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Steve Mason

About The Light

    Having written most of his previous albums alone, About The Light marks a change in approach for Steve.

    “I decided with this album that I wanted to get my live band involved at every stage because I wanted to capture the energy that we produce when we play live shows, so this time the band and myself worked on a collection of songs over the course of last year,” he explains.

    Picking Stephen Street to produce the album, and with a very clear plan in mind, from the off the goal was to capture the songs live and draw out their soulful elements.

    Talking about the process, Stephen Street says, “Steve explained that he wanted to make this album with his band playing more ‘live’ than on some of his previous offerings and also to augment the songs with brass and female backing vocalists. I felt this approach of first stripping back the songs to a more ‘live’ feel to create more space for the more ‘soulful’ elements to breathe in was an interesting one and we got down to work!”

    Recorded at studios in London and Brighton, About The Light, sees a subtle yet noticeable evolution in Steve’s sound.

    “When I listen to this album it feels and sounds like the first ‘legitimate’ record that I have ever made. It’s hard to explain but it sounds like a ‘real’ album. I think that is partly the production, the playing and the work that I did with the band for all those months in our rehearsal room on the South Coast,” says Steve.

    “It’s a beautiful, confident, positive, angry, loving and gentle album which once again moves what I do forward,” he adds. “David Bowie said that you should always be slightly out of your comfort zone if you want to achieve greatness, and for the first time perhaps ever, I deliberately pushed myself into that place. Who doesn’t want greatness?”

    FORMAT INFORMATION

    Coloured LP Info: Limited indies exclusive silver vinyl edition.

    Sharon Van Etten

    Remind Me Tomorrow

      Remind Me Tomorrow comes over four years after the release of Are We There, a top 10 critically praised album of 2014, and reckons with the life that gets lived when you put off the small and inevitable maintenance in favor of something more present. Throughout, Van Etten veers towards the driving, dark glimmer moods that have illuminated the edges of her music and pursues them full force.

      Written while pregnant, going to school for psychology, after taking The OA audition, Remind Me Tomorrow was written in stolen time: in scraps of hours wedged between myriad endeavors — Van Etten guest-starred in The OA, and brought her music onstage in David Lynch’s revival of Twin Peaks. Off-screen, she wrote her first score for Katherine Dieckmann’s movie Strange Weather and the closing title song for Tig Notaro’s show, Tig.

      The songs on Remind Me Tomorrow have been transported from Van Etten’s original demos through producer John Congleton’s arrangement. He helped flip the signature Van Etten ratio, making the album more energetic-upbeat than minimal-meditative. The songs are as resonating as ever, the themes are still an honest and subtle approach to love and longing, but Congleton has plucked out new idiosyncrasies from Van Etten’s sound. Joined by Van Etten’s longtime collaborator and bandmate Heather Woods Broderick, plus Jamie Stewart, Zachary Dawes, Brian Reitzell, Lars Horntveth, McKenzie Smith, Joey Waronker, Luke Reynolds, and Stella Mozgawa, Remind Me Tomorrow was recorded at studios throughout Los Angeles.

      For Remind Me Tomorrow, Van Etten put down the guitar. When she was writing the score for Strange Weather her reference was Ry Cooder, so she was playing her guitar constantly and getting either bored or writer's block. At the time, she was sharing a studio space with someone who had a synthesizer and an organ, and she wrote on piano at home, so she naturally gravitated to keys when not working on the score - to clear her mind. Lead single “Comeback Kid” was originally a piano ballad, but driven by Van Etten’s assertion that she “didn’t want it to be pretty,” it evolved into a menacing anthem. Remind Me Tomorrow as a whole shows this magnetism towards new instruments: piano keys that churn, deep drones, distinctive sharp drums. There are dark intense synths, a propulsive organ, a distorted harmonium.

      The breadth of Van Etten’s passions (musical, emotional, otherwise), of new careers and projects and lifelong roles, have inflected Remind Me Tomorrow with a wise sense of a warped-time perspective. This is the tension that arches over the album, fusing a pained attentive realism and radiant lightness about new love.


      FORMAT INFORMATION

      Coloured LP Info: Limited edition pink vinyl.

      Steve Gunn

      The Unseen In Between

        For over a decade, guitarist/vocalist Steve Gunn has been one the American music’s most pivotal figures-conjuring immersive and psychedelic sonic landscapes both live and on record, releasing revered solo albums ranking high on in-the-know end of year lists, alongside exploratory collaborations with artists as diverse as Mike Cooper, Kurt Vile, and Michael Chapman (whose most recent studio album he produced). Gunn is known for telling other people's stories, but on his breakthrough fourth album, The Unseen In Between, he explores his own emotional landscapes with his most complex, fully realized songs to date. 

        The Twilight Sad

        It Won't Be Like This All The Time

          From their unassuming origins as a group of school friends drawn together by a shared passion for music to the global touring force (supporting The Cure and Editors at arenas and stadiums), they have quietly become, The Twilight Sad’s ascent has been forged the old way with grit, graft and four exceptional studio albums. Now signed to Mogwai’s Rock Action Records, the bands fifth album does not disappoint and will certainly not disappoint fans of their previous works. It will also appeal to fans of The Cure, Frighten Rabbits, The National, Interpol and Editors.

          FORMAT INFORMATION

          2xColoured LP Info: Indies exclusive heavyweight blue vinyl.

          2xColoured LP includes MP3 Download Code.

          2xLP includes MP3 Download Code.

          Deerhunter

          Why Hasn't Everything Already Disappeared?

            As thrilling and unpredictable as anything in Deerhunter’s near 15-year career, Why Hasn’t Everything Already Disappeared? was recorded in several strategic geographic points across North America, and produced by the band, Cate LeBon, Ben H. Allen III, and Ben Etter. Forgetting the questions and making up unrelated answers, Deerhunter’s eighth LP is a science fiction album about the present. Exhausted with the toxic concept of nostalgia, they reinvent their approach to microphones, the drum kit, the harpsichord, the electromechanical and synthetic sounds of keyboards. Whatever guitars are left are pure chrome, plugged straight into the mixing desk with no amplifier or vintage warmth.

            FORMAT INFORMATION

            Coloured LP Info: Grey coloured vinyl.

            Coloured LP includes MP3 Download Code.

            'Midnight In Tokyo' is a compilation series that aims to be the perfect companion to nights in Tokyo, collecting tracks by Japanese artists that sound best at night. While vol. 2 focused more on ’80s jazz fusion, the latest installment, Vol.3, picks up where Vol.1 left off, bringing together forgotten soul, disco, and new wave gems.

            The compilation opens with Japanese rare groove classic “More Sexy,” a provocative song by “the queen of sexy songs,” Yoko Hatanaka. “Kimi No Yume,” from the album Yume No Yonbai by the wandering poet Masumi Hara, is one of the best balearic acid folk songs to come out of Japan. “Silhouette Call” is an electric bossa nova track—in the vein of Antena—taken from the rare album called Octopussy by Yuki Nakayamate, a singer songwriter who also worked as a backing vocalist for Motoharu Sano.

            “Theme Of High School Student” is a dubby cut featured on the soundtrack to the Japanese ’80s film Kougen Ni Ressha Ga Hashitta, written by Atsuo Fujimoto of Colored Music—one of the key artists in the recent wave of global interest in Japanese music.
            “Get To Paradise” is a stone cold funk jam by Mari Kaneko, who was known as the Janis Joplin of Shimokitazawa in her heyday, and is now known as the mother of the drummer and the bassist of popular rock band Rize.

            Following that is one of Japan’s greatest new wave disco track, “Hannya,” taken from Tomoko Aran’s popular third album Fuyu-kukan—produced by Masatoshi Nishimura who was part of the Friends Of Earth Project with Haruomi Hosono. Masako Miyazaki—whose rendition of Seawind’s “He Loves You” is a fan favorite—puts her own spin on the Earth, Wind & Fire classic, “Fantasy,” singing in her accent-heavy English which gives the song an undeniable character. “Watashi No Koukoku” is a certified disco boogie classic by popular singer Junko Sakurada. The Brazilian-esque jazz fusion, “Sunshine Bright On Me” is by a fusion group called Kangaroo, who were often billed as “the Japanese Shakatak.”
            “Stranger’s Night” is a synth-pop number by pop idol Maiko Okamoto, which bears a suspicious resemblance to Rah Band’s “The Shadow Of Your Love.” Electro-pop disco “Singing Lady”—off the sole album released by the one-off project the Fad—sounds like something Giorgio Moroder could’ve cooked up. “Magic Eyes” is a disco anthem recorded by songwriter Tetsuji Hayashi’s disco project, the Eastern Gang. following that is Japanese soul gem “Crazy Baby,” found on a rare 7 inch entitled Minato No Soul by Rinda Yamamoto—also composed and arranged by Tetsuji Hayashi. and last but not least, closing out this collection of 14 Japanese rare groove goodies is “I’m in love”, a bittersweet mellow dance number by Tomoko Aran.


            STAFF COMMENTS

            Patrick says: Mule make it a Midnight In Tokyo hat-trick with arguably the best of the bunch. Last time out Dubby focused on Japan's organic and esoteric grooves, while blah takes us through erotic boogie, electro-bossa, coastal soul-jazz and wavey synth pop! Early faves are Mari Kaneko's McCartney II meets Saada Bonaire "Get To Paradise" and Junko Sakurada's synth disco bomb "Watashi No Koukoko".

            Night Beats

            Myth Of A Man

              Fronted by Texan native Danny Lee Backwell, Myth Of A Man is Night Beats' fourth studio album, and their second for Heavenly Recordings following the release of Who Sold My Generation in 2016.

              While Blackwell has always fed off the musical legacy of his Texas roots—Roky Erickson and the 13th Floor Elevators, The Red Krayola, The Black Angels and more paving the way for the the napalm-coated psych-rock headtrip of past albums—Myth Of A Man has him pulling from the surrogate wellspring of Nashville, Tennessee.

              It was there that he worked with the eminent Dan Auerbach, and a murderer’s row of battle-worn session musicians—the combined weight of experience that comes from working with every legend from Aretha Franklin to Elvis not lost on Blackwell. “I was just humbled by being accepted,” he explains, “Big hearts all around.”

              In short, it’s an album that holds its own next to the classics, less of the bloodshot acid trip of Sonic Bloom (2013) and Who Sold My Generation (2016) here, Blackwell has recalibrated them, slowed them down just enough and allowed them the space to breathe and exist as something new. It’s the same book, just a different chapter. The moody organ comps and slow stroll of the 12-string on “Her Cold Cold Heart” evoke the noxious feeling and hypnotic state of toxic love, the spirit of Bill Withers is flowing through the acoustic guitar and sun-soaked shuffle of “I Wonder,” and string-trimmed ballads like “Footprints” and “Too Young To Pray” evoke the imaginative, cowboy psychedelia of fellow Texan, Lee Hazlewood. “Let Me Guess” with its searing riff and Elevators-esque organ assures us that the scuzzy sound we know and love is alive and well, while “One Thing,” a song about being used and abused—or as Blackwell sharply puts it, “being rolled up and smoked”—has plenty of fuzzed-out guitars to let us know he might just be happy about it.

              Written during a particularly destructive period of the band, the album is populated by fallen angels, blood-sucking wanderers, and vindictive lovers—sketches of people the band has surely come across during their cosmic roving through the underground—but the character most present is Blackwell, himself. “Myth Of A Man can be summed up as a personal display of vulnerability and guilty conscience,” he explains, “Destroying the mythos of what it means to live and function in society.” With its bold steps forward, Myth Of A Man serves as both a takedown and reintroduction of the band as we know it—the strongest evidence that you’ll never be able to pin Night Beats down. 


              FORMAT INFORMATION

              Coloured LP Info: Red vinyl.

              Be Svendsen – Dancefloor heavy hitter and pioneer of the desert-tech sound, is releasing his first full length album on Copenhagen’s Music For Dreams label. Here he reaches beyond the dusty dance floors that brought him recognition, and connects with nostalgic roots of music from his childhood.  After a series of very well received singles and ep’s on labels like Crosstown Rebels and All Day I Dream, we now get a deeper peep into what it’s like Be’ing Svendsen.

              ’Between A Smile a Tear’ is a wide spanning album in terms of mood, instrumentation, tempi and style, with clear references that reach back to a time where experimental innocence met the futuristic and forward thinking. Be Svendsens describes his music as “Tarantino Techno”. He brings in emotional guitar melodies and dry strings, and adds it to his club universe where moods can change in an instant. With many talented musicians featured on the album, Be Svendsen shows us his diversity that spans from innovative deep new-disco cuts, galactic journey melodies, analogue ambient atmosphere to classic song writing, soundtrack’esque epicness, and a deep-tech organic collaboration with Henri Texier. We even get a taste of Be Svendsens own vocals.

              In his musical expression Svendsen still walks the fine line of opposites. He takes both the obvious and the unpredictable, the familiar and the unknown into play, dedicated to entertain yet challenge the listener. Be Svendsens describes his musical universe as so: ”The music should ultimately connect you to a bigger picture”. The goal is to express and convey a feeling, and to behold the moment - the essence of oscillating between a smile and a tear. “I like to bring tragedy and humour together, and invite them up for a dance.” This is in some way, a a celebration of what he calls chiaroscuro - the light and dark - of existence.


              M. Ward

              What A Wonderful Industry

                Last June M.Ward surprised fans with the digital release of his ninth solo album, What A Wonderful Industry. The record finally receives a proper physical release via M.Ward Records. Over the last decade Ward has released a string of acclaimed solo albums, as well as six LPs with Zooey Deschanel in the duo She and Him. Ward is also a member of the group Monsters of Folk alongside My Morning Jacket’s Jim James, Bright Eyes’ Conor Oberst, and Mike Mogis, as well as a producer on albums for Mavis Staples, Jenny Lewis, and Carlos Forster.

                Via Ward: “This is a record inspired by people in the industry I have known - heroes and villains in equal measure. There’s some beautiful moments when you travel for a living, and I’m grateful for being part of an industry that’s taken me around the world so many times - but you quickly learn there’s a perfectly imperfect balance of cold-blooded and warm-blooded animals in the zoo. This record visits the most memorable characters. There’s a lot of very inspirational people I’ve had the pleasure to work with but there are also a few I wish I’d never met. It all tragically ends with an imaginary Griffin Mill-inspired murder ballad. This album is a reminder to keep your friends close, your enemies closer and don’t let the ones that just need an extra couple hours of therapy bring you down. Anyway I hope you like it. All names have been changed to protect the innocent".

                FORMAT INFORMATION

                Coloured LP Info: Limited edition clouded clear vinyl.

                The Dead C

                Ravers

                  Disguised as the meandering outpourings of vacant thought and activity dialed simultaneously from zero and ten. Formed in the cauldron of a fevered mistake resolute. Surrounded by ignorance, dis-interest, and the attention of the carefully self-selected. Recorded and burned through a thousand galaxies of dust and doubt and endless infinite wonder, transforming both time and space. Forever exiled to the very bottom of the world to reflect on the struggling desperate pile above. Recognizing any contribution as miniscule and insignificant when placed within the greatness of the other, the dominant insolent preening satisfied, continually shouting the pre-eminence of the first world order.

                  Lost Under Heaven

                  Love Hates What You Become

                    A startling, thought-provoking record, it follows their 2016 debut, Spiritual Songs for Lovers to Sing. Shot full of incisive social commentary, Love Hates What You Become captures the couple at their most musically raw and visceral.

                    The band wrote the album in Ellery’s native Manchester before traveling to Los Angeles to record with producer John Congleton, known for his Grammy-winning work with St. Vincent, Swans, Explosions in the Sky and Sigur Rós. Congleton introduced the band to Swans drummer Thor Harris, who plays on the record. “We were without a drummer or a real band,” explains Ellery. “I just concentrated on writing the songs rather than making a sound. We turned up in LA with that as our starting point, this collection of Guitar & Piano demos that I’d sent through.”

                    Those demos included some of the most accomplished song writing of his career to date, such as momentous album closer ‘For The Wild’. “I started writing that song years ago almost as a pastiche of trying to write real this rock’n’roll saviour,” he reminisces. “The rock’n’roll revolutionary feels such a culturally irrelevant cliché now, we’re living in a mechanised world seemingly indifferent to the longings of the human soul.”

                    A striking difference from their debut record is the prominence of Ebony’s vocals, notable on the album’s formidable ‘Bunny’s Blues’. “Creating this character of Bunny began with a performance piece I did back in Amsterdam,” Ebony explains. “She became a playful tool to confront how male-dominated society attempts to control both women and nature without having any real understanding or respect for their being and innate power.”


                    FORMAT INFORMATION

                    Coloured LP Info: Red vinyl

                    Khana Bierbood

                    Strangers From The Far East

                      This is their first full length LP. Produced by Go Kurasawa (Kikagaku Moyo) in Tsubame studio in Tokyo. Starting with the track ‘Rustic Song’ from the jet sound at the beginning you will realise you have arrived in Thailand. ‘Starshine’ has the surf vibe but different to the West coast surf music. The topnotch is the B1 track ‘Badtrip’ where you can hear lo-fi garage with heavy doomy fuzz jam. For fans of: Oh Sees, La Luz or Thai’s morlam music and Dengue Fever.

                      Anthony Naples

                      Take Me With You

                      Anthony Naples returns with his second full length album, "Take Me With You", arriving first as a ‘Mixed Version’ cassette inspired and commissioned by the Good Morning Tapes series, followed by this vinyl edition that's just arrived here in the shop.

                      Originally conceived as a mixtape dedicated to friends and the time spent with them in the morning hours, after the party is over (or beginning) - it quickly morphed into a soft focused meditation on all things warm and intangible.

                      "Take Me With You" fires off in all styles - the opening triptych of the extra-cosmic “Alto”, post-rave pianos of “Goodness” and slow-dance-inducing “Drifter” bring the attention inward - taking cues from a host of personal favorites including: “Space” LP by Space, The Theater Of Eternal Music, Panda Bear’s “Person Pitch” , Atlas Sound’s “Let The Blind Lead…”, Arthur Russell’s “World Of Echo”, Suzanne Ciani’s “Buchla Concerts: 1975”, The Microphones “The Glow Pt. II” & “Mount Eerie”, A mixtape of Krautrock from DJ Ivan Berko and most definitely Holger Czukay, “Take Me With You” is a fresh turn for Naples as he ascends into a blend of his most personal work to date - touching on trip-hop, psychedelic pop, ambient house, and much more along the way.

                      Make no mistake - “Take Me With You”’s message is undoubtedly about escapism, given away by its happy-abductee cover art done by the legend Biscuit - but first and foremost it reflects on that lingering feeling one gets when walking away from the ones they love.


                      STAFF COMMENTS

                      Matt says: Awarded a 'Best of 2018' accolade by Resident Advisor when released on tape. Now available on vinyl: a digitally enhanced, 'abductee fantasy drama' from no other than Anthony Naples - you know what to do!

                      Metric Systems is the name of a covert project of over 20 years duration. It has moved across multiple continents, under multiple names. The 8 songs that make up "People in the Dark" were recorded between 2000 and 2016 in various locations across Sydney, Melbourne and New York. The bright-eyed sci-fi fascination of Australia’s Clan Analogue collective intertwines with the more sinister facets of modern technology - echoed voices pepper the album like fragments of a surveillance tape collected by our digital panopticon. A pervasive sense of paranoia and unease winds its way through these 8 tracks that move between techno, downtempo and more abstract strains of electroacoustic experimentation. Fittingly housed in a striking sleeve by American photographer Trevor Paglen, whose MacArthur-winning work revolves around these same themes of omnipresent surveillance and data mining.

                      "People in the Dark" opens with the wordless vocals of “Your Room”, drifting over the unspooling synthesizer sequence that seems to swell and recede from the foreground like the ebb and flow of a lapping tide, lapsing into dreamy ambience before the drums come back in. The smartly programmed drums are the focus of “Chinatown Warehouse”, whose hip-hop swing gives a distinct nod factor to the otherwise hazy mechanics of the track. On “Laika”, a 303 line weaves its way across the subdued mid-tempo groove, gently recalling the ambient-acid of Susumu Yokota’s Ebi project. The penultimate track, “Stellarwind” starts with a dark, foreboding drone before shining pads arc over like a glimpse of light through the track’s murky darkness, the tension between these two poles moving together as the song unfolds.

                      This record reflects just a small selection from a large archive of recorded materials. All songs written and produced by Kate Crawford and Bo Daley.


                      STAFF COMMENTS

                      Matt says: Best Effort follow up one of my favourite 12"s from last year with this ridiculously strong effort. Cloaked in midnight shadows but urging you into its nocturnal den through skeletal drum machines, dubby synths and a hanging air of frosty bleakness.

                      Almost three years after opening its doors, De School launch their new label De Nieuw, opening their account with the first ever recording to surface from between the walls of the venue. This immersive and otherworldly LP presents one of the first live concerts by Oceanic, recorded at the auditorium of De School on October 21st 2017. This was in the middle of a 64-hour event that lasted from Friday evening until Monday lunch. This LP contains a 40-minute recording of Oceanic's concert, performed on his custom-made string instrument connected to a modular synth. The concert was performed for 200 people laying on pillows, surrounding Oceanic and Warping Halos, a light installation by Children of the Light. Oceanic debuted this live show in spring 2017 during Minimal Music Festival in Muziekgebouw aan 't IJ, and while minimal music might be an accurate description of the sound, it also touches themes of trance and folk music. There are no different tracks, it's one continuous and largely improvised performance, sometimes abstract, sometimes wonderfully melodic. To fit on a LP, the recording is cut in two parts, the composition gently fades around the halfway mark.
                      After releasing music on Nous'klaer and Versatile and a DJ residency at De School since its beginning, this LP covers the first steps of Oceanic as a solo live musician. This release also marks the first steps of De Nieuw, De School's new record label that will aim to capture the sounds of the different rooms of the venue from next year on.


                      STAFF COMMENTS

                      Patrick says: Time to trip the light fantastic with the first release on De School’s De Nieuw imprint, a live recording of Oceanic’s psychedelic and swirling synth work. High grade healing music for the Microdosers out there.

                      Buke & Gase

                      Scholars

                        “No other bands sound quite like the duo of Buke & Gase.” - NPR Music

                        ‘Scholars’ is Buke & Gase’s third album and their first in six years. The New York duo have reinvented themselves, emerging with a more concise, electronic and emotional sound, in sync with our most forward-thinking contemporary artists.

                        Since 2013 the band have served as hand-picked opening act for The National, Battles, Lou Reed, Shellac, Deerhoof, Owen Pallett and Mike Patton’s metal supergroup Tomahawk.

                        For fans of Dirty Projectors, Animal Collective, James Blake.

                        Angelic Milk

                        Divine Biker Love

                          Angelic milk, the Saint Petersburg based project from Sarah Persephona, is back with their long-awaited debut album Divine Biker Love. After a few Bandcamp-only releases angelic milk signed with PNKSLM Recordings in 2015 for the release of the IDK How single, which immediately brought them the attention of the likes of Stereogum, SPIN, KEXP, BrooklynVegan and many more. Their first studio recordings, the Teenage Movie Soundtrack EP, arrived the following summer to continued acclaim, before the band retreated to the studio to work on the debut album. Two years later the band emerged with Divine Biker Love, a distinct collection of songs where Persephona’s grunge pop sensibilities meets influences from shoegaze and dream pop, as well as hard rock - a collection of songs that couldn’t have been made by any other band.

                          The Callas With Lee Ranaldo

                          Trouble And Desire

                            The Callas upcoming album is a post-punk burner brimming with frenzied energy with a swirl of droning-art-rock ambiance. The group collaborated with Lee Ranaldo.(Sonic Youth). THE CALLAS is the tip of an artistic squad producing music, artworks, films, magazines, events, art shows, initiated by the brothers Lakis & Aris Ionas. The group worked with Lee Ranaldo on the soundtrack of their new feature film “The Great Eastern” and on their new full-length album, “Trouble and Desire” which is due for release on October, 26th 2018 on Inner Ear and Dirty Water Records. Their last two albums, "Am I Vertical?”and “Half Kiss, Half Pain" were produced by Jim Sclavunos (Nick Cave & The Bad Seeds, Lydia Lunch, The Cramps). “As multi-media artists and filmmakers, they approach music making from a very different perspective than the average musician and come up with some quite unexpected results,” says Sclavunos.

                            “The sonic palette of the new album is diverse and exploratory, with songs that range in style from dreamy subversive pop to brutal post-punk skronk to deconstructed rebetiko.” Lee Ranaldo described his experience on collaborating with the Callas: “It’s been a pleasure for me to know and collaborate with The Callas on their new album Trouble and Desire - we met a few years ago and I’ve been drawn into their artistic world in Athens. I’m a fan of their visual art tapestries and their art studio/venue and I’ve been having a great time making music with these like-minded travelers. Our collaboration took off quickly and was such a natural fit - we speak the same language and the performances we’ve done together have been a total blast! I love the community of artists that they have gathered around them, and I hope we will do more collaborations in the future”. 

                            Go Dark

                            Neon Young

                              Go Dark are out there on the fringes, two lone figures working in the twilight to illuminate the world. 21st Century cyberpunk that touches on the sickness of modern life, Ashley ‘Crash’ Gallegos and Adam ‘Doseone’ Drucker are bound by an incommunicable sense of purpose, the two merging completely on scorched debut album ‘Neon Young’.

                              “Go Dark is music for women of my kind, the striving maniac animal,” says Crash. “bitches that wear skirts and knives who can go into the woods and track things.”

                              Dose adds: “A lot of music is meant to take you to a place you’d rather be, but this is meant to be a score for the way it is.”

                              Go Dark emerge from digital ghettos, torn up synths and blunt, punk-edged Brutalism that conjures John Carpenter-style visions of futuristic dystopia - except it’s happening right here, right now.

                              FORMAT INFORMATION

                              LP Info: LP format includes digital download code.

                              Various Artists

                              Rough Trade Shops Counter Culture 18

                                It's that time of year again, here is the annual round up of what Rough Trade loved from 2018! Everyone at Rough Trade Shops has helped choose/select/reject tracks - this year seems to be better than ever! From the electronic wizardry of Black Midi and funky bass-heavy strut of Boy Azooga on disc 1, to the superb jazzy vibes of Nubiya Garcia and punk-rock stomp of idles on the second disc, this really spans the whole scope of modern music. 

                                Written between 2011 and 2015 and released as a string of 12"s on Other People, R&S and Clown and Sunset, the “Nymphs" series is now compiled onto one vinyl release for the first time!

                                The set opens in typically cryptic fasion via the melodic and moody "Don't Break My Love", an abstract Aphex influenced voyage into measured electronica and the skittish, glitching synth soul of "Why Didn't You Save Me". Next up, "The Three Sides Of Audrey" drifts through static soaked ambience and delicate vocal loops, teasing us for eternity before a suitably sensual rhythm takes control. B2's "No One Is Looking At You " sees Nico playing with the same sound palette and production style, though set to a deep and immersive 4/4 - textured and sophisticated, this is emotional house at its finest. The kick drum sticks around on the similarly deep and dreamy "Swim", a thirteen minute voyage into the beating heart of the dancefloor. Irresistible and unpredictable melodies hook into your Limbic brain, forcing their way through the film of granular noise and taking you higher and higher! The avant garde piano undulations of "Mistress" offer a moment's repose on the "D1" before previous R&S single "Fight" finds an off kilter synth pop rhythm then gradually disintegrates over seven minutes. As we near the finish line, there's still time to enjoy the minimal wiggles and fx abuse of "Revolver", previously a hidden track on the "Nymphs III" 12" and the evocative downbeat of "Took Me Out", a quintessential Jaar composition.


