THIS IS A RECORD STORE DAY 2026 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 18TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM (BST) ON MONDAY APRIL 20th).

Crystal Clear 12" Vinyl single - 2025 hit single ‘Blessings' featuring Clementine Douglas available on crystal clear vinyl for the first time. Includes the Extended, Cassian and KETTAMA remixes.

C Douglas releases his debut EP on Golden Lion Sounds.

This is melodious, upbeat synth-pop with vulnerability at its core.
His songs - which begin as acoustic, folk demos - take the shape of our times in the production process. Brought to life in a more contemporary setting, synthesisers, motorik beats and pulsing bass lines take centre stage. Big choruses are never far away and with a focus on energy and simplicity, each lyric and hook becomes instantly recognisable.

Generosity, open conversation and creative collaboration with Steve Cobby allowed the EP to take shape and the four tracks were finished in the home studio over the duration of two sunny weeks.

STAFF COMMENTS

Matt says: Golden Lion deliver a supreme curveball, as always keeping us on our toes. C Douglas offers up a light hearted but thoughtfully penned EP that shimmers like a spring morning and unfurls joyously. Clever arrangements, inspired songwriting and an easy to digest palette means this'll find favour right across the field.

TRACK LISTING

1. At First 04:04
2. I Like It Like That 03:21
3. If You Want Me 03:58
4. Around The Corner 03:54

Communique Records U.S.A. re-issues the sublabel Country Western!
Starting with Brian Douglas' "Singularity" from 1996; a slamming slice of uncompromising techno from a period that took no prisoners! Destined to have hordes of feral ravers beating their chests, swinging from the rafters and dancing manically next to the speaker stacks. From the Detroitian influences opener, "Torn Apart" to the free part acid of "Rising Sun; through b-side's Midwest menace "Magic", and closing on on the cerebral clammer of "First Time". A flawless set from a golden era available to all once more.   

Recorded from original DAT and re-mastered.

STAFF COMMENTS

Matt says: An oft-overlooked piece of ground-breaking techno from the mid 90s. Half Detroit finesse, half Midwest aggression, and one of the few records ever penned by illusive Chicago producer Brian Douglas!

TRACK LISTING

A1. Torn Apart
A2. Rising Sun
B1. Magic
B2. First Time

US House Music legend Teddy Douglas of Basement Boys and Jasper St. Co. fame gets set to unleash his first solo artist album, ‘I’m Here’, on the iconic label, Nervous Records. Teddy has gone all out to deliver one of his most creative and musically diverse albums to date. ‘I’m Here’ is a colourful pallet of meaningful songs and grooves that reach far beyond Teddy’s signature soulful Baltimore House sound, with added infusions of Funk, Rock and Jazz, yet still loaded with plenty of Teddy’s trademark House and Disco sounds that we all know and love.

Across the album he’s pulled together an array of heavyweight international vocal talent including; UK vocal diva Pauline Taylor; Danish award winning Folk and Blues artist, Richard Farrell; Chi Town Hip House legend, Fast Eddie; dance music’s legendary No.1 vocal queen, Ultra Naté; up and coming Brit Soul talent, Sipho; and Buckshot from Blackmoon appearing as BDI Thug. From the shimmering cover of The Frontline Orchestra’s ‘Don’t Turn Your Back On Me’ with Pauline Taylor on the vocals, to the downtempo rocky vibes of ‘Help!’ with Sipho delivering a spine-tingling gravelly vocal, ‘I’m Here’ is testament to Teddy’s finely tuned expert musicianship and impeccable knack for penning great songs and delivering vibrant covers.

Baltimore’s Teddy Douglas has produced everyone from Michael Jackson, Lenny Kravitz, Crystal Waters, Erykah Badu, Martha Wash and Ultra Nate’ and was an important figure in the development of the Baltimore “House” Sound. Teddy has held down a long and successful DJ career since 1983 staring out in Baltimore and spreading his wings globally gracing the decks at clubs such as Yellow in Japan to London’s Ministry of Sound and beyond. In 1985 he met Jay Steinhour and Thommy Davis, who later formed The Basement Boys production company. The Basement Boys have produced countless dance classics like Crystal Waters’ 1991 Gold single, ‘Gypsy Woman’. In the mid 90’s Teddy Douglas and Jay Steinhour opened Basement Boys Records and released club anthems from Teddy Douglas, Jasper St. Co., Ann Nesby, Those Guys, DJ Spen, Byron Stingly, Karizma, Kenny Bobien, Taja Seville and more

