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LATE NIGHT TALES

“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

2xLP Info: • Four part mix with download codes
• 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 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.

The first Late Night Tales release of 2016 is a very special project by Sasha.

Imagine listening to music inspired by Nils Frahm, Max Richter and Steve Reich, but made by one of the UK’s leading house and techno DJs. Away from the hubbub of the club, the craziness of Ibiza, there’s a contemplative side to everybody. Forget the beats and the sweat and the billowing anthems; this quiet, undulating, at times pastoral piece is less about songs and anthems and more about texture and atmosphere. ‘Scene Delete’ is a side of Sasha you’ve never heard before.

“I love post-minimalist modern classical, I love to listen to something completely different that’s quite hypnotic as well. It almost… purges the system. About three years ago, my collaborators David Gardner and ThermalBear and I wrote a song called ‘Bring On The Night’. I sent it to Ultraista and within a few days she sent it back with this amazing vocal on, with Nigel Goodrich playing keyboards. We tried to do club mixes but we just couldn’t get it right. So it sat there doing nothing.

Tracks like this kept building up, until finally last summer my frustration boiled over. We’d made so many tunes that I couldn’t remember the names of half of them: What was that thing with a bass sound and a string line? It drove me mental. At the same time as we were logging these tracks, I was listening to the Jon Hopkins’ Late Night Tales and I thought a lot of the music we’d been working on was in the same vibe. So I sent the music over to Late Night Tales and they really liked it.

Initially, I thought we’d just do a Late Night Tales compilation with maybe a few pieces of my own music. But as we went through everything we’d worked on in the last two years, we realised we had about 50 pieces of music. So we started editing and compiling: ‘Scene Delete’ is the end result.” - Sasha, January 2016

Think of ‘Scene Delete’ as somewhere between a mix album, an artist album and a gentle stroll through the soundtrack in your mind. Make sure you switch off the lights before you enter.


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.

Jon Hopkins

I Remember - Nils Frahm Remix

    THIS IS A RECORD STORE DAY 2015 EXCLUSIVE, LIMITED TO ONE PER PERSON.

    Jon Hopkins' startlingly vulnerable piano version of Yeasayer’s ‘I Remember’ is presented here on this special Record Store Day vinyl release in isolation from his recent edition of Late Night Tales; a beautiful and hypnotic sequence of songs, instrumentals and cinematic electronics. Exclusive to this 10", acclaimed German composer Nils Frahm transforms 'I Remember', plunging the heavenly original a thousand fathoms deep into an experimental dub masterpiece. Poet and Brian Eno collaborator Rick Holland narrates the spoken word 'I Remember', underpinned with music by Hopkins.




    FORMAT INFORMATION

    Ltd 10" Info: 10” WHITE VINYL WITH BLACK METAL FOIL EMBOSSED SLEEVE WITH MP3/WAV DOWNLOAD CODE

    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



    If you’ve been shopping with us over the past half decade you’ll know the boogie (early / mid 80s post-disco club-soul) revival has been in full swing for a while here at Picc Recs. However, just as his ‘Late Night Tales - Music For Pleasure’ compilation took the massive-with-us / bubbling-under-elsewhere yacht rock sound to a wider audience, now Groove Armada’s Tom Findlay shines a brighter light on all things boogie with this brilliant ‘Automatic Soul’ collection.

    The combined clout of Late Night Tales and Findlay means that many the best cuts from the scene have been licensed: There’s Mtume’s incredible “Juicy Fruit”, still sounding advanced and modern, while “I Specialize In Love”, mixed by disco legend Tee Scott, is even older yet sounds equally perky. The 1980s was a period that was pretty much owned by Minneapolis thanks to Prince and former cohorts Jam & Lewis and the latter weigh in with a pair of killer productions, Thelma Houston’s “You Used To Hold Me So Tight” and Alexander O’Neal’s “What’s Missing”. Rene & Angela’s “I’ll Be Good” is an underground anthem, “Rumours” by Timex Social Club is an overground smash, as is “Fools Paradise” by Meli’sa Morgan. Sly & Robbie’s Bits & Pieces cover of Yarbrough & Peoples's "Don't Stop the Music" makes an appearance, along with the monster that is “Change Of Heart” by Change (one for the Friday Aytoun Disco crew there I reckon ;-)), and Donna Allen’s rock solid “Serious”.

    And since this is Late Night Tales, we get an exclusive cover version, this time done by Findlay and Tim Hutton’s Sugardaddy, who’ve delivered an ace version of ‘Don’t Look Any Further’.

    “‘Automatic Soul’, like my previously compiled Late Night Tales Music For Pleasure, is based very much on a sound. It's a sound that I feel has been overlooked: 80s R&B-infused music, with drum machines, synths and invariably brilliant vocals. It’s formed the bedrock of my rare groove sets for all the years I’ve played. It’s not the most fashionable, but to me it’s the perfect marriage of technology and soul, hence the title for this album, Automatic Soul. There are plenty of songs I could have included, and no doubt some that I shouldn’t, but I’ve tried to represent what’s best to me from this era. It’s not a classic Late Night Tales. It’s a pretty personal journey, which I hope some of you might be willing to share…” -
    Tom Findlay Groove Armada September 2014


    STAFF COMMENTS

    Philippa says: Following his overview of yacht rock, Groove Armada's Tom Findlay is back with another gem of a Late Night Tales comp, this time featuring early / mid 80s post-disco club-soul and boogie classics. Rene & Angela, Zapp, Timex Social Club, Mtume, Meli'sa Morgan, Change, Donna Allen, Royalle Delite, Thelma Houston, Sharon Brown... All killer, no filler.

    FORMAT INFORMATION

    CD includes MP3 Download Code.