                                Lorelle Meets The Obsolete

                                De Facto

                                  Mexican duo Lorelle Meets The Obsolete release their new album De Facto on January 11, 2019. The album, their fifth, was recorded at their home studio in Ensenada, Baja California, mixed by Cooper Crain (of Cave and Bitchin Bajas) and mastered by Mikey Young (of Eddy Current Suppression Ring and Total Control). It’s easily their best and most coherent album to date, and also the one that fully explores the outer limits of their sound. “There was a conscious desire to push further with what we were doing,” says The Obsolete, aka Alberto González. “One of our rules for this album was to go all in without middle grounds in terms of what we wanted the songs to be. We were committed to developing ideas that made our heads go ‘POW!’ from the beginning.” The end result is somewhere between the brave experimentation of the new Low album, Double Negative, and Tender Buttons-era Broadcast put through a heavy psych filter. There are pure pop songs that come across like lost ’60s nuggets (‘Linéas En Hojas’), blistering white noise jams (‘Unificado’) and meditative incantations (‘La Maga’) – all of which will, indeed, make heads go ‘POW!’

                                  You Tell Me is Field Music’s Peter Brewis and Admiral Fallow member Sarah Hayes. As one half of Field Music, Peter Brewis has been honing the craft of pop songwriting for almost fifteen years, whilst Sarah Hayes has been exploring contemporary folk in her solo work, and the world of indie-pop via her band Admiral Fallow. Their debut self-titled album, the last to be recorded at the old Field Music recording HQ, is set to be released in January on Memphis Industries.

                                  After meeting at a Kate Bush celebration concert, the pair clicked. “I'd been an admirer of Field Music for a good while before meeting Peter at the gig,” Sarah recalls. “So I was pleased to discover he wasn't an insufferable diva, and delighted that he was keen to try working on some music together.” Peter had been “blown away” by Sarah’s voice during a rendition of “This Woman’s Work” and when investigating her solo work heard a lot of parallels to what he was trying to do in Field Music.

                                  By blending their distinct compositional talents, they’ve created a record that possesses their own clear styles but also a new voice too. With both of them writing songs and lyrics, Peter describes it as “a sort of dual-personal record”. Sonically, the result is a subtly crafted album with a rich and intricate sense of composition, in which strings glide above multi-layered keyboards and percussion, and vocal melodies wrap around one another in snug unison. In many senses it feels like a classic songwriter record - rich in craft, songs, arrangements and vocal interplay - yet it manages to feel stylistically contemporary and void of nostalgia.

                                  Lyrically, Peter says, “most of the songs seemed to either be about conversations, be conversational or about talking or not talking.” Sarah echoes this: “the subject of communication - talking and listening, guessing and questioning - looms large on this record and in general for me. It's something I think about a lot.” Which makes sense given that this record is fundamentally a musical conversation between two new collaborators and friends, a constant back and forth of new ideas, shared influences and the expunging of inner feelings.

                                  Whilst the subject matter can occasionally be personal and explores troubled or conflicted conversations around inner turmoil, there’s also a stirring sense of beauty that comes from the record; a feeling of pastures new and moving onto new things rather than being held back by the past. What makes this an even more remarkable musical statement and achievement is that two first-time collaborators were able to channel so much of themselves into a project and create something coherent and poised.

                                  FORMAT INFORMATION

                                  Dinked Edition LP Info: Exclusive screen-printed sleeve.
                                  Signed.
                                  White vinyl.
                                  Hand numbered.

                                  Coloured LP Info: White vinyl edition.

                                  Coloured LP includes MP3 Download Code.

                                  Led by vocalist Amy Boone (The Damnations, TX), Cory Gray on keyboards, & horns, Tucker Jackson (The Minus 5) on pedal steel, as well as former Richmond Fontaine members: Sean Oldham, Freddie Trujillo, and Willy Vlautin. Vlautin, the acclaimed novelist and songwriter for Richmond Fontaine, has penned all ten tracks. Richmond Fontaine broke up in 2016 after touring Europe over 25 times and selling over 45,000 records. Décor will be putting out two singles before the album in January.

                                  The Delines debut album, Colfax, surprised fans and critics alike. The band had only been together a week when they went into the studio and cut the record. Uncut gave it 9/10 stars and praised its "widescreen romanticism", calling it "the richest collection of songs Willy Vlautin has written." Evoking the feel of a beat up Dusty Springfield or a weary Rickie Lee Jones, Colfax made a dozen top ten records of the year lists and the Delines sold out venues in the UK & Ireland. The Guardian declared them the surprise hit of End of The Road Festival and they toured Europe three times off the LP. The Delines were in the midst of working on the follow up to 'Colfax; when singer, Amy Boone, was hit by a car while walking on a sidewalk in Austin, Texas. Both her legs were broken, she was hospitalized for months, and went on to have eight major surgeries. The band stopped completely and waited and hoped for her recovery. Now five years later, Amy is finally on the mend and The Delines are back with their sophomore effort, The Imperial.

                                  Where Colfax was an experiment, The Imperial is the result of a year of touring, the solidification of the line up, and months of rehearsals. Recorded in Portland, Oregon and produced by John Morgan Askew, The Imperial shows us again why songwriter, Willy Vlautin became so enamored with Amy Boone's voice. The combination of Vlautin's songs and Boone's voice creates a late night country soul world full of hopefulness and heartbreak.

                                  FORMAT INFORMATION

                                  Deluxe LP Info: Ltd edition gatefold LP with a 7" of unreleased tracks.

                                  "Universal Beings" is jazz drummer / producer Makaya McCraven’s new album - his most ambitious, elegant and refined work yet. Recorded at 2 intimate live sessions and two pop-up studio sessions across the new jazz hotbed cities of New York, Chicago, London, and Los Angeles, Makaya collaborated with an all-star cast of improvisers (15 musicians in total, including Shabaka Hutchings, Nubya Garcia, Jeff Parker, Miguel Atwood Ferguson,Tomeka Reid, Brandee Younger and Carlos Nino) to create source material for the signature style of 'organic beat music' production he debuted on the groundbreaking 2015 release "In The Moment". The result is this epic, 2xLP/CD set that represents another breakthrough in Makaya’s career as a recording artist, as well as a definitive new work of the exciting global groundswell of next-generation, black musicians re-vivifying and re-articulating jazz in 2018. A tour de force - and highly recommended!

                                  STAFF COMMENTS

                                  Millie says: Makaya McCraven’s ‘Universal Beings’ is the most beautiful album you’ll hear this year, McCraven is accompanied by fifteen improvisers which shape a creative sphere of jazz which surrounds you with sound. Calming and all encompassing, drift away in an ambient jazz bubble.

                                  Another must have part of Marc Mac's "Beats n knowledge" series of mixtape style albums. A Documentary on Wax. Looking back (and forward), reflecting on the movement / organisation known as "The Black Panther Party for Self-Defense. Often the term "Self-Defense" is left out of discussion and far too often knowledge of the social programs developed by the Panthers gets pushed aside to continue a narrative of a violent group of anti-society revolutionaries. Revolutionary yes, anti-society no. All Power To The People. Produced by Marc Mac and pretty much all straight out of his MPC2500 (sampling sequencer), the 'college mixtape' style with sound bites from the era mixed with 90s style hip hop beats is now a trademark of this series. 

                                  STAFF COMMENTS

                                  Millie says: Two beautiful continuous mixes from Marc Mac, patched with spoken word and sound bites creating an instant hip hop classic. All Power To The People is one of the finest mixtape style releases, this is limited to 300 so it'll be gone faster than you can say 'panther party'.

                                  FORMAT INFORMATION

                                  LP Info: Limited to 300 copies worldwide

                                  Balthazar

                                  Fever

                                    Fourth album from the acclaimed Belgian quintet.

                                    ‘Fever’ follows the band’s self-imposed hiatus, a break that saw frontmen and writing partners Jinte Deprez and Maarten Devoldere pursuing different individual interests from both a personal and creative perspective that has ultimately led the band to fashion their most cohesive album to date.

                                    On reconvening the band had no plans, just a simple desire to better their previous works and to further the band’s story. Both primary songwriters agreed on a less serious vision leaning towards a looser, refreshed sound - less melancholic but retaining their unerring ability to create a hookladen armoury.

                                    Mysterious portals and secret entrance ways into magical other worlds – such are the wonders of childhood imagination, often sourced from the fantastical books, films and cartoons that once fuelled our daydreams and nightmares. This is the territory inhabited by Age of Not Believing.

                                    Named after a line from C.S. Lewis’ The Silver Chair, their new album Rainbow Plumage, Blue Shadows and Emptiness is an immersive world of compelling field recordings – wind-blown church bells, eerily echoing halls, distant chatter – atmospheric vignettes and disarming, often heart-warming songs. The elements fuse into an ageless story of light and shade, redemption and mystery - appealing as much to adherents of Angela Carter, Roald Dahl or Philip Pullman as to fans of Tom Waits singing ‘Bend Down the Branches’, Sun Ra’s reading of ‘Pink Elephants on Parade’ on Hal Willner’s Stay Awake Disney film music tribute or even the fantasy world conjured by the late Jim Henson in his 1986 musical, Labyrinth.

                                    Age of Not Believing consists of a shifting cast of wonder-struck musicians under the benign stewardship of sometime radio DJ, podcaster, French horn player, music promoter and self-styled ‘dreamer-in-chief’, Ben Eshmade.

                                    The album, meticulously produced by Les Mommsen, with consistently mesmerising arrangements by Harry Escott, overseen by Ben Eshmade, is one that that, for all its stylistic serpentines, instrumental caprices, multiple authors and 50/50 division between originals and covers, casts an unswervingly poignant spell – a testament to the ensemble’s collective will and the vision of its dreamer-in-chief. As he says, “You need to be serious about magical things”.

                                    Erskine Lynas

                                    Lease Of Youth

                                      Local Action is proud to present the debut album by Erskine Lynas, Lease of Youth. Although Erskine - aka Thomas Emslie - is a new name, he’s a long-time ally of Local Action who was known for his acclaimed electronic work as T_A_M. Written and recorded in Aberdeen throughout Summer ’16, Lease of Youth is heavily inspired by the naive melodic synth-pop of bands like Tears for Fears, The Blue Nile, OMD and Magnetic Fields, smeared against the grey skies and coastline of Emslie’s hometown with an approach to after-effects and sampling that betrays his relationship with modern electronic music. Although the album's lyrics are downcast, they're paired against bright sounds in a bittersweet way. All vocals, production and instrumentation is handled by Emslie himself, with a knack for hooks and ear-worms far beyond his years.

                                      Rick and Morty is the critically acclaimed, half-hour animated hit comedy series on Adult Swim that follows a sociopathic genius scientist who drags his timid grandson on insanely dangerous adventures across the universe.

                                      Rick and Morty stars Justin Roiland (Adventure Time), Sarah Chalke (Scrubs), Chris Parnell (Saturday Night Live) and Spencer Grammer (Greek). The series is created by Dan Harmon (Community) and Roiland who also serve as executive producers.

                                      This release is the first official collection of music from Rick and Morty. All formats feature 26 songs, 24 of which are from the first 3 seasons of the show, and 18 of which were composed by Ryan Elder specifically for the show. The album also includes songs by Mazzy Star, Chaos Chaos, Blonde Redhead, and Belly, all of which have been featured in the show, as well as two new tunes from Chad VanGaalen and Clipping inspired by the show. The box set includes a special bonus track on a 7”.

                                      STAFF COMMENTS

                                      Barry says: Put your right foot forward and your left foot back Then fuckin' slide around like on a NordicTrack, Move to the left, step to the right
                                      Wiggle your elbows and look up into the light
                                      It's the...
                                      It's the...
                                      It's the Rick Dance

                                      Wubba lubba dub dub!

                                      WUBBA LUBBA DUB DUB!

                                      FORMAT INFORMATION

                                      2xColoured LP Info: Loser edition.

                                      2xColoured LP includes MP3 Download Code.

                                      Ltd Box Set Info: Box set with 2 coloured-vinyl LPs, 7", poster, patch, sticker, and etched plexiglass LED-lit window.

                                      FREE SHIPPING This item has FREE UK shipping!

                                      The Silver Field

                                      Rooms

                                        Rooms was recorded in Coral Rose’s bedroom and on the album instruments such as the double bass, cello, guitar, mandolin, harmonium and a bagpipe chanter form loops and layers, her father’s old SPX-90 drenching the rich sounds in delays and reverbs. Rooms is the perfect introduction to the sound world of Coral Rose and friends: the EVI (electronic valve instrument, a breath controlled analogue synth) is introduced on the opening track, ‘Afire’, via Cathy Lucas (Vanishing Twin), and Kiran Bhatt (Red River Dialect) drums on ‘Rain’. ‘Rain’, described by The Quietus as “a delicate and pleasing creature” earlier this year, has already had support from BBC 6Music’s Mary Ann Hobbs.

                                        Rooms follows recent releases on O Genesis by Daniel O’Sullivan (VELD) and Richard Youngs (Belief), and like O’Sullivan and Youngs, whose albums are very much tied to a place – the home, whether through themes or creation – in this case, The Silver Field’s Rooms is focused on leaving a home behind, both physically and emotionally.

                                        The home that Coral Rose feels she's leaving behind on Rooms is an old sense of self – encountering herself as an adult and more specifically, a human being. She explains, “This plays out through the metaphor of leaving a house behind – a house of the stuff that builds up around you as you grow up – leaving that behind to make your own decisions about how to live. The last track, ‘Rooms’, is just a little snippet but to me it’s a moment of looking back, seeing it all in a new light with a different perspective from outside, seeing all the feelings and meanings that were once so all-encompassing as something different – as just part of the landscape.”

                                        This kind of liberation often comes with a sense of loss and this is felt keenly on ‘Rosebud’, a collaged piece, which she explains “is like a moment of everything falling apart or burning down, those screeches to me sound like beams breaking”. Elsewhere on the album, Coral Rose’s imagery depicts a dreamlike world, the album takes inspiration from both Rose’s own dreams, and the underwater landscape of waking dreams.

                                        The artwork, created by Coral Rose, shows the artist’s connection with the landscape around her and on the cover, a particular home that she inhabited. Painted in North Wales, the front cover painting shows the artist’s view through a window, looking outwards to the rain and light while the inside sleeve artworks are polaroid photographs – multiple exposures of the setting sun through clouds.

                                        Analogue processes flow throughout the album – several tracks on the album have a tape loop forming the spine of the song, and, explains Coral Rose, “the unpredictability of using a loop of tape rather than dragging something about on screen means sometimes something some little part of it becomes this perfect loop that I never would have heard if I was trying to compose something from the recordings myself.” The reel-to-reel player was found at a car boot sale: “the guy gave it me for £1 – it was the last change I had on me – because I got talking to him about Daphne Oram. It wasn’t in great shape and I kind of nursed it back to life. It had extra character because of that though, I think, a lot of the songs on the album aren’t in concert pitch because it tended to speed things up or slow things down, and often added strange sounds into the mix like the bass wobble in ‘Gost’.” 


                                        The C.I.A.

                                        The C.I.A.

                                          “This record is an encapsulation. The omnipresent fear and anger. Why? Why? Why? Why? Why? Why? Why? Why? Why? And what is really going on? Consternation…today… There is difficulty, frustration, strain and a large snake. You can feel the pressure of it breathing on the streets, in media, and in your lunch. This s/t, by The C.I.A., is an urgent musical notice. I feel it immediately. The pointed vocal cadence and lyrics of Denée Segal is a sharp scythe, and the actual time is…now. “I feel the same distress call and disposition from Crass records like Penis Envy or DIRT. In fact, if you took that, mixed in “Black Silk Stocking” by Chrisma and a touch of early Nic Endo (Atari Teenage Riot) and even Dinah Cancer (45 Grave) Autopsy era, you can get a feeling. And, similarly to those mentioned, Denée is putting a time stamp on this time. The spirit and her viability is strong in many a corner, and in many a heart. The alarm is ringing. “This is survival sound, put on record well backed by Ty Segall and Emmett Kelly, who have added anything-musthappen, mercurial, constantly moving instrumentation. The sounds, consistent with unique monochrome, move like an engine, made gas-tight by piston rings. Sonic rings moving in tight machine patterns. And at the vocal helm is Denée, steering this machine in vocal directions across an exclamation point motorway. No salt, all salt. Traction and reaction. They built a sound machine with, and for each other. Survival sound lifts its head up when it needs to. Thankfully it gets put on record and released when it needs to.” —Tim Presley

                                          Lubomyr Melnyk

                                          Fallen Trees

                                            Erased Tapes present ‘Fallen Trees’ – the new album by singular talent and literal force of nature Lubomyr Melnyk – known as ‘the prophet of the piano’ due to his lifelong devotion to his instrument.

                                            The album release coincides with Melnyk’s 70th birthday, but despite the autumnal hint in its title, there’s little suggestion of him slowing down. Having received critical acclaim and coheadlining the prestigious Royal Festival Hall as part of the Erased Tapes 10th anniversary celebrations, after many years his audience is now both global and growing. The composer is finally gaining a momentum in his career that matches the vibrant, highly active energy of his playing.

                                            Cascades of notes, canyons and rivers of sound: there’s something about his music that channels the natural world at its most awe-inspiring. In ‘Fallen Trees’ the connection with the environment continues, taking its cue from a long rail journey Melnyk made through Europe. Glancing out of the window as the train passed through a dark forest, he was struck by the sight of trees that had recently been felled. “They were glorious,” he says. “Even though they’d been killed, they weren’t dead. There was something sorrowful there, but also hopeful.” That sense of sadness touched by optimism infuses the album, too: rarely has Melnyk made music so shot through with melancholy and regret, but which sounds so rapt, even radiant.

                                            Drawing comparisons with Steve Reich and the post-rock group Godspeed You, Black Emperor!, Pitchfork praised his 2015 album ‘Rivers And Streams’ for it’s “sustained concentration and ecstatic energy”. That energy is present in ‘Fallen Trees’ too, but at points the tone is quieter, the mood darker and more wistful. At points elsewhere on the album, despite being rooted in the wonders of the natural world, there’s a kaleidoscopic quality in the fractal flurry of notes and the broad spectrum of colour they summon.

                                            Critics have detected the influence of Ravi Shankar and other Indian styles in Melnyk’s music, along with the insistent, repetitive textures of minimalist pioneers such as Steve Reich and Philip Glass. Melnyk himself cites his debt to the American composer Terry Riley, particularly the legendary 1964 work ‘In C’, which he says “opened the world for me”. But he adds that if you listen carefully, you’ll also be able to hear the lilting contours of traditional Ukrainian folk music.

                                            STAFF COMMENTS

                                            Barry says: For those of you that thought modern classical music was all plaintive, slowed-down montage soundtracking (Dave?), Melnyk is here to provide a frenetic but strangely relaxing onslaught of shimmering keys and endlessly expressive pianissising about.

                                            Alone In The Woods

                                            Alone In The Woods

                                              Jon Dobyns and Lonn Bologna make up Alone in the Woods. Their instrumental debut features downtempo beats, ambient production and takes cues from orchestral music as well as hip hop. Alone in the Woods capture a unique sound that only a multitude of influences blended can produce. Warm 80’s synth tones are melded with modern day techniques and experimentation that Depeche Mode and Bjork would be proud of.

                                              Instant classics like “Digging Holes” and “Ripples” push the listener into the stratosphere and then you are pulled back by the intimacy of tracks such as “woods funeral” and “New roots, old growth” which will fully absorb you into the woods...

                                              STAFF COMMENTS

                                              Barry says: This couldn't be any more up my street if it was designed specifically around the concept of fitting my street. Shimmering synths, weirdo drum machines, modern classical flourishes and on my favourite label of the moment. Properly beautiful stuff. This will sell out in a heartbeat.

                                              FORMAT INFORMATION

                                              Coloured LP Info: Limited Edition Forest-burst Green Vinyl.

                                              Various Artists

                                              Popcorn Lung: A Polytechnic Youth Collection

                                                Barring any last minute curveballs like Christmas Day released lathe cut 45s, the last release for 2018 on Polytechnic Youth is an absolute beauty. The long planned “Popcorn Lung” compilation brings together a richly assembled cast of exclusives and a previously released lathe cut only, gem.

                                                Rare are the free flowing, fluid compilations that flow effortlessly as opposed to some hastily cobbled together assorted odds n’ sods full length. This -much like it’s predecessor label collection “They Make No Say” that sold out 2 pressings in 2017- does exactly that. A heady mix of full on synth pop, darker more industrial electronic textures through kosmische / kraut grooves to whacked out electronic pop then back; ie styles may alter but it enhances the seamless feel, the free flowing vibe in no small part and quality remains incredibly high throughout.

                                                Highlights include exclusives from Australian Testing Labs Inc who follow their ‘underground hit’ full length “Music for Air-Cooled Motoring” with their first new music in 2 years, (the majestic motorik of “Alpenstrasse”) to smash 6music ‘hit’ “Tisch Tennis” from Matt Hookworms’ side project Xam Duo (Gideon Coe’s single of 2017 no less, and a £70 discogs 7” A side made available again), East London’s mysterious Karen Novotny X with a previously unreleased gem straight outta’ Mute / Blackwing studios 1980 territory, teasers to future PY full lengths from Canada based Gabe Knox with ace LP opener “Look and Listen”, and Bernard Grancher, Stephen Buckley’s fab Polypores project, PY old hands Detox Twins with another Germanic nugget of minimal synth- alongside many more treasures culminating in the -wait for it, as you’d never guess- trombone freakout of closer by Kendo Nagasaki (all be it heavily treated, synth aficionados rest easy!)

                                                A fabulous album, which on one hand acts as a perfect intro to the label for newcomers, it also more than pleases older hands in equal measure; and comes in a sleeve designed by label head Dom with tasty Nick Taylor designed insert. One time Pressing of 500 copies on vinyl only.


                                                Budgie

                                                Holy Ghost Zone

                                                  'The spiritual successor to "The Gospel According To Budgie" mixtapes and "The Good Book" albums with Alchemist. "Holy Ghost Zone" picks up right where they left blending 90's gospel with a 2018 bounce.'

                                                  Yep, you guessed it, Budgie's back! A smorgasbord of pseudo-vintage neo-soul with that all important boom-bap and characterized by sped up soul samples creating that 'rushing chipmunk' sound that's slowly becoming more popular. It's morphed and mangled outlook should appeal to fans of Bibio and Bullion while it's freshly polished rendition of classic MPC work will keep the studio geeks twitching out. Celebratory rather than introspective and dull - this is a gloriously fun and enjoyable album to stick on the player at home whilst yer enjoying your festive hols - get involved! 


                                                  STAFF COMMENTS

                                                  Martin says: Been really enjoying the relaxed yet super interesting sounds showcased on this album. It's not always about the dancefloor! Head nodding goodness for whiling away the daytime and evening.

                                                  Emotional Rescue offer this compilation of music from Elaine Kibaro and her particular coalesce of chanson, folk, balearic and touch of disco, all encased in her strong French and North African roots.
                                                  The music included here, released between 1979 to 1989, is an expression of her development, of music changes matching growth in life, conveyed through her emotions in song. Opening with the spoken word Introduction from her debut album, "Mirrors" and the folk rock of melodies of "Le Reveil" from the 1981 follow up, "Au Soleil", her early works are characterised by band, orchestra and choirs complimenting her voice as one.
                                                  This is further heard on the mystical "Sorciere", through the psychpercussion of "Secret", the marching "Le Guerrier" and the inclusion her first "hit" with "Aurore", appearing here in all its extended, off-kilter guitar meets organ form.

                                                  Exploring sensitivity and desires the compilation matches these earlier folk and world inspired songs with her move towards electronic production that accompanied a return some 4 years later, adding balearic and even pop dance found on 1985's "Le Long De Fleuve Amour" and the following 1989 opus, in "Kiroel".

                                                  "L'Amour Pour Bouclier" and "Ne Doute Pas" lift her music higher towards lovers' heights, with word, melody, and rhythm giving the desire to dance and be free, while her continuing exploration of chanson and spoken word takes on new meanings via the new wave meets estoric "Douleur", while the emotionally charged soundscape of "Kiroel" brings balance.

                                                  Inspired by the purity of song, Kibaro's music's has a timeless essence to behold; a voice and words found through life experience - beauty, discovery, nature and dreams.
                                                  A love and hope in music, her quest for the infinite potential in song.

                                                  En Dag (Rick Tomlinson, Chris Walmsley And Pete Hedley)

                                                  En Dag

                                                    Recorded one day at Konst & Ramar studio, Stockholm, while touring the Voice of the Seven Woods album in January 2007, En Dag is the previously unreleased collaboration between Rick Tomlinson, Chris Walmsley and Pete Hedley.

                                                    FORMAT INFORMATION

                                                    Ltd LP Info: Limited to 300 vinyl LPs. Sleeve by Rick Myers.

                                                    Most music does not come out of nowhere. Arising and appearing in a pre-existing system of influences, cross-references, roots, memories and desires, it either directly points towards a heritage or into the future. Mark Barrott’s "Nature Sounds of the Balearics" is a bit of both. The mastermind behind the International Feel label and the Sketches from an Island series presents an intermediary.

                                                    Technically, it’s his departure from a software based workflow and onto (or back to) a hardware driven creative point of view. Philosophically, it deals with the schizophrenia of our times: the late Paul Virgilio’s dromology and logistics of perception versus a decelerated life outside of cities, internet algorhythmics (sic!) versus meditation, the excessive stock market (all track titles are derivates of that world) against a tactile way of living.
                                                    Musically, it is the outcome of what Barrott himself described as his "techno album". For people whose definition of techno has to do with speed (again) and kick drums that might seem like a misinterpretation. Listeners who remember the Artificial Intelligence and Freezone compilations, various chill out channels or Detroit’s mellow moments, will tend to agree. "Nature Sounds of the Balearics" miraculously evokes those days and times, without breaking his neck. It is as much at home in a Caribbean water utopia between dolphins and old fishing boats as it feels current and applicable in a Ridley Scott dystopia. And if meta levels aren't your thing: it’s just a beautiful album.

                                                    STAFF COMMENTS

                                                    Barry says: Moving away slightly from the beach-bound cocktail-fuelled halcyon lysergia of the previous outings, Barrott opts for off-kilter melodies and hardware-based sequencing to create a more rhythmically diverse offering, as fascinating as it is engrossing. Lovely stuff.

                                                    FORMAT INFORMATION

                                                    Ltd LP Info: Gatefold 180 gram vinyl.

                                                    "Honey" is the eighth studio album by Swedish singer Robyn, and her first since "Body Talk". The Guardian's second best album of the year (2018) as well as receiving a Grammy nomination in her home country Sweden.

