Search Results for:

100%

Skunk Anansie

This Means War / What You Do For Love

    Skunk Anansie return with a limited edition 7” picture disc featuring both of their recent single releases. Following a massive 25th anniversary tour, the two new songs played are now released as studio recordings. Both tracks feature the back to basics Skunk Anansie heavy rock sound with Skin’s trademark powerhouse vocals.

    FORMAT INFORMATION

    7" Info: Picture disc.

    We Are Scientists

    With Love And Squalor

      The indie disco classic - finally back on vinyl! We Are Scientists reissue their 2005 album With Love and Squalor on the occasion of its 50th anniversary. Includes the hit singles Nobody Move, Nobody Get Hurt, The Great Escape and It’s A Hit.

      “A long time ago our management came to us and suggested we reissue With Love and Squalor on the 14th anniversary of its release, which we thought was pretty dumb. ‘Come back to us on a real anniversary,’ we told them. Fast-forward to a couple weeks ago, when they told us big 50 was coming up. I’d say that’s worth celebrating.” - Keith

      "Fans have been asking us to reissue With Love and Squalor on vinyl ever since the last printing, in 2006, ran out. The fact that it took fifty fucking years to make this happen still blows my mind,” says Chris, to which Keith adds, "It’s a testament to the glacial pace of things at major labels. Definitely helps explain some of their financial trouble.”


      FORMAT INFORMATION

      Coloured LP Info: Red vinyl.

      Stone Foundation

      Everybody, Anyone

        Everybody, Anyone features 11 new songs and as before, there’s a sprinkling of guest musicians who feature on the album including Kathryn Williams, Dr Robert, Mick Talbot, Steve White, & The Average White Band’s Hamish Stuart. And unable to stay away, Paul Weller (who produced and featured on the last album) sneaks back in with a bit of piano, guitar and BVs on a couple of tracks. The Midlands based band’s 5th studio album was recorded at Paul Weller’s Black Barn Studios in Surrey and produced by Stone Foundation founding members Neil Jones and Neil Sheasby and engineered by Charles Rees.

        The band, buoyed & encouraged by the reception to their last album Street Rituals (chart position: 25), have taken a slightly different direction and hit upon a creative formula that clearly works. After a long period of extensive touring, which included headline shows at Shepherds Bush Empire and a storming set at Glastonbury, the band were so stoked that they went straight back to the studio to start work on Everybody Anyone while the creative juices were still flowing.

        Everybody, Anyone sees a harder, heavier funk vibe than it’s predecessor but with the great grooves comes great songs. Talking about the album, bassist Neil Sheasby says: “In recent years I’ve heard a lot of records with great grooves but there’s no song, the message & melodies were still key to the records creation. To me it sounds like a very cohesive collection of tunes, a body of work that hangs well as a complete album. The next natural step for Stone Foundation” 


        We Are Scientists

        Megaplex

          We Are Scientists, the Brooklyn, New York based power pop troupe are set to return with their sixth album. Titled ‘Megaplex’ and released via 100% Records on April 27th, the infamous duo, Keith Murray (guitar/vocals) and Chris Cain (bass), are once again set to dazzle the world with ten brand new splashes of colourful and utterly addictive pop that serve as a welcome distraction to these bleak times we live in.

          “In the past we’ve used our music to educate, to enlighten, to awaken people to the depth and complexity of moral concerns. This time, we really wanted to drop a fun-bomb. Something to dance or f*** to,” states Chris and ‘Megaplex’ achieves just that. Recorded at Tim Wheeler from Ash’s Atomic Heart Studios in NYC and once again produced by Max Hart (ex-Katy Perry), the duo set about honing down a sprawling burst of creativity to make the concise pop beast that is ‘Megaplex’.

          "At this point in our career, we’ve written so many songs,” explains Keith. “The pool for this record alone was something like 90 songs deep — that we know exactly what we want out of a We Are Scientists record. We want it to be taut, to bang hard, to have a big hook every four seconds or so. We don’t have to be precious about which songs make it onto a record; we can listen to the ones that didn’t make it at home, on our own time. ‘Megaplex’ is just the ten most delicious songs that we have — a stacked-up compound of entertainment."

          "It takes a lot of hard work, a lot of honing of craft to make it to six records,” continues Keith. “ I mean, the Velvet Underground never made six albums. The Smiths didn’t. Pavement, Guns N’ Roses, The Stooges — none of them could do it. So, I guess we’re just objectively better than those bands now? It’s just a mathematical fact, right? Van Halen made six with David Lee Roth but only four with Sammy Hagar, so I guess we’re better than Hagar-era Van Halen but only just as good as Roth-era? Which, saying it out loud, makes total sense, yeah."

