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).

Jagz Kooner's hypnotic 'Good Money -- The Midnight Circus remix' is a dazzling mash up of styles and chance meetings.

After seeing Kula Shaker on tour in the UK playing with Ocean Colour Scene, Jagz was knocked out by their epic psych rock soundscapes and the infectious bhangra grooves which power through Good Money, (performed by the UK's legendary Johnny Kalsi of the 'Dhol Foundation'). As the remix evolved, more exotic vibes were added, including a shredding sitar by Lionel Pezzano of 'Bhopal Flowers, who Kula Shaker played with in Canada, during a recent North American tour.

The remix's title, 'Midnight Circus', from the lyrics, is also a nod to British psych heroes The Pretty Things, as well as Crispian Mill's story concept of the 'Winged Boy', that is woven throughout the band's album 'Wormslayer’.

California Schemin' is the remarkable true story of how two rappers from Dundee duped the music industry out of hundreds of thousands of pounds. Gavin Bain and Billy Boyd – or Silibil N' Brains, as they became known – were two ordinary Scottish boys who shared an extraordinary dream: to become rap superstars. Creating new identities for themselves, they persuaded the music industry that they were the latest hot young talent from California. Silibil N' Brains then lived out that lie for more than two years, securing an enormous record deal with Sony and being catapulted into the industry high-life, rubbing shoulders with the likes of Madonna and Eminem. But they could never actually deliver and promote the album they were paid so much money to put together.

As soon as they became famous, they would be recognised by anyone who had known them in their former lives in Scotland and the dream would evaporate. As the pressure mounted, there could be disastrous consequences … California Schemin' is a story of incredible highs and terrible lows, of doing whatever it takes to follow your dream.

The undisputed heavyweight champion of edits, Mr. K, is back with another fine defence of his title and one that pays homage to two classic grooves. 'Always There' sees the 1975 Ronnie Laws original refined but still capturing a jazzy r&b spark while nodding to Side Effect's iconic horn stabs and adding a drums-only outro that makes it DJ-ready. On the flip, 'For The Love of Money' delivers the O'Jays at their peak and backed by MFSB who cook up a monumental bass line with Mr. K balancing the LP and single versions into a tight, playable edit. Timeless grooves with maximum floor appeal.

TRACK LISTING

Always There
For The Love Of Money

ATA Records are proud to present the new release by Work Money Death, 'A Portal to Here'. This album continues WMD’s exploration of Spiritual Jazz and the sounds and styles that evolved out of the 60s New Thing, particularly the recordings of Alice Coltrane and Pharaoh Sanders. The first WMD album released since the tragic death of ATA guitarist Chris Earl Dawkins in early 2025, all four tracks reference the journey that band members and the studio have been on – in many ways this record is a testament and tribute to Chris, his musicality and creativity.

Featuring WMD stalwarts Tony Burkill, Neil Innes, Sam Hobbs, and Sam Bell, the album introduces Sorcerers keyboardist Johnny Richards to the WMD sound. Richards brings a fresh new take to the piano role here, drawing on what is clearly a broad knowledge of jazz history and channelling that through his own unique 21st century musical perspective.

The album also features contributions from Alice Roberts on harp, bringing the spirit of Alice Coltrane, Ben Powling on baritone saxophone, Richard Ormrod on woodwind, and Kev Holbrough & Steve Parry on brass. Those Sun Ra-esque horn sections lift the mood whenever they appear. Standout tracks are the second, 'Dance of the Spirits', with a strong core of Baptism and The Blues and some lovely playing by Richards, and the third track, 'Brother Earl', which begins with Tony on flute over rhythms that are directly reminiscent of open-hearted, late-60s spirituality. Tony later moves to tenor and, as on all four tracks here, eventually builds to the peaks of shattering emotional intensity that fans of Work Money Death - and spiritual jazz in general - love.

TRACK LISTING

1. Pain Becomes Prayer And The Prayer Becomes A Song
2. A Dance For The Spirits
3. Brother Earl
4. Sometimes It's Death

The new CA label is back with a second offering of edited hip-hop and r&b gold. These are the sort of steam and sexual cuts that bring real heat to any slow jam session. King Most's 'Waiting 4 U' is first with slow, funky breaks and lavish strings and horns bringing a nice sophisticated and seductive feel. Things somehow get even more smoochy and loved up on the flip, which comes from DJ Homicide_. 'Playin' For Money' is a classic boom-bap sound with low slung bass, libidinous vocals and buttery smooth backing that is going to get hips bumping in no time.

