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LATE NIGHT TALES

Floating Points’ personal collection of global soul, ambient, jazz and folk treasures form the latest in the warmly revered Late Night Tales series. 

Sam Shepherd aka Floating Points’ music taste is notoriously tricky to define, ranging from ethereal classical at one end to coruscating techno at the other, united only in a firm belief in the transcendental power of music to move hearts, minds and – yes – feet. Similarly, his production career has ranged from early experiments in dance music with breakout records such as the ‘Shadows EP’ and collaborating with legendary Gnawa master Mahmoud Guinia to his expansive album ‘Elaenia’, which met with critical acclaim upon its release in 2015. 

This Late Night Tales excursion into the depths of the evening reflects his broad tastes. The globally-travelled producer has collected untold treasures on his travels from dusty stores in Brazil to market stalls near his hometown. There’s the gorgeous ‘Via Làctea’, culled from Carlos Walker’s debut album, Abu Talib’s (Bobby Wright) plaintive ‘Blood Of An American’ and Robert Vanderbilt’s gospel reworking of Manchild’s ‘Especially For You’. Raw soul and feeling oozing from each song’s pores. 

At the other end of the music scale are the modernists, such as Québécoise Kara-Lis Coverdale who weighs in with the indelible ‘Moments In Love’, Kaitlyn Aurelia Smith whose ‘Milk’ is an exercise in tranquility, while Sarah Davachi’s meditative mix-opener offers respite from a weary world. 

We have some exclusive tracks for Late Night Tales; alongside Davachi’s offerings there is also Toshimaru Nakamura’s ‘Nimb #59’, as well as the now traditional cover version. hepherd delved into his childhood memory for this one, a track taken from the first album his parents bought him, Kenny Wheeler’s ‘Music For Large & Small Ensembles’: Sam offers up his interpretation of ‘Opening Part 1’. Wheeler also contributes horns to Azimuth track The Tunnel, written and performed by Norma Winstone and John Taylor who, coincidentally, are the parents of Floating Points’ drummer Leo Taylor. Closing the album, Lauren Laverne reads the suitably nocturnal poem ‘Ah! Why, Because The Dazzling Sun’ by Emily Brontë. 

“I tried to find music that reflects the stillness of night. And because my musical interests lie all over the place, it’s quite difficult to distil that notion down to just a few songs. I was quite keen to have some electronic music in there but I also really wanted to have some soul music mixed in, so I had to try and find a pathway between all of this different music.” - Sam Shepherd (Floating Points) March 2019

“To me, sounds have always been more interesting than words,” says Agnes Obel. “I love it when the voice becomes an instrument and you almost forget it’s a human voice.” Never is this more apt than on this beautifully programmed and bewitching selection of music.

Agnes’ 2010 debut album Philharmonics went platinum in France and Belgium and, unsurprisingly, quintuple platinum in her native Denmark, where she also won five Danish Music Awards (equivalent to the Brits) in 2011. The follow-up Aventine, released in late 2013, was imbued with the same measured calmness as her debut. It went platinum in Belgium and gold in Denmark and France.

For the mix you have in your hands it feels almost as if Agnes has scoured the world looking for kindred spirits – or kindred songs. There’s a quietude about it all, the antithesis of a rush hour, like a frozen lake on a Sunday morning. This is aided by a veritable cornucopia of new Obel material, including a haunting reading of Danish song ‘Glemmer Du’, Inger Christensen’s ‘Poem About Death’ set to original music, and an Agnes original, ‘Bee Dance’.

Among them, there’s the enigmatic Jamaican singer Nora Dean who weighs in with the hypnotic and slinky Duke Reid production, ‘Ay Ay Ay Ay (Angie-Lala)’ and the sparse, sardonic ‘Party Girl’ by Michelle Gurevich, so good it inspired the eponymous French movie. There are the plangent voices, The Bulgarian Folklore Choir, Nina Simone, Ray Davies and Agnes herself, ringing true. Somehow, Ms Obel makes even makes the electronic tracks bow to her needs as with Yello whose ‘Great Mission’ is more Martin Denny than Underworld and cult Greek composer Lena Platonos’ ‘Bloody Shadows From A Distance’ pulses gently rather than throbs and Can’s recently rediscovered ‘Obscura Primavera’, unusually hushed.

"I was surprised at how much time I ended up spending on this. I collected all the songs together with my partner Alex and we just spent time listening to records, trying to see what would fit together. Some of the music I’ve included here is on mixtapes we made when we were just friends as teenagers. Each one of the tracks produces stories in my head." - Agnes Obel, February 2018


FORMAT INFORMATION

2xLP includes MP3 Download Code.

