of rich, visceral tracks titled Dissolvi, his first release on Ghostly International and his most collaborative work to date. Just a year later, Hauschildt returns with Nonlin, an album that’s freer, leaner, and looser, both structurally and conceptually; less linear compared to its predecessor, but still captivating. Developed and recorded in several studios during and around the edges of tour — Chicago, Los Angeles, New York, Tbilisi, and Brussels — this material emulates an alienating encounter with a smattering of places, a replicant of culture shock, a solitary and stark experience with uncanny environments, melody and dissonance as oblique locales.

                                                                                                                                                      Nonlin finds Hauschildt evolving his palette of tools, integrating modular and granular synthesis. The improvisatory and generative nature of modular systems, when paired with his signature grid-oriented and hand-played techniques, guides these compositions slightly out of line to hypnotic effect. Opener “Cloudloss” permeates the mix with an unsettling smog, which reappears and all but engulfs “A Planet Left Behind.” On cuts like “Attractor B” and “Subtractive Skies,” pockets of air rest between sequenced pulses, whose crumpling and flattening folds build into a restrained rapture of crisp frequencies and milky reverb-swallowed coruscations.

                                                                                                                                                      The album’s title track and centerpiece logs on to a foreign network, a fractured percussion signal that modulates and stutters into static amidst curious melodic sparkling in the hazy bandwidth. “Reverse Culture Music” casts an elegant and brooding stream of strings, pizzicato and churning bow from Chicago cellist Lia Kohl, against chiming minimalist synth frameworks. A surprising pattern emerges in the taciturn systems at work. Hauschildt continues to expand his already horizon-wide repertoire, here exploring the effects of corrupting coordinates; a flight subject to the collapsable abilities of time in remote spaces, a smearing of the axis to elegiac ends.


                                                                                                                                                      STAFF COMMENTS

                                                                                                                                                      Barry says: Another outstanding LP from the ever-reliable Steve Hauschildt here, and his first for Ghostly. This time we go further down the ambient seam he's been exploring of late (though Tragedy & Geometry and Sequitur had hints of airy ambience, they were essentially propulsive kosmische music), with slowly evolving walls of sound twisting around the overriding melodic theme, going almost full circle towards his work in Emeralds.

                                                                                                                                                      FORMAT INFORMATION

                                                                                                                                                      Coloured LP Info: Super limited “Liquid Mercury” colour (silver suspended in transparent vinyl).

                                                                                                                                                      EYE is back. Metamujer marks the third installment on the Knekelhuis label and the latest chapter in Laurène Exposito’s life. Recorded on various locations ranging from the Swiss mountains to the chalky coasts of Brittany, "Metamujer" is an 8-track ode to salty love and closeness to nature, a tribute to a modest lifestyle à la Henry David Thoreau. Far from being praise for self-sufficiency, this new LP is deeply influenced by Laurène’s environment. We can hear Korg MS-10 created synthetic waves (Sanatorium) and birds (Luscinia), but one can also catch her singing in Italian, one of 3 languages spoken in Switzerland. Still minimalist and yet more aesthetically diverse, her new sounds are on the edge of EBM and synth pop, between classic minimal wave tunes and rustic ballads on acid.

                                                                                                                                                      STAFF COMMENTS

                                                                                                                                                      Patrick says: It's been a cracking couple of months for fans of coldwave, minimal wave and superior synth pop, and the latest LP from EYE is another chilly killer. At times she edges into EBM with 4/4 aggression, at others she embraces the bontempi cosmic of Wendy Carlos or late 70s Sheffield.

                                                                                                                                                      In an era of increased nationalism and xenophobic bullshit, Antinote reach out to make their first French-Russian connection. Olga is from Moscow. She introduced herself to the label after Dominique Dumont's show in Paris, winter 2018. Zaltan et al immediately fell in love with the song 'Mojno' and step by step built up a nice collection of tracks which became the "1905" LP! Very active in the electronic music scene, she’s spent the last ten years releasing music, performing, recording & DJing as well as being busy with her tech-project Playtronica (with them she's created 3 controllers with which you can play scales on people, objects and colors). Across the "1905" LP she utilises some DIY devices such as Yamaha sampler vss-33, voice glitcher from the Russian company “Naked Boards” and organelle synth that creates this synesthetic tone in “ready when you are”. Besides dreamy pads and dancy beats Olga is ironically singing on Russian about her daily routine, in a positive way. There's no sadness and melancholy in the dark snowy days, where even the full moon or retrograde-mercury don’t even bother you ...if you are in harmony with mother nature's 5 elements.

                                                                                                                                                      STAFF COMMENTS

                                                                                                                                                      Patrick says: Contemporary cold wave, icy electro-pop and melodic minimal wave from Russia's Omma here, who works her magic in the same vein as Carla Del Forno, Epsilove and fellow Antinote fam Domenique Dumont.

                                                                                                                                                      Ray Mang teases countdown fans everywhere with his latest anagram, cooking up a ten track double LP of edit excellence while the big blue clock rotates. The inaugural release on fresh stable Keeps Going, and Ray's first LP in a decade, "Dis Go In Ya Pipe" finds the new disco legend in imperious form maintaining total mastery of groove and fx whether he's tackling gospel disco, post-Paisley funk, Fleetwood Mac, Latin, kwaito or dub. Essential listening for disco, Balearic and house heads, this is a house party on a platter.

                                                                                                                                                      STAFF COMMENTS

                                                                                                                                                      Patrick says: New disco hero Ray Mang adopts his latest alias, the hilarious Any Gram and drops a ten track double LP of edit excellence, covering all bases for the dope and diverse DJ. Gospel disco, SA boogie, kwaito, reggae and Fleetwood Mac all come under the scalpel, resulting in a riotous set for the righteous DJ.

                                                                                                                                                      Molly Burch

                                                                                                                                                      The Molly Burch Christmas Album

                                                                                                                                                        On this collection of holiday songs, Austin chanteuse Molly Burch does Christmas with a twist. Quite an omnibus, the album features classics like “I’ll Be Home for Christmas” and “Auld Lang Syne” alongside heartland hits like “Hard Candy Christmas” and “Snowqueen of Texas”.

                                                                                                                                                        “This is the most fun I’ve had making a record yet,” Burch says. And you can hear that joy on tracks like ABBA’s “Happy New Year” as well as a playful cover of Wham’s “Last Christmas” with two special guests: actor / comedians John Early (Search Party, Wet Hot American Summer) and Kate Berlant (Sorry to Bother You) add a blithe intro and backing vocals throughout.

                                                                                                                                                        Recorded by Will Paterson (RF Shannon, Jesse Woods) and Jarvis Taveniere (Woods, Martin Courtney, Purple Mountains), the album also features two beautiful originals penned by Burch to add to your holiday canon. “I hope it’s a Christmas album for people who love Christmas music and people who don’t love Christmas music. May these songs welcome in a fresh new year and many warm, happy nights.”


                                                                                                                                                        STAFF COMMENTS

                                                                                                                                                        Barry says: It's November.