                                                    Contains lead single, "Missing U" as well as "Honey" which was featured in the acclaimed HBO series 'Girls'.

                                                    Anyone needing a softer and more delicate touch to the multifaceted strains of pop music need search no longer! Robyn's velvet soft sound beds pump with a natural sway, the simple kick drum permeating through layers of side-chained synth work to reveal a angelic simplicity to her songwriting and composition. Enchanted and evocative throughout, Robyn's lost none of that late night sheen and unfathomable glamour.


                                                    STAFF COMMENTS

                                                    Barry says: I'm an absolute sucker for sugary synth-pop, and this fulfils that sidechained paradise whilst introducing elements of downbeat, disco and soul all imbued with Robyn's singular vocal aesthetic.

                                                    Based in Flint, Michigan, USA, the four young sons of an electrician welded together their debut album. This album, titled "Elektroworld", is a personal tribute to the well known pioneers of the electro-disco-beat; Kraftwerk. A rarity amongst the electro scene, as well as a masterpiece in DIY electronix, Clone Classic Cuts reissue the illustrious album from 1995 - the only one the band ever completed!

                                                    The bar is set high as "Future Tone" opens with skilled sound design as well as a solid grasp of the aesthetic. "Perpetual Motion" sets off the Drexciya alarms straight away as fizzing oscillators drift in and out of time and tune with a rigid, mechanized beat. "Japanese Electronix" sees the first forays into more electro-pop sensibilities, nodding to their German pioneers as they vocoder a tasty hook alongside the gliding electofunk backing. "Check Mate" combines more classic degraded synthesizers with inventive drum programming that hints at were footwork and juke would take these blueprints in coming years....

                                                    Look we're not even half way through yet at it's pure power 100%. One of the high watermarks of the electro genre and an absolutely imperative LP for hardware heads. You'll only get one chance at this one folks! Don't miss out.... 


                                                    STAFF COMMENTS

                                                    Matt says: Phwoooar! Certain to cause a twitch in the trouser pocket of the more geeky and technologically minded gentlemen. First time reissue of this seminal but oft-overlooked electro masterpiece.

                                                    P SH

                                                    Beyond The Wave Image & Synthetic Terrain

                                                    Udacha always manage to introduce us to the freakier end of the electronic spectrum, and this new LP from Moscovite artist Vasily Stepanov. Operating under the name P SH, Vasily collages found sounds, submerged vocal snippets, gurgling electronics, synthetic birdsong and detuned guitar into a disorienting journey into a pan dimesional plane of populous sonics - and that's just covering opener "Indigo Swamp". "Yellow Bird Singing" sets the aforementioned ingredients to a drifting cosmic house rhythm, somewhere between Vakula and Group Ongaku. ")(-" brings more gurgles and burbles, alongside elements of New Age and fourth world ambience while "Naam Drops" sounds like trying to hum along with Hailu Mergia after a double dose of research chems. The relatively sane and soothing "After Dream Image" closes out the A-side with a lullably for the microdosers, and then it's onto the dissonant and dusty drug house of "Figizi", and the vertigo-inducing "See That Slack Times". As impenetrable as the title suggest,  "-" shuffles through chimes, arps and market bells like a particularly smacky trip to Thailand, before "Beam Machines" turns the saturation up to full and drops us into a sensory deprivation tank filled with neon hued ectoplasm. 

                                                    STAFF COMMENTS

                                                    Patrick says: P SH joins the Udacha family with an exploration of sound, soul and spirit (music, mythology and magick). Utterly insane abstract electronics with a highly psychedelic slant.

                                                    Few producers can capture atmospheres and moods like Heinrich Dressel. The Minimal Rome boss left jaws on the floor with his first appearance on Bordello A Parigi, "The House of the Rising Synth", demonstrating the breadth of this Italian musician’s sound. Now Dressel returns, this time with a full eight tracks for "Lost in the Woodland". In this analogue forest anything is possible. From the whimsical resonance of the title piece, a sonic pathway through a verdant soundscape is laid. Gentle melodies caress and embrace before the road bends into shadows filled with dramatic twists and unseen dangers. Romantic moments are juxtaposed by triumphal chords and daring drums signalling immediate panic or outright victory. This is a woodland of divergent emotions, one where sounds give way to feelings and where Heinrich Dressel is the piper leading his followers through what can only be described as an unforgettable journey.

                                                    STAFF COMMENTS

                                                    Barry says: Much like ambient dub pioneer Biosphere, Dressel excels at crafting an atmosphere which is both alarming and alluring. Through the snappy synth envelopes and progressive twists and turns, 'Lost In The Woodland' moulds a visceral world of light and dark, the central and contrasting twisting around each other and presenting themselves in bursts of static joy and shadowy glimmers of malaise. A stunning work of narrative beauty.

                                                    WRWTFWW Records is very delighted to announce the release of Rare & Unreleased 1971-1998, a collection of never-heard and hard-to-find works by Swiss music pioneer and synth super wizard Bruno Spoerri. The album is sourced from original masters and available on a vinyl LP cut at Emil Berliner Studios (formerly the in-house recording department of Deutsche Grammophon), housed in a 350g sleeve with a superb artwork by Nicolas Eigenheer, and packed with track-by-track liner notes by Mr. Spoerri.

                                                    Rare & Unreleased 1971-1998 gives a fascinating glimpse into Bruno Spoerri’s incredibly inventive repertoire, collecting tracks from projects as diverse as commissioned music for trade fairs, the Swiss railroads, or the union of Swiss cheese makers(!), soundtracks for TV shows about ecology, live synth improvisations at Montreux Jazz Festival, and sound installations for art exhibitions. Always the adventurer, Spoerri records a pneumatic drill for the irresistible electronic bossa of "Konzert für SIG-Pressluftwerkzeuge", mixes train sounds and the EMS Synthi-100 for the joyful lo-fi funk of "Rollin’", lets overheating synthesizers take a life of their own to create the sci-fi ambient of "Waves of Montreux", and works with bees, pigs and various birds for the environmental music bliss of "Rhythm’n bees" and "Birds of Cochin". Synthzerland rejoice, it’s time for another captivating journey of sound exploration on Planet Spoerri!

                                                    Bruno Spoerri celebrated his 83th birthday in August this year. He is still experimenting, recording, customizing audio gear, improvising on stage and in the studio, collaborating (Julian Sartorius, Franz Treichler of Young Gods, Marco Repetto of Grauzone, Roger Girod…), inventing new sounds and finding new creative outlets. His immense, innovative, and award-filled career started in the 1950s and covers jazz, electronic music, film and tv work, early techno, ambient, and everything in between. Mr. Spoerri has influenced an entire generation of producers and musicians, including Jay-Z who sampled his song "On My Way" (without permission) for "Versus" on Magna Carta…Holy Grail (an agreement was later arranged).

                                                    This is WRWTFWW’s third collaboration with Bruno Spoerri, after the reissue of seminal albums Voice of Taurus (1978) and The Sound of the UFOs (1978).


                                                    D. Rothon

                                                    Nightscapes

                                                      Nightscapes recalls the feelings that are triggered and heightened by the dark hours. Recurring dreams, hypnagogic states, and half-sleep visions. The childhood sense of anticipation for the future that strikes in the middle of the night. The bittersweet feeling of waking up from a dream that has transported you back in time...

                                                      David Rothon is a musician from south London who has been involved in a variety of musical activities over the years, from garage bands to experimental spoken-word projects. These include a collaboration with Ian Masters (Pale Saints) as Sore & Steal and, more recently, Cloudier Skies with performer/chanteuse Claudia Barton, which was championed by Radio 3’s Late Junction.

                                                      David conjures up the hours between dusk and dawn by deploying a variety of instruments including pedal steel guitar, Mellotron, Omnichord, strings and cor anglais, as well as experimenting with unusual chord changes and voicings. Patching instruments through unexpected effects pedals, and running tracks out to cassette tape and back again, help bring an otherworldly ambience to the record. Parts of the album were semi-improvised, with melody lines developing from take to take, while field recordings and happy accidents led to serendipitous results.

                                                      Nightscapes takes you on a nocturnal journey – whether into your emotions and memories, or the sleeping world outside.

                                                      STAFF COMMENTS

                                                      Barry says: Shimmering slide guitar, crepuscular chirps and softly saturated synths and slowly panned sine-wave swells. An enchanting (and not surprisingly) superb release once again from the superb Clay Pipe. Snap this one up quickly folks!

                                                      Mitsuaki Katayama Trio

                                                      First Flight

                                                      Johnny’s Disk Record is an independent jazz label run by the owner of jazz cafe Kaiunbashi No Johnny located in Rikuzentakata city in Iwate Prefecture, japan. The legendary label released a string of albums of high quality but down-to-earth music, spanning from modern jazz, avant-garde jazz to left-field pop. Albums such as “Farewell My Johnny / Left Alone” and “Aya’s Samba” has reached cult status among fans as some of the best works to come out of the japanese jazz scene.

                                                      This debut album by drummer and actor Mitsuaki Katayama is a Japanese jazz masterpiece consisting of 5 original compositions. The no-filler album includes the tracks “Unknown Point,” a danceable jazz samba with tight and powerful drumming; the melancholic “Arizona High Way,” a tune that perfectly epitomizes what Japanese jazz is about; “It’s Over,” which features beautiful piano work by Kichiro Sugino - a promising pianist who tragically succumbed to a chronic illness and couldn’t fully realize his potential; “Louis” and “First Flight,” a jazzy dance cut with a funky bassline. 


                                                      Super Furry Animals release a compilation of their radio sessions for the BBC available as an 180g vinyl box set and double cd (featuring Mark James Yeti artwork throughout plus 2 new illustrations by Pete Fowler) via Strangetown. This includes the eight sessions recorded for the BBC including those for John Peel and Mark Radcliffe.

                                                      This follows the vinyl, cd and digital remastered re-issues of their top twenty albums, Mwng (2015 Domino Recordings), Fuzzy Logic (2016, BMG) and Radiator (2017, BMG).

                                                      In a press release the band had this to say about Super Furry Animals at the BBC: "The five, excitable kids of the Super Furry Animals saw many wonders of the modern world through our innocent eyes, but finding ourselves playing songs in John Peel's home, or in the carpeted muffle of Maida Vale, elevated the experience to new levels. Our thanks go to those rescuing the recordings from our dusty lofts, Kliph Scurlock and Donal Whelan, and the surgical attention to detail by the great artistic minds of Mark James and Pete Fowler. Also, long live public broadcasting."


                                                      STAFF COMMENTS

                                                      Barry says: The Super Furries in absolute top form over 2 CD's or 4 LP's. Expect all the favourites from some of the greatest live moments in their extensive back catalog. Absolutely essential listening, a superb collection.

                                                      FORMAT INFORMATION

                                                      FREE SHIPPING This item has FREE UK shipping!

                                                      Three years ago Danish guitar player and highly acclaimed session musician Jacob Gurevitsch made his solo debut with ‘Lovers In Paris’, a sweetly melancholic single which conquered sunsets worldwide and earned a place in many quality compilations and has over 10 million views on Youtube. Roll forward to 2018 and this stunning track now heads up the Danish guitarist’s first vinyl album, on Kenneth Bager’s renowned Music For Dreams label. The original album of “Lovers In Paris” album entered the iTunes chart at #1 position in Denmark and was (back then) being hailed as one of the Records of the Year by the Balearic Community. And the success story continues. With over 2 million monthly streams Jacob Gurevitsch is a name to watch. This vinyl debut album ‘An Introduction’ consists of selected works from the “Lovers In Paris album, a few from his “Cinematica” Ep and some from his forthcoming album “In Search Of Lost Time.”  One could say A kind of Greatest Hits. 10 melodic and beautiful originals.

                                                      ‘Mexican Margarita’ is a truly impressive piece of guitar work with superb bongos and bass - already an essential tune for any Balearic collector - and the recently released single ‘Spanish Inquisition’ a current DJ Harvey fave, shows his technical and compositional ante into the world of Flamenco. ‘Mapa De Soledad’ and ‘Poesia Del Mar’ both gorgeous and moving Mediterranean-flavoured ballads full of emotional keyboards, soulful strings and accordions. The indelible upbeat of ’Motive Loco’ and elegiac cinematic ‘In Search Of Lost Time’ remains memorable long after listening and this hits the nail on the head.

                                                      Jacob Gurevitsch the guitar player and composer has a unique sensibility to write themes and melodies that transcend time and sound like divine interventions. 

                                                      Here at Piccadilly we've long since suspected the presence of some sort of undisclosed additive in the Melbourne water, how else do you explain the volume of breathtaking dance releases we've heard from our antipodean cousins of late. Thing is, Kirkis appears to be drinking/swimming/pissing in an entirely different stream; a strange sonic world where Numan, James White and/or Chance, Liquid Liquid, Sisters Of Mercy, The Cure and Bowie (Berlin period obvs) play to sold out crowds of mutant cheerleaders and speed-freak cyber punks. For every bit of gnarly post punk skronk ("Dark Rom"), there's a bedsit love song ("Forever") waiting in the wings. "Dead Nightclub" trips us out with some utterly spangled sound design and proper 80s pop chops, while "Vicky Can't Fly" transitions from the cinematic synth sound much beloved of our own Barry to a super sincere and slightly psychedelic Bowie-style anthem. Self-released, limited and better than 99% of other music, I'd advise you buy one.

                                                      STAFF COMMENTS

                                                      Patrick says: To quote my dear friend, and former colleague Michael, "this has fucked me up". If I were on WhatsApp right now I'd be communicating only in fire emojis. Melbourne's Kirkis condenses everything brilliant about the early 80s (new wave, post punk, goth) into the strongest alternative pop release I've heard for a long time. Essential listening for fans of Ariel Pink I reckon.

                                                      Last time Prins Emanuel flexed his musical muscles on Copenhagen's vibrant Music For Dreams he delivered 'Arbete / Fritid' a double LP of analogue disco, Balearic boogie and leftfield house soaked in inventive melody, multi instrumentation and studio wizzardry. A big hitter with Balearic beards, disco heads and anyone with; a) taste and b) ears, the debut delight set a very high watermark for the Swedish producer. So, it's with complete incredulity that I sit here and tell you that "Diagonal Musik" is even better!
                                                      Over the course of eight delicate and divine compostions there's nary a kick drum in sight. In fact, Prins Emanuel ignores the dancefloor entirely, swapping the studio trickery for the honesty and immediacy of an entirely acoustic approach. Guitar in hand, accompanied by the most subtle of organic percussion, the Swede strums, picks and slides his way through a gorgeous set of jazz-folk instrumentals. Think autumn leaves, rain on the window pane and cold coffee - cigarette smoke and a tear stained moleskine. If you'd told me this was a lost folk private press from 70s Europe, I'd be calling Basso and demanding he source me a copy. Forget genres, labels, press or playlists, "Diagonal Musik" is absurdly beautiful; and when you're old(er) and gray(er) you'll still be listening to it.

                                                      STAFF COMMENTS

                                                      Patrick says: I've been a big fan of Prins Emanuel for a long time now, and his weirdo disco gem 'Arbete / Fritid' has been in my record box ever since it came out. Here he throws us the most delightful curveball, dodging the dance floor and delivering eight gorgeous acoustic guitar compositions. Intimate, otherworldly and deeply evocative, this is the kind of record you'll listen to until the day you die.

                                                      Neil Young

                                                      Songs For Judy

                                                        Neil Young announced his plan to release Songs for Judy, a live album drawn from his November 1976 U.S. tour. The 22-song LP includes solo acoustic performances of all-time classics like “Heart of Gold,” “After the Gold Rush” and “The Needle and the Damage Done,” along with a number of rarer selections, including one song, “No One Seems to Know,” that has not appeared on any previous official release.

                                                        Young spent the majority of 1976 on the road with Crazy Horse or on the ill-fated Stills-Young Band tour, which he famously dropped out of midway through that summer. He also found time to make Hitchhiker, the lost solo acoustic studio album that he recorded in August 1976 — three months before the shows documented on Songs for Judy — but kept in the vault until last fall. At the November 1976 shows featured on Songs for Judy, Young performed a solo acoustic opening set before returning to the stage for a harder-rocking performance with Crazy Horse. These shows have been widely praised and discussed by Young fans for years, but this is their first official release.

                                                        After stealing the Piccadilly headlines with a wonderfully weird inaugural release from MB Jones, Zaltan (Antinote) and Pam's (cool as fuck) drop their second Drama release, this time from Céline Gillain. Here's what those two dudes had to say...
                                                        "Bad Woman" can be seen as a mutant blend of everything that’s been produced by the music industry these last 30 years, from Cher’s delirious come-back in the 1990’s to the most embarrassing moments in Dance music (think Gabber and Happy Hardcore), blurring the frontier between “good” and “bad” taste, between commercial and alternative. Just like Cher’s Believe, Céline Gillain’s Bad Woman sometimes sounds like the music of a former diva who’s been through tough times, saw her expectations torn apart and came back to music with a bizarre testimony of her state of mind."

                                                        STAFF COMMENTS

                                                        Patrick says: Céline Gillain is most definitely an outlier, and "Bad Woman" pretty much flirts with outsider art...but...HAS TUNES. This is the most accessible bit of pop experimentalism you'll hear all year, and it has serious emotional, conceptual and lyrical clout! It's like hearing a modern Laurie Anderson who's tired of your bullshit.

                                                        Remember that straightforward mix of EBM and synth-punk that came out on Antinote last year, wrapped in a suggestive black and gold sleeve? The lyrics were far from ambiguous and the music produced by Panoptique and Paula was joyfully aggressive.
                                                        Broken glass, dogs barking & cats roaring: Succhiamo is back and gives us news from the scrapyard.
                                                        The thing is, it seems that Succhiamo’s scrapyard has been animated by Bill Plympton : in place of dogs and cats, it’s a lewd Pink Panther chasing a spaced-out Scooby-Doo on Dolore Dentro or Stai Male. Happily championing bad taste, the two musicians even venture into the illegitimate territories of italo-pop missed hits, shaped for lipsync performances on Rai Uno with the nagging Que Pena.
                                                        As we’re getting close to the middle of the record, the music gets openly punkier, climaxing with the explicitly named "Desiderio Di Violenza", brushing past 200 BPM. While the inevitable silence following the last notes of "Que
                                                        Pena" temporarily puts an end to the pleasant nightmare that is "Mani In Fuoco", the figures – somehow similar to those inhabiting the world of Fritz the Cat – that Succhiamo insidiously inserts into the listener’s head don’t fade
                                                        away: they patiently wait for the duo’s pulsing drum machines and the saturated synths to wake up again and set them in motion for another ride.

                                                        STAFF COMMENTS

                                                        Patrick says: After last year's sleazy exercise in electroclash revivalism, Succhiamo return to Antinote with their bedut longplayer "Mani In Fuoco", a scuzzy synth-punk journey through brash EBM, bruised electronics and S&M techno. Fans of Liaisions Dangereuse need to check out "Vecchia".

                                                        While the Beats brand has kept Dre's name on everyone's lips (even without "Detox" dropping) it kinda felt like everyone forgot about Em. Years of opioid addiction and average records had sullied Slim's reputation, and a whole new generation of rappers hads emerged and taken the limelight away from the 8 Mile Road. Then Machine Gun Kelly did us all a favour, performing the public harikiri of taking shots at Marshall Matthers. Predictibly, Eminem absolutely fucking bodied him...twice, waking from his slumber and coming correct with his hardest bars in over a decade. The endless multisyllabic, tongue twisting rhyme schemes were back, sounding as vital as ever over a slew of bass heavy, rim rattling beats. Back in beast mode, Eminem kills it on "Kamikaze" - be warned. 

                                                        STAFF COMMENTS

                                                        Patrick says: Though he may have a man-bun and a track record for terrible records, Machine Gun Kelly will go down in history for one achievement - waking Eminem from his decade long slumber and prompting the brutal brilliance of "Kamikaze". Eminem was always at his best when he was pissed off, and he's fully fuming here - his best release in years.

                                                        FORMAT INFORMATION

                                                        Coloured LP Info: Green vinyl edition.

                                                        Even by his own exceptional and unconventional standards, 2018's been a big year for Yeezy. Fresh from a derailed world tour, free of addiction to prescription painkillers and mostly on top of his mental health, the man responsible for some of the greatest hip hop and pop records (and best selling trainers) of the last twenty years got himself back in studio and slammed out a flawless string of killer releases on his G.O.O.D. music imprint. Sure, he still found time to stand beside Trump, shout out Candace Owens, offer some poorly thought out views on slavery and impersonate a highly conceptual Joseph Beuys piece, but music was his main focus this year - and all those incidents and accidents, hints and allegations make there way into the lyrical content of the mighty "Ye".
                                                        His production work for Pusha T, Teyana Taylor, Nas and the Kids See Ghosts LP was fire by anyone's standards, but Kanye always saves the best beats for himself, and "Ye" finds Kanye fusing autotuned soul, trap and the post Dilla sampling of his early years into an unpredictable soundbed, perfectly suited to his confessional lyricism.

                                                        STAFF COMMENTS

                                                        Patrick says: Currently splitting the shop down the middle (maybe not but mine's the only opinion that counts here), is controversial musical genius Kanye West. I've spent 15 years trying to figure the guy out, and I still can't give you a consistent opinion of the man or his music. But I can tell you that his wild creativity, impulsivity and willingness to fuck up make his art more vital than most of his contemporaries.

                                                        Andrew Hung

                                                        An Evening With Bevery Luff

                                                          As co-founder of Fuck Buttons, the highly-influential noise-electronic duo, Andrew Hung has toured extensively with headline shows at the Kentish Town Forum, Glastonbury and Greenman Festivals, been featured on the 2012 Olympics opening ceremony and all three albums have featured as Best New Music on Pitchfork Media. His production work has included Zun Zun Egui's "Shackles Gift" and co-writing/co-producing the critically acclaimed "Kidsticks" by Beth Orton. In 2016 he soundtracked the multiple-award winning film "The Greasy Strangler ", and was nominated for Best Soundtrack at the Empire Awards. His debut solo album, Realisationship was released via Lex records in October 2017.

                                                          An Evening With Beverly Luff Linn is the soundtrack to Jim Hosking's directorial follow up to The Greasy Strangler and stars Aubrey Plaza, Jemaine Clement, Emile Hirsch, Craig Robinson and Matt Berry . The film will be released in cinemas on the 18th October 2018. With AN EVENINGWITH BEVERLY LUFF LINN, Hosking makes a triumphant return, bringing his innate talent for outrageous absurdity to this hilariously offbeat romantic comedy.

                                                          It’s easy to eye collaborative records between two established artists with either a weary sigh or a degree of cynicism. In an age where a track or record seems to perform better directly in relation to how many artist names are on the digital byline, it can often feel like engineered circumstance or a desire to exponentially boost appeal comes before any natural create endeavour. In the case of ‘On Reflection’ however – the new record by Derwin Dicker AKA Gold Panda and Jas Shaw, one half of Simian Mobile Disco, the venture, under the moniker Selling is rooted in a long-standing friendship and prior creative history.

                                                          FORMAT INFORMATION

                                                          Coloured LP Info: Indies exclusive blue vinyl.

                                                          Following up two expertly written 12"s that actually played more like mini-albums, comes this sprawling debut LP from Swiss modular overlord Benjamin Kilchhofer. To say artist and label have had a quick ascension to stardom is somewhat of an understatement, with Fact, RA and many other tastemaking websites listing the label and artist in the Best of 2017 lists - but we were there first folks!

                                                          A double album across 20 (!) tracks, it perfectly encapsulates Kilchhofer's electro-biotic futurescapes - other world exotica and interplanetary fauna. If Kilchhofer's world is created by pieces of modular equipment - sequencers, filters, CV-control devices etc, then it's surely populated by a hybrid of organic and electronic lifeforms - cyborg birdsong, mutant frog croaks and the hiss of electro-static solar winds permeating through each and every track as Kilchofer navigates the plasma-stream cutting right through the centre of this cybernetic rainforest.

                                                          Adjectives and abstraction aside, the album skirts between bedroom electronica, nu-exotica and experimental styles: Don't DJ, RAMZi and label mate Burnt Friendman all spring to mind, as does NY duo The Books; however these are merely vague comparisons: Kilchofer's world exists solely on its own.

                                                          Although slightly too expansive and almost difficult to navigate, this simply opens up this epic long player for multiple listens; as if joining a route at different stages up and down river, riding the boat, then jumping off at different docks. The first disc eases us into the terrain, atmospheres and soft undulations, while disc two sees more rhythmic content introduced; signaling a deep immersion in the environment. Once you've reached the end of the record a content feeling of deep resonance with artist and record are reached. I strongly recommend taking psychedelics to this breathtaking 'diary' of work.


                                                          STAFF COMMENTS

                                                          Matt says: One of my favourite artists and labels of 2017 returns with a nothing short of epic double album, detailing Kilchhofer's rich and evocative sonic world. One for mushroom season make no mistake!

                                                          FORMAT INFORMATION

                                                          2xLtd LP Info: Double LP with beautifully detailed, hand drawnn inner sleeves by Jake Fried and a detailed insert by Benjamin Kilchhofer.

                                                          By 1981, after four years of DIY electronics, it was time for a change. For Philip Sanderson that change came in the form of film. At first, requests came from friends for soundtrack work, and by the end of the decade he was making short experimental 16mm films himself. "On One of These Bends" is a collection of unreleased songs, soundtrack work and obscure cassette only pieces from the 80’s which reflect Sanderson’s shift in focus. It was a departure from the industrial music he had been making with his group Storm Bugs, having more in common with Nino Rota and Henry Mancini, albeit as seen through a DIY lens, and with a reel- To-reel orchestra comprised of an EMS VCS3, vibraphone, DX7, Roland SH- 101, Roland TR-606, tape delay, acoustic guitar, fretless bass and Yamaha FB-01.
                                                          On two numbers, Philip jokingly asked an American chanteuse to “sing it like a cross between Streisand and The Shangri-Las”, and to his surprise she did, the results sounding like a loungey AC Marias, or a lost early Crépuscule recording by Anna Domino. Counterpointing this are tracks such as "E For Echo" made with just an acoustic guitar, and the very first piece Bright Waves which combines the choral vocal talents of Nancy Slessenger with a Revox tape delay system, originally released on his own label Snatch Tapes, under the pseudonymous duo Claire Thomas & Susan Vezey.
                                                          This album is presented with the ‘picture turned down’ so to speak, and as such the music acts as a kind of memento mori for the absent moving images, and maybe even for the decade itself. Remastered from the original reels, DMM pressing.

                                                          STAFF COMMENTS

                                                          Patrick says: Canadian digger and esoteric auteur Brandon Edward Horcura invites us into his Seance Centre once again, this time to enjoy the spectral sounds of Philip Sanderson. Moody acoustic guitar compositions blur into hazy ambience and fractal electronics as Sanderson embarks on a journey to a new musical plane.