    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




    Late Night Tales welcomes back the cult figure and ultimate musical connoisseur, Bill Brewster to compile his second episode of the curated compilation series ‘After Dark’. An obscure and timeless DJ-­led journey which begins somewhere out in the near ocean, the waves are rolling and lolling gently into the shore, while a full moon shines on the surface. It’s only faint, but somewhere nearby is the sound of bass, pulsing slowly, almost in time to the waves. Welcome back to ‘After Dark: Nightshift’.

    Once again Brewster comes armed with a sensitivity and sense of occasion that few other DJs possess. Delivering another batch of slow cooked musical stews, making sure the tempo stays nice and steady and the emphasis is on funk, soul, grits and corn fried chicken, Brewster has done so much digging, Late Night Tales had to hire a forklift truck and tractor. Among the unreleased nuggets, there’s the Fernando mix of The Detachments; inordinate excitement about Gino Fontaine, a tune spotted a year ago but has languished in Andy Meecham’s Stafford catacombs ever since. Also unearthed are some hitherto secret recordings between Robert Fripp and The Grid, and there are also some proper club faves here, too, like the daft but brilliant ‘Mopedbart’ by Hubbabubbaklubb and the luminous ‘Boutade’ by Mugwump, as well as killer oldies like Salsoul Invention and General Lee.

    'After Dark' is 'Late Night Tales' quirky and mischievous sibling, born in 2013 with a critically ­acclaimed debut speared by Bill Brewster, its a timeless journey into the history of the dancefloor. Originally a chef, a football pundit (co­editor 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 long­haul dedication to the dance­floor; Bill’s your man. So, put your glad rags on, the glittery boots with the worrying heels, and some sparkly make­up. Girls, you can wear what you like. Hold on to the rails, it’s going to be a bumpy ride. The moon’s sinking fast, we better get a move on. 'After Dark', here we come

    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.

      ‘Mercury Rising’ is the third studio album to be released by Rae & Christian. The duo weave together exceptional musicianship paired with a British song writing sensibility and the finest elements of studio production. ‘Mercury Rising’ was created at producer / musician Steve Christian’s studio in Yorkshire with additional recording at songwriter / vocalist / DJ Mark Rae’s London base. In London a song writing bond was formed with Ed Harcourt and Gita Langley who make excellent contributions with vocals, songs, strings and keys. Sam Genders of Diagrams threads a story of redemption lost on the Ubahn on ‘1975’, Kate Rogers is on imperious form and rising star Jake Emlyn unravels a whole new level of microphone skills on ‘Favourite Game’. The international guests include the one-and-only Jazzy Jeff and Australia’s Agent 86 dealing out world class scratch treatments on ‘Check The Technique’ (Tony D's vocals taken from a session recorded at the birth of Grand Central Records), Brooklyn rapper Masta Ace and Mark Foster of Foster The People, a collaboration born from Mark’s LA excursion.

      ‘Mercury Rising’ is the first new material in many years from R&C. Their 1998 Mercury Music Prize nominated debut ‘Northern Sulphuric Soul’ ("Vitally fresh and timelessly classic…deserving a place alongside Massive Attack's Blue Lines” Uncut) and 2002’s ‘Sleepwalking’ ("Another triumph, brimming with soulful, languid grooves, deft samples and well-chosen guest singers” Q Magazine) were both released on their Grand Central Records label (Aim, Riton, Boca 45, Only Child), a defining imprint of the late 90s soul / funk / hip-hop / beats scene. Guest vocalists over the two albums included Bobby Womack, Texas, The Congos, The Pharcyde, The Jungle Brothers and Jeru The Damaja.

      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.

      Belle and Sebastian formed in Glasgow in 1996 where the success of college recorded cult debut album ‘Tigermilk’ led the band to signing to Jeepster for ‘If You're Feeling Sinister’; listed by Pitchfork at #14 in its top 100 albums of the 90s and is widely considered the band's masterpiece. Following the critically acclaimed ‘The Boy With The Arab Strap’ B&S signed with Rough Trade (UK) and Matador (US) and have released a further five albums, most recently ‘Belle And Sebastian Write About Love’ in 2010. Other accolades include being voted Scotland's greatest band in a poll by The List in 2005.

      This selection delves deeper into their shared influences and inspirations, along with a subtle nod to digging for rare sampled beats: not perhaps an trait usually associated with B&S. World-wise psychedelic breaks thread the mix together; significantly so with two tracks from Broadcast bookending a first half that includes late 60s dreamers The Wonder Who? and Joe Pass, father of Ethio-jazz Mulatu Astatke, harpist Dorothy Ashby and the 21st century beats of Gold Panda.

      Following a mid-section detour through dissonant post-punk and deep jazz courtesy of The Pop Group and Stan Tracey Quartet; recent releases from fellow Scots Remember Remember and South Carolina’s Toro Y Moi rubs shoulders with Ce'cile’s 2002 Cure referencing riddim ‘Rude Bwoy Thug Life’ and Blood, Sweat & Tears classic version of ‘Spinning Wheel’. For the obligatory Late Night Tales cover version, Belle and Sebastian have chosen The Primitive’s 1988 pop-punk classic ‘Crash’, recreated in the band’s own inimitable style. Two beautiful records close the mix: Steve Parks haunting soul vocal ‘Still Thinking Of You’ and an excerpt of the calm improvisation ‘On The Other Ocean’ from David Behrman’s 1977 experimental album. As ever, the trip concludes with our bedtime story with the third part of Paul Morley’s ‘Lost For Words’.

      STAFF COMMENTS

      Andy says: Their first Late Night compilation surprised everybody: cool, groovy, psychedelic and funky. Not what you'd expect really. This one is even better.


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