                                                                                                                                                        Pumarosa

                                                                                                                                                        Devastation

                                                                                                                                                          From the very first beat of ‘Fall Apart’, anyone familiar with Pumarosa can tell that a transformation has taken place. With a fast drum’n’bass inspired tattoo beating urgently beneath a sawing riff and a wide, synthesised expanse, this is a dramatic evolution from the band’s more guitar-driven debut, ‘The Witch’.

                                                                                                                                                          Digging deeper into electronic influences ranging from Aphex Twin and Autechre to old jungle tunes, the shock of ‘Fall Apart’ mirrors the irreversible shift in Pumarosa’s own circumstances: shattering diagnoses, new beginnings and a strange optimism - the promise of what can be built only after total annihilation - all fed into a record that feels like an exhilarating affirmation of life.

                                                                                                                                                          Learning to ‘Fall Apart’ may not have come easily to Pumarosa, but what’s emerged in ‘Devastation’ is an album about transformation on a more cellular level. First came the chaos: on the week ‘The Witch’ was released, the band’s lead singer Isabel Muñoz-Newsome was diagnosed with cervical cancer, with the resulting surgery and recovery totally changing her relationship to her body (and how to write about it).

                                                                                                                                                          Inner-band relationships also evolved following the departure of bassist Henry, which further energised Pumarosa to explore new spaces in their already-expansive sound. The band took the work to producer John Congleton in LA, whose production on the likes of St Vincent and Swans helped convince them he could bring these songs and life-changing experiences into existence. They were joined in the album recording by Tool’s Justin Chancellor who, after becoming a fan of the band from their debut, provided driving bass performances in his inimitable style.

                                                                                                                                                          ‘Devastation’ is a powerfully uplifting album that confirms Pumarosa as one of the UK’s most inventive and ambitious bands. Songs work through questions of mortality and the pain of love while revelling in sexuality: what it feels like to ‘Fall Apart’, what it takes to carry on, and what it means to be alive.


                                                                                                                                                          STAFF COMMENTS

                                                                                                                                                          Barry says: It doesn't surprise me that Devastation has a host of guests providing exactly what i'd expect them to. That rolling driven bass sound? Yep, Justin from Tool. The gloomy, but immediate production? That's right, It's John Congleton, Swans' producer, and adding that all to Pumarosa's own brand of arty percussive electronic indie, you have the superb, heartfelt triumph that is Devastation.

                                                                                                                                                          It makes sense that Antoinette Konan’s eponymous album features nothing more than her ahoko on the cover. The deceptively simple traditional percussion instrument transformed Ivory Coast’s Baoulé music scene when Konan deployed it against a roaring electrified backdrop of synth, bass guitar and drum machines. Released in 1986, the album is a veritable UFO of instrumental force and contemporary pop sensibility landing in a boiling pot of diverse, creative characters inhabiting Abidjan, Ivory Coast (Côte d’Ivoire). Known as the “Queen of the Ahoko” among Ivorians, Konan singlehandedly put the central-Ivorian instrument on the map when she gave it a 20th-century re-introduction. The three-piece wooden idiophone is handmade from a thin, ribbed, flexible stick, against which a smaller chunk of wood is rhythmically scraped.

                                                                                                                                                          A hollow nutshell held in the non-scraping hand amplifies and manipulates the resulting overtones. Despite the ahoko's diminutive appearance, Konan and her powerful voice have remained at the forefront of Ivorian music for decades now, in an extremely diverse country—approximately 70 indigenous languages—with a competitive, internationally-recognized music industry. Music plays an important role in Baoulé cultural life, heard and seen in festivities, funerals and more. They are the largest ethnic group in Côte d’Ivoire and descend from Akan peoples who migrated from presentday central Ghana. Baoulé vocal music is characterized by polyphony, melodies built on parallel thirds and call-and-response. All of this can be heard in Konan’s music. Konan’s fingerprints are all over Antoinette Konan, she says, as it was meant to be a highly personal recording. She wanted to portray the suffering, injustice, frustrations, humiliations, personal career struggles, experience of child birth and poverty she sees in society. Taking on the producer role for the first time, Konan was the architect of her dancefloor-ready neo-traditional sound. But crucial to the recording was arranger Bamba Moussa Yang. A creative and versatile musical mind who was known for his work with legendary Ivorian singer Ernesto Djedje, Konan met him in 1986 after she had already released two albums.

                                                                                                                                                          Yang brought a touch that matched Konan’s expectations, she says, because he knew her work so well. As she reflects on her long career today, Konan remembers Yang as her favorite arranger. Over the years Konan’s popularity grew to the upper echelons of Ivorian society: Ivory Coast’s first president Felix Houphouet Boigny’s would regularly invite Konan to perform at official ceremonies with foreign dignitaries. Through her charity and advocacy work on behalf of female musicians, Konan is still a force in the country’s music community. You can see her performing or speaking on television and around the country all the time—yet she still maintains several entrepreneurial projects in the farming sector. Konan has recorded more than 15 albums so far and plans more recordings soon

                                                                                                                                                          Originally formed in 2013, around the songwriting between guitarist Chris Killen and bassist Peet Earnshaw, Hot Shorts quickly picked up local attention, leading to two BBC 6 Music sessions for Marc Riley and support slots for Jeffrey Lewis, Trust Fund, The Lovely Eggs and Ezra Furman.

                                                                                                                                                          In 2016 they expanded to a four piece, with the addition of drummer Lara Williams and guitarist Joel Nicholson. The new line-up were invited by Drenge to perform as part of their Tramlines showcase event in Sheffield (Eoin from Drenge also tweeting out around the time that Hot Shorts were his "favourite band of the past 5 years"), and later that year joined the bill at the Los Campesinos! curated 'Us vs. Them' festival in Leeds. Shortly after this, the band released the track 'Metaphor for (Something)' as part of cult label Art is Hard's postcard singles club series.

                                                                                                                                                          Recorded and mixed this year at Manchester's Big City Jack's studio, I Understand & I Wish To Continue is the band's peppy second album which ably follows on from where the band's excellent 2017 self-titled debut album left us. It is twenty nine minutes of cascading hook-laden pop precision from one of Manchester's finest breakout bands of recent times. An assured and engaging affair, the record is ten tracks of 90's tinged slacker anthems and the occasional luxury indie lament, deftly arranged and crafted by the band over the last two years.

                                                                                                                                                          Unsurprisingly, for a band featuring two published authors, the lyrics on this album take centre stage. Songs like 'Lostprophets Tattoo', 'Don't Stop Me If You've Heard This One Before', and 'I Found You on Myspace' are keenly observed vignettes which blend knowing pop cult humour, keen social observations and the occasional dollop of self introspection. It's a wonderful, lyrically savvy album, designed to leave the listener feeling amused, discerning and invited firmly in on the joke.

                                                                                                                                                          Chris says of the writing on the record, “Pretty much all of the songs are either about feeling really old and embarrassing and/or music from my past...the songs are mostly.. about being slightly too old and British to still be into 90s alt rock as much as we are, but there is also one about being afraid to go to space on there and also one about a cat”.