          These are stark facts that cannot be argued when faced with the ten melodious molten nuggets that are simply blinding in their brightness. Yes folks, We Are Scientists are very much back.

          “Our brilliant work in pop song writing is unsurpassed,” summarises Keith. “And will probably make the We Are Scientists Name live beyond eternity.”

          STAFF COMMENTS

          Barry says: Bright, soaring melodies and bolshy, neon synths thump around the stereo image while the vocals soar over the top. Unashamedly retro but brilliantly modern, and great fun throughout.

          FORMAT INFORMATION

          Coloured LP Info: Limited edition white vinyl.

          The bands 4th studio album was produced by Paul Weller, who also features on all the tracks (piano, guitar & vocal including lead vocal on ‘Your Balloon Is Rising’). Having been hugely impressed by Stone Foundations previous endeavours, Paul personally contacted the band to propose the idea of working together, initially on one specific track, but having enjoyed the process so much, the resulting ten compositions on ‘Street Rituals’ now all have musical input from Paul. Two songs - ‘The Limit of a Man’ & ‘Colour Of’ - are co-writes with a Jones/Sheasby/Weller credit.

          Stone Foundation’s Neil Jones commented: "Paul contacted us at the start of 2016 after hearing our last record. He wanted to know if we'd like to get involved with a demo he'd been working on and we obviously grasped the opportunity with both hands. ‘The Limit of a Man’ was born out of those early exchanges and from that point onwards we never looked back". Neil Sheasby added “Paul pretty much joined the band for the recording sessions, playing guitar, piano and adding vocals to several songs as well as overseeing the production of the record.”

          Elsewhere on the album there are stunning contributions from legendary soul singers William Bell, who lends his voice to ‘Strange People’, and the unmistakable tones of Bettye Lavette, providing the lead on ‘Season of Change’. The collaboration between Stone Foundation and these internationally celebrated artists cements the bands incredible reputation as one of the finest British Soul bands in existence.

          With an extraordinary history of constant surprises and success against the odds, ‘Street Rituals’ feels like the culmination of years of hard work paying off for Stone Foundation as they continue to develop their unique style of soul on a much broader scale. Subtle horn & string arrangements add glorious swathes of colour and light to a new collection of songs that are unquestionably the groups strongest to date. Co-writers and founding members Neil Jones and Neil Sheasby have consciously delivered thought provoking lyrics that reflect current issues of uncertainty and division, but smartly balance that with a prevailing sense of hope and optimism within their musical delivery.

          "These are dark, dark times so I was glad to hear a positive voice and vibrations in the words and a joy in the music...what a pleasure and a privilege it was to work with these fellas". “It’s their best songwriting to date, and I just hope people get to hear it because there are some great tunes and I like the message on the record. I like the social comment, because you have so little of that these days.” - Paul Weller on the band and record

          We Are Scientists

          Helter Seltzer

          We Are Scientists, the Brooklyn, New York based power pop troupe are set to return this coming April 22nd with their fifth album. Titled ‘Helter Seltzer’ and released via 100% Records, it is preceded by the single release of ‘Buckle’, the album’s opening track, available today for stream and download.

          For this album We Are Scientists asked their ex-keyboard player Max Hart to produce. Max had just finished a three-year stint as the keyboardist for international super-mega-person Katy Perry, choosing as his final gig Ms. Perry’s performance at the 2015 Super Bowl. After a number of small producing projects squeezed in between tours, he was ready to roll up his sleeves and dive in.

          Max rented a studio space in Brooklyn’s DUMBO neighbourhood, outfitting it with gear he had accumulated over a decade of obsessive internet shopping. In early March, the team got to work. At their disposal was a trove of new We Are Scientists demos as well as Max’s inside-out familiarity with hits like ‘Teenage Dream’ and ‘Firework’ and ‘Dark Horse.’ Sifting through the options, a direction emerged: they would use the tones and trickery of radio pop to add a sweet sheen to the new crop of distinctively We Are Scientists songs. Months of toil and trial and error finally brought the right balance, and the finished recordings were shipped to mixer Chris Coady at Sunset Sound in L.A. Coady has quietly emerged in recent years as one of the finest mixers of glossy indie pop, with credits that include Future Islands, Beach House, and !!!.

          In ‘Helter Seltzer’ he knew he had an album that should shimmer but also bang, and he applied all of the magic and sauce at his disposal to insure it did exactly that. Finally, the music was passed through the deluxe mastering machine that are the ears of Greg Calbi (Yeah Yeah Yeahs, Noel Gallagher, Perfume Genius) to add a coat of heft and sparkle, and in January of 2016, nearly a year after construction began, the album was pronounced complete.