TRACK LISTING

Side 1:
King Most - "Waiting 4 U"

Side 2:
DJ Homicide_ - "Playin' For Money"

An easy stepping disco opus taken from Dee Dee’s eponymous 1980 album, ‘Easy Money’ spent a month on the Hot Dance Club Play chart as the B-side to ‘Breaking and Entering’. Here, Mr. Arps himself Todd Terje adds to his 20 years worth of reworkings, giving the tune its proper respects with deft percussive respites, subtly adding his distinct touch to this Philly classic.

STAFF COMMENTS

Matt says: An oldie but a goldie! Two legends of disco old and new converge on the high grade number: "Easy Money".

TRACK LISTING

A. Easy Money 
B. Easy Money (Todd Terje Edit)

Money Chicha, the Austin-based collective featuring members of the Grammy-winning Latin orchestras Grupo Fantasma and Brownout, unveils their third full-length album, 'Onda Esotérica'. Recorded at New Orleans’ Marigny Studios, the album deepens their signature psychedelic cumbia amazónica sound with exotic textures, vintage organ swells, and inventive reinterpretations of classics such as ‘Cumbia Arabe’.

As KUTX puts it, “Listening to Money Chicha feels a bit like taking a hit of acid, downing a couple shots of Tequila, and hopping a plane to 1960s Peru… it’s the kind of music that rewires your brain, awakens your spirit animal, and takes you places you’ve never been.” Add in some South Texas swagger and bruising Latin funk, and 'Onda Esotérica' emerges as the band’s most adventurous and transportive work to date—a kaleidoscopic journey equal parts ritual and revelation. 

TRACK LISTING

1. Ojos Rojos
2. Carnaval De Jujuy
3. Chicha Justice
4. Cherry Jubilee
5. Chingaderas Crudas
6. Toe Jam
7. Cumbia Arabe
8. Pepper 

Lontra is the new project from Brazilian born, Colombian based producer, and musician, Guille Katorzi. The inspiration and influences for this particular project were drawn from diverse sources, including disco, house, Nigerian boogie & afrobeat.

The instrumentals were and produced in Bogotá with Guille laying down the guitar & bass parts which the songs were built upon. After sending the demos to vocalist Sir Jean (Voilaaa/Sir Jean & NMB Afrobeat Experience), with an invitation to collaborate, he was thrilled to receive a warm response to the songs from Sir Jean and so travelled to France in 2023 to record vocals in the singers' home town of Lyon. Returning to Bogotá, a selection of top brass musicians contributed their blazing horns to the project.

Opening up the EP, "Money, Money" serves up a lively disco beat with percussive Afrobeat highlights, funky guitar licks & Afrobeat inspired horn parts, backed by an irresistibly groovy bassline, setting the scene for Sir Jean's lyrical warning "money cannot buy your soul".

Dropping some of the Afrobeat accents and staying closer to the centre line, "Life Is Movement" is a dancefloor focused track where Katorzi's guitar hook pairs with a restless bassline over which Sir Jean's vocal delivery shines. The flipside begins with a sensuous overture on "Mysterious". A loose Afro-beat & guitar syncopation provides an inviting space for the horn section's refrains and solos. The arrangement allows plenty of room for the listener to become intoxicated by the groove, before Sir Jean opens his heart with the emotive ode to someone we learn of only as..."Mysterious".

Closing out proceedings is a more driving club track. The Lyon & The Hunter... where Sir Jean sings a warning wrapped in metaphors while Lontra throws down a club focused punch that deftly dances between funk, house and afro flavours while the scorching horns set the lot aflame.

The culmination of different inspirations and intonations imbues the project with a vivacity and richness in colour that reflects the multi-cultural assembly of players. Canopy is delighted to welcome the talent of Lontra to the family and are happy to say that this is the first in a number of exciting projects that this artist is serving up

STAFF COMMENTS

Matt says: More global disco grooves from under the Canopy with a tough but tasty house offerings for those needed a bit more thrust.