                                                                                                                                                          STAFF COMMENTS

                                                                                                                                                          Barry says: YES! New outing from Manc faves, Icecapades and it's a corker. Joel from over't road and a trio of talented folks who I don't know smash out a brilliantly wry, cleverly placed set of off-kilter snarling college rock and Blue Album era melodies with skill and grace. Absolutely worth your time.

                                                                                                                                                          Fragile Self

                                                                                                                                                          Fragile Self

                                                                                                                                                            Fragile Self are electronic duo Anil Aykan and Jonathan Barnbrook · already known for their grammy award winning design for David Bowie’s Blackstar and The Next Day album covers · they have now formed their own musical project combining visuals, music, electronics and live performance · already with a following in design this is a natural evolution and new audience for them.

                                                                                                                                                            Nick Cave And The Bad Seeds

                                                                                                                                                            Ghosteen

                                                                                                                                                            Ghosteen is the seventeenth studio album from Nick Cave and The Bad Seeds, following 2016’s Skeleton Tree, and will be released via Ghosteen Ltd. The album was recorded in 2018 and early 2019 at Woodshed in Malibu, Nightbird in Los Angeles, Retreat in Brighton and Candybomber in Berlin. It was mixed by Nick Cave, Warren Ellis, Lance Powell and Andrew Dominik at Conway in Los Angeles.

                                                                                                                                                            "The songs on the first album are the children. The songs on the second album are their parents. Ghosteen is migrating spirit." - Nick Cave.


                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                            Darryl says: Spread across two albums, "The songs on the first album are the children. The songs on the second album are their parents. Ghosteen is migrating spirit." Nick Cave, ‘Ghosteen is a deeply introspective and at times an emotionally devastating listen exploring his personal grief following the death of his son. A melancholic yet beautiful masterpiece.

                                                                                                                                                            FORMAT INFORMATION

                                                                                                                                                            2xLtd LP Info: Gatefold sleeve.

                                                                                                                                                            2xLtd LP includes MP3 Download Code.

                                                                                                                                                            2xCD Info: Digipack CD.

                                                                                                                                                            Titled Magdalene, the album is the follow up to FKA twigs’ critically acclaimed Brit Award and Mercury Prize nominated debut LP1.

                                                                                                                                                            Created in a period where her confidence was knocked following heartbreak and laparoscopic surgery, Magdalene is the sound of twigs reconfiguring, emotionally and physically. As she sings on ‘Mary Magdalene’, the Magdalene album track that opened her highly-praised, sold-out live shows earlier in the year, “A woman’s time / A woman’s work / A woman’s time to embrace / She must put herself first”.

                                                                                                                                                            Magdalene is produced by FKA twigs and, as with LP1, the recording process has been directed by her at every stage. It was recorded between London, New York and Los Angeles over the last three years and features major contributions from Nicolas Jaar alongside a host of other collaborators. Magdalene sees FKA twigs creating a whole new artistic universe and it is, without doubt, her most masterful, innovative work to date.

                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                            Barry says: From gothic choral passages to pulsing, deep bass and skittering percussives, 'Magdalene' covers a wide range of smoothly accomplished stylistic changes as well as a viceral and effective range of emotional dynamics. It's a confident and varied selection, and in FKA's classic style, brilliantly done.

                                                                                                                                                            Sports Team

                                                                                                                                                            Making Hay EP

                                                                                                                                                              This London via Cambridge six piece make a glorious hookfilled racket that's part Pavement, part The Strokes and part Parquet Courts. This US import features 5 tracks and is etched on one side.
                                                                                                                                                              These are gonna fly so grab one quick!


                                                                                                                                                              STAFF COMMENTS

                                                                                                                                                              Barry says: Sports team make the sort of rawkous, off-kilter indie that we've enjoyed coming from the Australian continent (probably no coincidence that Burke Reid, Barnett's producer is on board here), but these young whippersnappers are from our own shores! Arm-waving, angular guitars and rolling bass are pulled along by a frenetic percussion backline and those 'your throat must hurt' vocal acrobatics.

                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                              Mini LP Info: Limited edition etched vinyl.

                                                                                                                                                              Game-changing multi-instrumentalist Kamaal Williams has put together the latest DJ-Kicks mix. It features four of his own brand new and exclusive tracks and hints at the wide world of influences that have made him one of the most prominent artists of the last few years.

                                                                                                                                                              Williams has taken his long standing love of seventies jazz fusion and mixed it up with the contemporary sound of the London underground to devastating effect. House, broken beat, grime, soul, funk, hip hop and jazz all permeate his work, which has seen him evolve from one-man producer Henry Wu to acclaimed live band Kamaal Williams, backed by talented drummers and bassists. His pioneering work in the studio and live arena has influenced a whole new generation of like-minded musicians that have helped make the capital one of the most musically exciting and quickly evolving cities in the world, with Williams' own virtuoso drumming and percussion right at the heart of it all.

                                                                                                                                                              The exceptional Yussef Kamaal album 'Black Focus' was one of the most talked about records of 2016. Vinyl pressings kept selling out, it received rave reviews, earned the band the Breakthrough Act award at the 2017 Jazz FM awards and led to spellbinding live shows all over Europe. The follow up, The Return, came on Williams' own new Black Focus label and took his band global, all while picking up nominations for best independent album at the AIM Music Awards.

                                                                                                                                                              Improvised rhythm and spirituality are at the heart of everything Williams does, as is London life, with its diverse people, cultures and musical customs all feeding into his work. That is also true when making more electronic sounds as Henry Wu, who appears here after standout EPs on labels like Rhythm Section International. Williams' music is so individual it is more than deserving of its own tag: the artist himself calls it Wu Funk, and some of the many sounds that feed into it are all showcased on this adventurous new mix.

                                                                                                                                                              Exclusives include a live take of 'Snitches Brew,' new Kamaal Williams tracks 'Shinjuku' and 'Strings ATL' , as well as 'Wivout U' from Henry Wu. Those vital highlights sit next to classic jams from Southern Freeze, a strong contingent of London innovators from K15 to Dego and Tenderlonius to Kaidi Tatham, with funk driven house from Peven Everett, raw stuff from Steve Julien, lush synth grooves from Lone and feel good grooves from Phil Asher all making this is an honest and uplifting collection that, when necessary, is happy to eschew blends, fades and mixing in favour of red hot selections and sequencing.

                                                                                                                                                              Kamaal Williams DJ-Kicks is a fascinating insight into the record collection of a true musical alchemist.

                                                                                                                                                              STAFF COMMENTS

                                                                                                                                                              Millie says: Take a dive into Kamaal Williams’ chosen tracks picked for DJ Kicks, a few brand-new exclusives and a mixture of Jazz, Hip Hop, Broken Beat and all the good stuff including Steve Spacek, Ratgrave and some Henry Wu gems in there too. Oooff!