          "We've always made overtures toward being a pop band, but we've generally had the inclination to obscure those pop leanings in grit and chaos — to screw them up with fuzzed-out tones and raucous performances," says guitarist and vocalist Keith Murray. "It's made us really think about what our musical genre is. We're not punk — we're too interested in making our songs as pretty as possible. We're not straight-up rock — our tastes our too left-of-centre. We're not indie-rock — our heads aren't far enough up our own butts. So finally, after putting as much time into thinking about it as we're apt to — about ten minutes, over beers — we decided that our genre is 'Helter Seltzer.'"

          "Declaring a new genre is obviously douchey as hell, though, and impossible to deliver with a straight face," adds bassist Chris Cain, "so we did the noble thing and just made ‘Helter Seltzer’ the album title. It's especially apt for us these days, though. The songs here are more effervescent than we've ever managed to deliver, but they've still maintained a measure of that ‘Helter Skelter’ element — no matter how fizzy and refreshing the tunes are, they've always got a bit of that seamy, scuzzy, 'cult on Spahn Ranch' vibe."

          "Incidentally, the album title represents a secondary bonus of proselytizing to the world about seltzer, which is woefully under-recognized outside the United States. We've polled foreign friends and associates about their awareness of seltzer, and found out that most of them thought it related either to a hangover cure or to that fusty comedic "squirt in the face" gag from classic cinema. Almost none recognized the fine pleasure of sipping on a nice, refreshing seltzer water, available everywhere in bottles and cans throughout the U.S. We therefore consider this album, as a vessel of both sweet pop tunes and seltzer outreach, to be a work of undisguised philanthropy on our part."

          Magic Touch

          Palermo House Gang

            After three thick years of performances, passport abuse, and pumping, pleasure-principle EPs, Damon Palermo, AKA classic house torchbearer Magic Touch, presents his pinnacle statement to date: 'Palermo House Gang'. Joining forces with a vast cast of collaborators sourced from his intercontinental travels - Octo Octa, Newbody, Benny Badge, The Horses, Sarah Bates, Sorcerer, Ash Williams - Palermo swings and sweats through funky new wave club mixes, freestyle R&B, mesh-top house, freeform hardware workouts and decadent disco for a sprawling celebration of communal motion and dancefloor idealism.

            Sustained heavy touring often grizzles musicians into cynical survivalists but it seems to have had the opposite effect on Palermo - these are his most generous, playful and sensual tracks to date. Let go, lighten up, join the Gang.

            The new long player was recorded in New York City over the last year with producer Chris Coady (Smith Westerns, Beach House, Gang Gang Dance, Blonde Redhead), and lands in the middle of the band’s 5 month tour of Europe, America & Australia. A summer of festivals will follow.

            Asked to comment on the unusual title, bassist Chris Cain explains, “It’s in French, I think. At least some of the words.”

            Singer and guitarist Keith Murray elaborates: “We wanted to get at the seemingly inevitable parallax that happens between two people in a relationship, that sense that you get the gist of what the other person needs and wants and how they feel about you, but only the gist — you’re relying on these broad cues a lot of the time to tell you what the hell’s going on.”

            We Are Scientists exploded onto the U.K. scene with one of 2005’s iconic indie dance rock records, ‘With Love & Squalor’. Years of touring followed, as did a second album, ‘Brain Thrust Mastery’, that spawned now-classic nightlife anthem ‘After Hours’ (a #11 charting single). Main stage slots at Reading & Leeds, Glastonbury, T In The Park, and festivals all over Europe, as well as appearances on Later with Jools Holland, and their own series of comedic MTV shorts (‘Steve Wants His Money’), followed by third album ‘Barbara’… all served to cement and increase their legacy.

            Now, after releasing a 7-inch and a 5-song EP in 2013, the band prepare to share their finest collection of songs to date.

            According to Cain, “The guy who was producing everything looked different from the one who did those other three records.”

            Murray further enthuses, “Yeah, working for the first time with Chris Coady as producer had a huge effect — he has such a distinct and well-developed sense of what’s cool and what sounds good, but he’s also emphatic about keeping the rawness of the performances in there.”

            Drummer Andy Burrows, who also recorded ‘Barbara’ with W.A.S., relocated to New York for a year to work on the new album, and lends his world-class efforts behind the kit and elsewhere.