Canadian quartet BADBADNOTGOOD take on creating the ultimate “late night” selection of tracks from their record collections. The original trio of Matthew Tavares, Alex Sowinski and Chester Hansen formed while studying music at Toronto’s Humber College (they’ve recently added Leland Whitty to the line-up). A shared appreciation of hip hop and instrumental covers of Gucci Mane and Earl Sweatshirt suggested a worldly outlook and reciprocated love from Tyler The Creator and Ghostface Killah, which whom they made 2015’s Sour Soul.

This is an international effort: Velly Joonas’ Estonian version of ‘Feel Like Makin’ Love’, Kiki Gyan, Admas and Francis Bebey representing Africa (Ghana, Ethiopia and Cameroon respectively), Les Prospection from France, Scots’ Boards Of Canada and fellow Canucks River Tiber and Charlotte Day Wilson.

Finally, there’s the no-small-matter of the Late Night Tales cover version, in which BADBADNOTGOOD take on Andy Shauf’s ‘To You’ is turned into a mournful delight. while the Queen Of Siam herself, Lydia Lunch, delivers a sexual sermon involving only you, her and Jim Beam.

“We were really excited to have the chance to put together a Late Night Tales compilation, it’s a great organisation. We decided to use it as a vehicle to show everyone all the amazing music we have gotten to experience by touring and meeting new people. Every track on this comp was either shown to us by an incredible person or made by one of our friends. We also included a little cover of a song by one of our favourite current musicians, Andy Shauf.

These artists, as well as many, many others, have infuenced us to create and kept our deep love of music alive. This mix will keep you company on a quiet night by yourself or with friends. You can check it out on the plane, the bus, a long walk, or any situation where you want a soundtrack for reflection and meditation.” - BADBADNOTGOOD May 2017

STAFF COMMENTS

Patrick says: Given their ardent love of the hippidy hop, I was half expecting a baked set of golden age head nodders here, but instead the peerless modern jazz ensemble offer up a gorgeous stroll through cinematic soul, soft focus pop and gems mined from all over the globe on this excellent addition to the Late Night Tales catalogue. Watch out for the Steve Kuhn cut - that shizzle could bring a tear to a glass eye!

FORMAT INFORMATION

2xLP Info: Pressed on 180 gram vinyl - includes bonus download code to BADBADNOTGOOD's "LateNightTales" mix as well as unmixed track versions in FLAC, WAV & MP3 formats.
Plus high quality 30cm cover art print.

DJ and producer David Holmes is welcomed to the Late Night Tales fraternity with an evocative collection of personal songs and music, peppered with exclusive new material and rare gems.

By now, I think we all know David Holmes, right? There’s acid house Holmes, with bone-rattling Chicago jams and Detroit destroyers; break-digger Holmes responsible for the grittily shaking ‘Let’s Get Killed’ and seminal Essential Mix compilation (which brought Sixto Rodriguez to people’s attention, and then there’s soundtrack Holmes.

His most enduring and vital source of musical inspiration - cinema - plugged into David’s first solo record ‘This Film’s Crap, Let’s Slash the Seats’ and inspired 2000’s ‘Bow Down to the Exit Sign’; created as the soundtrack to a not-yet-made movie. Official soundtracks have been bountiful, including scores for Soderbergh’s Out Of Sight and Ocean’s trilogy, '71, Hunger and Good Vibrations. In a series of personal songs sung by himself, David’s last solo album ‘The Holy Pictures’ explored influences of La Düsseldorf, The Jesus and Mary Chain and early Brian Eno. His Unloved collaboration with Keefus Ciancia and Jade Vincent then took us on a musical journey full of raw 60s pop-noir, psychedelia and French Ye Ye with a contemporary twist. Somehow he’s also found time to produce records by Primal Scream and Jon Spencer Blues Explosion.


STAFF COMMENTS

Patrick says: Over the course of the past two decades, David Holmes has treated us to everything from Detroit techno to Detroit punk, serene ambience to slamming house, raw funk to smooth grooves. Producer, musician, DJ - this guy does it all! For Late Night Tales he harks back to his soundtrack stylings with a set of wistful Americana, sweeping folk and dusted dreampop which marry with a happily-ever-after rarity.

FORMAT INFORMATION

CD Info: • CD to include unmixed tracks as bonus download code (wav/flac/mp3 format)
• The album tracks have been selected especially by David Holmes to make this a truly unique listening experience.