TRACK LISTING

A1. Teddy Douglas & Ultra Naté - Searching (For Your Love) 
A2. Teddy Douglas Ft. Richard Farrell - Tonight 
B1. Teddy Douglas Ft. Fast Eddie - House Music 
B2. Teddy Douglas Ft. BDI Thug & B Mo Moultrie - Star In The Ghetto 
C1. Teddy Douglas Ft. Pauline Taylor - Don't Turn Your Back On Me 
C2. Teddy Douglas Ft. Richard Farrell & Jasper St. Co. - Make It On My Own 
D1. Teddy Douglas Ft. Richard Farrell - Gimme A Call Sometime 
D2. Teddy Douglas Ft. Richard Farrell - Second Hand Smoke 
D3. Teddy Douglas - I'm Here

British artist Douglas Dare announces the release of his fourth album Omni. Seen by Douglas himself as a bold rebirth and embrace of the electronic, Omni is all at once a throbbing, avant-garde, queer, dark and cinematic record imbued with a love of rave culture and sense of fearless storytelling that’s deeply evocative. Omni will be released on May 10 via Erased Tapes. To mark the announcement, Douglas today shares the first taster of the record with ‘Mouth To Mouth’, a pulsing, synth-laden track that begs to be played loud. ‘Mouth To Mouth’ sees a collaboration with label mate Daniel Brandt who appears on production duties, with beats supplied by Rival Consoles. Speaking on the track, Douglas says, “life, death, fate and orgies; this is the heartfelt club track I always wanted to write.” Since 2013, Douglas has blurred classical, chamber-pop, folk and avant-garde to dazzling effect, with a startling voice that can stop you in your tracks. It’s why he’s played with luminaries like Nils Frahm, Perfume Genius and Ólafur Arnalds, and was selected by David Lynch and The Cure’s Robert Smith for their respective cultural festivals in Manchester (MIF) and London (Meltdown). But Douglas’s fourth album, Omni, is a fresh awakening. Encouraged by Erased Tapes founder Robert Raths, he decided to step away from acoustic instruments, especially the piano he grew up playing, and swapped them for synths and drum machines. His new music has much in common with Arca and the late SOPHIE, two artists for whom self-expression meant liberation. “I got to hang out in the studio with her,” says Douglas of the latter musician, “the way she made music made a big impression on me.” And yet Omni is steeped in the kind of deft storytelling, sweeping strings, elegant contrasts and fairytale atmosphere that marks Douglas out as a crucial and singular voice. It’s not often you hear a strutting electro banger that could have been straight out of 90s Soho, with vocal loops inspired by US experimentalist Meredith Monk. For Douglas, Omni is about reconciling all those different sides of himself – the songwriter, the raver, the lover, the observer. It’s a hugely queer record: seductive, sexy, lusty, untethered from the genre binary. “It’s even got sailors on it!” laughs Douglas. “You don’t get more queer than that.

The definitive oral history of Scottish postpunk, from Glasgow to Edinburgh, the Postcard label and Fast Product Description.

The immense cultural contribution made by two maverick Scottish independent music labels, Fast Product and Postcard, cannot be underestimated. Bob Last and Hilary Morrison in Edinburgh, followed by Alan Horne and Edwyn Collins in Glasgow helped to create a confidence in being Scottish that hitherto had not existed in pop music (or the arts in general in Scotland). Their fierce independent spirit stamped a mark of quality and intelligence on everything they achieved, as did their role in the emergence of regional independent labels and cultural agitators, such as Rough Trade, Factory and Zoo.

Hungry Beat is a definitive oral history of these labels and the Scottish post-punk period. Covering the period 1977-1984, the book begins with the Subway Sect and the Slits performance on the White Riot tour in Edinburgh and takes us through to Bob Last shepherding the Human League from experimental electronic artists on Fast Product to their triumphant number one single in the UK and USA, Don't You Want Me. Built on interviews with Last, Hilary Morrison, Paul Morley and members of The Human League, Scars, The Mekons, Fire Engines, Josef K, Aztec Camera, The Go-Betweens and The Bluebells, Hungry Beat offers a comprehensive overview of one of the most important periods of Scottish cultural output and the two labels that changed the landscape of British music.

"If I knew I were alive, I could do so much better. If I knew what I had, then I could use it more wisely. If only I’d known before then I’d be in a better place already. If only."