            Scotland-born Parisian Paradise 100 (aka DJ Africa, aka Graham Peel) has been percolating stripped-back, bouncy-castle house constructs onto the web for a few years but never locked them in wax until now. High time. Following his minimalist dictum “more than three tracks on a song is just indulgence,” his debut EP’s four cuts share a sleek, spare design, jigsawing slinky bass, classic keys, lean drum programming and flashes of synth mirage into fluid, aerodynamic patterns. Touches of melodic acid and crossover new wave color the mood an exotic, hedonistic hue (further evinced by titles like “The Loin King” and “French Kissing in the House of Love”). His own vision of the project is appropriately fantastical: “The image in my mind is of tropical forests at night, torchlight, distant sounds of tribal ritual dance and ghosts.” Regal music for pleasure domes.

            Roland Tings

            Milky Way

            Like the satisfying first sip of soda water spritz, Roland Tings’s debut EP 'Milky Way' bubbles, barms and beads through your body. Roland Tings is Rohan Newman, a Melbourne producer who, like recent rubies Holy Balm, Forces and Canyons, proves there’s just more and more greatness behind the great and powerful Oz. Melodic acid trips soak in swish-ticky booms, like a rubber ball in space with endless bump and bounce. Sweet off his Japanese jaunt, speeding things down with Sapphire Slows shows, Newman’s taste is pure effervescence and buoyancy. But he’s got a percussive stickiness as well, a vim / vigor that raps and rips through Trax touchups and echo-plexes. Not the nineties but the “none-ties” - no glimmer glam, sampladelic vocal vacations or happy house heartbeats. He ends the creamy Milky Way with a brilliantly wonky theme that springs like a wind-up toy gone loose. Roland Tings, Dings and Zings.


            Octo Octa adds the melancholy to LA Vampires infinite fadness on "Freedom 2K", their reachin’ / preachin’ 50/50 collaboration on 100% Silk. Here La Vamps has traded her cheap'n’chic booty-budget grooves for sleek'n’chic haunted house. With lyrical references to Minnie Riperton, Arthur Russell, and Evelyn 'Champagne' King, vocalist Amanda Brown reappropriates realms of romance, skewing them into fresh sonic moods. Her wash'n'rinse sing / speak is backed by Nick Malkin’s keys-like-skippin’-stones, Britt Brown’s Tex-Mix dub-bumps, and Brian Foote’s sense and sexpertise, which are all just spit and shine for Octo Octa’s moonlit piano naïve melodies. Gloss and glow design by aesthetic-elevator Bobby Houlihan, with silver and pink toned drop-of-androgeny photography by Ashley Anthony, will push your candy buttons. "Freedom 2K" provides dance-or-be-danced-on anthems for the 21st Century, with a diagonal devotion to our generation’s gay nineties. 'We were living in a fantasy' - George Michael, "Freedom 90".

            Catwalk calls from a Creole Camelot; Sir Stephen’s more Boy London than Boy Bayou. Like the well-lit fitting room of a United Colors of Benetton store in Milan, “By Design” is consumer-cool counter culture, if the counter’s a denim bar that only takes gold Amex. Like the pool on the roof of a luxury hotel in Tokyo, “By Design” is Starck-er than stark, wetter than wild, and deeper in the shallow end. Like a Kuwakuba runway during Paris fall fashion week, “By Design” is baggy on Agynes, mixxy on Moss, jammin’ on Gemma. It’s so down it’s beat, so after-hours its early afternoon, so oversized there’s room for two. Made by design with the finest materials - rayon and on, cashmere and cream, and 100% silky Silk. Yeah, boy. Well, that's what 100% Silk say, we think this sounds like a quartet of Inner City Detroit house B-side dubs. Kevin Saunderson gon' get paid.



            This Product

            I Hope You're Ready, Asshole

            Manchester's This Product are described as theatrical rockers, and two of these tracks are taken from their forthcoming album, "Magic Bull".


            Latest Pre-Sales

            118 NEW ITEMS

            RT @Tim_Burgess: Quick Survey: Please click ‘like’ on this tweet if you have joined in on one, or more, of our listening parties. Thanks Ti…
            Thu 9th - 11:58
            Morning. This way for a little virtual dig through the Synthpop/Electropop section. Closed physically, OPEN online.… https://t.co/FZIdOrfrCz
            Thu 9th - 10:18
            Thanks for ordering and sharing Warren. Seems like you’re keeping @onusound in business too 😀… https://t.co/QPiUrcJjL4
            Thu 9th - 8:46
            Honoured to be name checked by the great @johngrantmusic as one of his favourite record stores around the world alo… https://t.co/cuRnUY2qsl
            Wed 8th - 2:36
            Mailorder info and updates this way https://t.co/xyz2ixzHj8 https://t.co/PFPdfzx59U
            Wed 8th - 1:42
            E-newsletter —
            Sign up
            Back to top