Standing at the intersection where techno meets classical music, Ólafur Arnalds directs the newest Late Night Tales, set for release on 24th June 2016.

After releasing the breakthrough album ‘And They Have Escaped The Weight Of Darkness’, in 2014 he was awarded a BAFTA for best original music for the TV series Broadchurch. Arnalds’ music has a quietude that seems perfectly apposite and that’s evident here as each song drifts like an autumn wind towards the next.

Arnalds has enlisted the help of a few of his countrymen for the journey out west – electronic bands Samaris and Hjaltalín – and just as his records manage to combine the experimentalism and adventure of electronic music with a classical sensibility, here he weaves them perfectly, using tracks like Koreless’ brilliant post-dubstep ‘Last Remnants’ alongside the enigmatic brilliance of Jai Paul. It’s a perfect musical landscape that is eerie yet beautiful, as on Odesza’s ‘How Did I Get Here’.

As if Ólafur wasn’t spoiling us enough, he offers up three exclusives: his own ‘Kinesthesia I’ and ‘RGB’ and ‘Orgoned’ by his techno side project Kiasmos. Alongside that we have the obligatory cover version (Destiny’s Child’s ‘Say My Name’) and also a Late Night Tales debut for David Tennant, reading a story by Anam Sufi, with whom Ólafur worked on Broadchurch.

“When I was asked to do the next installation of the Late Night Tales series I thought "This will be fun and easy, only a couple of days work. No problem!". Six months later, I was still pulling my hair out in some kind of quest to make the perfect mix. As someone who has never really done mixes before, I learned a lot of things along the way and the whole experience was very inspiring. I decided to approach the mix in a similar way as I would one of my scores. This is the soundtrack of my life. I included songs from many of my friends and collaborators and tried to deliver a mix that represents who I am as an artist and where my influences are coming from - both personally and musically.”


STAFF COMMENTS

Barry says: From sublime ethereal ambience to stuttered beats and booming sub-bass, the latest incarnation of the hugely popular (and ridiculously competent) Late Night Tales series sees Modern-classical/Electronica prodigy Olafur Arnalds choosing a few of his biggest influences and current kicks, interspersed with a selection of his own unreleased (and frankly stunning) works. Dynamic, relaxing and brilliantly coherent collection of the most interesting and varied ambient electronic tracks around today. Top stuff.

FORMAT INFORMATION

2xLP Info: • Unmixed full tracks
• Limited Edition 180 gram heavyweight virgin vinyl pressings, housed in anti-static inner bags
• Includes wav/flac/mp3 download code to mixed and unmixed tracks
• Includes 30cm x 30cm cover art-print
• ‘Half Speed’ mastered for optimum audiophile sound quality.

CD Info: • CD to include unmixed tracks as bonus download code (wav/flac/mp3 format)
• The album tracks have been selected especially by Ólafur Arnalds to make this a truly unique listening experience
• Features an exclusive spoken word piece written by Anam Sufi and spoken by actor David Tennant.

Composer, musician and producer Nils Frahm steers the new edition of 'Late Night Tales'. A hypnotic voyage through modern and classical composition, experimental electronics, jazz, dub techno, soundtracks and soul; Frahm's 'Late Night Tales' haunts and beguiles. It’s not mixing, so much as gently layering, like a particularly fluffy goose-down duvet folding in on itself, the folds part of the attraction, the layers part of the overall picture being painted. Many of the tracks have been edited, effected and re-made. The subtly overdubbed parts on Rhythm & Sound's ‘Mango Drive’ adding to the haunting hypnosis, while choral interruptions aid Miles Davis’ ‘Générique’ on its journey towards the light. Meanwhile, on Boards Of Canada’s ‘In A Beautiful Place Out In The Country’, the tempo is somewhat sluggish, the organs slurred, as Frahm slows it down to a funereal 33rpm that nevertheless fits perfectly. The purring of his girlfriend's cat Cleo transitions playfully between Nina Simone's definitive version of 'Who Knows Where the Time Goes' and unearthing the gentle electronics of Dub Tractor. Eddy Arnold’s ‘You’re The Only Star’, a country tune that sounds like its transmitting from a mid-west diner wireless circa 1947, is straight from the soundtrack to an imaginary David Lynch movie, comforting and dismaying all at once. This crackly reality abounds, as on Finnish band Gentleman Losers’ ‘Honey Bunch’, that adds an unsettling texture, with a sound that is modern but as nostalgic. Frahm's own tracks bookend the mix, opening with an inspired "rework" of the infamous silent John Cage piece '4:33' ("I sat at the piano in silence and worked from there. I listened and took in the atmosphere and this is what came out of it") and ending with a solo piano version of 'Them', taken from his recently released score of the film 'Victoria'. The traditional Late Night Tales spoken word epilogue is voiced by actor Cillian Murphy (Inception, Batman, 28 Days Later), reading a short story by Edna Walsh (Hunger, Disco Pigs).