London-based singer-songwriter Douglas Dare releases new EP, following on from his debut album Whelm. Named after album track Caroline and new track If I Knew I Were Alive, it also features remixes by fellow label mate Ryan Lee West aka Rival Consoles and Houndstooth’s own electronic producer Ross Tones aka Throwing Snow.

Caroline has always been a precious track for Douglas, one of the first tracks he recorded and a story in which he imagines his grandfather is writing to a loved one during the war. As the only song on his debut album that is stripped down to just his voice and piano playing, and it being a favourite amongst fans at his concerts, it was a natural choice as a first single.

The new track If I Knew I Were Alive Douglas wrote by creating beats, looping them and recording parts live. Dancing around to the beats in his room, he started singing melodies and coming up with ideas that he wouldn’t usually have, sitting at the piano. The idea that we can do a lot more if only we appreciated our own ability and opportunity encouraged Douglas to not take the track to anyone else to re-record it, but to work with what he had created himself.

“The recording has this demo quality, which I really enjoy. I love how revealing a demo can be. It seems to expose the fundamental ideas the songwriter had and the basic quality of the recording is very revealing. One of my favourite records is PJ Harvey’s ‘4 Track Demos’, where the songs are so stripped back that you can appreciate the finest details.” – Douglas Dare

Ryan Lee West, who crafted the Rival Consoles remix of album track Swim explains, “the track existed in a minimal state for a while, and I kept thinking something was missing. There's always something missing! And then out of casual chance, I was sorting through my portable recorder files, and I came across a recording of an installation that I did, which included four motors hitting glockenspiel or xylophone notes at random. I chopped it up in a few seconds and it worked perfectly. It adds texture and movement to the remix. But what's important about these sounds is that they are not in time. I think this remix creates sense of space, subtlety and physicality.”

"The original is so well put together, and the vocal so unique that it was a hard one to approach. I set out to reflect the beauty of the vocal in the intro, so that I could build it into something darker later on. This also mirrors the meaning of the vocal. The last sections are meant to evoke feelings of being washed away by a torrent” – Ross Tones about his Throwing Snow remix of Nile.

'VMAK' is the first ever solo album by acclaimed bassist Douglas Andrew McCombs.

McCombs is one of the most highly regarded bassists / guitarists working today, known for his pioneering band Tortoise, his bass playing in Chicago’s Eleventh Dream Day, and his innovative instrumental group Brokeback. He has released albums with guitarist David Daniell and collaborated with the likes of Tom Zé to Yo La Tengo, Stereolab to Daniel Lanois. In addition to being the touring bassist for The Sea and Cake, McCombs has somehow found time to form a new trio Black Duck with guitarist Bill MacKay, and percussionist Charles Rumback.

Douglas McCombs’ ‘VMAK’ is a window into one of the most distinguished and distinct voices in guitar music for the last three decades, effortlessly stretching the boundaries of the guitar while staying firmly grounded by blissful, uncanny melody.

McCombs’ debut solo album is a mix of improvisation, textural explorations and recurring melodic themes. The album title was lifted by the well-travelled McCombs from one of the visas packed into his current passport, the stamp a reminder of how far his music has taken him - literally all over the world. Not since McCombs’ solo outlet Brokeback blossomed into a full-fledged rock unit has his singular approach to solo guitar playing been exhibited in such striking detail. Taking after Brokeback’s classic ‘Morse Code in the Modern Age: Across the Americas’, ‘Two To Coolness’ is a piece that McCombs refined through a series of improvised performances and features Calexico drummer John Convertino, as well as singer / guitarist / synth player Sam Prekop (also of The Sea and Cake). ‘Green Crown’s Step’ was largely improvised working through melodies and patterns. The stately ‘To Whose Falls Shallows’ reshapes three key themes that Tortoise and Brokeback fans will find to be signature McCombs, buoyed by fellow Brokeback member James Elkington (Tweedy), who also engineered and mixed the album.

On the album, McCombs plays with spare instrumentation and primarily plays electric and acoustic guitars as well as the Bass VI, drawing out textures that stretch the scope of his instruments. McCombs’ work is pastoral and expansive, his playing is refined and nuanced, and his melodies often bely his admiration for Ennio Morricone as his guitar imbues endlessly sprawling fields of the Midwest with the same sense of magic. It is a true pleasure to hear him perform in such an intimate way. This is an absolute essential for followers of McCombs and newcomers alike, as the album lays bare his influence on each of his groups as well as firmly stakes McCombs as a force all his own.