                                                                                                                                                              Charles Rumback & Ryley Walker

                                                                                                                                                              Little Common Twist

                                                                                                                                                                Charles Rumback and Ryley Walker are both known for their creativity and curious spirits. Rumback is a drummer in high demand in Chicago’s free-jazz circles and a pillar of the second wave of improvisers in a scene first shaped by the legendary players like Sun Ra and other members of the AACM. Walker draws deeply on other distinctly American styles, bringing a strong sense of folk tradition to his playing that is as arresting as his freewheeling performance style. Together, Rumback and Walker find common ground in their kinetic, intuitive playing and yearning creative outlook. ‘Little Common Twist’, their sophomore release as a duo, finds both players at their most adventurous. It compiles instrumental pieces that convey a striking range of emotions, at once introspective and expansive, with a delicate interplay that delights as they move with ease across a spectrum of styles.

                                                                                                                                                                The recording has a pastoral quality that recalls Van Morrison’s classic album ‘Veedon Fleece’ and captures a remarkably dexterous performance by both Charles and Ryley that make this album so expansive and fresh.

                                                                                                                                                                ‘Little Common Twist’ was recorded over several sessions throughout 2017 and 2018 with producer John Hughes, capturing the duo playing in the moment with minimal overdubs. The guitar and drums duo eschewed each instrument’s traditional roles of rhythm and melody, experimenting with texture and rhythm. This album is the culmination of a creative partnership that has seen Rumback and Walker constantly challenging each other. In stretching the bounds of their interplay even further than before, the duo created their most evocative and expansive work to date, conjuring the afterglow of sun-scorched landscapes and ethereal after-hours ambiance.

                                                                                                                                                                STAFF COMMENTS

                                                                                                                                                                Barry says: We're massive fans of Ryley in here, a personal shop highlight being his acoustic instore some years ago, and this is a brilliant collaboration with Jazz drummer Rumback, both making their sounds obvious while working in perfect tandem with the other. Grooving, freewheeling psychedelic folk with jazzy timbres and progressions, both beautiful and rousing in equal measure.

                                                                                                                                                                Pioneering French artist SebastiAn’s first album in eight years, following 2011 debut, ‘Total’.

                                                                                                                                                                Bringing different styles together as one on the new record – from European techno and electro to classic pop and R&B, hip-hop and American gospel – SebastiAn has called upon an impressive list of artists to feature on the 14-track album. They include acclaimed singer and actress Charlotte Gainsbourg (SebastiAn primarily produced her 2017 album ‘Rest’), cult pop duo Sparks, rising London star Bakar, American singer/songwriter Syd from The Internet and experimental Iranian/Dutch artist Sevdaliza.




                                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                                2xDeluxe LP Info: Collector edition with limited pressing.
                                                                                                                                                                Double solid pink vinyl.
                                                                                                                                                                Sleeve with 5mm spine embossed with 'Sebastian Thirst' typography, inserted in a clear plastic sleeve with flap along with a 31x31cm carton insert.
                                                                                                                                                                CD of the album included.

                                                                                                                                                                “There are cities that get by on their good looks, offer climate and scenery, views of mountains or oceans, rockbound, or with palm trees. And then there are blue collar cities like Detroit, that have to work for a living. Cities that rely on the toughness and resiliency of their people. Cities that will not quit. Detroit has an unmistakable soul; nobody can duplicate what we give to the world.” - Sincerely, Detroit

                                                                                                                                                                Detroit has an indelible legacy in hip-hop. From artists like J Dilla to Black Milk, from Denaun Porter to Apollo Brown, Detroit's music has a sound unlike any other. When Apollo Brown set out to create the tribute to his home, he knew he needed to do the city justice. Featuring over fifty Detroit artists, Apollo Brown’s new double disc album, “Sincerely, Detroit,” is a love letter to the culture. From different eras and different walks of life, veterans and newcomers alike lend their styles and deliveries to the twenty-one track album. Featuring artists like Royce Da 5’9”, Black Milk, Trick Trick, Elzhi, Slum Village and many, many more, “Sincerely, Detroit” is a nearly comprehensive look at the styles and flavors of Detroit. While the world watches Detroit for influence, Apollo is back to remind people that Detroit sets a standard for others to follow and is a creative haven for Hip-hop. 

                                                                                                                                                                'You already know what is about to go down. All of Detroit is on this album. Let's gooo!' - Afroslice




                                                                                                                                                                STAFF COMMENTS

                                                                                                                                                                Matt says: Detroit greatest is back with more of his indelible BOOM-BAP-SCRATCH. Joined by a smorgasbord of Motor City talent, this is the perfect snapshot of rap in the D right now. One of the best hip-hop LPs of the year too, to boot. Crucial!

                                                                                                                                                                Repress of this limited, 8 track double 12" serving as a 'best of' the now out of print Members Only label - Jamal Moss / Hieroglyphic Being's tribute to Ron Hardy's Music Box. 

                                                                                                                                                                A pivotal series for myself, the raw and primitive energy eeked out of drum boxes and basic samplers, combined with the glamous source material of disco, soul, boogie and wave music created a completely unique blueprint steeped in Chicago history but with an intergalactic, forward-looking approach. For me there is simply no better edit series available in terms of creativity, braveness and determination. 


                                                                                                                                                                STAFF COMMENTS

                                                                                                                                                                Matt says: Now a household name, Jamal Moss' early edit series bring the flavour of his live sets to a recorded medium. These were some of his early tape-edit experiments inspired by the halcyon days on Ron Hardy and, for me, are still his best pieces of work to date.

                                                                                                                                                                Born and raised in South London, Hector Plimmer is a multi-faceted producer, composer and DJ whose sound is drenched in tribal rhythms and beautifully crafted bass. Influenced by beat-makers like Flying Lotus and Theo Parrish, but with the subtleties of the classic Metalheadz era drum and bass, his second album 'Next To Nothing' is released on 25th October 2019. The album features guests Ego Ella May, Emma-Jean Thackray, Andrew Ashong, Pie Eye Collective and Alexa Harley.

                                                                                                                                                                After featuring on Brownswood Bubblers 11, curated by Gilles Peterson, Hector proved his talent when he was selected as a winner of the PRS Steve Reid InNOVAtion award. At a performance at ‘Sounds Of The Universe’ Record store, Hector caught the attention of Albert's Favourites' label heads Adam Scrimshire & Dave Koor. A conversation was started which led to the transfer of almost a whole album's worth of material and resulted in his debut full length record ‘Sunshine’.