"I’ve really got off on working on compilations lately. It’s such a wonderful way to delve deep into your music collection. My flat is now crammed with music media of all stripes, from an old hand-cranked 78 phonograph player to 45s and albums on vinyl, my beloved old cassette tape collection, even mini-disks and, lately, WAV and MP3s. It’s all music to me. After spending hours recording from all of these diverse sources, I started to play around with the tunes, layering them, sampling, looping certain parts, extracting phrases and using all the freedom that this allowed me. If I got a little carried away or stepped on anyone’s toes in my quest to do something interesting and original, then I apologise. Some things may have accidentally landed on the wrong speed, while other spooky happening have occurred along the way, whether it’s ghostly additions of reverb and delay or simply subtle edits or reproductions, they’ve all gone into the magical stew I’ve tried to create for your pleasure and edification. I can’t tell you how much fun I’ve had creating this compilation for you but, suffice to say, I hope it will be a nice journey for your mind and heart."

- Nils Frahm, May 2015


FORMAT INFORMATION

2xLP Info: Unmixed double 180 gram Vinyl Version (incl. download codes for the Nils Frahm mix and full unmixed tracks as wav/MP3)

CD Info: CD Version (incl. unmixed tracks via download as MP3/wav)

The Italians call it "notturna", the French "nocturne", in Spanish it’s "nocturno". A nocturne is a term to describe a musical composition that is inspired by or evocative of the night, which seems apposite. The most famous modern nocturne is, of course, ‘Harlem Nocturne’, as recorded by countless jazz musicians. If you like, you can just call it the night. The point is it’s when the fairies come out to play and the bass is at its loudest (the two are not necessarily related).

Late Night Tales are back in the low-tempo, high-octane zone. The tempo might be slow, but the quality control makes Louis Vuitton look like Poundland. The label have gathered together some of the hottest new material, with some judiciously chosen old gear, an edit or two and blended them together like a disco nutri-bullet.

Among the exclusives is the amazing Lindstrøm remix of Charli XCX’s ‘You (Ha Ha Ha)’, alongside a pair of exclusives from The Emperor Machine and Hugh Mane and two belters from Hotel Motel. And there are the rarities. We’ve got Rudy Norman with the brilliant ‘Back To The Streets’; there’s also the amazing ‘Chained To The Train Of Love’ by Coalkitchen and a traditional ‘LNT’ curveball, this time furnished by Plastic Bertrand delivering one of the best ever early rap tunes.

Bill Brewster comes armed with a sensitivity and sense of occasion that few other DJs possess - and as go-to scribe of liner notes for every Late Night Tales release since day one, his association with the series is symbiotic. Originally a chef, a football pundit (co-editor of fanzine When Saturday Comes) and record collector, Bill began DJing in in the late 80s, but he cut his teeth playing Low Life warehouse parties in Harlem and the East Village and anyone hearing Bill today can see how these New York ‘roots’ shine through. For eclecticism, surprises, amazing unique music and sheer long-haul dedication to the dancefloor; Bill’s your man.


STAFF COMMENTS

Philippa says: Bill Brewster is back with another essential offering in the 'Late Night Tales Presents After Dark' series. As ever we get a DJ-mixed CD and un-mixed double vinyl LP. Quality all the way through.

Requiem for a dreamstate. It’s possibly somewhere between heaven, hell and high water, down the Thames Delta towards Eden. It may involve techno and a distorted state or simply mates sat listening to music together, drifting on the open sea of their minds. This is Jon Hopkins’ world, not so much joining the dots as colouring the whole damn picture in.

The story arc with which Hopkins succeeded on 'Immunity' makes its appearance on Late Night Tales, with a perfectly sculpted excursion on this widescreen selection. Opening with the unreleased 'Sleepers Beat Theme' by composer Ben Lukas Boysen, ghostly pianos skip elegantly hither and thither, among rising strings, as on Darkstar’s ‘Hold Me Down’. Nils Frahm is here, his sonic palette perfect for the job, while labelmate A Winged Victory For The Sullen contribute ‘Requiem For The Static King Part I’. Sigur Ros offshoot Jónsi & Alex’s heroic ‘Daniell In The Sea’ sends us forth towards the Baltic with tears streaming.