TRACK LISTING

Two To Coolness
Green Crown’s Step
To Whose Falls Shallows

English songsmith Douglas Dare returns with his third and most stripped back studio album to date, "Milkteeth". Produced by Mike Lindsay - founding member of Tunng and one half of LUMP with Laura Marling - in his studio in Margate in just twelve days, "Milkteeth" sees Douglas become confident and comfortable enough with his own identity to reflect on both the joys and pains of youth. In doing so, he has established himself as a serious 21st century singer-songwriter with an enduring lyrical poise and elegant minimalist sound.

Douglas Dare grew up on a farm as the youngest member of a large extended family, where he was often found in his own private world, dancing in his mother’s pink ballet dress. 'Only now do I feel free to express my inner child again, and am giving myself permission to play dress up,' says Dare of Milkteeth’s cover shot, in which he wears soft makeup and is draped with layers of white linen, acting the part of a Greek muse. 'I never felt like I fit in. I was different, odd. I wanted to dance and sing and dress up and on a small farm in rural Dorset that really stuck out.'

Where previously he has been known as a piano player, for "Milkteeth" Dare picked up a new instrument, the autoharp, and as soon as he sat down with it, songs poured out – he wrote the album’s first single "Silly Games", in under an hour. 'Instinctual feelings about childhood and innocence were the catalyst,' he explains. 'Then with the autoharp, it all just clicked – I could see the album laid out ahead of me.'

Dare’s music speaks of his own experiences of universal themes like love, loss, and childhood. Perhaps most importantly, his music gives a voice and a sanctuary to anyone who’s ever felt unusual or out of place. Whether he’s singing of the pain of those in the Magdalene Laundries as on Whelm, describing coming out to his parents on Aforger, or processing his own childhood isolation on Milkteeth, Dare has a graceful honesty and an abiding clarity of vision in his simple and distinctive sound.

STAFF COMMENTS

Barry says: Tender ballads of loss and hope, brittle instrumentation and Dare's rich syrupy vocals combine into an atmospherically rich but instrumentally minimalistic suite of heartfelt ballads and hypnotic, swimming bliss.

TRACK LISTING

1. I Am Free
2. Red Arrows
3. Heavenly Bodies
4. The Piano Room
5. Silly Games
6. The Joy In Sarah’s Eyes
7. The Stairwell
8. Whereever You Are
9. The Window
10. The Playground
11. Run

Following his acclaimed debut "Whelm", London-based singer-songwriter and pianist Douglas Dare returns to Erased Tapes with his sophomore album "Aforger". In a digital age where memories are mimicked by pixels and identity is as malleable as static, Douglas Dare’s new album "Aforger" questions the boundaries between reality and fiction. Inspired by recent events and revelations encountered in his life these songs depict Dare at his most vulnerable, whilst simultaneously reflecting our own obsession with reality and technology back at us. Aforger was produced by long-time collaborator Fabian Prynn, mixed by Paul Gregory of Lanterns On The Lake and mastered at the iconic Abbey Road Studios. In the following conversation Douglas strips back the personal journeys and realisations which preceded its recording.

In a conversation with Douglas Dare on July 11th 2016:
The album title plays with the idea of a forger – someone creating imitations or copies, and reimagines them as the creator of something that’s no longer real. Prior to writing the record, I came out to my father and came out of a long relationship, both were hugely challenging for me and questioned my idea of identity and reality. These thoughts leaked out into the record and formed the core of Aforger. I was determined not to write a break-up album or repeat what I’d done before..

I grew up on quite an isolated farm in Dorset, surrounded by fields and not much besides. My mother taught piano from home and we didn’t have a computer, or the internet or mobile phones. In fact, my family still chooses not to use these things. It’s worlds apart from my life now in London where technology seems to dominate everything I do.

After finding out my boyfriend had been leading this double-life, I became obsessed with the question of what is real and George Orwell’s 1984 felt appropriate for me to re-read. Orwell explains this idea of reality control and Doublethink, and it struck a chord with me. The idea that truth can be steered or changed, and we might be able to believe two contradictory things at once. In my case, ignorance was my protection from the truth and ignorance really is bliss, until you’re no longer ignorant.

Binary talks about the idea that technology is allowing us to live on after we’re gone. A relative of mine whose parent passed away kept a picture of them on their phone as a background image. A friend saw this and asked ‘how can you have that there to constantly remind you of your loss?’ They replied, ‘no I have to, it shows me that they’re still here’. This resonated with me and I thought ‘okay, this is just an image to me but to them it’s more than a reminder or a reassurance, it’s a reality’. At the same time, I was finding myself haunted by the digital reminder of my ex-partner and wishing they would disappear. I had to realise that it’s all just pixels on a screen.