                                                                                                                                                                "This album has been a real labour of love. I spent the most part of a year trying to make music I thought would be fitting to follow my last album, whilst not actually knowing what that might sound like. 'Sunshine' had been received way more positively than I had anticipated and although praise is a lovely thing, it was the cause of much anxiety when the time came to start on this record. I put a lot of pressure on myself to produce music and kept going down routes that felt forced or just didn’t click for me, in hindsight I realise this was me making music not for myself, but for what I imagined other people might want to hear. In a way 'Next to Nothing' is my first real album, 'Sunshine' was more like a collection of four to five years worth of music compiled into the shape of one. This is my first dedicated attempt at creating a cohesive project, something that shows who I am right now and what got me here."
                                                                                                                                                                - Hector Plimmer

                                                                                                                                                                As a DJ Hector has a monthly slot on NTS radio. He has played alongside the likes of Gilles Peterson, Kutmah, Alexander Nut, MNDSGN, Onra, Dego, Kaidi, Max Graef & Glenn Astro; Hector finds himself in the good company of those talented selectors who play genres across the spectrum of Hip-hop, Beats, Funk, Soul, Disco, Afro-beat, House and Jazz.


                                                                                                                                                                STAFF COMMENTS

                                                                                                                                                                Millie says: Hypnotic, ambient Nu Jazz flowing your way from the brilliant Albert’s Favourite label. Ego Ella May and Pie Eye Collective’s vocals are so warm and soulful fragments throughout the album, beautiful stuff. If you like Sudan Archives, The Expansions and 30/70 then this is the one for you.

                                                                                                                                                                The fourth Plafond is here, with fine-crafted contrasting yet complementary pieces courtesy of Ulla Straus and Oceanic.
                                                                                                                                                                Along the wide arbitrary landscape of listening or 'ambient' music, it is a delight to have two artists, separated by the vast Atlantic, contributing quite opposite interpretations of such to the series. Perceptual time feels as a recurrent theme which binds them, albeit in a whole different modus operandi. In her iconic tactile productions, Straus excavates levels of advanced musical complexity in the seemingly most simple. Throughout two tracks her crude and beautiful technique riffles, compositions that remain prone to the transient, combining field recordings with morphing saxophone and guitar. This is deeply evocative music that turns its recipient into a mode of contemplation. 'I Forgot to Take a Picture' breathes melancholic romanticism, 'Becoming Warm' feels lorn yet hopeful. Pastoral haze over a rouge-tainted barren, the crackling insides of a wooden forest house. Picturesque and minimalist, Pennsylvania's Straus manages to temporarily stop the sand from gravitating downwards. Oceanic antagonises Straus with the triptych 'Three Sides of a Shell', recalling different emotions adhering to the fourth dimension. As a performing artist Oceanic masters the element of suspense. Here, over the course of nineteen minutes, a three-note sequence is explored within the producers imaginatory, chapterised, providing moments to navigate through his fictitious galaxy. Stuttering melodies across azure waters, synthesised bleeps as flickering stars over a moonlit mountain pass. Oceanic's music feels advanced through actively incorporating contemporary futurism, whilst never losing the glacial glance that is so familiar to its early nineties foregoers. It is as if listening to 'Three Sides...' heightens the senses, towards possibility, innovation even, triggering illusions of time dilation, shattering the hourglass. Comes in hand printed dreamy, pink sleeve, including Obi-strip, by the BAKK Innerspace Ink Station.

                                                                                                                                                                STAFF COMMENTS

                                                                                                                                                                Patrick says: BAKK's Plafond series is as good as any other contemporary ambient / esoteric series, and the fourth edition is just as hot as its predecessors. Ulla Strauss serves wrongspeed Reich and misty minimalism on the A-side, while Oceanic explores fourth world hypnotism on the flip.

                                                                                                                                                                Karenn are proud to present their debut album, “Grapefruit Regret”. Written and recorded during an intense studio session in Berlin over the summer, the resulting 8 tracks, as exuberant and colourful as their titles, serve to both compliment and contrast with their infamous live shows. Released on the pair's burgeoning Voam label, Blawan & Pariah remain at the coalface of modern techno with a tuff, technological and militant approach to their productions.

                                                                                                                                                                Mastered by Rashad @ D&M

                                                                                                                                                                Artwork and design by Sean Bell. 


                                                                                                                                                                STAFF COMMENTS

                                                                                                                                                                Matt says: voam voam voam!! Blawan & Pariah's technologically advanced techno excursions continue in earnest. Market leaders, the album exudes class and ingenuity throughouth. You need.

                                                                                                                                                                Rachael Dadd

                                                                                                                                                                FLUX

                                                                                                                                                                  Contemporary folk multi-instrumentalist Rachael Dadd is set to release her new album “Flux” on Memphis Industries on the 8th November 2019. Produced with Marcus Hamblett (Villagers / Laura Marling), “Flux” is a response to external and internal tides: the flow of life uprooted; a protest against the flow of recent political history and a diary of the flow within the intimate space of home.

                                                                                                                                                                  Collaborators include multi-instrumentalist Emma Gatrill (Willie Mason / Matthew and the Atlas), drummer Rob Pemberton (Emily Barker / Low Chimes), bassist Jim Barr (Portishead) and vocalists Kate Stables (This Is The Kit) and Rozi Plain. Flux follows Rachael’s highly acclaimed album “We Resonate” which came out on Talitres and Sweetdreams Press, and a string of international releases on Broken Sound, Lost Map, Sweetdreams Press and Angel’s Egg. Living half her time as a travelling musician in Japan, witnessing how other people create things, connecting with other cultures and landscapes; all this is a furnace for Rachael’s innovative song writing, which has seen her gain a reputation as a pioneering and thought provoking artist, unafraid to push the boundaries of folk and pop.

                                                                                                                                                                  STAFF COMMENTS

                                                                                                                                                                  Barry says: There are moments in 'Flux' of such whimsical beauty that hark back to the early days of American psychedelic folk, with plucking guitars and Dadd's gorgous vox. It's the more soulful pieces here that really impress, soaring and weaving in equal measure, providing a fascinating but cohesive listen. Lovely stuff.

                                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                                  LP includes MP3 Download Code.

                                                                                                                                                                  Lucy Dacus

                                                                                                                                                                  2019

                                                                                                                                                                    Recorded in here-and-there studio spurts over the last two years, ‘2019’ is made up of originals and cover songs tied to specific holidays, each of which has dropped/will drop around their respective date: Valentine’s Day, Mother’s Day (and Taurus season!), Independence Day, Springsteen’s Birthday (not an official holiday, though Chris Christie often took that day off, aaparently), Halloween, Christmas and New Year.

                                                                                                                                                                    Lucy Dacus uses her gift as a songwriter to help understand and cope with the world around her, including making sense of national holidays, often more geared towards social media boasts and manufactured consumerism than authentic celebration. “What is going on,” she asks herself on these days, retreating from the heightened expectations of holidays to figure out what to make of them and to find her own meaning. “I’ve collected some songs from trying to answer that question,” she says, and “this EP seems like the right place to put them next to each other. These songs are self-contained, not indicative of a new direction, just a willingness to do something different and sometimes even out of character.”

                                                                                                                                                                    STAFF COMMENTS

                                                                                                                                                                    Millie says: Lucy Dacus’ warm vocals are a welcoming bliss in this miserable November weather. Her ability to cover classics such as ‘In The Air Tonight’ and give it an entirely different tone is breath-taking, while her own song writing in ‘Fools Gold’ are stunningly original and moving.