Beats occasionally appear, as on the Grace Jones-sampling ‘Yr Love’ by Holy Other or the pair of Black Country acts Bibio and Letherette, whose ‘After Dawn’ is almost spry in comparison to the minor key symphonies on display here. The perfect contrast to this comes from Alela Diane’s wistful ‘Lady Divine’ or even Four Tet’s mesmerising ‘Gillie Amma I Love You’, with its enchanting kids’ choir. Exclusive to this release, Jon Hopkins provides a startlingly vulnerable new piano version of Yeasayer’s ‘I Remember’.

Poet and fellow Brian Eno collaborator (their joint album 'Drums Between The Bells' was released by Warp in 2011) Rick Holland narrates the exclusive spoken word closer 'I Remember', underpinned with additional sound design by Hopkins.

"Putting this album together was a unique opportunity for me to present music that I have been listening to for years, free from the constraints of a club setting or from trying to stick to one genre. I chose tracks not just because they have been important to me but because of how they sit together, putting as much thought into the transitions and overall narrative as I did into the track choices. I mixed by key and by texture more than anything else, using original sound design, pivot notes, and often recording new synth or piano parts to link things together in a way that flows as naturally as possible." - Jon Hopkins, December 2014



Franz Ferdinand are welcomed into the Late Night Tales family with a diverse 20 track selection of musical influences, inspirations, diversions and discoveries.

Opening with Franz Ferdinand’s own exclusive cover of Jonathan Halper's ‘Leaving My Old Life Behind’, (which appeared on the cult Kenneth Anger movie Puce Moment), their Late Night Tales mix flows between dark and light, introspection and affection, dancing and horizontal appreciation.

Hear them join the dots between Can, Serge Gainsbourg and The West Coast Pop Art Experimental Band, Sandy's Nelson's percussion work-out 'Let There Be Drums', the irrepressible Ian Dury, electro-funk sensations Zapp and the Disco Dub Band and sonic explorer Lee ‘Scratch’ Perry. Record collectors will note the inclusion of Carrie Cleveland's Northern Soul anthem 'Love Will Set You Free'. Also included are a set of waywardly brilliant cover versions: Justus Köhncke’s dizzy interpretation of Neil Young’s ‘Old Man’ and R. Stevie Moore's ‘I’m Only Sleeping'.

It wouldn’t be right for Franz Ferdinand to produce a mix such as this without a nod to the country that brought them together, so Glasgow’s Life Without Buildings, whose uplifting ‘New Town’ appears alongside ‘Reach For The Dead’ by Boards Of Canada.

As they leave us wondering and wandering with American Spring’s Brian Wilson-produced ‘Sweet Mountain’, we take leave of our senses and suitcases on this tour bus of your mind. We’ve visited soul, funk, reggae, pop, Krautrock and others besides, but before we depart, Franz frontman Alex Kapranos provides a final farewell with the self penned story 'Defibrillator'.

"When we first got the band together I made Alex a tape for his car, an old Merc estate that we spent a lot of time in, going to and from rehearsal spaces and gigs. All of our gear and the four of us could (almost) comfortably fit inside. It was all stuff I was listening to at the time, Dr Alimantado, Judas Priest, Led Zeppelin, Plaid, Johnny Dangerous amongst others. An ecletic mix or completely random and disjointed depending on your outlook, it was representative of all our individual idiosyncrasies that merged to form the sound of the band, although I wasn't aware of this at the time. With this mix we tried to a similar thing, all of us selected the tunes, based on what we listen to on tour together and at home alone, any sustained moods or flows that occur are purely accidental. Oh yeah, the Merc estate got totalled and towed away with the tape still in the player." - Paul Thomson Franz Ferdinand July 2014




Django Django is the latest band invited to curate a prestigious 'Late Night Tales' collection. Like many British groups, the Djangos met at art school, specifically Edinburgh College Of Art, before reconnecting in London. Django Django released their self-titled debut album on quirky French indie Because in early 2012 to some acclaim, winding up in many critics’ end of year lists (Top Ten in the NME and Top 30 in Rolling Stone, among them).