                                                          I love me some weird shit, and by the sounds of this killer label compendium, Dublin's Wah Wah Wino are leading the way leftfield right now! The mutual brainchild of Omid Geadizadeh, OD & Morgan Buckley (who you might remember from that unstoppable and uncatorizable OD/MB 12" a couple of years ago) Wah Wah Wino have three highly limited white label 12"s to their name so far, each offering its own totally off the wall take on good old dancing music. Well, sticking to that highly lysergic ethos, the label offer their first "Various Artists" compilation, air quotes because I suspect the label bosses contribute every track here. A-grade weirdshit - best enjoyed snorted through rolled up blotter paper...

                                                          STAFF COMMENTS

                                                          Patrick says: Described by our own Silvestre as a 'difficult vinyl', this dope double pack is the most experimental thing you're ever gonna enjoy dancing to. It may be madder than a wet hen, but it will make you move!

                                                          Various Artists

                                                          Piccadilly Records Compilation 2018

                                                            We love a good celebration at Piccadilly, but you might have noticed we're less keen on organisation. We're the kind of relative who leaves you hanging without even a text on your birthday, only to remember the following week and sweep you off your feet in a whirlwind of ponies, princess outfits and/or tickets to the football. We're so disorganised, we almost forgot our 40th Anniversary - but not quite.

                                                            So to commemorate these forty harmonious years in your company, and to put a big tick on our bucket list, we give you our very own EXCLUSIVE VINYL ONLY compilation with tracks handpicked from our various End Of Year charts of 2018. Limited to 500 copies, lovingly adorned in a regal Mark Brown sleeve, and packed with cross genre gems from the last twelve months.

                                                            Local hero, ambient master and thoroughly nice chap Phil France extends a warm welcome with the cinematic shuffle and evocative melody of "Mr Jackal" before the silken vocals, sloppy funk and inspired arrangements of "Wings" explain exactly why Kadhja Bonet topped our Piccadilly playlist this year. Keeping it consecutive we turn our attention to Mike Lindsay and Laura Marling's LUMP, whose drifting, dreamy and slightly disorienting "May I Be The Light" marries pointed lyricism, infectious hooks and all sorts of electro-acoustic goodness, segueing perfectly into Tim Burgess's sublime cover of Suicide ballad "Cheree", an opiated lullaby for androids, sheep and humans alike. SFA-related GULP stick to the stoned tempo with the West Coast via Wales psych pop of "Spend Time Right Here With You", while Rolling Blackouts Coastal Fever close out the A-side with a little of the chiming guitars, propulsive rhythm and all round indie excellence we've come to expect from them.

                                                            Our B-side begins with the kraut-funk exuberance of Christiane F's "Wunderbar", lifted from JD Twitch's compilation of the year "Kreaturen Der Nacht", before veering left of centre and down of beat thanks to Prins Emanuel's Durutti-styled acoustic vignette "Jordkällaren". Next you get "Brockley" a bass heavy, brassy blast of explosive jazz from London newcomer Theon Cross, as heard on Brownswood's fantastic "We Out Here" collection. Closing in on the finish line, Khruangbin come through with a red hot shot of Tarantino-pleasing desert funk in the form of "Maria Tambien", Jon Brooks goes New Age with his Advisory Circle synthscape "Flight Capture" and VHS obsessed, electro-psych renegade TVAM plays us out with the epic and ecstatic "Psychic Data".

                                                            Not only have we nailed it with our first ever vinyl comp, but at the bargain price of £9.99 we've given you the perfect stocking filler. Happy anniversary!


                                                            STAFF COMMENTS

                                                            Barry says: Oh Yes! It's finally here, the day has come. Featuring some of our favourite tracks from our favourite albums of the year, this little purple beaut reads like a what's what of the best music around today. Completely essential and superbly priced fun for all the family.

                                                            FORMAT INFORMATION

                                                            Ltd LP Info: Limited to 500 copies.

                                                            World famous club DJ, radio presenter and musician Graeme Park curates this special release celebrating the heady days of house returning to the Hacienda’s heyday with a selection of the finest mixes that helped launch the legend thirty years ago. Featuring tracks from JM Silk, Chip E, The Beat Club, Full House and many more…

                                                            First volume in a series documenting and detailing the rise of the house music monolith. You'll find some true anthems, forgotten classics and over course, the odd curve ball to keep you on your toes?

                                                            Personal favourites from this slew include Krush's anthemic "House Arrest" (a Wet Play sing-a-long gem that always gets pulled out), Raze's jacking blueprint "Jack The Groove" and Larry Heard's dark soul cut under The IT alias - "Donnie". So good!

                                                            **CATCH GRAEME PARK SIGNING COPIES AND SPINNING TUNES FRIDAY 18TH DECEMBER FROM 4.30PM!!**

                                                            STAFF COMMENTS

                                                            Barry says: Some of the greatest mixes of some to have come out of the 1980's, Graeme Park compiles a brilliantly diverse but cohesive collection of floor fillers. Including Raze's 'Jack The Groove' and Krush's 'House Arrest, there really couldn't be a more exciting collection from the glory days of the Hacienda than this.

                                                            Rarely does an artist pay homage to the classics like Dimitri From Paris. The Grammy nominated producer, remixer, composer and DJ has made every one in his repertoire of reworks sound effortless – no mean feat when the original tracks are by the some of disco’s greatest musicians. He has a long history of remixing classic records, starting in the late 80s and culminating in this achievement of a lifetime, Dimitri From Paris presents Le CHIC Remix.

                                                            This 10-track album features brand new remixes alongside all the much-loved essentials that have resonated with artists from Frankie Knuckles to Disclosure, Gilles Peterson to Mark Ronson. Alongside the reworks – three of which have never been released before – are instrumentals of each, most also previously unreleased, for the ultimate bumper pack. To create the project, Dimitri was entrusted to use the original studio masters from circa 1978 - 1980 that feature all of the individually recorded musical and vocal elements. The majority of these songs are for the first time given a respectful new mix and arrangement, unveiling never-before-heard performances, turning the spotlight on the beautiful orchestrations of one the most unique and highly-revered production duos of the Disco era and beyond; Nile Rodgers & Bernard Edwards, along with their CHIC organization of musicians.

                                                            Kicking off with the unmistakeable CHIC staple ‘Le Freak’, Dimitri’s timeless remix making the exquisite instrumental harmonies shine like only Dimitri can, the album delves next into ‘Lost In Music’ and a new mix of CHIC’s classic ‘I Want Your Love’. Norma Jean’s life-affirming ‘Saturday’, originally co-written by Nile Rodgers in 1978, is given a remix of cinematic proportions, no doubt set to become the climax of many Dimitri DJ sets to come. Sister Sledge’s ‘He’s The Greatest Dancer’, produced by Nile Rodgers and Bernard Edwards for the Disco power group, is given the Dimitri treatment with an extended mix, drawing out the string motifs, showcasing unheard sections from the original master tapes, sounding better than ever. Further exclusives include ‘Forbidden Lover’ and another Sister Sledge masterpiece, ‘Got To Love Somebody’ with cowbell and horns resplendent. More highlights include new mixes of Sister Sledge’s evergreen ‘Thinking Of You’ and the final track, an underdog from French chanson singer turned one-time Disco act, Sheila & B Devotion ‘Your Love Is Good’, a euphoric high to close on and another using many elements from never-heard-before outtakes.

                                                            Through Disco grooves and meticulously reverent production, Dimitri From Paris presents Le CHIC Remix gets to the heart of why CHIC’s music remains so universally relevant, underlining the enduring cultural significance of dance music in its most unabashed form. This album is a demonstration of how captivating the sound of a full orchestra of musicians can be, compared to today’s largely computer generated offerings – celebrating the eternally endearing qualities of some of Nile Rodger’s best-selling records, not to mention, for over 40 years, the unquestionable power of a great Disco record.


                                                            FORMAT INFORMATION

                                                            5xLP Info: The Box is a numbered Limited Edition of 1000 units
                                                            5 x 180 gram vinyl
                                                            Printed parts finished with a soft touch matte lamination.
                                                            Box art uses a matte silver foil for the silver parts.
                                                            The box will come with packed with a ‘press photo’ insert of CHIC & Dimitri.

                                                            Richard Swift believed in and sought real beauty. And so, even at its most caustic and sardonic, his masterpiece swan song The Hex is beautiful. Conceived in pieces over the last several years and completed just the month before his passing, The Hex is the grand statement Swift acolytes have been a-wishin-and-a-hopin’ for all these years. After a career of sticking some of his finest songs on EPs and 45s, here are all his powers coalescing into a single, long-player statement. At its core, The Hex is an aching call out into the void for Swift’s mother (“Wendy”) and his sister (“Sister Song”) whom he lost in back-to-back years. You hear a man at his lowest and spiritually on his heels.

                                                            The pain fueling Swift’s cries of “She’s never comin’ back” on the absolutely gutting standout “Nancy” is some sort of dark catharsis for anyone who’s ever lost a loved one to the cold abstraction of Death. Over a slow, Wall of Sound kick and a warbling synth, Swift’s cries climb higher-n-higher-n-higher into what may be his most devastating vocal performance on record. A cry of pain so real and so raw Swift had to treat the performance with just a little studio effect, without which the recorded grieving might be too much to bear. The Hex is presented here as “The Hex For Family and Friends.” An obsessive fan of Wall of Sound doo-wop, early Funkadelic, Bo Diddley, Beefheart and Link Wray, Swift gives them all a moment with the flashlight around The Hex campfire, one moment to make a strange shadow-cast face for us, his family and friends.

                                                            STAFF COMMENTS

                                                            Barry says: A visceral but fascinating look into the mind of one of the greatest songwriters of the 20th century, 'The Hex' is disarming at points, but dynamically absorbing and brilliantly written. A superb legacy, and a superb listen throughout.

                                                            FORMAT INFORMATION

                                                            LP includes MP3 Download Code.

                                                            It’s the most wonderful time of the year! And in the old tradition, Aidan Moffat & RM Hubbert invite you to gather round the fire for Ghost Stories for Christmas.

                                                            The album began with an idea for a song – forthcoming single A Ghost Story for Christmas. Originally intended as a one-off, seasonal release, it proved such fun to write that soon they had enough songs for an EP. “Then, on a nice, sunny, summer morning, I phoned Hubby and suggested we just do a whole album,” says Moffat. The album also features their cover of Yazoo’s synth classic Only You, already a popular number in their live set and the cover versions is topped off with a sombre rendition of Mud’s 1974 hit, Lonely This Christmas.

                                                            STAFF COMMENTS

                                                            Barry says: There really is no way i'd rather listen to Christmas songs than with these two Scottish legends at the helm. Possibly a little more upbeat that the Low offering, but similarly brilliant, these are tenderly delivered and well-considered ballads for any time of year. Beautiful stuff.

                                                            A truly divisive artist, Sophie's ascension to pop stardom has taken a focused mindset and unwavering execution. Six years on from "Nothing More To Say" and following production work with Madonna, Charlie XCX and Vince Staples, Glasgow-raised, LA-based Sophie Xeon is back with nine tracks that skirt between majestic, auto-tuned mega-ballads, monstrous glitch-pop crushers and the usual hyped up, chipmunk chatter that's graced previous work.

                                                            Taking the PC Music rocket ship (one she practically built and engineered herself...) even further than previously intended, the hyper-reality of both her personal imagine, impressive body of work and dazzling catalogue of music videos feeds back into itself perfectly, reinforcing the star-like qualities of this leftfield anti-pop princess.

                                                            She recently debuted a live show at London's Heaven nightclub, which set the press and LGBTQ+ worlds alright through its ingenious creativity, provocative nature and of course, amazingly boundary-pushing music.

                                                            Opening with the Disney-friendly, auto-tuned blue sky ballad "It's Okay To Cry" before flying into the BDSM-draped aggro-electro punisher "Ponyboy" (please do check the video for this one folks - ed), and followed by the poignant "Faceshopping", it's an arresting opening triptych which sets the tone for the rest of the album - endorphin-rushing, neon-hued adventure pop for the queer and open minded! A masterpiece make no mistake. 


                                                            STAFF COMMENTS

                                                            Matt says: One of the most important things to happen to pop music in the last decade in my humble opinion.

                                                            FORMAT INFORMATION

                                                            2xColoured LP includes MP3 Download Code.

                                                            Guy & Howard return, older & wiser this time round, exploring a depth of influences across these five special tracks which draw from their love of African rhythms, deep house, disco and vocal jazz.

                                                            'All of these tracks are sample based and we wanted to delve into genres that we hadn’t really experimented with in the past. What we ended up with worked so well together as a set - uplifting, upbeat and danceable, and it made sense to put them all out now in one go.' - Disclosure

                                                            The "Moonlight" LP consolidates all these releases and is available now! It finds the delectable darlings of UK dance music in creative and confident form and hints at what they've got contained 'in their locker' (to quote a ream of 90s football commentators). They've just gotten started on this whole music biz ting and have got plenty styles and flavour in store for their fans! 


                                                            STAFF COMMENTS

                                                            Matt says: Brothers Lawrence continues to peacock their myriad styles - turning their hand to glitched up electro-boogie, electronic jazz akin to Floating Points, pumpin' disco-house and a truly unique moment of weirdo pop bliss - we heart this!

                                                            FORMAT INFORMATION

                                                            Ltd LP includes MP3 Download Code.

                                                            The final recordings made by Robert Fisher and his band before his untimely death on February 12th 2017. The album was completed before his death but the tapes have only recently been dusted down and brought to life with the care and attention of his longtime compadre David Michael Curry.

                                                            STAFF COMMENTS

                                                            Barry says: Fisher's tender voice shines brightly on this posthumous final work from Willard Grant Conspiracy. The slowly crescentic beauty of 'Chasing Rabbits' or the simple plucking of 'Love You Apart' are just a couple stunners on this brilliant final testament to the talents of this superb musician.

                                                            FORMAT INFORMATION

                                                            LP includes MP3 Download Code.

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

                                                            Reverse Of Rebirth In Universe

                                                            Twenty four years into their existence, Acid Mothers Temple & The Melting Paraiso U.F.O. have circled the globe at least a few dozen times, released over 100 albums in their various guises and played thousands of shows.

                                                            In recent years, they’ve experienced seismic line up changes which has given them yet another new lease of life ... or a rebirth if you will. Original members Kawabata Makoto (guitar, speed guru) and Higashi Hiroshi (synthesizer, noodle god) are now joined by Jyonson Tsu (vocal, midnight whistler), Satoshima Nani (drums, another dimension) and Wolf (bass, space & time) and as anyone that has seen the new line up live will testify, things have gone even more cosmic ...

                                                            ‘Reverse Of Rebirth In Universe’ sees the band return to their old label Riot Season for the first time since 2012’s 'IAO Chant From The Melting Paraiso Underground Freak Out' (CD still available). Both label and band have gone on some wonderful journeys during that time apart but both felt the stars were finally correctly realigned to renew their partnership in all things weird.

                                                            Long time AMT fans will immediately recognise some of the song titles listed on the album sleeve here. But the songs themselves have been reworked and transformed far away from their original versions. New boy Jyonson Tsu's quiet, almost whispered vocals bring a whole new aura to proceedings, despite the familiar riffs hidden in the depths below them. It's so laid back in places it's practically horizontal, with only occasional trademark piercing guitar squeals threatening to destroy the peace and calm. The whole of side two is taken up with the twenty minute epic 'Black Summer Song' .. and if this is an indicator to where the AMT mothership is heading going forwards we're all in for another fucked up and magical ride.

                                                            If you stepped off the AMT ride over the years, possibly overwhelmed by the amount of releases they were once firing out ... it could be time to step back on it and check out where they're currently at. In a world that's more messed up than ever, we could all use a little break away from the norm, and nobody takes you as far away from the norm as possible as Acid Mothers Temple & The Melting Paraiso U.F.O.


                                                            STAFF COMMENTS

                                                            Barry says: I can feel the lysergamides oozing out of this one. Slow, hypnotic crescendos are broken by double time psychedelic freakouts before segueing into a simmering stoner dirge. A sprawling, transportative affair, and one to be taken in heroic abundance dried, and with the lights off. AMT do it once again.

                                                            FORMAT INFORMATION

                                                            Coloured LP Info: Limited edition mint green vinyl version.

                                                            Ltd LP Info: Limited edition 300 copies on black vinyl housed in a gloss finished 350gsm sleeve with download code.

                                                            CD Info: The CD version comes with a sixteen minute bonus song, a cover of Gong's 'Flying Teapot' which has never previously appeared on CD.

                                                            Chris Carter

                                                            Miscellany

                                                              CHRIS CARTER, who recently released his first solo album release in 17 years, the acclaimed Chris Carter’s Chemistry Lessons Volume One, has announced details of Chemistry Lessons Volume 1.1 Coursework, a new EP featuring remixes from Daniel Avery, Chris Liebing, the Radiophonic Workshop as well as a rare track, ‘Bongo Glow’, previously only available on the Japanese edition of the album.

                                                              Radiophonic Workshop, an important influence to Carter on the recent album, have remixed very few artists but for this EP the recently reactivated pioneering electronic experimenters have reworked ‘Blissters’. Chris Liebing’s reworking of ‘Tones Map’ is the latest in his Burn Slow series (which includes remixes of Depeche Mode, Goldfrapp and a brand new album release), ‘Bongo Glow’ was recorded after Chemistry Lessons Volume One was completed, and Daniel Avery’s remix of ‘Uysring’, the first track to be shared from the EP, can be heard here: http://smarturl.it/CC-COURSEWORK

                                                              In addition, Chris Carter has announced the first details of a new box set of his early work, collating remastered (and mastered for the first time) solo albums alongside a disc of unreleased archival recordings from 1973-1977.

                                                              Chris Carter’s Miscellany will be available as a limited - 1000 - 6-piece vinyl box set with 12-page 12” sized booklet featuring rare and unseen images, synthesiser schematics and ephemera from Chris Carter’s archive. Both Disobedient and Small Moon will be available here for the first time on vinyl. The CD box set will contain 4-CDs and a 24-page booklet.


                                                              FORMAT INFORMATION

                                                              6xLP Box Set Info: 6 piece vinyl box set with 12 page 12" sized booklet
                                                              Contains the solo albums:
                                                              Mondo Beat (clear vinyl) - 1985.
                                                              Disobedient (double purple vinyl) - 1998 - includes new track 'Disobedient Redux'.
                                                              Small Moon (double white vinyl) - 1999 - includes new track 'Small Moon Redux'.
                                                              Archival Recordings 1973 to 1977 (blue vinyl) - album of unreleased recordings.

                                                              FREE SHIPPING This item has FREE UK shipping!

                                                              4xCD Box Set Info: 4 CD box set with 24 page booklet
                                                              Contains the solo albums:
                                                              Mondo Beat - 1985.
                                                              Disobedient - 1998 - includes new track 'Disobedient Redux'.
                                                              Small Moon - 1999 - includes new track 'Small Moon Redux'.
                                                              Archival Recordings 1973 to 1977 - album of unreleased recordings.

                                                              Through their reissues of Midori Takada, Mariah and Yasuaki Shimizu, or contemporary "club" cuts from Conga Square, Palto Flats have made a serious commitment to the unconventional. It's entirely (perhaps insanely) appropriate that Nagoya-based experimentalist Foodman should take the reins for their new release. A 5 track 12” focused on deep, tactile rhythmic and offbeat tracks, "Moriyama" tilts on some of the producer’s most dance-friendly work. Opener “Mizuboro” (meaning water bath) conjures visions of babbling springs, tropical lagoons and those Shishi-Odoshi water features (think the Kill Bill samurai showdown). Comprising of 8 bit bleeps, pygmy polyphony and woody percussion, this offbeat club cut flirts with minimal techno before swelling into a strange chimera of off-kilter new age house. Next up, "Kishimen" continues to wow us with the weird, serving up the kind of strange and shattered fx abuse Stimming made his own around a concentrated solution of Casiotone techno. Foodman drifts between the anaesthesia of deep house pads and free-jazz intensity of early noughties glitch for "Nanika" before experimenting with traditional instrumentation & vocal forms to create a special post-ambient/dance hybrid on "Soudesu". Finally, "Tokai Desu" brings us bleeps, Cornelius-style guitar and jazzy flute tones for an emotive downbeat closer. Named after the district he lives in, Moriyama represents some of Foodman’s most direct, accessible work - a full helping.

                                                              STAFF COMMENTS

                                                              Patrick says: Palto Flats take a break from their radical reissue program to unleash the latest release from Japan's experimental auteur Foodman. His most club-centric release to date (which says little to be honest), "Moriyama" is a five track snapshot of post-glitch, new age house and demented downbeat positioned somewhere between Cornelius and Wolf Muller's Tropical Drums.

                                                              Unknown Truths is the debut album from Tony Beardsley (aka Dark Strands). What can be said about this album…for one, it is a body of work that has been crafted as a labour of love with sources of inspiration taken from the late 80’s underground warehouse parties and clubs where no one speed or style of music was played…curve balls as they say, was a good thing. Ambitious maybe…but the only aim of the album was to actually not to have one. No one genre or concept can be applied, but this is not by design, purely accidental as the music weaves between various electronic strands and rhythm forms. It’s fair to say that his music has not been compromised to follow latest trends or fashion. It is for everyone, but no one. Its only true purpose is to liberate senses and provide a lasting sonic soundtrack to the modern age.

                                                              STAFF COMMENTS

                                                              Barry says: A brilliantly evocative collision of VHS saturated retro-futurism, throbbing basement electronics and pulsing, cosmic scree. Hoga Nord have never been one to be scared of diversifying their sound (so much so i'd struggle to define their 'Sound' except that it's always good, and this is no exception. Completely brilliant and thoroughly essential.

                                                              Konami Kukeiha Club

                                                              Castlevania - Symphony Of The Night

                                                              Mondo, in partnership with Konami, is proud to present the soundtrack to one of the most iconic and important video games of all time Castlevania: Symphony Of The Night. It features 7 Bonus tracks from the Sega Saturn version of the game. and original artwork by Jasmin Darnell. 


                                                              STAFF COMMENTS

                                                              Barry says: There isn't really much point in what i'm going to write, if you know about games you know about Castlevania, and if you know about Castlevania, you know what it sounds like. What I can tell you is that as far as game soundtracks are concerned, Konami Kukeiha club are possibly the most influential, and as far as their work goes, this is (in my opinion) one of their best. Totally essential.

                                                              FORMAT INFORMATION

                                                              2xLP Info: 180g black vinyl.

                                                              Mondo is proud to present Tyler Bates bombastic score to this summer's equally bombastic and hilarious film Deadpool 2. Coming off hot from his previous collaborations with director David Leitch, composer Tyler Bates (Atomic Blonde, John Wick) has joined forces with Leitch once more bring his impeccable skills to the enormous and meta world of the merc with a mouth. Epic in scope, but willing to be in on the joke, Bates' score practically interacts with the plot of the film - bouncing from fast paced action set pieces, choruses proclaiming "Holy Shit Balls," to tender, and sincere moments of clarity. Much like the filmmaking on display, it is harder than it sounds to perfect this balance of tone.

                                                              STAFF COMMENTS

                                                              Barry says: If you've never seen Deadpool, it's a huge, bombastic journey filled with quick one-liners, ridiculous action and tense, atmospheric highs. Bates' score fits so perfectly into the films (having also produced the soundtracks to films like Guardians of the galaxy and Watchmen, he's no stranger to atmosphere), that it's almost inseparable from the on-screen action. It's surprising then that every inch of the emotional heft is felt sans-images. A beautiful journey all-round.

                                                              FORMAT INFORMATION

                                                              Coloured LP Info: 180g red and black vinyl.

                                                              Composed and performed by The Blasting Company (Brandon Armstrong, Joshua Kaufman, Justin Rubenstein) Over The Garden Wall is a one of a kind experience. Created by Patrick McHale, it tells the story of two brothers named Wirt and Greggory (voiced by Elijah Wood & Collin Dean) on a mysterious Dante-esque journey home through a world known only as "The Unknown": a place filled with colorful characters and incredible musical interludes, all of which are captured on this comprehensive soundtrack release.

                                                              Produced by the composers themselves, this album features 32 tracks, a mix of song and score from the mini-series. This release is essential for fans of the show... and that's a Rock Fact!


                                                              STAFF COMMENTS

                                                              Barry says: Haunting folk melodies, deep south Americana and wistful instrumental country make up the backbone of this evocative and beautiful collection, peppered with near-spoken word and plucked orchestral movements, this is a stunning soundtrack for appreciators of the series or otherwise. A worthy addition either way.

                                                              FORMAT INFORMATION

                                                              LP Info: 180g vinyl.

                                                              More than just a detail, the “.” in Aftermath’s Anderson .Paak’s name is a shot fired, putting the world on notice of an artist unlike anything the twenty-first century has ever seen. With a soulful essence harkening back to the iconic voices of the seventies, yet embodying a raw uniqueness fully present in the now, the acclaimed singer/rapper/drummer/producer has successfully alchemized a cross-section of musical styles – R&B, hip-hop, and dance – into a solid, undeniable, irresistible “genre-less sound.” A rabid worldwide fan base, praise from critics at outlets including Rolling Stone, Billboard, New York Times, and Pitchfork, and electrifying appearances on talk shows including Ellen, The Late Show with Stephen Colbert, The Tonight Show Starring Jimmy Fallon and at festivals around the globe have all cemented .Paak’s place as one of the most premier artists on the music scene today.
                                                               
                                                              Born Brandon Paak Anderson in Oxnard, California, his extraordinary talent was fully realized under the name Anderson .Paak with his debut Venice and a stellar six-song run on Dr. Dre’s certified Gold COMPTON album, culminating in the perfect storm of his sophomore release, 2016’s Malibu. A seamless tsunami of soul-stirring, body-shaking, infectious and deeply-personal songs with features by artists such as ScHoolboy Q, The Game, Talib Kweli and power producers including 9th Wonder, Robert Glasper, Kaytranada and more, Malibu was met with universal rave reviews, major nominations, including Best New Artist and Best Urban Contemporary Album Grammy nods, and a hail of award wins. In late 2016, .Paak and producer Knxwledge – as the duo NxWorries - released the album Yes Lawd!, reaching #3 on Billboard’s Top R&B/Hip-Hop chart.

                                                              With impressive collaborations with acts such as Mac Miller (whose song Dang! featuring .Paak was certified Gold), a stream of requests to work with renowned artists, and instantly recognizable hits in national ad campaigns, popular television shows, and on the big screen, .Paak is now ready for his next major move with the release of his highly-anticipated first album on Dr. Dre’s Aftermath label.

                                                              The world can hardly wait...