                                                                                                                                                                    British producer of exalted electronics Lapalux (aka Stuart Howard) returns to Flying Lotus’ Brainfeeder label for his fourth album. The title ‘Amnioverse’ is “a sort of portmanteau of the amniotic sac and the universe that revolves around notions of fluidity: that birth, life, death, and rebirth is a never ending continuum.” He channels these ethereal ideas through a new and ever-expanding modular synth set-up, effortless spanning tempos and balancing space and texture, injecting human emotion and layering recordings of weather, wind, rain and fire, to invoke an elemental, celestial feel. For fans of Actress, Burial, Andy Stott, Oneohtrix Point Never.

                                                                                                                                                                    FORMAT INFORMATION

                                                                                                                                                                    Coloured LP Info: Double LP pressed on white and pink splatter vinyl and housed in an 8mm spined gatefold sleeve with silver foil detail. Includes 28 page large format booklet - 30 x 30cm - with spot gloss detail on front cover and digital download code.

                                                                                                                                                                    Mono

                                                                                                                                                                    Before The Past - Live From Electrical Audio

                                                                                                                                                                      Brand new recordings of some classic early MONO songs that have become fan favorites and live staples. MONO formed in Tokyo, Japan in the closing winter weeks of December, 1999. They played their first live shows at the top of the new millennium, and released their first album, Under The Pipal Tree, in 2001. Recorded live in one day on a razor-thin budget, Pipal Tree was an earnest introduction to the curious magic of a band that would eventually become synonymous with monstrously dynamic, contemporary classical rock music. To commemorate those austere beginnings - and celebrate their remarkable longevity - MONO revisit three of their earliest songs, and retrofit them with speaker-destroying upgrades.

                                                                                                                                                                      Anchored by the towering 16-minute noise opus, "Com(?)", Before The Past - Live From Electrical Audio shows the evolution of MONO's execution, stripping away the strings and layers of guitar overdubs to show just how massive this band can be at their most instrumentally austere. Newly recorded in one day in 2019 with longtime collaborator, Steve Albini - and mixed by Albini with Temporary Residence founder, Jeremy deVine - Before The Past is as much a declaration of the present as it is a document of the past. These songs, which are now 20 years old, feel more powerful and profound than ever; a testament to MONO's enduring dedication to their craft, and their dogged exploration of maximum minimalism

                                                                                                                                                                      STAFF COMMENTS

                                                                                                                                                                      Barry says: One of the most legendary post-rock bands return with a stunning set of all-encompassing fuzz and tentative instrumental guitar play from those early years, recorded anew with Albini at the helm. Superb.

                                                                                                                                                                      FORMAT INFORMATION

                                                                                                                                                                      Coloured LP Info: Indies Only edition Crystal Clear w/ Pink Smoke Coloured Vinyl

                                                                                                                                                                      Anna Of The North

                                                                                                                                                                      Dream Girl

                                                                                                                                                                        Few modern artists could appear as at home working with Tyler, the Creator (Anna lent her vocals to two tracks on ‘Flower Boy’) and Rejjiie Snow as they are duetting with HONNE, playing with Anderson Paak or landing a viral remix by The Chainsmokers.

                                                                                                                                                                        ‘Dream Girl’ introduces a broad palette of sounds, from the familiar cool Scandinavian pop of ‘Playing Games’ to the quirkier newer sounds of ‘Thank Me Later’ and ‘Dream Girl’.

                                                                                                                                                                        A rare songwriter who strikes an emotional chord, regardless of continent, collaborator or genre.

                                                                                                                                                                        Rose McDowall & Shawn Pinchbeck

                                                                                                                                                                        Far From The Apple Tree : Original Music Soundtrack From The Film By Grant Mcphee

                                                                                                                                                                          A Psychedelic Pop-Art Fairytale, by Rose McDowall (Strawberry Switchblade / Coil / Current 93 / Sorrow) and Canadian sound artist, composer, installation artist, lecturer and sound engineer Shawn Pinchbeck. The CD & DL contains 1 extra track and extended intros to each song from the Vinyl Edition. 13 extra minutes of music. "Far from the Apple Tree is an eclectic mix of ghost story, fairy tale and horror. Evocative of the TV series The Owl Service and films like Valerie and Her Week of Wonders and The Wicker Man and with a truly magical soundtrack by Rose McDowall (Strawberry Switchblade) and Shawn Pinchbeck make Far from the Apple Tree a must-see for fans of Redemption and ethereal thrills." SALVATION “Rose and Shawn's soundtrack adds so much colour, mood, mystery and magic to our film that it would feel empty without it. I'm delighted that it is now being released on its own, and by Glass so that it can add those same qualities to anyone who picks up a copy for themselves. “ GRANT McPHEE Rose McDowall - Voice, Instruments and arrangements Shawn Pinchbeck - Instruments, tapes, treatments, and arrangements Robert Lee - Instruments and arrangements Written & Produced by Rose McDowall | Shawn Pinchbeck | Robert Lee Mixed and Mastered by Shawn Pinchbeck

                                                                                                                                                                          Josienne Clarke

                                                                                                                                                                          In All Weather

                                                                                                                                                                            ‘In All Weather’ is a new collection of songs in which Josienne Clarke goes it alone; musically, as this is her first solo record and in her own life, laid bare and played out in the leave-it-all-behind-andstart- anew nature of the lyrics. The songs were written in on the Isle of Bute in 2018, where Josienne relocated for a year, overlooked by a snowy Ben Nevis.

                                                                                                                                                                            Josienne accompanies herself on pared-back acoustic and electric guitar throughout. She’s joined on the record by experimental piano prodigy Elliott Galvin, innovative jazz drummer Dave Hamblett, celebrated Scottish harpist Mary Ann Kennedy and guitarist/bassist Sonny Johns, who co-produced the record with Josienne.

                                                                                                                                                                            FORMAT INFORMATION

                                                                                                                                                                            Coloured LP Info: LP pressed on clear vinyl.

                                                                                                                                                                            Giant Swan

                                                                                                                                                                            Giant Swan

                                                                                                                                                                              Giant Swan are one of the most exciting artists to emerge from the UK underground in recent years and their self-titled debut album will come out on their own freshly-minted label, Keck, in November.

                                                                                                                                                                              Having toured relentlessly for the last few years and released a series of 12"s on labels such as Whites, Timedance and Mannequin, there's a real groundswell of momentum building behind the group already

                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                              LP Info: Full colour reverse board sleeve with black paper poly-lined inner bag + download card.

                                                                                                                                                                              Soundwalk Collective With Patti Smith

                                                                                                                                                                              Mummer Love

                                                                                                                                                                              A sonic cross-continental experience, ‘Mummer Love’ is the second album in the ‘Perfect Vision’ triptych collaboration between Soundwalk Collective and Patti Smith.