I think New York can be thought of as this fabricated, magical place. I was there with my boyfriend after touring the U.S., but when I came back to London I discovered all these lies and began questioning everything. I even questioned whether New York actually happened or not. New York is a song that’s literally describing that very real feeling of not knowing who or what to believe any more – scary and magical at the same time.

Lyrically I wanted to be as honest as possible. The album deals with so much dishonesty, so I felt the lyrics had to be the counterbalance. I was inspired by Björk’s album Vulnicura and how everything is almost awkward in its honesty. Like my first album, Aforger started as poetry, but I consciously tried to be less poetic. For instance, Oh Father is an example of complete unambiguity. It’s certainly the most personal song I’ve put out there, and the realisation that people may hear it makes me feel very vulnerable. That’s the most real feeling of all for me right now.

TRACK LISTING

1. Doublethink
2. Greenhouse
3. Oh Father
4. New York
5. The Edge
6. Binary
7. Stranger
8. Venus
9. Thinking Of Him
10. Rex

London-based singer-songwriter Douglas Dare releases his debut album Whelm on Erased Tapes. With the piano at the core, Dare vocalises his short prose and poems to a backdrop of drums, electronics and brass…

It was in November last year that the duo Douglas Dare and producer/percussionist Fabian Prynn decided to record an album, and by January they were listening to it. Finding themselves out of the home-studio for the first time, the pair recorded much of the album in Flood’s studio Assault & Battery in West London. Other touches were recorded back in Fabian’s home. With the comfort of familiar songs from his live set, such as Clockwork, Caroline and London’s Rose, the session was equally driven by the excitement of creating brand new tracks like Nile, Swim and Unrest in a new environment.

The recordings began with finding the perfect piano – a grand piano, battered and bruised, but with a beautiful sound. Flood’s studio provided a treasure trove of gear, including Dare’s favourite new instrument, the Mini Moog, which inspired bass parts on tracks like Unrest. Prynn engineered, produced and mixed the record, and with just the two of them involved from start to finish, their vision for the album remained clear and unclouded.

Lyrically, Whelm is often written from other people’s perspectives, with a few of the songs stemming from historical events. London’s Rose for example came from a poem Douglas wrote about the use of underground stations as bomb shelters during WWII; whilst Whitewash addresses the Magdalene Laundries in Ireland, and Clockwork was inspired by the Antikythera Mechanism, an ancient analogue computer found in the ocean. Despite the weight to some of these subjects, Dare has always enjoyed the use of plain language that is simple and very human. Most of his songs begin with words, as it’s the stories that inspire the music.

London-based singer-songwriter Douglas Dare releases debut EP Seven Hours as the newest artist on Erased Tapes.

The EP was recorded in various spaces, including drummer/producer Fabian Prynn’s home-studio in South London. The four tracks are the first recordings the musicians have made together and with all songs written by Dare and all tracks engineered, mixed and produced by Prynn, it is a true collaboration.

With the songs beginning as poems and short prose, Dare later improvises melodies and piano parts. This process was continued by Prynn with all the percussive rhythms coming from improvising to the original pieces. The performances were captured using a cassette recorder, keeping recording fresh as full takes had to be committed to at the recording stage. This process led to unexpected parts and ideas that now are integral to the sound and feel of the EP.

IN HIS OWN WORDS:
‘‘I'm incredibly proud of this EP. I feel the songs have been captured in just the right way and I hope that, if only for 15 minutes, listeners will be able to escape; if they do, then I have done my job. It's a real thrill to be working with Erased Tapes, a label whose artists have inspired me from the beginning and whose ethos I share wholeheartedly. This is an exciting time to join the family and I'm truly privileged to be a part of it.’ – Douglas Dare

ABOUT THE ARTIST:
Douglas Dare is a London-based singer-songwriter, originally from the coastal town of Bridport, South West England. The son of a piano teacher, Douglas began composing instrumental music from a young age but it was not until studying popular music at University in Liverpool in 2008 that he began songwriting. Douglas’ rich and haunting vocals are combined with lyrics crafted from his own poems and short prose, a writing style that gives his intimate songs wisdom far beyond his 23 years. After supporting Ólafur Arnalds on his recent 16-date European tour, Douglas is performing at a few selected festivals and will embark on a UK tour in support of his debut release on Erased Tapes.