                                                              Amor

                                                              Sinking Into A Miracle

                                                                Sinking Into A Miracle is the debut album by Glasgow’s AMOR, a quartet of musical travellers exploring the sonic open-ended-ness of dance music. Following two critically acclaimed 12-inches, this is a fully developed treatise on ecstasy and transcendence. Here, Richard Youngs, Michael Francis Duch, Paul Thomson and Luke Fowler are more honed, razor sharp in focus and timing, testing their instrumental prowess on condensed song structures and new, enlightened feelings of expansive hope and bliss. From the outset, it’s an ambitious yet ultimately inclusive journey. Recorded to 24-track tape at Chem 19 and mixed by Paul Savage and Richard McMaster (Golden Teacher), this full length retains the elastic grooves of Paradise and Higher Moment, the group’s previous singles, but relinquishes the classic Philadelphia International-tinged sound in favor of looser rhythmic patterns. There are new depths to the compositions: a more free-flowing approach to percussion and deft experiments in hybridity make for a full and rounded, emotionally tinged record. Indeed, there are times when AMOR sound like the lost house band from David Mancuso’s Loft parties: Richard Youngs’ uplifting, gospel-tinged lyrics talk about moving beyond, universal truths, sailing through the horizon. It’s a wideeyed optimism Mancuso would perhaps have approved of and which is embroidered with spectral details that begs to be auditioned on large, tweaked out sound-systems.
                                                                Fantastic cover art by Robert Beatty.

                                                                Back in stock Cover of We're Your Friends, Man by The Bevis Frond.

                                                                The Bevis Frond

                                                                We're Your Friends, Man

                                                                  A 90 minute blast of grown up angst that engages the best classic rock touchstones from Young and Stills guitar battles to Love’s tender melodies, Dinosaur Jr’s buzzsaw guitars and Hendrix at his most expressive. “Harking back to the liberating songcraft of The Beatles but with a jagged edge, intense swathes and swerving changes that give it a transatlantic propulsion, a kinship with the likes of Husker Du.” Record Collector. Featuring a selection of poignant pop songs impregnated with mature riffs and memorable one liners from the pen of the much covered (Lemonheads, Mary Lou Lord, Teenage Fanclub, Walkingseeds) Nick Saloman. Embracing Saloman’s tongue in cheek one liners and clever use of prose, ‘We’re Your Friends, Man’ bristles with incisive wit and poignant observations. Press Quotes : “Arguably Britrock’s most prolific one man cottage industry.” Uncut // “Saloman is an accomplished songwriter and guitarist influenced by a slew of guitar heroes.” Big Takeover // “For the past 30 years, one man has kept the psych freak flag flying.” 

                                                                  FORMAT INFORMATION

                                                                  2xLP includes MP3 Download Code.

                                                                  Transmaniacon Feat Lydia Lunch And Maya Berlin

                                                                  The Strange World Of Suzie Pellet

                                                                    The Strange World of Suzie Pellet' is a hard rocking concept album featuring a dark, unsettling and mysterious tale of future street dweller Suzie Pellet. A feisty survivor in a ruined world, Suzie is the brainchild of Ian Miller, fantasy/horror artist and novelist. His surreal. nightmarish creations have graced book covers, graphic novels and films, and have given form to the works of HP Lovecraft, Tolkien and many more. Now, one of his own dark gothic characters comes to life. Not unlike Michael Moorcock guiding Hawkwind or Sandy Pearlman, The Blue Oyster Cult, or even a cranked up Moody Blues or Who, Transmaniacon bring Miller'svision to sonic life, aided and abetted by the outstanding vocal deliveries of punk poetess and avant rocker Lydia Lunch (a hind-sighted Suzie) and Maya Berlin (a future 'present-day' Suzie).

                                                                    Sci-fi and space rock has always been present in Transmaniacon, a previous incarnation was XM3a who released the first New Heavy Sounds single, 'Bad Robot Man', an epic 9 min acid rock riff-fest. This was followed up (as Transmaniacon) by 'The Darkening Plain' their first concept piece containing the 25 min classic 'Quintessence of Dust' - bleak, dense, forboding, and heavy. - a sort of Killing Joke/Hawkwind/Pentagram hybrid which featured the first collaboration with Lydia Lunch. But with 'Suzie Pellet' Transmaniacon becomes more a musical collective. The core of the band remains, hard and heavy riffing guitars, overdriven Hammond Organ (and this time synth) but with the addition of Tom (Uncle Acid/Limb) Mowforth on drums they are a groovier, more athletic 70's rock beast. The twin heavyweights of Blue Oyster Cult and Mountain loom large, but this time with the added groove of an an organ-driven Black Mountain. Suzie Pellet is Transmaniacon's first true collaboration with Ian Miller. Miller resurrected his post apocalyptic tale of street survivor Suzie Pellet in a rotten and derelict London-esque urban-scape called Duht. Transmaniacon have taken and expanded Miller's vision into a story in which Pellet herself, describes the dark, underworld, its characters and situations, friends and foes, all in grisly-spoken and sung diary-like, excerpts.

                                                                    Lydia Lunch was an obvious choice for the mature Pellet. A survivor of numerous underground scenes herself from punk and no-wave through noise, avant-rock and, appropriately enough here, spoken word. In 1975 Patti Smith perhaps could have been a young Susie Pellet, in 93 Polly Harvey, but now the role falls to Maya Berlin. With her band, Cold in Berlin delivering equal parts Punk, Doom and Goth over their three highly acclaimed albums (including 'The Comfort of Loss and Dust on Candlelight Records), she was perfect. And Suzie gives her the opportunity to expand her vocal (and theatrical) talents in Grace Slick or Julie Driscoll or even Chelsea Wolfe directions. Step into the nightmare world of Suzie Pellet. 

                                                                    STAFF COMMENTS

                                                                    Barry says: It's a pretty out-there idea, and more than fitting for the King Crimson / Blue Oyster it so readily references, but this particular concept is flawlessly accomplished and brilliantly overblown. Brilliantly heavy but nuanced psych rock with a host of talented musicians behind it makes it a must have for you LL fans out there.

                                                                    FORMAT INFORMATION

                                                                    Vinyl comes with CD version of the album enclosed.

                                                                    The Sand Pebbles

                                                                    Ghost Transmissions

                                                                      *LTD COPIES AVAILABLE*Cardinal Fuzz are proud to introduce Melbourne's The Sand Pebbles and a long awaited vinyl pressing of their psychedelic flower punk classic - “Ghost Transmissions”. Formed on Bastille Day on the set of Neighbours by three of the show's screenwriters Christopher Hollow (bass), Ben Michael (guitar)and Piet Collins (drums) their debut LP Eastern Terrace was a minor classic and the this follow up release - Ghost Transmission was lauded by The New York Times, The Sunday Times, The Wire and Ptolemaic Terracope. Like a classic pop album of old where every track feels like ear candy for the brain, The Sand Pebbles take you on a trip from Summer Blissed out Pop to head nodding wig-outs. Not once does the quality ever dip as Ghost Transmissions explodes from the eye of the universe with sun-kissed explosions of melody.

                                                                      Ghost Transmissions is presented in a beautiful 320gsm gloss laminated sleeve with 2 inserts and is pressed on Heavy weight Black Vinyl (poly lined inners) and includes a 20 track download which features the original 11 album tracks plus 9 additional tracks (outtakes and live material from the time).

                                                                      FORMAT INFORMATION

                                                                      Ltd LP includes MP3 Download Code.

                                                                      Trimdon Grange Explosion

                                                                      Trimdon Grange Explosion

                                                                        Cardinal Fuzz are proud to introduce Trimdon Grange Explosion and their debut Self Titled Long Player. Trimdon Grange Explosion are an psych folk ensemble from North-East London. Comprising Alison Cotton (viola/vocals), Ben Phillipson (guitar/vocals), Mark Nicholas (bass) and Karl Sabino (drums), the quartet formed in the aftermath of the split of acclaimed folk-rock outfit THE EIGHTEENTH DAY OF MAY of whom all four were members.

                                                                        In 2010 a 7” emerged on The Great Pop Supplement – a cover of Judy Henske & Jerry Yester's 'Raider' b/w 'The Trimdon Grange Explosion' - and then after a further seven year gap, their debut album release saw the light of day, initially as a limited-edition CD-R box package on the Borley Rectory label in Spring of 2017. We are delighted to finally release this acid psych shindig on vinyl, Remastered by Chris Hardman and with hallucinatory artwork by Peckham-based illustrator LUKE DROZD. The self-produced recordings of TRIMDON GRANGE EXPLOSION's eponymous set took place during 2015-2016 in various North London locations.

                                                                        The 9 eclectic tracks (plus one bonus track on the download too) range from original compositions to acid-tinged group instrumentals to songs from the folk tradition, arranged for electric instruments. TRIMDON GRANGE EXPLOSION is a grand continuation of its previous incarnation's psychedelic fusion of the modal rock of The Velvet Underground – among others – with their own English traditional music roots. Evidently, there was unfinished business. a 500 Pressing presented in a 350gsm Card Sleeve with download code.

                                                                        Shooting Guns

                                                                        Nosferatu

                                                                          Cardinal Fuzz are proud to introduce Shooting Guns - Nosferatu Live Score. Stepping away from the Wolf Cop universe, Saskatoon psych renegades The Shooting Guns are focusing on some entirely different soundtrack work as they perform a live score to F.W. Murnau's horror classic Nosferatu. The Shooting Guns create the perfect doomy apocalyptic soundtrack for F.W. Murnau’s cinematic classic as over 70 minutes (and longer on the download code) The Shooting Guns ramp up the dread and tension that perfectly matches Nosferatu's gothic aesthetic. Haunting melodies chill the hairs on your neck until Count Orlok appears and they let loose a maelstrom of throbbing Wagnerian bummer riffs. Give yourself 70 minutes a darkened room and a spare pair of pants to absorb this masterpiece.

                                                                          A 500 Pressing with 200 for European Sales. A 2xLP in a gatefold sleeve and with a download code to experience the whole 70 minutes and more with no record flipping (the live score is one continuous piece of music)

                                                                          Velvet Elevator

                                                                          Principum

                                                                            Cardinal Fuzz are proud to introduce the debut LP from Wollongong’s Heavy Psychedelia outfit Velvet Elevator. With guitars set to Open C and amps, cabs and fuzz pedals set to 11 Velvet Elevator build a wall of sound so dense that at first it may overload your temporal lobes. Covering themes of Anthropomorphism, Religion and Armageddon and focused roughly on the Revelation chapter of the bible the two closing tracks of Principium tell the story of the Blood Moon which is traditionally a series of apocalyptic beliefs appearing in the bible - ITS HEAVY. Velvet Elevator bring the dirge but they show their garage chops with a sound that shares comparisons to The Heads (the melding of Heavy Bottom Ends and Garage), Sabbath and of course The Wiz as tracks delve into Drone,Psychedelia and Doom. Heavy isn’t about volume, it’s about attitude and these Wollongong boys have it. A 300 Pressing on blood red and black swirl vinyl. Presented in a 320gsm gloss laminated wide spine sleeve with download code. “Flies like The Heads and Hawkwind with a huge dollop of Sabbath and Electric Wizard. Heavy psych dirges that will tear your nugget in half” Optical Sounds

                                                                            WHY? — the hip-hop inspired indie-pop band fronted by Yoni Wolf — visited Third Man Records’ Nashville Blue Room two months after their first release in five years Moh Lhean hit record shelves.

                                                                            Despite no geographical connection, the night felt like a homecoming. The Wolf brothers and their prolificacy have long been on Third Man’s radar, and the quartet’s familial sensibilities radiated off the Blue Room stage and into the crowd, who sang along in harmony by the end of the night.

                                                                            Philadelphia-based musician Rosali’s wrote the songs for her second solo album, Trouble Anyway, during a time of personal upheaval and transition. Using her songwriting practice as personal catharsis, she spent many late nights seeking empowerment through expression. The result is at once hard and soft, vulnerable and powerful: emotional narratives developed through exploration. Rosali’s experience in music has been wide-ranging, from Michigan grange-hall folk music gatherings in her childhood, to abstract experimental improvisation, to bad bitch rock. It all shows in her powerfully sensitive vocal style-- the warm tone, intuitive wordless vocalizations, and layered harmonies that create the enveloping, summery sound central to Trouble Anyway. Rosali’s vibrant vocals present a striking focal point for the record, as her rhythmic strumming, finger picking, droning, and riffing-- resonating from her acoustic, electric, and Nashville-tuned guitars-- underpin the music. Alternating between driving and laid back, her guitar playing runs the spectrum from hypnotic repetitions to catchy melodic hooks.

                                                                            Rosali’s close friends, including Charlie Hall (War on Drugs), Paul Sukeena (Angel Olsen), Mary Lattimore, Mike Polizze (Purling Hiss), Nathan Bowles (Steve Gunn, Black Twig Pickers) and Dan Provenzano (Purling Hiss, Writhing Squares), add a dynamic and energetic live band sound. The resulting record is an evocative and multilayered collection, moving from psych jammer “Rise to Fall,” to the stripped down folk rock of “Silver Eyes,” and propulsive pop-infused tracks like “I Wanna Know” and “Lie to Me.” Recorded at Uniform Recording, Rosali co-produced Trouble Anyway with Jeff Zeigler, to get the sounds she was after.

                                                                            On psychedelic jammer "Rise To Fall," bursts of Lattimore’s harp sing through the heavy vibe created by Bowles’ perfectly tuned toms and Hall’s auxiliary percussion, while Rosali’s vocal lines crest like waves, without ever breaking. Sukeena’s guitar squeals with long, extended tones and fiery outbursts, while Provenzano’s distorted bass adds hypnotic texture and drive. "I Wanna Know" displays Rosali’s expert pop song-crafting ability, in a track that’s both contemplative and danceable. “Lie to Me” features two amazing guitarists in conversation-- Rosali herself who does all of the riffing, and Polizee who plays a rawly expressive solo.

                                                                            Rosali talked mood and vibe with her band, but also trusted the right sounds to unfold in the moment. It is this balance of gut-feeling improvisation and careful composition that makes her sophomore release feel powerfully alive. Flexing her own musical process for self work and personal renewal, Rosali’s Trouble Anyway offers listeners an inviting entry point to explore their own wild inner landscape. 


                                                                            Alec Cheer

                                                                            Night Kaleidoscope – Original Soundtrack

                                                                            An incredible 'modern electronic-based score to underground psychedelic detective vampire indie drama' composed by Alec Cheer.

                                                                            There is little history here as this is a new release – but this is simply an amazing modern score to a film you may never have heard about (one directed by Grant McPhee). What sets this score apart is its clinical post-modern feel - with influences including Mica, John Carpenter, Brian Eno, Goblin, Fabio Frizzi, even with whispers of the 1980s, as well as a musical feel a little like the classic "Drive" soundtrack.

                                                                            Yet with all these influences composer Alec Cheer somehow manages to create a new work that sounds unlike any other. It’s dark, bewitching, mesmerizing, ear-catching and even quite banging in parts. Look, it must be good, otherwise Jonny Trunk would not be pressing it. And with a spelling mistake too. 


                                                                            Over the course of his seven year recording career, many monikered Piccadilly favourite, breakdance champ and salon selector Jan Schulte has proved a big hitter on the remix front, treating us to life affirming, mind altering reworks of a wide variety of artists. Now, Safe Trip has gathered together some of his most celebrated and hard-to-find reworks on Sorry For The Delay: Wolf Müller’s Most Whimsical Remixes.
                                                                            The collection includes a string of lauded revisions of the likes of Tolouse Low Trax, Africaine 808, BAR and Jose Padilla, all in a trademark percussion-rich, polyrhythmic style that joins the dots between the tropical rhythms of South America, the tribal musical traditions of Africa, the experimental electronics associated with Schulte’s home city of Düsseldorf and the sun-kissed Balearica of Ibiza.
                                                                            It’s the latter that’s showcased on Sorry For The Delay, whose apologetic title tips a wink to Safe Trip’s debut release, a compilation of Young Marco remixes called Sorry For The Late Reply. The majority of the eight included reworks are revolutionary in nature, with Schulte gaining inspiration from, or making use of, just a handful of elements from the provided source material. For example, the oldest remix in the collection, a 2011 rub of Mungolian Jet Set’s quirky disco cut “Prog Rocks and Moon Jocks”, made with Christian Pannenborg as Montezumas Rache, features numerous vocal and instrumental elements omitted from the Norwegian duo’s final version.

                                                                            The collection naturally comes packed with deliciously percussive moments, including an undeniably heavyweight translation of Tolouse Low Trax’s “Jaidem Fall” – the first ever Wolf Muller remix from 2014 – a chiming, melodious and sun-kissed revision fo BAR’s 2016 cut “BAR Theme”, an inspired tweak of Africaine 808’s “Rhythm Is All You Can Dance” and a riotous take on “Ba Hu Du”, a never-before-released track from Schulte’s other headline-grabbing, club-rocking pseudonym, Bufiman.

                                                                            Schulte’s ability to create mesmerizing, slow burn soundscapes can be heard across the compilation, too, from the druggy and psychedelic pulse of his krautrock-influenced version of Telespazio’s “Barrier” and the humid tropicality of the Deep Dub of Sound Species “Balafon Jam”, to the dreamy new age synthesizer lines, twanging Jews Harp and seductive beats of Jose Padilla collaboration “Oceans on the Moon”.

                                                                            STAFF COMMENTS

                                                                            Patrick says: Arguably my favourite producer to have come to light during my Piccadilly tenure, Jan's polyrhythmic, psychedelic and super funky style has dominated our staff picks and best sellers, and this remix collection brings a whole host of previous ROTW together in one place. Every DJ needs this.

                                                                            Every other year Permanent Vacation's compilation nerve starts itching and if scratching doesn't do the trick anymore, they start collecting music from shores around the globe for a full screen bag of goodies. In this case the result is the 5th installment of the Permanent Vacation compilation, which also marks the longest ongoing series of the label. 12 exclusive tracks from old heroes and new stars that strike the full musical spectrum of Permanent Vacation from blissful percussive Balearica, hypnotic house, fun loving disco to dubby affairs, emotion rich electronica and glistening cosmic. Being aware of the past, living in the present and rooted in the future. Yes cru!

                                                                            Various Artists

                                                                            Eeny Meeny / Exotic Blues & Rhythm Vol. 12

                                                                              Brand new volumes in the successful Stag-O-Lee series titled Exotic Blues & Rhythm - Enjoy amazing and danceable tunes from the late 50s and early 60s - a handful of Popcorn dancefloor smashes, a few grinding Tittyshakers, awesome Rhythm & Blues - most of them with an exotic twist! 12 songs each on nice 10" vinyl (only)! 

                                                                              Compiled by DJ, record collector and label boss Gilles Peterson, the tastemaking Brownswood Bubblers series returns.

                                                                              The latest outing for Brownswood Bubblers follows in typically eclectic fashion, showcasing a treasure trove of fresh talent whose music spans boogie-dripped soul, UK hip-hop and Afrobeat. As ever, it’s artists who float in the orbit of Peterson and his Brownswood label, featuring the likes of Emma-Jean Thackray, Sonnymoon and Oscar #Worldpeace. A must-buy for anyone in search of an easy primer on some of the most exciting new names to emerge in the last year.

                                                                              Debuting in 2006, along with the founding of the Brownswood label itself, the roll-call of artists who’ve appeared on Brownswood Bubblers speaks for itself. It boasts alumni like Flying Lotus, The Invisible, Hiatus Kaiyote, Dam-Funk and Floating Points. A platform for underground music’s rising stars, each edition is a time capsule of that year’s most exciting musical discoveries.

                                                                              Brownswood Recordings is the independent record label founded by DJ, record collector and broadcaster Gilles Peterson. Started in 2006, it’s a platform for new artists and music creatives, as well as an outlet for established acts to do something different. Restless and open-minded, the label has championed independent, eclectic music from the UK and beyond.


                                                                              STAFF COMMENTS

                                                                              Millie says: The thirteenth Brownswood edition unearth yet more talented artists and shine a light on those that needed to be discovered! They all bring something to the table whether it's broken-beat jazz, Afro-Caribbean rhythms or a snippet of soulful R&B. A beautiful mixture complied by Giles Peterson, as always.

                                                                              Bill Callahan

                                                                              Live At Third Man Records

                                                                                Bill Callahan, fka Smog, is simultaneously a staple of strange American country, lo-fi, folk and independent music. His lyricism comes across as challenging and deeply autobiographical, equal parts "poetry leaning on true-to-life darkness" and "three chords and the truth."

                                                                                So, it is fitting that Callahan’s live set would command the same sense of friendliness-with-difficulty that the recorded songs do. With brief, candid, and charming interludes between older and newer material, an outsider can hear that this performance was obviously a full-bodied (and multi-era) engagement, no space left for distraction.

                                                                                The full album is an experience; make it one you look after. 

                                                                                Laura Jane Grace & The Devouring Mothers

                                                                                Bought To Rot

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

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

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

                                                                                  FORMAT INFORMATION

                                                                                  Coloured LP Info: Limited edition coloured vinyl.

                                                                                  Coloured LP includes MP3 Download Code.

                                                                                  Johnny Flynn And The Sussex Wit

                                                                                  Live At The Roundhouse

                                                                                    ‘Live At The Roundhouse’ is an electric performance of ten years’ worth of songs; recorded without overdubs, it pays homage to the past whilst pointing propitiously to the group’s future. The album also features a bonus studio cut; the much requested and never released 3-verse rendition of Johnny’s ‘Detectorists’ theme.

                                                                                    Live At The Roundhouse’ is 24 tracks long and pulled from a decade’s worth of music. Fans will hear renditions of songs from Johnny’s “Masterclass” (4/5 The Independent) debut album ‘A Larum’, sophomore ‘Been Listening’, an album “radical in its honesty” (8/10 Drowned in Sound), ‘Country Mile’, “an extremely clever and nuanced record” (Mojo) and his most recent effort, ‘Sillion’, which explored the idea of man’s endeavour to connect with the earth while separated from it; “Another exploratory and remarkably high-caliber LP” (AllMusic 4.5/5). The album also features a bonus studio cut; the much requested and never released 3-verse rendition of Johnny’s ‘Detectorists’ theme. Johnny Flynn and the Sussex Wit are without a doubt one of the most consistently exhilarating live bands around, inspiring an undying devotion among fans and peers who will cherish ‘Live At The Roundhouse’ for its gritty and impassioned renditions of now-classic songs. 


                                                                                    STAFF COMMENTS

                                                                                    Barry says: One of the most entrancing talents around, Johnny Flynn mixes brimming psychedelic grooves with shimmering folky acousticry, running through grooves into a cascade of rhythm, and their live show is a perfect encapsulation of this stunning musicianship and unmistakable energy.

                                                                                    With a new and essential Periodica dropping once every couple of weeks, a perennial purple patch for the Mystic Jungle Tribe and relentless heat eminating from the whole Early Sounds fam, it's fair to say that Napoli has become ground zero for slack funk fire and the most spaced out, spangled disco around. The latest product of that prolific region comes from Early Sounds associated Nu Guinea, who look to the groovy heavy and giddy 80s club sounds of their home town for inspiration, serving us a brand new album of analogue synth licks, blaxplo guitars and stone cold funk, topped perfectly by some flawless female vocals. As ever, there's a touch of the library about it all but the strength of songwriting, arrangement and production ensures this is gonna be a sell out smash. 

                                                                                    STAFF COMMENTS

                                                                                    Patrick says: It came, it went, it's back to conquer again. Nu Guinea's meticulous recreation of the 80s Neapolitan club sound far surpasses pure pastiche thanks to expert production, endless grooves and the necessary songwriting talents. Currently heading into the bags of all my most discerning customers, this is must have tackle!

                                                                                    London's Warriors Dance label was a unique operation and a pioneering London label during the late 80's acid house phenomena. Home to an assortment of DJs, MCs and soundmen, they went on to make their own original and indelible mark on the rave scene from the infamous 'Addis Ababa' studio on Harrow Road on the North-West side of the city. A former reggae and soul studio that was instrumental to the output of influential artists like Soul II Soul and more; a steady diet of reggae, bass, hip-hop, house and techno kept their edgy, and diehard UK sound and style right at the cutting edge of the dance music underground across the globe with the top DJs and producers of the day celebrating the label. The studio, helmed by label owner Tony ‘Addis’, acted as an incubator for artists whose names would go down in the history books - No Smoke, Bang The Party, The Addis Posse, Melancholy Man, Hollywood Beyond, The Housemaids and more all featured heavily on the label and contributed to its legendary output. The attitude and approach to the music was utterly and unapologetically a London thing, with heavy African and Caribbean influences also drawing on the sounds emanating from Chicago, Detroit and further afield.

                                                                                    When 'International Smoke Signal' landed in 1990 there was nothing else quite like it in the musical landscape, the perfect sonic example of the Warriors Dance ethos and style incorporating all of the influences and grooves that made the label's output so unique, a sound heavily inspired by the preceding period in London and the UK where hip-hop, soul, reggae, rare groove and acid house were played side by side in the warehouses and empty spaces of former industrial areas. Throughout the late 1980's these often drab and dangerous places were transformed by local DJ crews like Soul II Soul and Shake ’N’ Fingerpop with more to offer those looking for an open-minded party scene new places to explore, in turn switching people on to broader styles of music. It's all in here, the heavy breakbeat driven B-boy house flavour of the album version of the classic "Koro Koro", the Manu Dibango featuring tribal acid groove of "International Smoke Signal" to the percussive and ultra-deep stylings of "Oh Yes (Freedom)" the LP encapsulated a time and place this will be (unfortunately) foreign to much of today's youth.

                                                                                    A true dance music masterpiece. This is the first time the LP has been remastered and reissued, spread across 2 heavy slabs of high quality vinyl for maximum sonic impact. Made in conjunction with the Warriors Dance family and Tony Addis.


                                                                                    STAFF COMMENTS

                                                                                    Matt says: A critical time in house music's evolution nicely documented and presented here. Warrior's Dance were so pivotal to the development of the UK scene that I can't believe it's taken this long for the label to issue an anthology of sorts. Your journey starts here!

                                                                                    1996 is an instrumental album by Germany's beatmaker 'Shuko' who produced for the likes of Lil Wayne, Rick Ross, Snoop, Pusha-T, Jedi Mind Tricks, Talib Kweli, B-Real and many more... When he started to listen to Hip Hop in 1996 he never thought about working or writing with one of his icons. 22 Years later he looks back on a strong catalog of beats he produced for his childhood heroes from Cypress Hill, Grand Puba, Cl Smooth, Sadat X, O.C., Ras Kass, Keith Murray and many more just to name a few. For this album Shuko only worked with the original equipment that was used 1996 in Hip Hop's golden era to capture the same vibe and sound. SP1200 & Akai MPC60 are the foundation of all his Beats besides one of his favourite samples of this age. 1996 is a homage of one of the best years in hip hop with guaranteed flashbacks, knocking drums, jazzy vibes and nodding heads.

                                                                                    STAFF COMMENTS

                                                                                    Millie says: Transporting us straight back to the 90's is this instrumental hip hop dreamboat of a record by Shuko. It's infectiously good beats mean that you just have to bop your head. Highly recommend this one!

                                                                                    The Fall

                                                                                    58 Golden Greats: 3CD Boxset

                                                                                      The expanded 3-CD follow up to the iconic now out of print 50,000 Fall Fans Can’t be Wrong compilation, now features songs right up to the groups last album. Compiled and annotated by long time Fall aficionado Daryl Easlea from across all the labels the band has appeared on. The booklet designed by long time Fall designer Becky Stewart contains a track by track overview. Mastered by Andy Pearce from the best sources available. Formed in Manchester in 1976, Fall were a seminal English post-punk group. The group existed in some form from that point on, built around its founder and only constant member, the late, great Mark E. Smith. Initially associated with the punk movement of the late 1970s, the group's music underwent stylistic changes over the years, but was always characterised by an abrasive guitar-driven sound and frequent use of repetition, underpinned by Smith's distinctive vocals and often cryptic lyrics. This compilation is ideal for anyone wanting to discover the weird and wonderful world of the Fall. "They are always different; they are always the same." 