                                                                                                                                                                              For this body of work, Soundwalk Collective journeyed to Africa to explore the intricacies of Arthur Rimbaud’s most obscure period. After leaving France and what he deemed the ‘Western stagnation’, Rimbaud found himself in Harar, Ethiopia - an epicentre of Sufism in Africa. Sufi practise focuses on the renunciation of worldly things, the purification of the soul and the mystical contemplation of God’s nature. A strand within the wider Islam religion, it focuses on spirituality, meditation and chanting sessions.

                                                                                                                                                                              As with the other albums in the triptych, the Collective searched for hidden, earthy sounds that hold memories and embed existence. For ‘Mummer Love’ they also found themselves recording under the tree where Rimbaud photographed the shrine of Sheik Abadir Umar ar- Rida al Harari, the founder of the holy city Harar. “As the rain fell, I wondered if I was hearing the drops hitting the leaves the same way Rimbaud did 140 years ago,” Stephan Crasneanscki from Soundwalk Collective says. These sounds and Sufi chants are juxtaposed with Patti Smith’s poems, like the title track ‘Mummer Love’. Written to Rimbaud, Smith’s words are rooted in multiple aspects of the self: from the passion of a lover to the care of a mother and everything in between.

                                                                                                                                                                              Further contributions to the album come from Mulatu Astatke (widely considered the father of Ethio-jazz) and Phillip Glass, who has long felt a connection to Sufi music, coming together and evoking a call and response between piano and vocals of the Sufi masters. It is simultaneously the first time Glass collaborates with Smith and so Harar becomes an extraordinary meeting place for all to celebrate the beauty of Rimbaud’s work.

                                                                                                                                                                              ‘Mummer Love’ is released around the anniversary of the death of Arthur Rimbaud (10th November 1891).

                                                                                                                                                                              STAFF COMMENTS

                                                                                                                                                                              Millie says: The collaboration of dreams – Soundwalk Collective and Patti Smith. Compelling instrumentals and sound recordings joined with Patti Smith’s poetic spoken word makes it work so well. Taking inspiration from Ethiopia, using Sufi music takes it to a whole new level.

                                                                                                                                                                              Purveyors of contemporary ambient and electronic inspired music, A Winged Victory for the Sullen make a bold return on new album “The Undivided Five”. The pair, made up of Dustin O’Halloran and Adam Wiltzie, have created iconic film scores and forward-thinking ambient groups, releasing a series of game-changing records for Erased Tapes and Kranky. On “The Undivided Five” they rekindle their unique partnership for only their second piece of original music outside of film, TV and stage commissions, creating an album that channels ritual, higher powers and unspoken creative energies. Their fifth release (following their debut album, two scores and an EP), they embraced the serendipitous role of the number five, inspired by artist Hilma af Klint and the recurrence of the perfect fifth chord.

                                                                                                                                                                              This album sees them create bold new work built on their foundations in ambient and neoclassical. Since their 2011 self-titled debut, the duo have emerged as part of a much-lauded scene alongside peers like Max Richter, Hildur Guðnadóttir, Tim Hecker and Fennesz. Their 2014 album “Atomos” was the product of a commission to score a new performance by Royal Ballet choreographer Wayne McGregor, while 2016’s “Iris” was the score for director Jalil Lespert’s thriller, “In the Shadow of Iris”. They count the likes of Jon Hopkins among their fans, who included ‘Requiem For The Static King Part One’ on his 2015 Late Night Tales compilation. They composed the score for Invisible Cities, a specially-created performance to herald 2019’s Manchester International Festival, and have played some of the world’s most celebrated venues, including a sold out Boiler Room performance at London’s Barbican, and a 2015 BBC Proms show curated by Mary Anne Hobbs at the Royal Albert Hall.

                                                                                                                                                                              They were first introduced by mutual friend Francesco Donadello in 2007, a close collaborator who’s gone on to mix all of the AWVFTS records. O’Halloran launched his reputation with two acclaimed solo piano albums, attracting the attention of director Sofia Coppola, who asked him to score her 2006 film Marie Antoinette, and he has since won an Emmy for his 2015 theme song for Jill Soloway’s Transparent series, and been nominated for an Oscar and Golden Globe for his 2017 score with Hauschka for Garth Davis’ Lion. Wiltzie, meanwhile, founder of iconic drone outfit Stars of the Lid, has scored Hollywood films including Kevin MacDonald’s “Whitney”, Jake Scott’s “American Woman” and collaborated with Jóhann Jóhannsson for 2014’s The Theory of Everything.

                                                                                                                                                                              This album sees them pay greater heed to the small details in their sound than previously, something they say has been encouraged by the move to a new label. It’s been their first opportunity since their debut to create something that’s solely guided by their ideas, and it represented an opportunity to call back to that first outing while also building on the various ways in which they’ve grown. “We understand that times have changed,” they say. “We have evolved, but we also didn’t want to forget the beginning.”

                                                                                                                                                                              They channel influences such as Debussy, nodded to in the opening track, whose big chords and complicated arrangements inform a lot of their approach – parts that sound simple but require great skill to execute. Likewise, the artist Hilma af Klint – one of the first abstract Western artists – informed their ideas about drawing on spiritual influences to shape their work. “It’s like an invisible hand guiding things,” they say.

                                                                                                                                                                              The start of recording sessions for the album were marred by the death of one of their closest friends. Within weeks after the funeral O’Halloran found out that he would be expecting his first child, and it was soon after that a visit to see the art of af Klint brought home a profound realisation of life, death, the afterlife, and the spaces in between. She belonged to a group called "The Five", a circle of five women with a shared belief in the importance of trying to make contact with spirits, often by way of séances. This chimed with the duo’s unspoken approach to collaboration, and nudged them to return to their writing process centered around the harmonic perfect fifth; the five senses, the divine interval – The Undivided Five.

                                                                                                                                                                              The album was also shaped by the breadth of locations in which it was created, helping to shape its nuanced sonics. In addition to O’Halloran and Wiltzie’s respective Berlin and Brussels studios, the record took shape across six different sites. They recorded orchestral samples in Budapest’s Magyar Rádió Studio 22, re-recorded album parts in Brussels’ Eglise Du Beguinage’s unique, reverb-heavy surrounds (where Wiltzie has performed with Stars of the Lid and, in 2018, organised a tribute concert for Jóhann Jóhannsson), experimented with overdubs in Ben Frost’s Reykjavik studio, and recorded grand piano parts in a remote woodland studio in northern Italy. The duo pay close attention to the micro-level of sound, and each of these places was chosen for the qualities which could enrich the finished product. And it’s in Francesco Donadello’s studio in Berlin, where all of the previous AWVFTS material has been mixed, that the album was run through the studio’s analog board, binding the record’s different parts together.

                                                                                                                                                                              It was their connection to Jóhannsson which partly shaped the direction of their new album. They were asked to create a remix for him, which he heard before his death in 2018, where they unlocked a new process in terms of how they work. They recomposed the strings, using modular synthesis, old synths and string and piano arrangements, a method they applied to album opener ‘Our Lord Debussy’. “It’s about going into the DNA of music and taking different strands,” they say.