Their oddball approach to music, which sounds like the rich harmonies of the Mamas & Papas beamed through a refracting prism pointing towards Bo Diddley, Chicago house and outer-space (it’s no surprise to learn that Django producer / drummer Dave Maclean’s brother John was in the Beta Band, who also shared the same cinemascopic view of the pop landscape).

“Rollicking sing-alongs, galloping into disco sunsets like whisky-addled and leather-saddled bandits on the stolen backs of prairie wild mustangs,” is how Django Django describe themselves. Which is another way of saying they’re pop adventurists, as at home with Mad Mike’s Underground Resistance as they are the blues rumble of Canned Heat. A bit like this delightful mix, then, which darts about like a gurgle of guppies after two too many espressos.

Check out mixes that rock between 2-step garage delights like Roy Davis Jr’s ‘Gabrielle’ to Nilsson’s lyrically winsome ‘Coconut’. At one end of the Django spectrum there’s James Last, the terminally unhip Teuton, whose ‘Inner City Blues’ shows you can never underestimate the Germans, while at the far reaches of the mix, they manage to sneak in Ramadanman (‘Bass Drums’) and Hudson Mohawke and Lunice collaboration TNGHT’s ‘Bugg’n’. You can hear the echoes of influences in some of the selections, like The Beach Boys whose peerless ‘Surf’s Up’ makes a welcome appearance halfway through, while Seals & Crofts’ “Sweet Green Fields” show what sun-drenched pop can sound like when it’s done well. And because it’s Late Night Tales there’s a sparkling cover version of ‘Porpoise Song’, the theme from The Monkees daffily brilliant ‘Head’, an admirably lysergic termination to this waltz through pop’s nooks and cranberries. “You should never be afraid to make a fool of yourself for art,” Dave Maclean once said. Let’s raise a dram to Scotland’s favourite fools on the hill.

“We wanted to produce a mix that represented the band. It’s what we’re all into, so everyone put forward suggestions. It’s what we are as a band; and we’re kids that have grown up with an obsession about our mum and dad’s record collections, like ‘50s and 60s stuff and then got into hip hop and dance music as we grew up. At the heart of it all is our parents’ collections, with our tastes mixed in. Our Late Night Tales pays homage to that.”
Dave Maclean (Django Django)


Khruangbin

A Calf Born In Winter

    THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

    EXCLUSIVE WHITE VINYL RSD FORMAT HAND NUMBERED!

    Limited to 250 copies.

    Metronomy, the effective alias of the talented Joseph Mount, have thus far released three albums, starting with the jagged electro manoeuvres of their debut ‘Pip Paine (Pay The £5000 You Owe)’, through to their two albums on Because, ‘Nights Out’, where Mount first sang, and last year’s brilliant Mercury-nominated ‘The English Riviera’. As a pop group, Metronomy that are more Four Tet than Fab Four, though with a sense of adventure that would’ve made the Fabs proud.

    Their outing under the Late Night Tales banner journeys through the inspirations of the bands’ ever moving sound - along with a few surprises. Mount’s old favourite Autechre is present and correct, but then so are Kate and Anna McGarrigle and the Sun Ra of hip hop Sa-Ra Creative Partners. Joining Sa-Ra on the hip hop front, we’ve got Tweet’s ace ‘Drunk’ from her Hummingbird album alongside OutKast ‘Prototype’, spiced with some Doctor Octagon.

    For pure pop, they don’t come more refined than Alan Parson’s ‘Eye In The Sky’, who is buffeted by outbreaks of unsettling weirdness, among them the sadly departed Mick Karn’s supple bass figurines on ‘Weather The Windmill’ or Tonto’s Expanding Head Band - the guys that brought the funk to synthesizers with Stevie Wonder - and ‘Cybernaut’. We also love Alessi Brothers 'Seabird' - pure 70s pop from the same album that gave us 'Oh Lori'.

    And just when you think you’ve got it figured, Pete Drake arrives with his 1964 pedal steel novelty hit ‘Forever’. This is a maze rather than a journey. Naturally enough, there is the Late Night Tales special with a sparkling Metronomy rendition of Jean-Michel Jarre’s ‘Hypnose’.

    We’ve always had a soft spot for Devon and her cobbled street delights, but seen through the prism of Joseph Mount, it takes on a new hue that makes Brigitte Bardot and that other, lesser, Riviera seem somehow pallid. To paraphrase Buzzcocks: another music in a different riviera.

    STAFF COMMENTS

    Philippa says: Another fantastic compilation in this series. Takes in hip hop, R&B, prog rock, soft-pop, electronica, folk and much more.


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