                                                                                      Winners of 2017’s Best British Group at the BRIT Awards, The 1975 release their 3rd album ‘A Brief Inquiry Into Online Relationships.’

                                                                                      The album is a follow up to ‘I like it when you sleep for you are so beautiful yet so unaware of it,’ which charted at Number 1 on both sides of the Atlantic going Platinum in the UK in the process. 


                                                                                      Various Artists

                                                                                      Still In A Dream - A Story Of Shoegaze 1988-1995

                                                                                        “Shoegaze” was a term invented circa 1990 to describe a new breed on UK Indie guitar bands inspired by the likes of 4AD Records, My Bloody Valentine and US acts like Sonic Youth.

                                                                                        Bands like Ride, Moose, Lush, Pale Saints and The Telescopes married dreamy, off-kilter melodies, skewed, heavily effects-laden guitar riffs and psychedelic production values.

                                                                                        Although “Shoegaze” was initially a somewhat derogatory term to pigeonhole a clutch of new acts, the term quickly evolved to become an accepted genre of music which has influenced successive generations of bands, especially those outside of the UK.

                                                                                        STILL IN A DREAM is the ultimate tribute to what was also called ‘The Scene That Celebrated Itself’! 

                                                                                        Various Artists

                                                                                        Smalltown Supersound 25 (The Movement Of Free Spirit Mixed By Prins Thomas)

                                                                                        The Movement Of The Free Spirit liner notes

                                                                                        Trying To Be Like SST. Since 1993.

                                                                                        I started Smalltown Supersound in 1993 while in high school in Flekkefjord, a small town of 4,000 inhabitants in the south of Norway. There was obviously no supersound in our small town. It was just an ironic name I came up with to release some tapes with lo-fi/noise/bedroom recordings by my brother and his friends. The name was inspired by my hometown and the catalogue number STS was a homage to SST, a label I deeply admired at the time (and still do). Little did I know that I would have to live with that name for the rest of my life.

                                                                                        I started the label before I knew what a record label was. So I gradually learned it by doing. And it was part of me growing up. It might sound like a cliché, but in many ways the label is the soundtrack of my life. Thomas has now made it into a mixtape.

                                                                                        We all hate to see photos of ourselves when we were younger, the bad haircuts and the strange clothes. It is the same thing when you run a label. You constantly look back on things you regret. This mix makes me see the label from the outside in a way I don’t think I have before. And to my surprise the haircuts and the clothes weren't as bad and strange as I remembered.

                                                                                        I have to admit that when I listened to it the first time, I was moved. First of all, because of the deep and true love Thomas has put into this mix. Second, because some of these tracks I haven't heard in 20-25 years. It really felt like revisiting the past. And in a very good way.

                                                                                        Thomas has followed the label since the early beginnings. Back in the days I was always thinking: “He’s a house/disco DJ – why does he want my noise records?”. I realize now I wasn't smart enough to understand his scope. I didn't understand it until his mix album Cosmic Galactic Prism, which is one of my favorite mix albums of all time. So for me it was very obvious that Thomas should make the Smalltown Supersound mix. I just couldn't imagine that he would go this beautifully far with it.

                                                                                        Since day one I have tried to have a red thread run through the releases and the label's DNA. Most of the time I am probably the only one who sees it. And many times I don't even see it myself. Now Thomas has found the spiritual unity.

                                                                                        While I have always struggled to describe what the label is, only now – with this mix – I can finally say: this is what it is.

                                                                                        Joakim Haugland Oslo, August 2018 


                                                                                        STAFF COMMENTS

                                                                                        Patrick says: It's practically impossible to give you an accurate impression of this comp through sound clips and sales notes alone. Thomas works his way through the fiendishly diverse STS back catalogue and creates an awe inspiring journey through ambient, neo-classical, psychedelia, disco, dub house and techno, tracing the history of one of the finest labels out there. A fitting tribute create by a total genius.

                                                                                        Various Artists

                                                                                        Loc-A-Li / Exotic Blues & Rhythm Vol. 11

                                                                                          Brand new volume in the successful Stag-O-Lee series titled Exotic Blues & Rhythm - Enjoy amazing and danceable tunes from the late 50s and early 60s - a handful of Popcorn dancefloor smashs, a few grinding Tittyshakers, awesome Rhythm & Blues - most of them with an exotic twist! 12 songs each on nice 10" vinyl (only)! 

                                                                                          "Sweet Echoes Vol.1" the first in a series of compilations exploring music for the modern age framed through the lens of music's past. Vol 1 is a blissfully disorientating trip through the sounds of dub music - more specifically, modern experimental digi dub (rather than your typically traditional Jamaican fare) and all-bar-one produced by people from Australia!

                                                                                          Most of the artists should be familiar, but do check out their respective discographies if not and you'll find a wealth of high caliber electronic music spanning house, techno, ambient and coastal sounds...

                                                                                          Turning their hand to dub has proven quite fruitful though, as each track finds the formula tweaked or twisted juusst that little bit to ensure its maximum impact, style and inventiveness come through. Think 8-bit drum machines, maxed out echo units, analogue detritus and not one mention of Haile Selassie throughout. 


                                                                                          STAFF COMMENTS

                                                                                          Matt says: Big shouts out to Rhythm Section's Mali-I for the only UK contribution here - easily holding it down for the team and chalking one up against the Ozzie massiv.

                                                                                          Gardner has been known to create swirling psychedelic pop boosted by his rich, resonate and baroque voice but on his third album, his vocals are gone and in their place is an equally seamless melodic exploration but an instrumental one, with a synthesized occult edge. Somnium is a nod to the novel of the same name, written in 1608 by Johannes Kepler and is regarded as the first ever science fiction novel. “This book fascinates me because it was basically Kepler travelling in his mind to a non-existent world while describing it, and his journey, with amazing detail.”

                                                                                          This form of mind travel is what Jacco has set out to create in a sonic, almost alchemic, capacity. Hence the reason for his vocals being left out of this spiritual journey. “I deliberately removed my voice from the experience, as it made it more difficult for me to achieve the intended state of mind. I think it makes the journey more interesting, more deep, and more intimate. I didn’t feel the need to show my face while one drifts away into thought. Somnium is a visionary experience. The album is more than just a trip, it is about contact with a deeper – hidden – reality.” 


                                                                                          STAFF COMMENTS

                                                                                          Barry says: Jacco may well have got rid of the vocals, but it hasn't dampened any of the stone-cold groove he manages to eke out of his instruments. Vox or no, the swooning, psychedelic haze is strong here, and further goes to show his skills no matter the tools. A mind-bending and enthralling journey throughout.

                                                                                          FORMAT INFORMATION

                                                                                          Coloured LP Info: Indies exclusive purple vinyl.

                                                                                          Songs: Ohia

                                                                                          Love & Work: The Lioness Sessions

                                                                                            The Lioness is the first Jason Molina project to fully turn away from the battlefield folk and deconstructed Americana of earlier Songs: Ohia recordings. At the dawn of the 21st century, the album felt modern. It aligned Molina with a new set of peers — Low, Gastr del Sol, Red House Painters and, most importantly, the influential Scottish band Arab Strap, whose producer and members were crucial in the creation of The Lioness. The avantgarde tones and arrangements of Arab Strap are absorbed here into Molina’s songwriting to create what would become, for many acolytes, the archetypal Songs: Ohia sound. Love & Work: The Lioness Sessions, the box set reissue, will serve as the seminal log of the era, complete with lost songs, photos, drawings, and essays from those who knew Molina best.

                                                                                            We know Molina was diligent in both love and work. He treated songcraft like a job at the mill, and his approach to romance was not so different. We know that when he fell in love with his wife, he was dutiful in his adoration. There were strings of love letters and poetic gesture. Included in this edition are replicated examples of this relentless love — an envelope with a letter from Molina, a photograph of Molina and his to-be wife, a postcard, a Two of Hearts playing card, and a personal check for one million kisses. Some of these items were gifts he would send to his new love from the road; others, like the 2 of Hearts, were totems he’d carry with him around this time as a symbol for his burgeoning love.

                                                                                            And so, the head-over-heels album that is The Lioness has its workman counterpart. Nearly another album’s worth of material was recorded in Scotland during the album sessions. While similar in tone and structure, the songs seem to deal in the grit and dirt of being. These are songs for aching muscles getting soothed in the third-shift pub. But they’re also examples of Molina’s diligence as he constructs what would be the essential elements of The Lioness. In addition to these outtakes, we also have a 4-track session made weeks earlier in London with friend James Tugwell. Comprised of primarily guitar, hand drums and voice, these songs are raw experiments that mostly serve to illustrate Molina’s well of words and ideas. But then, there is the devastating Sacred Harp hymn “Wondrous Love.” While he may have had his new love in mind, one can’t help but think of Molina’s legacy as he softly warbles “Into eternity I will sing/Into eternity I will sing.” You don’t have to try too hard to mythologize Molina. He did all the work for you.

                                                                                            FORMAT INFORMATION

                                                                                            2xDeluxe LP Info: Translucent purple vinyl, limited to 3000 copies worldwide.

                                                                                            It’s not often we mention Jimi Hendrix and Trap music in the same sentence. Or Brixton and George Benson. In this case Mansur Brown embodies all of these. An integral part of the groundbreaking Yussef Kamaal album, he now releases his debut album on Black Focus Records.

                                                                                            As Thundercat claims the Bass Guitar, Robert Glasper the keys, the 21 year old prodigy from south east London claims the Guitar. Welcome to Shiroi.

                                                                                            STAFF COMMENTS

                                                                                            Millie says: The Black Focus label has added another gem to it's name, Mansur Brown, a mixture of funk driven guitar and a broken beat vibe.

                                                                                            Alan Hawkshaw And Brian Bennett

                                                                                            Full Circle LP

                                                                                              Their NEW album, in full, iconic KPM cover is a return to the laidback jazz-funk that helped Alan and Brian demonstrate their library chops. The album is classic Hawkshaw/Bennett. It swings, it grooves, moves and thrills with a flair these two have perfected over years.

                                                                                              Alan Hawkshaw (piano/Hammond) and Shadow’s drummer Brian Bennett are responsible for some of the slickest, funkiest and most sought-after library records ever made in the UK, particularly ones recorded on the legendary KPM label. Their work has now become the go-to place for sampling in music today. Artists such as Dilla, Nas, and the xx, right through to the billion selling Kanye & Drake have taken Hawkshaw’s and Bennett’s immaculate beat-driven soundscapes for their own usage.

                                                                                              Their new album, in full, iconic KPM cover is a return to the laidback jazz-funk that helped Alan and Brian demonstrate their library chops. The album is classic Hawkshaw/Bennett. It swings, it grooves, moves and thrills with a flair these two have perfected over years.

                                                                                              Standout tracks such as "Hole In One", "In The Clouds", "Interchange", "Oasis", "On The Nile" and "Corcovado" are no mere excursions in nostalgia, for they carry lots of deft studio work that many a producer would give their right arm for. Hawkshaw’s arrangements allow the drums, guitar, bass, strings, Hammond, flute and brass to swirl elegantly around the 12 original tracks; a masterclass in recording.

                                                                                              Cut by Pete Norman, housed in a beautifully designed Richard Robinson sleeve and pressed at 180g by Record Industry in Holland, this release has been afforded the care and attention it rightly deserves. Essential.


                                                                                              STAFF COMMENTS

                                                                                              Patrick says: The kings of the KPM library scene, groove barons Alan Hawkshaw and Brian Bennett hit the studio together for the first time in years and treat us to an eagerly anticipated LP of new material. As you'd expect from this pair of heroes, it's a far out and funky affair. KPM x BeWith for the win!!!

                                                                                              FORMAT INFORMATION

                                                                                              Ltd LP Info: 180 gram vinyl edition.

                                                                                              All the massiv. Inside. Takin' it from the T O Peeeee. The breakbeat rave / hardcore renaissance continues in earnest with another selection of hits straight outta '92 (and maybe '94... - ed).

                                                                                              Comprising of an entire TRIPLE PACK of hits, twelve frenetic warehouse wobblers with two tracks per side for max fidelity.

                                                                                              Ruff Guidance Records is an OG jungle label set up by Bay B Kane, who's contributions to the catalogue are all compiled here for your digestion.

                                                                                              If you frequently tune into youtube and revisit the classic sets of Randal, Micky Finn and DJ SS, then you're gonna relish the opportunity to get full 12" versions of some of the underground hits you're bound to know from said mixes. Recently brought back into focus through DJs like DJ Absolute Shit, DJ Mega and the HS2-CRU (DJ Dogwalker & Tameside Jimmy), it's nice to see the club kids of today getting into the indisputably pure and hedonistic vibrations of the past; where primitive sampling, ruff bass and a catchy vocal sample were the main ingredients for 24-hours getting right at it under motorway bridges, disused aircraft hangers and abandoned buildings throughout Thatcherite Britain.




                                                                                              STAFF COMMENTS

                                                                                              Matt says: Yep. Nice this. If you've played your Bizzy B repress to death and have an up-coming slot on pirate radio circa '95 then this is truly essential. Otherwise relive some of the most exciting music of the decade.

                                                                                              'I wrote this album in prison. I went to the music room every week to play on their keyboards. I studied different styles of beat patterns and sound recording to be a recording engineer. I wanted to create this new sound, so I took go-go, hip-hop, house, and drum and bass to blend up a new pattern of beats with a DJ sway. So I rapped on it. I need a perfect mix sound so I used a reverb gate, small room because I was in a small room. I used my mom's blankets to trap the sound waves in the room. I use a digital mic from radio shack and was rapping with a blanket over my head to trap the sound waves. I played my keys in F flat to deepen the tone. I put tom toms on it to fill the spaces with handclaps to have that snap. Then I put a reverb gate on every instrument to get the lo-fi audio sound. I mastered it with all knobs on zero. Equalizer on zero. I mastered my own sound by tweeking and listening with cheap headphones. So that's why I call myself Mix-0-Rap because I master my mix and DJ rap style with a touch go-go rapping. Thank you for supporting me and my music, I hope you enjoy this.' - Mix-O-Rap

                                                                                              Who'd have thought when we were getting all creep to "For Thugz" way back in '15 that it was the product of a spell in the slammer! Mix-O-Rap finally delivering his full length for PPU. Standing out completely on its own but I guess its nearest reference would be the strung out, DIY minimal wave of 80s San Francisco in that it shuns fidelity and polish for grit, attitude and ruthless experimentation. A guttural, concrete distortion covers the whole record in a kind of sandblasted patina while Mix-O-Rap's unique, staccato rap phrases are pushed right to the foreground. It's an interesting and arresting listen and one of the more out-there releases from Tom Noble's exquisite label. 


                                                                                              STAFF COMMENTS

                                                                                              Matt says: Kickstarting the whole 'prison-rap' movement. Mix-O-Rap claustrophic, lo-fi take on the genre is both arresting and unique and gritty as any time spent in the slammer.

                                                                                              Laibach

                                                                                              The Sound Of Music

                                                                                                The Sound of Music was conceived when Laibach were infamously invited to perform in North Korea in 2015. The band performed several songs from the 1965 film’s soundtrack at the concert in Pyongyang, chosen by Laibach as it’s a well-known and beloved film in the DPRK and often used by schoolchildren to learn English. Laibach are joined by Boris Benko (Silence) and Marina Mårtensson on vocals and the album gives the Laibach treatment to tracks such as ‘My Favorite Things’, ‘Edelweiss’, ‘Do-Re-Mi’ and ‘Maria’, here reworked as ‘Maria / Korea’ (“How do you solve a problem like Maria / Korea?”).

                                                                                                While the majority of the tracks on the album are from the film, the band also included ‘Arirang’, an interpretation of a traditional Korean folk song considered the unofficial national anthem of both North and South Korea (and released recently to mark the historic summit in Singapore between President Donald Trump and the leader of North Korea, Kim Jong-un), as well as their own workout of the Gayageum, a traditional Korean zither-like string instrument performed by students from the Kum Song Music School in Pyongyang and a recording of the band’s “welcome” speech to Korea from Mr. Ryu from the Democratic People’s Republic of Korea Committee for Cultural Relations.

                                                                                                Laibach’s groundbreaking performance in North Korea was documented by director, artist and cultural diplomat, Morten Traavik in the film Liberation Day (described by MOJO as “a humorous, disturbing, illuminating and sometimes moving immersion into an anomalous communist mirror-world …”) which is out now via ITunes following its screening for Storyville on BBC4.

                                                                                                The album was recorded and produced in Ljubljana, Slovenia and in Pyongyang, DPRK and represents another successful collaboration between Laibach and Silence (Primož Hladnik and Boris Benko), who previously co-created Laibach’s 2006 Volk album.

                                                                                                STAFF COMMENTS

                                                                                                Barry says: Artistically, one of the most interesting bands out there, Laibach have always been fiercely political and on this release bring their oddball avant art-rock to North Korea. Soaring moments are met with walls of drone, crisp melodies and lengthy, introspective ambience. Superb stuff.

                                                                                                FORMAT INFORMATION

                                                                                                Coloured LP Info: Limited edition gold vinyl.

                                                                                                Coloured LP includes MP3 Download Code.

                                                                                                Ed Harcourt

                                                                                                Beyond The End

                                                                                                  A much acclaimed recording artist who released his Mercury Prize nominated debut, Here Be Monsters on Heavenly Records in 2001, in recent years his has gained acclaim for his songwriting for a variety of artists.

                                                                                                  The album, which follows Furnaces, his 2016 album for Polydor, sees Ed Harcourt add another new string to his multi-faceted musical bow. Something of a left-turn after its busy, big-screen, somewhat under-appreciated predecessor, it sees the supremely versatile singer, writer and all-round instrumentalist bravely eschew vocals and lyrics and create a soft-spoken yet emotionally loquacious group of piano-led instrumentals, as if sound-tracking an as yet invisible film, or responding to today’s ferocious shouting match of a planet with a mesmerizing, meditative calm. “The world that we live in, we’re exhausted by the internet, social media, the sheer barrage of news and vomit being rained down us on a daily basis. You can’t avoid it, and it’s tiring. So this record came from taking a step back – it’s something that’s trying to be beautiful. My hope is that people might choose to swim amongst this music when it all gets too much.”

                                                                                                  Talking about the gestation of the album, which was written and recorded at his ‘Wolf Cabin’ studio in Oxfordshire Harcourt said, “I knew I wanted to buy a new piano. Eventually I found this 1910 Hopkinson Baby Grand, which is exactly the same make and era as my grandmother’s piano which I started learning on and wrote my first three records on. I felt at home again. I needed a break from singing and lyrics so I began writing instrumental music. I grew up listening to and playing Debussy, Satie, Mozart, Grieg, as well as modern composers like Max Richter, Philip Glass, Arvo Part. I also loved Warren Ellis (with whom Harcourt worked on the new Marianne Faithfull album) and Nick Cave’s score for The Assassination Of Jesse James… 


                                                                                                  Istanbul-based Tolga Büyük started his solo project Islandman in 2010 and has already built quite a name for himself with a slew of self-released EPs & albums. Already prominent in Istanbul’s psychedelic scene as part of live-performance band Farfara, as Islandman he builds his unique style off the rich history of Turkey’s psychedelic rock movement, taking it further in his own direction.
                                                                                                  The Anatolian tradition of fusing the country’s folk music with Western influences has produced a unique legacy of sound, as evident by the discographies of Erkin Koray and Baris Manco for instance, with the guitar long the sound weapon of choice. So too for Islandman, but apart from mastering this instrument quite eloquently, he also orchestrates it into a new and different context than merely providing hippie nostalgia. By re-framing the murky and somewhat dusty Anatolian psychedelic sound with a cool Mediterranean vibe and a very Balearic-friendly production, Islandman’s music is the next step in the progression of Anatolian music.
                                                                                                  On “Rest In Space”, his first full length outing for Music For Dreams, the LP keeps a steady pace of around 90-95 bpm, but never gets repetitive with Islandman taking us on a rich and ever surprising journey, full of quirky turns and mysterious instrumentations.
                                                                                                  The opener “Rest In Space” treats us to a funky percussion-thick rhythm that lounges into a pool of playful & jazzy horn & flute arrangements. This is followed by the epic “Night Wind” which sweeps across cinematic desert landscapes of synth layers and falls into a dark night time groove reminiscent of Nicolas Jaar & Dave Harrington’s Darkside project. “Seikleos” centers around a motorik electronic rhythm pattern (not unlike the classic electro-pop classic “Popcorn”) that develops into a chugging balearic house jam while stand out track “Future Days” brings in a female guest vocalist to complete the album with a breezy full on groover that echoes of both Sheila Chandra and Tom Tom Club.
                                                                                                  Also included is the previously released digital single “Agit” as well as a remix by Berlin-based M.RUX, toning down the heavy guitar of the original in favor of a more bouncier interpretation.
                                                                                                  The stunning “Ikaru” wades in through chunks of jungle ambiance and watery percussion to lounge along on a rubbery funk bassline, coupled with a heavy laid back beat and wobbly derelict synth figures.
                                                                                                  “Tawhid” is an odd mix of new wave brilliance and prog momentum that breaks into a cascade of pouring rain and surprising percussion breaks. Lastly comes gorgeous Eastern guitar opus “The True Word of the Wind” and the warm vibey dreamscape “Following”.
                                                                                                  As a whole, Islandman delivers a delicate buffet of influences - spanning the spectrum from hazy balearic pop to tropical new age flirts to deep spiritual psychedelic jamming. 


                                                                                                  Hippo Campus

                                                                                                  Bambi

                                                                                                    When Hippo Campus formed in 2013, their intentions were pure and simple."We were in high school and the main idea was, 'Let's start a band and make our friends dance,'" Zach Sutton from the band recalls. "There was no real context to what we were doing - it was just total creative joy."

                                                                                                    But over the past five years, that context has shifted dramatically. The world around them warped into something bleak and unsteady, and reckoning with mental health issues became more and more crucial. On their sophomore album Bambi, the St. Paul, Minnesota-bred band navigate that upheaval with deliberate self-reflection. The result is a selection of songs that drift into much darker terrain, but unfold with a frenetic yet fragile beauty that makes even the most painful moments feel glorious.

                                                                                                    Not only driven by exacting introspection, Bambi was also shaped by cultural shifts, including the #MeToo Movement. "That really made us take a look at how toxic masculinity has influenced the way we see ourselves and the world overall," says Jake Luppen. "In the past we might have been apprehensive about being super-vulnerable, but now we're more aware of how important it is to come forward about dealing with depression or anxiety. Because if more men are able to do that, they might be less likely to express those feelings as anger or violence."

                                                                                                    Partly recorded at Steve Albini's Electrical Audio in Chicago, Bambi finds Hippo Campus working again with producer BJ Burton (Bon Iver, Low, Francis and the Lights), who handled production on their 2017 full-length debut Landmark. And in sculpting Bambi's distinctly inventive arrangements, Hippo Campus significantly expanded their use of drum machines and synth.

                                                                                                    Throughout Bambi, Hippo Campus match their relentless self-examination with a joyfully adventurous sonic approach, ultimately transforming the emotional experience of the problems they're exploring. One of the band's greatest hopes for Bambi is that the album might help others in dealing with their own pain. "I've always considered the responsibility of art to be representing your specific experience," says Sutton. "We're saying, 'This is what I'm doing now, this what I'm living like.' It's about sharing what you're going through, so maybe someone else will feel less lonely."

                                                                                                    And as Nathan Stocker points out, Bambi may find a particular connection with those feeling shaken up by the chaos of current times. "The only thing I'm sure about with this album is how unsure it is," he says. "I want people to feel as confused as we are about everything, because confusion can be an interesting thing. When you don't totally understand what's going on, you never stop thinking and questioning and trying to figure things out for yourself. I think a lot of good can come from that."


                                                                                                    STAFF COMMENTS

                                                                                                    Barry says: Despite the oft-serious lyrical matter, Hippo Campus manage to craft a uniquely serene but groove-laiden mix of psychedelic rock, funk and good old-fashioned indie without breaking step. A brilliantly crafted and thoroughly enjoyable listen.

                                                                                                    FORMAT INFORMATION

                                                                                                    Coloured LP Info: Limited Edition Blue LP

                                                                                                    Throw Down Bones

                                                                                                    Two

                                                                                                      Italy’s Throw Down Bones are something of an enigma in the experimental underground. Since the release of their highly-praised 2015 self-titled album, they’ve picked up a notorious reputation on the European live circuit for their pulverising, constantly-mutating live shows. In a review of the debut, album listeners were told to “make no mistake, this is dance music” and that may have been true back then but now, back with their second album titled Two, the band have taken that to a whole new extreme. Ditching the hypnotic coldwave tendencies of their earlier work for an all-out sonic assault of industrial four-to-the-floor rhythms and screeching acid house.

                                                                                                      Two is due for release via Fuzz Club Records on October 26th and see’s the band deal in floor-shaking industrial techno-post-punk occasionally steeped in a euphoric acid-house sheen. Where the old Throw Down Bones was better suited for intimate venues and psych fests (of which they were a frequent staple, from Liverpool to Eindhoven and everywhere in between), this new evolution sees them turn their eyes to the most underground techno clubs and the sleaziest warehouse venues. Imagine Death In Vegas, Factory Floor and Aphex Twin jamming in a room together and you might come close but Throw Down Bones would be reluctant to point to any ‘influences’. For them, their corrosive industrial workouts are simply the product of their environment and attitudes, as opposed to who they’re listening to at any given moment.

                                                                                                      STAFF COMMENTS

                                                                                                      Barry says: Another killer outing from the venerable Fuzz Club, with throbbing post-industrial Italians Throw Down Bones releasing their second slab of gloomy thuds and machinated electronics. It's a dark affair, without a doubt, but one that would feel at home on the dancefloor or... at home.

                                                                                                      The Jura family follow up an ace 12" from Len Leise and their in house soundsystem, as well as a killer compilation with a new LP release from one of the leaders of the newschool. "In The Senses" is a soundtrack concept album from Fernando Pulichino based around the premise of music for film. Melody, ambience and mood are central to these pieces influenced by the likes of Angelo Badalamenti, John Carpenter and Johnny Jewel. The result is timeless electronic music infused with bittersweet synth chords & melodies, beat less atmospherics, bubbling electronics and synthesizer minimalism. I can only assume our man Barry's gonna flip his lid at this one...

                                                                                                      STAFF COMMENTS

                                                                                                      Barry says: My lid is fully flipped. Twinkling, longing FM key stabs, shimmering saw-waves and saturated arpeggios perfectly reflecting around the stereo field. Wistful in parts but filled with determined momentum in others, and perfectly paced throughout. Killer stuff.