                                                                                                                                                                              The album is their debut for Ninja Tune, and comes as change is underway for O’Halloran, moving from Berlin – hence the title of ‘Keep It Dark, Deutschland’ – after a decade in the German capital. He’s headed to Iceland, the country where the pair shot their latest press photos and which is an important locale for both of them. The wide-spanning connections which have shaped the record are testament to their deep roots as artists. This album’s powerful energy is driven by the deep-rooted bond between them.

                                                                                                                                                                              STAFF COMMENTS

                                                                                                                                                                              Barry says: ‘The Undivided Five’ is the newest outing from the masters of ambient classical music, A Winged Victory For The Sullen. Their debut album hit us all pretty hard back in 2011, and has continued to be on the player pretty much constantly since then. Though they’ve released a soundtrack and another LP since, this is really only the second full album, and it is every bit the spiritual successor. Soaring, spine-tingling swells of string and synth coalesce together into a perfectly organic, yet otherworld rush of emotion and heft. Brittle, tentative passages are suddenly engorged with indescribable euphoric joy, evocative but fleeting, bringing to mind their debut, but with every bit rendered in unparalleled definition. ‘The Undivided Five’ deserves every attention you can give it, every precious moment you spend with it revealing more secrets and more colours you didn’t even know existed. An unrivalled beauty.

                                                                                                                                                                              FORMAT INFORMATION

                                                                                                                                                                              Coloured LP Info: 180 gram marbled clear & silver LP housed in a gatefold sleeve.

                                                                                                                                                                              Ltd LP Info: 180 gram vinyl in a gatefold sleeve.

                                                                                                                                                                              Omni

                                                                                                                                                                              Networker

                                                                                                                                                                                Enter Networker, the new album by Omni and first with indie giant Sub Pop Records. Their sound is still defined by sparse drums, locked-in bass, blistering guitar, and nonchalant, yet assured vocals, but from the first notes of "Sincerely Yours" you'll immediately notice that Networker sounds much cleaner and more "HI-FI" than their prior two albums, Deluxe (2016) and Multi-task (2017). The departure in fidelity suits the new record and allows the listener to enjoy the nuances of their meticulous arrangements. Don't worry, the riffs of Gang of Four and Wire are still present, but the production is more lush and the harmony is even more expansive.

                                                                                                                                                                                Despite nods to the sounds of the ’70s and ’80s what comes through is a record fully rooted in the here and now. Thematically, this is apparent on the title track "Networker" taking a candid snapshot of the “digital you” aspect of life in the age of the internet. The otherwise fun romp “Skeleton Key” also acknowledges the “direct message and obsessive” side of social media with lines like “if you don't like what you see, the pretty face on the screen, scroll on by...”  Networker was written half between tours and half during recording sessions. The band, Philip Frobos on bass/vocals and Frankie Broyles on guitars/drums/keys, returned with longtime collaborator Nathaniel Higgins to the studio in South Georgia where they also recorded Multi-task and most recent single "Delicacy." In this case, the “studio” is a cabin near Vienna, GA (pronounced Vye-anna) that was built by Frankie Broyles’ great-grandparents in the 1940s. The band completed four sessions between November 2018 and April 2019.

                                                                                                                                                                                Omni hit their stride in the cabin with songs such as "Moat,” which cruises along at a nice mid-tempo clip with sounds that are maybe piano or maybe the “behind the bridge” strings of a Jaguar a la Sonic Youth or This Heat. "Blunt Force" provides a nice contrast to some of the more upbeat cuts, getting jazzy with it’s less traditional arrangement and psychedelic outro. Overall, Networker is simultaneously fun, catchy, and contains some truly impressive musicianship. This combo is especially hard to pull off as bands that are great players often don’t have great or memorable songs. Omni and Nathaniel Higgins have done a stellar job of reigning in their diverse influences into a cohesive record by curating their sounds into a tight package that leaves you just on the cusp of understanding where the band is coming from, while still feeling like you’re hearing something totally fresh. While their earlier records had more of a “post-punk” sound, Networker is an amalgamation of the best sounds of the ’70s and ’80s, all arranged with (mostly) guitars, bass, and drums for our contemporary age, and it really works! There are hooks everywhere, vocal and instrumental, that will leave you humming along, even during the first listen. As Philip Frobos says in “Present Tense,” “guess who’s on my mind right now?” Well, Omni’s on mine and will be on yours soon.


                                                                                                                                                                                STAFF COMMENTS

                                                                                                                                                                                Barry says: Omni's sound has been gradually gathering momentum since their superb 2016 LP 'Deluxe' (almost definitely since before then, but 2016 was my entry point). What we've ended up with is a brilliantly confident and swaggering combination of technically superb guitar riffage and off-piste rhythmic hooks all coated in those relaxed vox, delievered perfectly but with the minimum of fuss. Effortlessly cool.

                                                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                                                Coloured LP Info: Indies exclusive 'Loser' edition ocean blue vinyl.

                                                                                                                                                                                Warmduscher

                                                                                                                                                                                Tainted Lunch

                                                                                                                                                                                  Warmduscher return.

                                                                                                                                                                                  Heavy metals.

                                                                                                                                                                                  Disco Peanuts.

                                                                                                                                                                                  CCTV in the break room.

                                                                                                                                                                                  A little something to get you through the week. There’s enough to go around. Revenge is a dish best served bold. Melt in the mouth disco basslines on a fragrant bed of feedback. Try it with the boom bap tapenade. Here for a good time, not a long time.

                                                                                                                                                                                  If you made your way out of Whale City with your faculties intact, this one’s for you. Clams Baker, Lightnin’ Jack Everett, Mr Salt Fingers Lovecraft and The Witherer have been joined by Quicksand on cutting board and cheese wire and commis chef Cheeks on vibes. They’ve been cooking. Michelin stars. The finest ingredients money can buy: Kool Keith and Iggy Pop. Funk, punk, hip-hop and lounge rock. Love is real.

                                                                                                                                                                                  Band biographer and revered botanist Dr Alan Goldfarb describes the album as “a sample hole through which to taste another universe. A dramatic warning. A gilded aroma. It is a tale of wanton desire and limitless treachery. A tale of disillusionment – the refusal of exploitation.”

                                                                                                                                                                                  Tainted Lunch was recorded in just four days, with soupe du jour Dan Carey (Kate Tempest, black midi, Fontaines DC). Warmduscher continue to live on their razor-sharp wits. Or as Clams Baker puts it “there’s no way to stop now”. Delivering the goods you never knew you needed.

                                                                                                                                                                                  If you can’t stand the heat, get out of the kitchen.

                                                                                                                                                                                  STAFF COMMENTS

                                                                                                                                                                                  Barry says: Massive, throbby basslines and snappy disco percussion take the lead before giving way into sweaty club grooves and distorted post-punk. Warmduscher succeed just as easily at hypnotic indie-rock as they do anthemic dancefloor tackle. Never a dull moment, and every one as brilliantly done as the last.

                                                                                                                                                                                  Cover of Fenella by Fenella.