                                                                                                      The in-demand Finnish duo Morphology joins FireScope Records for their 10-track "Traveller" LP - a mindblowingly rich, emotive and advanced album of futuristic electro and harmonious space techno.
                                                                                                       
                                                                                                      After having released two albums on Zyntax Motorcity and EPs on labels such as Central Processing Unit, Cultivated Electronics, Emotions Electric and Abstract Forms, Morphology’s third album continues their intensive deep-space exploration at the intersection of electronic music and scientific discovery. Awash in the beautiful sounds of hardware-derived music direct from Morphology’s command center, the album takes listeners into their skilfully crafted universe. Each track is a new world in itself of crisp beats, deep basslines and melancholic melodies. Interspersing the frenetic pace of hyper-speed travel with ethereal landings, ‘"raveller" is an intergalactic trip without taking off your headphones.

                                                                                                      The radio static of "Distant Signal" mysteriously invites you to tune into an otherworldly frequency. You select ‘Y’ and hit enter to get to "Second Ligh", its fluttering arp work and foreboding bassline taking travellers to the next higher dimension. You land on the planet "Farthest Regions" with a touch of the Orient and misty atmosphere surrounds. A contemplative mood settles in before you take off again with "Hidden Variable", its haunting sustained pads and adrenaline-fuelled beats signalling both thrill and danger.

                                                                                                      The ambient atmospherics of "Memory Fragments" flings one into the depths of space for a brief interlude, before "Detached" and "Pod Bay 8" gears back in warp speed mode. The combined energetics of intricate breakbeat drum patterns, fierce basslines and spacey cold atmospherics deliver the album’s dancefloor apex.

                                                                                                      "Bipolar Nebula" soars up to further stratospheric heights and a soft landing while the intelligent brain dance "Kernel Method" gives one to the head-nodders. The lingering final track "Deuteros" algorithmically skips, taps and signs out on what has been an out of this world sonic adventure - from faraway lands to abstract spatial dimensions and beyond.


                                                                                                      STAFF COMMENTS

                                                                                                      Matt says: Stunning. Simple stunning. RIYL: Ourtime / Sonic Insomnia, Acido / Roy Of The Ravers, Deep Bass, John Shima etc etc.

                                                                                                      FORMAT INFORMATION

                                                                                                      2xLtd LP Info: Limited repress on 140g clear vinyl

                                                                                                      Mikael Tariverdiev

                                                                                                      Seventeen Moments Of Spring

                                                                                                        On broadcast, Seventeen Moments was immediately immensely popular with an estimated audience of between 50 and 80 million viewers for each episode. Crime rates dropped significantly during the broadcasts, city streets were empty and power stations had to increase production to cope with a surge in the demand for electricity for TV sets. It is said that Brezhnev moved meetings of the Central Committee of the Communist Party in order not to miss an episode and that Vladimir Putin’s decision to join the KGB was influenced by watching the series when young. It became the most successful Soviet espionage thriller ever made.

                                                                                                        It was rebroadcast annually in the Soviet Union and throughout the Warsaw Pact nations, and is still regularly shown in Russia where it remains one of the most popular television series of all time. Without any doubt, the score by Mikael Tariverdiev contributed to this huge success. He wrote it after some initial reluctance to be involved but its popularity catapulted him to national fame. ‘Somewhere Far Away’ and “Moments’, remain some of the best-known and well-loved cinematic songs of the era.

                                                                                                        The main theme and his piano underscore to that famous café scene where Stierlitz and his wife meet-but-don’t-meet must have surely captured the haunted longings and romantic poignancy of a generation of Soviet citizens who had suffered their own forced separations, displacements, silences and losses. The score presented here follows the narrative arc of the series’ story. It has been re-mastered from transfers made from original tapes in the Tariverdiev apartment in Moscow. The download and CD versions contain three additional tracks never before released – even in Russia - including the much-loved Waltz for Gaby. 

                                                                                                        STAFF COMMENTS

                                                                                                        Barry says: There aren't many more important moments of Tariverdiev's career than this, being both the launching board for his sound and some of his most thoughtful and poignant work. As a soundtrack, it's flawless and as a standalone poignant LP, it isn't far off that.

                                                                                                        FORMAT INFORMATION

                                                                                                        LP includes MP3 Download Code.

                                                                                                        Various Artists

                                                                                                        Discophilia Belgica : Next-Door-Disco & Local Spacemusic From Belgium

                                                                                                        Patrick, Raymond, Marianne, Roland, Kevin and Bert. These are among the most common and ordinary names in Belgium. Yet, these are also the names of some of the artists that appear of ‘Discophilia Beligica’, a 30-track compilation from groove-heavy record label SDBAN. No fancy alter-egos here.

                                                                                                        Compiled by cratediggers Loud E & The Wild, Discophilia Beligica’ is released 16th November and is a collection of next-door-disco and local spacemusic from Belgium 1975-1987. The tracks on this delightfully obscure collection are from ordinary folk. Most have day jobs. Yet as musicians, they go as far out as possible in to the disco universe and back again. Not too serious or overambitious and definitely not overproduced. This is stripped down space music. This is next door disco.

                                                                                                        The choice of music is not a reflection of an actual ‘scene’. In fact, most of the bands here have probably never performed live. The 30 tracks on this compilation are the result of a decade of crate digging in flea markets, charity shops, and vinyl trades and picking out what might appeal to a contemporary dancefloor or just to our deranged and perhaps adventurous earbuds.
                                                                                                        That being said, there’s not many countries that can provide you with the wonderful diversity and weirdness of the sounds you’ll find here. Belgians have a great passion for music and there is an abundance of recording studios, impresarios, local radio stations and pressing plants. Bars and clubs sit side by side, providing a soundtrack for our ordinary lives and it’s here where Patrick, Raymond, Roland or Marianne draw inspiration that led them into the studio and pick up a mic, a bass or synthesizer, making music to groove to, feel sexy to and be free. You are your master.

                                                                                                        From R. Roland’s French-pop inspired ‘Ethero-Disco’ and Carl Watson’s sleazy jazz flute heavy ‘King Kong’ to the C.C. Band’s disco floor filler ‘Be My Love Tonight’, ‘Discophilia Belgica’ is a collection of odd and sods, the weird and the wonderful.

                                                                                                        A special mention should go to the uncrowned king of next-door-disco: Artibano Benedetto. The un-assuming Italian, who works out of a garage in the unglamorous town of La Louvière, is one of the only “professional” musicians on this compilation. After a successful career with the late 70s/early 80s band i dragoni, he started to produce music for local artists and musicians in the area in need of a studio or technical knowhow. The result? The soul-singing Dan Davis, the outrageous synthesized bagpipe discofest The Diskery, the spaced out Holger Czukay-esque Rayon Laser and the Arabian sleeze of Alabibi. Oh yes, Benedetto is still very much at it. His DIY ethic to music is the embodiment of next door disco and provincial space music


                                                                                                        STAFF COMMENTS

                                                                                                        Matt says: Lookin' for some Belgium bedroom boogie? So obscure it plays more like a private press compilation; this lovingly curated set is inspired with its source material - unearthing some truly unheard sounds from the continent.

                                                                                                        FORMAT INFORMATION

                                                                                                        2xLP 1 Info: Part 1/2

                                                                                                        2xLP 2 Info: Part 2/2

                                                                                                        Various Artists

                                                                                                        IF Music Presents: You Need This - World Jazz Grooves (Compiled By Jean-Claude & Victor Kiswell)

                                                                                                        Fresh from bringing us two incredible volumes of ‘A Journey into Deep Jazz’ and providing an introduction to Black Saint & Soul Note Records on BBE, IF Music’s Jean-Claude joins forces with Victor Kiswell for new compilation, ‘World Jazz Grooves’.

                                                                                                        Currently celebrating 15 years of trading from his London record shop IF Music, Jean-Claude has built an enviable reputation over the past 25 years, as the go-to rare vinyl vendor for some of the biggest DJs and producers on the planet. Fellow record dealer and specialist music expert Victor Kiswell has travelled the globe several times over, hunting for rare records and DJing, appearing on a Cairo edition of Boiler Room in 2017.

                                                                                                        As you might expect, this treasure trove of music contains a generous handful of obscure and brilliant musical gems, carefully mined from all corners of the globe. “Europe, The Americas, Africa and Asia are all represented herein and hopefully a few surprises foryou, the listener, too” say Victor & Jean-Claude, summing up the project. From its inspired opener: Vietnam veteran Billy Bang’s visceral New York social commentary ‘Illustration’ whose Watts Prophets inspired spoken word vocal is (sadly) as relevant today as it was in 1978; through to the album’s closer, a touching African township ballad titled ‘ITwenty-Five’, ‘World Jazz Grooves’ takes the road less travelled to provide a jaw-dropping journey through world jazz culture.

                                                                                                        As Jean-Claude and Victor put it: “Jazz will always have its appeal: though influenced, jazz does not need to be dictated by trends. It has been experimented with by (almost) every population on the planet. It is its diversity, the fusing of various elements of different folklores, that allows jazz to constantly evolve and maintain its relevance.”


                                                                                                        Various Artists

                                                                                                        Soul Jazz Records Presents Soul Of A Nation: Jazz Is The Teacher, Funk Is The Preacher

                                                                                                          ‘Soul Of A Nation: Jazz Is The Teacher, Funk Is The Preacher’ is a powerful new collection of radical jazz, street funk and proto-rap made in the era of Black Power (1969-75).

                                                                                                          This is the second ‘Soul Of A Nation’ album released by Soul Jazz Records to coincide with the exhibition ‘Soul Of A Nation - Art In The Age Of Black Power’, critically acclaimed and enormously successful when it opened at the Tate Modern in London last year (as was Soul Jazz Records’ accompanying first album ‘Soul Of A Nation: Afro-Centric Visions In The Age Of Black Power 1968- 79’). The blockbuster international exhibition is now at the Brooklyn Museum, New York, travelling to Los Angeles in 2019.

                                                                                                          This new album features a number of important and ground-breaking African-American artists - The Art Ensemble Of Chicago, Don Cherry, Funkadelic, Gil Scott-Heron and more - alongside a host of lesser-known artists all of whom in the early 1970s were exploring new Afrocentric poly-rhythmical styles of music - radical jazz, street funk and proto-rap - while at the same time exploring the Black Power and civil-rights inspired notions of self-definition, self-respect and self-empowerment in their own lives.

                                                                                                          During this era African-American jazz musicians ripped up traditional definitions - rejecting the term ‘entertainer’ to redefine themselves instead as ‘artists’. They worked outside of the mainstream music industry perceiving this artistic relationship to be fundamentally exploitative and politically flawed. Artists instead formed their own pan-arts community-centric collectives, set up their own record labels, ran concerts in alternative performance spaces - art galleries, parks, lofts, community centres - all as a way of taking control of their own creative destinies.

                                                                                                          At the start of 1960s jazz musicians had embarked on an intense period of musical experimentation as artists John Coltrane, Ornette Coleman and Don Cherry sought to dismantle the traditional definitions of jazz by creating new music that broke free from its establishment shackles. By the end of the 1960s, forward-thinking African-American jazz musicians had absorbed the ideas of this radical and avant-garde path but also began to introduce many new elements - not just civil rights concepts of freedom but also black power ideas of self-respect, righteousness and anger.

                                                                                                          Their music developed into a radical and intense Afrocentric mix of jazz, funk, soul and street poetry, all in search of a new musical language that could better represent artistic African-American cultural expression.

                                                                                                          All of the featured artists here were involved in this search in different ways; A shared sense of Afrocentric collectivism joined the dots between the deep avant-garde experimentalism of The Art Ensemble Of Chicago (here featuring soul singer Fontella Bass singing the powerful ‘Theme de Yoyo’) to the hyper funk psychedelia of George Clinton’s Funkadelic.

                                                                                                          The poetry of Gil Scott-Heron and Sarah Webster Fabio performed with a backdrop of street funk and heavyweight percussion laid down the template for the birth of rap. The Har-You Percussion Group, a group of young Harlem teenagers, showed how government-sponsored social initiatives helped create great art and music. Gary Bartz and The Oneness of Juju offer spirituality and cosmology. Collectives like The Pharaohs and Detroit’s Tribe add deep jazz and street funk in equal measures.

                                                                                                          Influenced and radicalised by Black Power and civil rights, all these artists were involved in creating - in the words of the Art Ensemble Of Chicago - ‘Great Black Music: Ancient To Future’.

                                                                                                          STAFF COMMENTS

                                                                                                          Millie says: This compilation has collected all the best tunes from the funk/soul genre from Gil Scott-Heron to Baby Huey. Spread over three LP's, this is a feast for the ears!

                                                                                                          FORMAT INFORMATION

                                                                                                          3xLP Info: Triple vinyl LP with digital download, full and extensive text, exclusive photography with house inners.

                                                                                                          Deluxe CD Info: Deluxe CD with slipcase, 40-page outsize booklet and jewel case.

                                                                                                          "Uneven Paths: Deviant Pop From Europe, 1980-1991" is the second multiple artist compilation on Music From Memory and is compiled by record connoisseur Raphael Top-Secret and label man Jamie Tiller. The compilation brings together twenty one tracks from across the continent; exploring the more unusual and unexpected sides of Pop music produced during that period.

                                                                                                          Drawing material from cult experimental artists such as Steve Beresford, Brenda Ray and Bill Nelson alongside one-off independent musical projects rescued from the fringes, ’Uneven Paths’ focuses on a selection of tracks that go beyond the confines of mainstream pop music but which also transcend expectations of much of the ’experimental’ music of the time. This is music with one foot in the avant-garde and another foot firmly rooted within the sensibilities of Pop; where Jazz musicians detour into Synth-Pop, Punk bands break into Boogie jams, and student doctors jam out on odd melodies with synthesizers and drum machines during their night shifts.

                                                                                                          STAFF COMMENTS

                                                                                                          Patrick says: Previous Music From Memory releases have seen the imprint explore the esoteric fringe of electronica, Brazilian synth wave and art-school ambient with the same exhaustive research and inspired selections. Now the Dutch label turn their attention to the underappreciated talent at the heart of Europe's outsider pop movement. There are too many tunes here to mention, and most are new to me, but I have to shout out Brenda & The Beachballs, Miko & Mubare and Violet Eves as favourites.

                                                                                                          Kendl Winter

                                                                                                          Stumbler's Business

                                                                                                            The two members of The Lowest Pair - Kendl Winter and Palmer T. Lee - release solo albums. Kendl Winter grew up in Arkansas, but fell in love with Olympia, Washington even before she moved there after high school. Her musical adventures have wandered from finger picking to electric guitars to old-time roots and bluegrass banjo, and back again; with her earliest pursuits in punk and string bands, and solo work released on Olympia’s own label K. She is currently one half of the banjo/guitar duo known as The Lowest Pair (Team Love), with Palmer T. Lee.

                                                                                                            Comparisons have been made to Karen Dalton, Gillian Welch, and Iris DeMent, but Kendl’s voice is all her own. 

                                                                                                            FORMAT INFORMATION

                                                                                                            Ltd LP includes MP3 Download Code.

                                                                                                            On ‘The Lillywhite Sessions’, Ryley Walker and the similarly indebted trio of drummer Ryan Jewell and bassist Andrew Scott Young cover Dave Matthews’ infamously abandoned 2001 art-rock masterpiece of the same name, a record where he and his band indulged a new adult pathos and a budding musical wanderlust.

                                                                                                            With a delicate rhythmic latticework and vocals that ask you to lean in, ‘Busted Stuff’ recalls Jim O’ Rourke’s golden Drag City days. Emerging from a wall of distortion, ‘Diggin’ a Ditch’ becomes a power trio wallop à la Dinosaur Jr, shaking off existential malaise like twenty-something pals writing rock songs in the garage. Walker’s ‘Grace is Gone’, the most faithful take here, is a testament to his unflagging love for the music that helped make him a musician.

                                                                                                            This end-to-end interpretation of youthful fascination is a collective reminder that we are all just kids from somewhere, reckoning with our upbringing the best we can. Walker has stepped through the door long ago opened by the Dave Matthews Band to find a world teeming with musical possibilities. On ‘The Lillywhite Sessions’, he has, in turn, created his own.

                                                                                                            STAFF COMMENTS

                                                                                                            Barry says: As well as being a VERY good follow on the ol' Twitter, Ryley Walker is also a superb chap and undeniably brilliant songwriter and musician. Although the songwriting doesn't really get a look in on this release (it being entirely covers), it is clear that his laid-back style and impeccable vocal performance is only improving. Even if you've never heard this Dave Matthews Band release before, I implore you to hear Walker's take on things. Stunning.

                                                                                                            Started as the so called 'Krautrock Guerrilla' in 2012, six years later the Berlin combo Camera are releasing their fourth full-length album. Customarily associated with the likes of NEU! and La Dusseldorf it is time to allow Camera to break free of the krautrock tradition and accept that they are very much doing their own thing now. Motto: "It's not repetition, it’s discipline"

                                                                                                            FORMAT INFORMATION

                                                                                                            Vinyl comes with CD version of the album enclosed.

                                                                                                            November sees the release of MERRIE LAND, the second album from The Good, The Bad & The Queen, a band comprising of Damon Albarn, Paul Simonon, Tony Allen and Simon Tong. The Good, The Bad & The Queen began life as the acclaimed 2007 album of the same name, a heartfelt tribute to London described by The Observer in a 5 star review as –“One of the most surprising and magical records for which Damon Albarn has ever been responsible”.

                                                                                                            The record traced a journey from the English music hall tradition to West Africa and Afrobeat, zigzagging through the West Indies and its reggae and dub, back to England and London's punk scene, all the while taking in a strand of British beat music from the '50s right through to Britpop. The result was a record specific to a place and mood but with a background that was geographically wide-ranging.

                                                                                                            Now the four musical storytellers are back with a new studio album titled ‘Merrie Land’.

                                                                                                            Produced by Tony Visconti and The Good, The Bad & The Queen was completed in London and Wales this year, during the current ongoing period in which the UK is preparing to leave the European Union, ‘Merrie Land ’is a questioning good-bye letter, a series of observations and reflections on Britishness in 2018. Even though it has been over 10 years since the band last released a record, the timing could not be more apt – there could not be a more perfect band to untangle the optimism, disorientation and confusion in the atmosphere today.

                                                                                                            With ‘Merrie Land’, the band taps into a creative symbiosis of past and future, drawing inspiration from their shared glittering musical histories and wrapping the hybrid results in a brilliantly postmodern yet thoroughly British package.

                                                                                                            The album sees the band’s focus move beyond London with a beautiful and hopeful paean to the Britain of today - an inclusive Britain - and the possibilities of the future. In the band’s own words, Merrie Land is a ten song lament of Anglo-Saxosentialism marking the reluctant end of a relationship, and about picking up the pieces and seeing what can be salvaged. The band set a beautifully muted palette and lustrous finish to bring out a mood that is bruised yet unapologetically defiant and optimistic, and carries the underlying message: we will survive.

                                                                                                            In times of metaphysical trauma, the people need to forge ahead and wear armour. Here it is, set to the mood music of a nation about to be broken yet undefeated.


                                                                                                            STAFF COMMENTS

                                                                                                            Barry says: With a collective musical calibre such as this, and one brilliant album already under their belts, it was never going to be a massive surprise that Albarn, Simonon etc pulled it out of the bag once again, but here we are. Brilliantly mounful odes mix with more upbeat musings on politics, all wrapped in that melodic jangle that GB&tQ fans already know so well.

                                                                                                            FORMAT INFORMATION

                                                                                                            Coloured LP Info: Limited edition heavyweight green vinyl.

                                                                                                            CD & Book Info: 56-page A4 hardback book containing, CD, sheet music, lyrics and artwork.

                                                                                                            Bagpuss, dear Bagpuss

                                                                                                            Old fat furry cat-puss

                                                                                                            Wake up and look at this thing that I bring

                                                                                                            Wake up, be bright

                                                                                                            Be golden and light

                                                                                                            Bagpuss, Oh hear what I sing

                                                                                                            12th of February, 1974, and for an audience of small children at 1:45pm, a life irrevocably coloured by the wayward wonderings of one saggy cloth cat. Some 44 years later and Earth Recordings opens the door to Bagpuss & Co. once again, revealing for the first time the original music in all its newly-mastered splendour.

                                                                                                            The 32 tracks that make up the main body of the compositions are – like all good folk music – a patchwork of traditional pieces, half-remembered tunes and pure improvisation. It's testament to Sandra Kerr and John Faulkner's musicianship that the recordings work so well, not only within the context of the television episodes, but as an album in its own right. Of the recording, Oliver Postgate (in his exquisite autobiography 'Seeing Things') says: "Between them Sandra and John could play every sort of instrument from a mountain dulcimer to an Irish fiddle. They knew and could sing every tune in the world and didn't bother with written music, except as a last resort. They were exactly suited to Gabriel the Toad and Madeleine the Rag Doll and in those roles were happy to play whatever music and sing whatever songs would be needed."

                                                                                                            Those songs manifested themselves as reworkings of familiar tunes ('I Saw A Ship'; 'Row Your Boat'; 'Bucket's Burning'), takes on traditional ballads ('Brian O'Lynn'; 'The Frog Princess'; 'Weaving Song'; 'The Old Woman Tossed Up in a Basket') and delicious flights of fancy ('The Bony King of Nowhere'; 'Turtle Calypso'; 'Uncle Feedle'). The counterpart to Madeleine and Gabriel's more polished ditties are the interludes from the mice; a raggle-taggle chorus that accompanies the creatures' efforts of help (with the mice once famously going on strike when they were not permitted sang as they worked). Again, Postgate muses: "Once I had worked out a few episodes I would make a very rough list of the bits where I though music would be appropriate. I would send it to [Sandra and John] to think about. Then we would borrow a fairly silent room in a remote house and, taking the various articles that we intended to celebrate with us, would spend a happy day with a tape recorder, thinking up and recording whatever songs and tunes came to mind."

                                                                                                            The outtakes provide an intimate – and often very humourous – insight into the trio's work ethic, if it can be called such a thing. (By all accounts they sound as though they're having a very jolly time indeed.) Highlights include alternative opening words and end music, as well as Postgate sound-checking in character as Bagpuss. This never-before heard audio provides a real treat for fans (and indeed those new to the Smallfilms stable) – affirmation again to the enduring quality of these special recordings, and the beloved programme that inspired them.

                                                                                                            "An accidental classic of the folk-roots underground that we never dared hope we’d hear with such clarity." -Stewart Lee.

                                                                                                            And so their work was done.

                                                                                                            FORMAT INFORMATION

                                                                                                            Deluxe LP Info: LP, Die Cut w/ art cards. Reverse Board and DL card. Limited ‘Shop Window’ Edition LP with lithograph prints.

                                                                                                            Deluxe CD Info: Book back CD edition with 24 page book.
                                                                                                            Liner notes from Stewart Lee, Daniel Postgate, Frances Mckee (The Vaselines) Andy Votel and Sarah Martin (Belle & Sebastian)

                                                                                                            The Limiñanas

                                                                                                            I've Got Trouble In Mind Vol. 2

                                                                                                              French psych duo The Limiñanas release their new compilation album 'I've Got Trouble In Mind Vol. 2' through Because Music on 16th November. Featuring rare recordings, 7" singles and unrelased material, the collection is the follow up to 2014's album 'I've Got Trouble In Mind'. 

                                                                                                              "We wrote and recorded 'The Gift' at home in Cabestany and then finished it Berlin at Anton Newcombe’s studio," explains Marie. "I’m pretty sure you'll recognise Peter Hook’s lead bass. He's been one of our heroes for a very long time. The video reflects on high school years in gangs; the mods, the skins, the rockabs and the rudeboys smoking cigarettes while hanging in the schoolyard. 'The Gift' looks at what's happened to two of these people over the years and how they may have missed out on a lifelong love story. The video is directed by Aurélien Richter and features actor and dancer Foulques de Boixo."

                                                                                                              One of France’s most loved treasures, The Limiñanas are Marie (drums/vocals) and Lionel (guitar, bass, keyboards and vocals). Hailing from Perpignan, the duo straddles the boundary between psych, shoegaze, and yé-yé. With hazy, reverb-laden hooks, combined at times with noisy distortion, and fronted by effortlessly cool vocals, reminiscent of Serge Gainsbourg and Brigitte Bardot, the band is at once timeless and quintessentially French. The Limiñanas, who have produced records in their own garage for the last ten years, released their first rarities collection 'Ive Got Trouble in Mind' through Bill and Lisa Roe's revered 'Trouble In Mind' label in 2014. As with the first installation, 'Vol. 2' features rare and unreleased tracks such as the duo's version of The Kinks' 'Two Sisters' (recorded for a MOJO magazine covermount compilation, produced by Anton Newcombe and remixed by Jim Diamond (White Stripes/The Sonics), a cover of The Lords of the New Church's 'Russian Roulette' and live versions of fan's favourites. 


                                                                                                              STAFF COMMENTS

                                                                                                              Mine says: Everyone's favourite French psych heads follow up their compilation 'I've Got Trouble In Mind' from 2014 (and their latest album 'Shadow People' from January this year) with 'I've Got Trouble In Mind Vol. 2' - and as always, they deliver! 'Vol. 2', despite featuring new mixes and live versions of old songs as well as never before heard tracks sounds like a best of. A great gift for Limiñanas fans old and new!

                                                                                                              The sprawling 25-track affair features unreleased Michael Jackson vocals on the track "Don't Matter To Me," a song which appears to be built around previously unreleased music: Paul Anka is listed as a co-writer on the track. Scorpion also included appearances from Static Major, TY Dollah $ign and Jay Z. On "That's How You Feel," Drake samples Nicki Minaj's song "Boss Ass Bitch" and Future appears on "Blue Tint." No I.D., DJ Premier, PARTYNEXTDOOR, Tay Keith, Boi-1da, and Murda Beatz are among the producers credited on the album.

                                                                                                              STAFF COMMENTS

                                                                                                              Millie says: Drake has returned and is killing it once again with his fifth studio album. The album is culminated of twenty five tracks so you can eat your heart out, Scorpion is fierce and (of course) packed with emotion. Most importantly it features the hit single ‘Nice For What and ‘God’s Plan’.

                                                                                                              FORMAT INFORMATION

                                                                                                              2xLtd LP Info: Double LP in a gatefold sleeve.

                                                                                                              48 Cameras was the brainchild and life project of self-proclaimed non-musician Jean-Marie Mathoul († 04/07/2018), a social worker born and raised in Huy who carefully conducted 48C towards cult status. After hearing an album of William S. Burroughs reciting poetry, J-M decided to put poems and spoken word to music. He was a poet in his own right, having already published a.o. Une cure au cancer (A cure for cancer), a book of poems which at times was wrongly sold alongside medical books. At a literary event in Liège, Belgium, he met UK-based writer Paul Buck (author of the novel The Honeymoon Killers) and the two of them decided to collaborate and thus formed 48 Cameras. The name of the collective references photographer Eadweard Muybridge and a poem by Jim Morrison.

                                                                                                              It is important to note that 48C is somewhat of a non-band. The musicians and collaborators never actually recorded together, and to this day some haven’t even met each other. Before starting the recording process, J-M built an album in his mind: choice of album and song titles, who was to collaborate, even the artwork was clear long before the first note was played, leaving little room for surprises. All of this was carefully collected in decently structured Atoma notebooks full of polaroids, annotations and cut-out photos of paintings and advertisements of cigarettes. An avid smoker himself (as long time collaborator Calo recalls: ‘sometimes he was smoking three cigarettes at a time, he’d forget he had already lit one or two’), the notebook papers slowly transformed into nicotine colored archives of a project that often feels like the musical masterpiece of a recluse puppet master, overviewing and directing things from his attic home studio, aptly referred to as “the Observatory”.

                                                                                                              Throughout the years collaborators sent their parts by snail mail on tape, DAT or even MiniDisc, and with the arrival of the internet some began to upload their contributions. Never, however, was the collective present together in the attic studio.

                                                                                                              STAFF COMMENTS

                                                                                                              Patrick says: Stroom keep it esoteric, ambient and kinda cryptic with their latest archival offering, welcoming us into the ethereal plane inhabited by Jean-Marie Mathoul and his revolving band of collaborators. As we drift through the LP, the sounds form into an uncanny dreamscape where otherwordly sounds sit beneath spoken poetry.

                                                                                                              Back in 2015 George Thompson AKA Black Merlin started a deep love affair with the remote island of Papua New Guinea. After his first album ‘Hipnotik Tradisi’, released on Island Of The Gods; George was intrigued to find a place drenched in culture and untouched by the western world.
                                                                                                              In 2016 George planned his first solo expedition, venturing out to meet the Kosua Tribe. Over the course of the next two years George would record the sounds of the Kosua people, from their daily lives, ancient dance customs and wildlife. During one of these trips he spent 14 days alone in the jungle, getting in and out of the Mount Bosavi crater and further 3 days inside recording and filming his experience. These recordings and experiences formed the basis of his second album, "Kosua". 

                                                                                                              STAFF COMMENTS

                                                                                                              Patrick says: Taking a leaf out of David Toop's book, Black Merlin took an ethno-musicological expedition to Papua New Guinea, entwining the sounds of the Kosua tribe with his dystopic synthwork for an eerie LP.

                                                                                                              Apollo Brown's made quite the impact here at Piccadilly this year, and tops off a wonderful year with this album together with Joell Ortiz - a New York rapper formerly signed to Dre's Aftermath and one quarter of the supergroup Slaughterhouse.

                                                                                                              Fans of Brown's traditional, MPC-based production should be familiar with his infectious hooks and boom-bap beats by now; and the smattering of grooves and hooks is unquestionably high. Ortiz delivers complex, full bars without fuss and follows the great NY heritage of catchy choruses and succinct rhymes.

                                                                                                              If you've enjoyed AB's collaborations with Ugly Heroes and Locksmith, then you're most certainly gonna get down to this. It also serves addition to Joell Ortiz's explosive catalogue. Most recommended. 


                                                                                                              STAFF COMMENTS

                                                                                                              Matt says: Another great rapper combines with Apollo Brown's deft and magical production for a quality album of OG boom-bap business, topping off another great year for Mello and this Detroit superstar.

                                                                                                              System W/ Nils Frahm

                                                                                                              Plus

                                                                                                              New recordings by Danish electronic trio System (aka Future 3) in collaboration with Berlin based composer Nils Frahm. His purpose-built improvisations on synth, organ and piano served as source material for the members of System (Thomas Knak, Anders Remmer & Jesper Skaaning), who merged his warm acoustic tones with their minimalist digitalism and set out to translate their distinctive clicks 'n' cuts electronics into vivid soundscapes. The blending of piano and digital tones and noises into emotive pieces might instantly recall the work of Alva Noto and Ryuichi Sakamoto, though System and Frahm come to quite different results.

                                                                                                              STAFF COMMENTS

                                                                                                              Matt says: A truly heavenly and celestial offering here; tranquil and imparting an impenetrable sense of calm onto all who receive it. For me it draws comparisons with the Heavenly Music Corp LP on Astral Industries - absolutely sublime.

                                                                                                              To-date, the illusive creator behind the aptly named Invisible Minds, has remained somewhat of an enigma. When debut single ‘Yo Mae Leh’ rocketed to half a million streams in late 2017, gained playlist support from BBC 6 Music and champions by way of Lauren Laverne and Steve Lamacq; no one knew the mysterious mastermind was esteemed DJ, Tim Green.

                                                                                                              Make Up Your Own Stories, feels a felicitous title.Less a departure and more a new chapter in Green’s adventure; the 11-track debut is a melding pot of musical inspiration that has been ruminating for over a decade, and crafted between studios, tours and rare quiet-moments. Revealing a more melodic side to Green’s musical personality, the vivacious debut is “honest and innocent and kinda searching for a feeling” as Green himself puts it.

                                                                                                              From the guitar loop hypnotism of track ‘Autum’ and breathy haze of ‘The Cut Girl’ (one of three tracks featuring newcomer vocalist Howard Hobbs) to the MPC hip-hop of new single‘905 Users!’, it’s a record inspired by everyone from Peter Gabriel to Icelandic icon Bjork. Compiling the album across a long time span, then working to turn them into a cohesive body of work was a surreal experience for Green: like looking back on old diary entries from across his entire adult life. “It’s funny – you go back to a particular track and can’t help but be transported back to where you were in your life when you wrote it,” he says. “There’s a lot of nostalgia in there.”

                                                                                                              Nostalgic in its sentiment, but forward-thinking in its production; Make Up Your Own Stories marries synth melodies with deep bass squelches on epic finale‘Take Them All’, the last track written for the album, while standout track ‘Jump Jet’ feels every bit as soaring and propulsive as its title would suggest. “Just when you thought you could come out of the shadows, there comes that poison drizzle in your ear hole,” a ghostly vocal intones over its Radiohead-ish bed of guitar, atmospherics and experimental percussion. Making use of the original Moog Model D and Voyager synths plus world instruments picked up on his travels “there’s a Chinese toy piano, a mbira from Tanzania and a kora from somewhere in Africa, but I can’t remember where…” – it’s sound never stops evolving across its enveloping 11-track runtime.


                                                                                                              STAFF COMMENTS

                                                                                                              Barry says: From crisp, shimmering percussion and flickering FM synths, to more robust dancefloor abstractions, 'Make Up Your Own Stories' displays the perfect balance of heft and tenderness. Beautifully wistful but warmingly direct, Invisible Minds are in it for the long-haul. Beautiful stuff.

                                                                                                              Smashing Pumpkins

                                                                                                              SHINY AND OH SO BRIGHT, VOL. 1 / LP: NO PAST. NO FUTURE. NO SUN.

                                                                                                              Formed in Chicago, IL in 1988, The Smashing Pumpkins released their heralded debut album Gish in 1991 and found mainstream success with 1993’s 4x multi-platinum Siamese Dream and 1995’s 10x multi-platinum Mellon Collie and the Infinite Sadness. Following the release of Adore, Machina/The Machines of God, and Machina II/The Friends & Enemies of Modern Music, the group’s original lineup disbanded in 2000. Singer/guitarist Billy Corgan reformed the group in 2005, enlisting various collaborators for Zeitgeist, Teargarden by Kaleidyscope, Oceania, and Monuments to an Elegy.

                                                                                                              In June of 2018, The Smashing Pumpkins released their new single “Solara” ahead of their monumental Shiny And Oh So Bright Tour. The track was the first song in over 18 years to feature founding members Billy Corgan, James Iha, and Jimmy Chamberlin, alongside longtime guitarist Jeff Schroeder and offered the first glimpse of music from the newly reformed lineup. In September of 2018, the band formally announced their forthcoming 10th studio album SHINY AND OH SO BRIGHT, VOL. 1 / LP: NO PAST. NO FUTURE. NO SUN. and shared its second single “Silvery Sometimes (Ghosts)”.

                                                                                                              Recorded at Shangri La Studios with legendary producer Rick Rubin, LP is due for release on November 16th, 2018 via Martha’s Music under license to Napalm Records. With over 30 million albums sold to date, the GRAMMY®, MTV VMA, and American Music Award winning band remains one of the most influential bands in history. 

                                                                                                              STAFF COMMENTS

                                                                                                              Barry says: I will stick with Billy & Co until the end, let that be said now. Yeah, i've been less keen on things that I probably should have given more time to (Zwan, Machina etc), and been quite the fan of things I probably should have ignored (no names), but this really is classic Smumpkins, the band are back together and they are sounding SUPERB. Long live the Pumpkins.

                                                                                                              FORMAT INFORMATION

                                                                                                              Coloured LP Info: Indies exclusive silver vinyl, limited to 500 copies in the UK.

                                                                                                              Low Sea

                                                                                                              Portals

                                                                                                                Hailing from Ireland, Bobby (originally from Liverpool) and Billie (Bosnian born) from the ephemeral Low Sea compose music that flows like a serpentine river through the uncanny valley. Indeed, the owls are not what they seem—but even such blatant allusions can’t sketch an intuitive image of the sound-scapes woven by this intriguing dyad.

                                                                                                                This is the duo’s third album having released a mini album on Lefse and a narcotic synth pop album on Dell’Orso and this album further extends their insular grey disco sound.

                                                                                                                Low Sea’s woozy, gothic take on coldwave synthpop remains intact on Portals, but this time out moving from the shadows to the light of city nights. Intricately layered melodies shimmer and then pick up energy, as Billie’s unique beguiling voice sings of loss and triumph, loneliness and euphoria.

                                                                                                                As with the last album there is a track mixed by the legendary Stephen Hague (Propaganda/ Pet Shop Boys), the final song All Living Creatures.

                                                                                                                ‘’There are just not enough superlatives in the English language for that matter to describe how good this band are’’
                                                                                                                - Dan Hegarty, RTE2FM

                                                                                                                ‘’the most glorious dark – hewn pop songs – the perfect mix of heart and ice’’ NME.


                                                                                                                STAFF COMMENTS

                                                                                                                Barry says: Like a shadowy, dystopian version of the clean lines and precise edges of Chromatics or Johnny Jewel, Low Sea inhabit the same earth and the same timeline but instead of soaring through the stars, you get the shimmering synths and echoing vox trudging through the back-streets picking up all sorts of gothic flotsam in the process. Brimming with optimism, but pulled back down to earth with gritty reverbs and distorted percussion. Killer stuff.

                                                                                                                FORMAT INFORMATION

                                                                                                                Coloured LP Info: 300 only on angel delight pink vinyl.

                                                                                                                Mumford & Sons are very pleased to share details of their forthcoming fourth album, along with a huge sixty-one date arena tour starting later this year.

                                                                                                                “Delta” will be released through Island Records/Gentlemen of the Road. It was recorded at The Church Studios in London, and produced by Paul Epworth.

                                                                                                                Since the release of Wilder Mind in May 2015, and the collaborative Johannesburg EP in the Summer of 2016, Mumford & Sons have found a rich, prolific vein of form in the writing for “Delta”. Where Wilder Mind harnessed a widescreen electric sound that seemed custom built to be belted back to them from the festival main stages, “Delta” loses none of that sense of scale, but couples it with an intimacy and jubilance that has so successfully combined to make Mumford & Sons one of the biggest bands of recent years. Guiding Light is the perfect example of that – a dizzying folk-rock song that builds, builds, explodes and then explodes again. An emphatic return.

                                                                                                                “Delta” is a record of differing shades, colours and textures. A record that finds Mumford & Sons, no longer young lads caught in a whirlwind, exploring that sense of adulthood and responsibility that comes of turning thirty and revaluating priorities. It’s a tender listen, introspective and reflective but is married with those ecstatic stadium-sized dynamics. It sounds like a career-defining body of work.


                                                                                                                FORMAT INFORMATION

                                                                                                                2xColoured LP Info: Exclusive sand coloured heavyweight 180 gram double vinyl.

                                                                                                                2xColoured LP includes MP3 Download Code.

                                                                                                                2xLtd LP Info: 180gsm heavyweight black vinyl.
                                                                                                                Gatefold sleeve with matt finish.
                                                                                                                Printed inner bags with matt finish.
                                                                                                                Sound Of Vinyl DL card.

                                                                                                                Joseph Shabason

                                                                                                                Anne

                                                                                                                  Delicately and compassionately woven with interviews of Shabason’s mother from whom the album takes its name, Anne finds its creator navigating a labyrinth of subtle and tragic emotions arising from his mother's struggle with Parkinson’s disease. Across the nine vivid postcards of jazz-laden ambience that comprise the album, Shabason unwraps these difficult themes with great care and focus revealing the unseen aspects of degenerative diseases that force us to re-examine common notions of self, identity, and mortality. Shabason’s uncanny ability to manoeuvre through such microscopic feelings is mirrored by his capacity to execute a similar tightrope-walk through musical genres. His music occupies a specific space that is as palpable as it is difficult to pin labels to.

                                                                                                                  On Anne’s second track “Deep Dark Divide” rays of effected saxophone shine behind clouds of digital synthesizer that echoes the sound of jazz in the late 80s, but with a Jon Hassell-esque depth of sensibility that consciously subverts the stylistic inoffensiveness of that era. There is detail and idiosyncrasy beneath Shabason’s dawn-of-the-CD-era sheen that elevates the album far beyond a mere aesthetic exercise. Still, the sounds on Anne are not so experimentally opaque as to stand in the way of the album’s through-line of sincerity and emotionality. When dissonance is employed it is punctual and meaningful, like on album-middler “Fred and Lil” where a six-minute cascade of breathy textures builds suddenly to an agitated growl, only to abruptly give way to Anne Shabason speaking intimately about her relationship to her own parents. Snippets of such conversations see her taking on something like a narrator role across Anne while the sound of her voice itself is sometimes effected to become a musical texture entwined into the fabric of the songs without always being present or audible. On “November” Shabason lays muted brass textures atop a wavepool of electric chords provided by none other than the ambient cult-hero Gigi Masin, one of Anne’s many integral collaborators.

                                                                                                                  The serene tragedy of the album distils itself gracefully into the ironically titled album closer “Treat it Like a Wine Bar” wherein flutters of piano and mournfully whispered woodwinds seem to evaporate particle by delicate particle, leaving the listener with a faint emotional afterglow like a dream upon waking. There is a corollary to be drawn here with what it must be like to feel one’s own mind and body drift away slowly until nothing remains, while the collection of memories and abilities that we use to denote the “self” softens into eternity. On Anne, it is precisely this fragile exchange of tranquillity and anguish that Joseph Shabason has proven his singular ability to articulate. 

                                                                                                                  FORMAT INFORMATION

                                                                                                                  Coloured LP Info: Limited indies-only whale blue vinyl.

                                                                                                                  Josephine Foster

                                                                                                                  Fairy Faithful Harmony

                                                                                                                    Faith and Fate, Destiny and Devotion, Dark Nights and Dazed Illuminations. Josephine raises a stained-glass lamp and shepherds us spelunking the depths of spirit in this four-part double album. Following the fame of her voice are choruses of winged entities (and a space shuttle) that ascend and descend a maze of spirituals: ritual prayers, blues laments, vestal hymns and jubilant benedictions. The edges of the natural world are revolving backdrops from which our narrator perches upon symbolic precipice or saunters desolate snow-blanched forest, exploring eternal themes of mortality and morality, beneath the moon and in occasional dialogue with a mysterious lord of love, an ambiguous mystical figure. Accompanying herself on guitar, piano, organ, harp & autoharp, this cycle of 18 new songs hearken back to various facets of Foster's anachronic oeuvre (the esoteric balladry of This Coming Gladness, native rhythms of Blood Rushing, somnambulist waltzes of I'm a Dreamer, the Shaker primitivism of Hazel Eyes, I Will Lead you). Celestial humor and devastating innocence are delivered with contributions from Victor Herrero (lead guitars), Gyða Valtýsdóttir (cello), Chris Scruggs (pedal steel), Jon Estes (bass), as well as cameos by members of The Cherry Blossoms and others. Recorded, engineered and mixed by Andrija Tokic at his Nashville Bomb Shelter Studio, mastered by John Baldwin, and produced by Josephine herself. 

                                                                                                                    FORMAT INFORMATION

                                                                                                                    2xColoured LP Info: Indies-only clear double vinyl.

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

                                                                                                                    Brown Sugar

                                                                                                                    I’m In Love With A Dreadlocks: Brown Sugar And The Birth Of Lovers Rock 1977-80

                                                                                                                    Soul Jazz Records release this first ever collection of the pioneering British reggae Lovers Rock group Brown Sugar including rare singles, dubs and extended mixes. The album comes with extensive sleevenotes and interviews with Dennis Bovell, Pauline Catlin, John Kpiaye and Winston Edwards (Studio 16).

                                                                                                                    Brown Sugar were formed by three young teenage girls - Pauline Catlin, Caron Wheeler and Carol Simms in South London in 1976. In the short period of time 1976-1980, the group - working with Dennis Bovell on the mixing desk and John Kpiaye (‘Brownie T) in the studio - recorded barely a handful of singles on the new Lovers Rock label, a number of which went to the top of the UK reggae charts. But success stopped there and with no album release and no industry support the group broke up in the early 1980s.

                                                                                                                    Following their split Caron Wheeler became the lead vocalist for the hugely successful group Soul II Soul, Carol Simms launched a solo career as Kofi (re-making a number of Brown Sugar songs with producer Mad Professor) and Pauline Catlin returned to education.

                                                                                                                    Despite their relatively low-key mainstream public exposure Brown Sugar (and the label on which their first records appeared) announced to the world a new genre of reggae music, Lovers Rock, which spoke for the first time with the sensibility of a new segment of British society; that of first generation-born Black British female youth.

                                                                                                                    And while Lovers Rock became synonymous with sweet love songs, Brown Sugar’s music in fact expressed far more; a righteous pride and consciousness in being Black and British, a political stance more often associated with UK roots groups like Black Slate, Aswad, Misty In Roots and other British reggae acts in the late 1970s. Brown Sugar were in fact their own genre of ‘conscious lovers rock’ - an expression of ideological black cultural pride.

                                                                                                                    Brown Sugar’s handful of three-minute love songs (often plus extended dubs) somehow manage to encapsulate all the complexities of identity, sexual politics and youthful righteousness of Afro-Caribbean youth living in Britain in the 1970s. Songs such as ‘I’m In Love With A Dreadlocks’, ‘Our Reggae Music’, ‘Black Pride’ and ‘Dreaming Of Zion’ spoke with a straightforward righteousness and consciousness that few roots groups could hope to match. The fact that they were all teenagers is even more striking.

                                                                                                                    Dennis Bovell comments, “For Lovers Rock we needed a pulpit, a way of saying ‘this is the style’. Sound systems were already saying ‘this is lovers,’ brandishing it in the dance. Our intention was to create a style of music that my generation could identify with - one that had a beat, and you could dance to with your partner in a sound system setting.”

                                                                                                                    Dennis Bovell’s mixes for the group gave a further dimension to Brown Sugar records - a sound system mentality, adding sound effects and dub elements. ‘I’m In Love With A Dreadlocks’ was the debut release for both Brown Sugar and the Lovers Rock label, a fitting calling card for both. The record was a hit on many sound systems across the UK, reaching the top of the reggae charts.

                                                                                                                    Although the career of Brown Sugar was short-lived, their legacy and influence remains significant and now, 40 years on from these first records, all of the members are still involved in music. Pauline Catlin has recently re-launched her career under a new moniker, Shezekiel; Carol Simms, aka Kofi, remains a successful solo artist, one of the queens of Lovers Rock; Caron Wheeler, after leaving Soul II Soul at the end of the 1980s, embarked on a solo career, before re-joining the soul super-group which she continues to front to this day.

                                                                                                                    STAFF COMMENTS

                                                                                                                    Matt says: Lovers rock was a distinctly UK-JA hybrid, and Brown Sugar were one of the catalysts of this homegrown, offshoot movement and were huge here in Manchester, as well as London & Birmingham.

                                                                                                                    It’s hard to talk about techno without Robert Hood. The Motor City mainstay was a founding member of the pivotal Underground Resistance with Mad Mike Banks and Jeff Mills, and then went on to lay down a blueprint for minimal techno which continues to make an impact to this day. As Floorplan, of course, he veers into more funky and melodic house and techno, often with a gospel overtone that lead to rapturous receptions on dance floors around the world.

                                                                                                                    But the techno he makes as Robert Hood is what he is best known for. It has come on his own M Plant label, as well as vital outlets like Tresor, Peacefrog and Dekmantel, where 2017’s"Paradygm Shift" album proved that, 25 years after first starting out, he is still a force unto himself. The record was a return to the roots of his definitive "Minimal Nation" LP in 1994, and was filled with the sort of expert melodic loops, scintillating drums and hypnotic sense of repetition
                                                                                                                    that only a few can master: making such simple yet effective music is a skill that Hood has made all his own.

                                                                                                                    His DJ-Kicks mix proves that once more: it is a techno mix, pure and simple. It exudes the trademark machine warmth and muscular sense of groove that makes Hood’s style so infectious. Most tracks are from the last few years and come from a range of mainly European producers, but the result is pure Robert Hood.

                                                                                                                    The perennial futurist wastes no time in getting down to business: after a brief buzzing synth line sounds like a spacecraft warming up for takeoff, the rubbery, relentless drums arrive and remain rooted to the floor for seventy minutes. Despite his famously linear approach, the tension between tracks, suspenseful breakdowns and sci-fi sense of melody throughout keeps you engaged: there is just enough light in the dark, sufficient colour between the shadows and constant sense of pressure to keep you utterly engaged from start to finish. Robert Hood is synonymous with techno, and his entry into the DJ-Kicks series shows exactly why.

                                                                                                                    The double LP version contains eight singular tracks in their entirety (as opposed to the CD which contains the whole mix, uninterupted). Truncate, Slam, Gary Beck and Robert Hood are amongst its contributors and it's the perfect companion vinyl to the full length DJ Mix.


                                                                                                                    STAFF COMMENTS

                                                                                                                    Barry says: One of the godfathers of modern techno, Robert Hood slams through a wide-ranging collection of straight-up bangers, filter-heavy basement tackle and hypnotic syncopated dissonance, all underpinned with a robust and ever-present kick. Get up, and GO.

                                                                                                                    Various Artists

                                                                                                                    Just A Bad Dream: Sixty British Garage And Trash Nuggets 1981-89 - 3CD Boxset

                                                                                                                      Sometimes, a disparate crowd of random influences and a handful of scene-makers coalesce out of nothing, and before you know it a movement is happening. So it was in the UK in the early-to-mid-‘80s, when an unlikely set of bands resurrected the spirit of mid-‘60s Garage Rock. Fusing that sound with elements of the pre-Fab Four, Psych, Mod, Rockabilly and Psychobilly, and greasing the wheels of this new machine with a thick slab of post—punk sensibility, bands across the UK began to shout and holler like they hadn’t in years, capturing their work on often rough and ready recordings, issued on Big Beat, Hangman, Hit Records, Media Burn, Creation and other equally fried labels. From London, Medway and the South East to Edinburgh and beyond, the Trash movement spread, quickly reaching out into mainland Europe and beyond.

                                                                                                                      Here in the UK, Trash finally enjoyed its moment in the sunshine in 1984, when four of the scene’s key bands appeared on Channel 4’s flagship music show The Tube. Spiky, brash, loud and unfettered by delusions of grandeur, this is the sound of the post punk UK music scene looking backwards whilst moving forwards. Not for the faint-hearted, sure, and always likely to tell you where you can stick it, but this is a sound that has stuck. The garage and trash scene, albeit under different names and sprinkled with a layer of post-Millennial self-awareness, continues to thrive around the world. Wherever one finds guitars, amplifiers and the primal spirit, one finds Trash. Packed full of rarities and collectibles – the Medway Valley and Billy Childish related material is currently particularly sought after – ‘Just A Bad Dream’ will appeal to fans of ‘80s Psychedelia, Mod Revival, Indie, Psychobilly and, of course, the ‘60s Garage Rock that influenced so many of these artists.

                                                                                                                      STAFF COMMENTS

                                                                                                                      Barry says: Clearly influenced by the flood of post-punk and rockabilly acts around the same time, Trash is a scuzzed-up version of garage, often recorded with little to no equipment and with more than an abundance of energy. Here we get the choicest nuggets, all collected on three jam-packed discs for your listening pleasure. Top collection.

                                                                                                                      Various Artists

                                                                                                                      JD Twitch Presents Kreaturen Der Nacht - Free Fanzine Edition

                                                                                                                      THE PICCADILLY RECORDS COMPILATION OF THE YEAR 2018.

                                                                                                                      FOR A LIMITED PERIOD ONLY BOTH FORMATS COME WITH AN EXCLUSIVE LIMITED EDITION 8-PAGE FANZINE FEATURING EXTRA PHOTOS, ARTWORK AND MEMORABILIA.

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

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

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

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


                                                                                                                      STAFF COMMENTS

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

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

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

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


                                                                                                                      STAFF COMMENTS

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

                                                                                                                      FORMAT INFORMATION

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

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

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

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

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


                                                                                                                      STAFF COMMENTS

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

                                                                                                                      FORMAT INFORMATION

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

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

                                                                                                                      Fleet Foxes

                                                                                                                      First Collection 2006-2009

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

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

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

                                                                                                                      STAFF COMMENTS

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

                                                                                                                      FORMAT INFORMATION

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

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

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

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


                                                                                                                      STAFF COMMENTS

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

                                                                                                                      FORMAT INFORMATION

                                                                                                                      Coloured LP Info: Raspberry coloured vinyl.

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

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

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

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

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

                                                                                                                      FORMAT INFORMATION

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

                                                                                                                      Dead Can Dance

                                                                                                                      Dionysus

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

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

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

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

                                                                                                                        FORMAT INFORMATION

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

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

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

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

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

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

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


                                                                                                                        STAFF COMMENTS

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

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

                                                                                                                        STAFF COMMENTS

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

                                                                                                                        Jean-Pierre Boistel / Tony Kenneybrew

                                                                                                                        Percussions Pour La Danse

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

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

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

                                                                                                                        STAFF COMMENTS

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

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


                                                                                                                        STAFF COMMENTS

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

                                                                                                                        Bibio

                                                                                                                        Phantom Brickworks (IV & V)

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

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

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

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

                                                                                                                        STAFF COMMENTS

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

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

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


                                                                                                                        STAFF COMMENTS

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

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

                                                                                                                        FORMAT INFORMATION

                                                                                                                        LP includes MP3 Download Code.

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

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

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

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


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

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

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


                                                                                                                        STAFF COMMENTS

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

                                                                                                                        Peter Broderick

                                                                                                                        Two Balloons

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

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

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

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

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

                                                                                                                          Straight Arrows

                                                                                                                          On Top

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

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

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

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

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

                                                                                                                            Meg Baird & Mary Lattimore

                                                                                                                            Ghost Forests

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

                                                                                                                              Mick Harvey & Christopher Richard Barker

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

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

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

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

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

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

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


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

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

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

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

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


                                                                                                                              STAFF COMMENTS

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

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

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

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

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

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


                                                                                                                              STAFF COMMENTS

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


                                                                                                                              Various Artists

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

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

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

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

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

                                                                                                                              Van Peebles poetic streak also spilt over into recordings – always heavily politicised and representative of the the new African American militancy. Van Peebles clas