TRACK LISTING

Money, Money
Life Is Movement
Mysterious
Lyon & The Hunter

The Subways' Money & Celebrity, is now available in a limited edition red and white split vinyl. Originally released in 2011, the third studio album by the powerhouse trio is packed with adrenaline-pumping anthems that cemented their place in the UK indie rock scene. The album showcases the band’s ability to blend infectious melodies with biting social commentary, capturing the spirit of a generation. Recorded and produced by Stephen Street (The Smiths, BLUR, Kaiser Chiefs) in London, Money & Celebrity is The Subways at their most dynamic, featuring hit singles like "We Don’t Need Money to Have a Good Time," which received widespread radio support, including heavy rotation on BBC Radio 1, and "It's a Party," which became a fan favourite after the band released it out of the blue via their website with no prior warning, crashing their server. The album stormed into the charts, peaking at #16 on the UK Albums Chart. The lead single "We Don’t Need Money to Have a Good Time" was a radio favourite, climbing to #12 on the UK Indie Chart and #1 on the UK Physical Singles Chart. The album also enjoyed chart success across Europe, reaching the Top 20 in Germany and Austria.

TRACK LISTING

1. It's A Party
2. We Don't Need Money To Have A Good Time
3. Celebrity
4. I Wanna Dance With You
5. Popdeath
6. Like I Love You
7. Money
8. Kiss Kiss Bang Bang
9. Down Our Street
10. Rumour
11. Friday
12. Leave My Side

Blood Money came out over 20 years ago, right after the massive success of 1999's Grammy-winning Mule Variations LP and tour.

The resulting LPs were acclaimed upon their release but also overshadowed by their high- profile predecessor. Over the last two decades, more fans and critics have come to embrace these works as some of Waits' finest.

TRACK LISTING

Misery Is The River Of The World
Everything Goes To Hell
Coney Island Baby
All The World Is Green
God's Away On Business
Another Man's Vine
Knife Chase
Lullaby
Starving In The Belly Of A Whale
The Part You Throw Away
Woe
Calliope
A Good Man Is Hard To Find

Punk pioneers Crass continue their vinyl reissue series, re-pressing their limited releases by adjacent artists through Crass Records, in association with One Little Independent. 

“The wonderful thing about Rubella Ballet is that they have always embraced Anarcho-punk hallmarks as much as they toss them aside” - Punk News

Rubella Ballet are a gothic punk band formed in 1979 known for their unique ultraviolet shows, wearing homemade Day-Glo clothes created by vocalist Zillah Minx. Rubella Ballet’s first gig supporting Crass and Poison Girls led to their own headline and support tours with the likes of Death Cult, The Damned, Faith No More, The Mission, Doctor and the Medics, Flux Of Pink Indians, Sex Gang Children, Conflict, Alien Sex Fiend and so many more.

Penny continues, “Rubella Ballet, ‘the one that got away’. Sid and Zillah, the key members of this progressively colourful outfit, are true punk warriors, indeed, they’re an unstoppable force. They’d have been released on Crass Records way before now but, back in the day, one of their other band members had a gripe with Crass, and put the mockers on it, so it never happened. But now, after the best part of fifty years, Crass Records are joyful to announce that Rubella Ballet are on board at last. Let the rainbows shower fairy dust on us all.”

Penny finally notes that “Our [Crass’s] interest was never in personalities, profits or power, and neither did we have time for reformist liberals. Our position was solidly revolutionary; we took no prisoners. Ours wasn’t a show, it was a battle, not a living, but a lifestyle, a lifestyle with a difference - rather than looking only to ourselves, we sought to share our gains. I feel that this willingness added great strength to the form of anarchism that we practiced both on stage and out on the street.”

In giving a platform to an impressive array of other bands, Crass Records broadened the front of what popularly became known as anarcho-punk. Not, it must be said, a moniker that Crass themselves much favoured. In this respect, Crass’s classic line, ‘There is no authority but yourself,’ makes its point. Crass sought to empower others, and the output of Crass Records does much to confirm this, while ‘2 By 2 And Back Again’ seems to nail it - ‘get out of your own way, we’re all in this together.’

TRACK LISTING

Money Talks
False Promises

This lovely lathe cut 7" sees Blackpool four-piece Vee VV present a blazing mix of post-punk grit, funk percussion and baggy guitar melodies into the hugely danceable and instantly rousing title track. ALSO, have you ever finished listening to a rousing punk record and thought 'Man, that's really just made me want to throw convention out the window and eat the sleeve'? If so, then Vee VV have your back because not only have they made this cathartic anthem in a normal 'probably-shouldn't' eat it sleeve but they've done it in a plant-based edible sleeve too, so even you most timid of sleeve-scranners can get involved, and get involved you should. Lovely stuff. 

The first really revolutionary fracture in The Fall was the departure of guitarist Martin Bramah. Commonly understood as the only viable challenger to Mark E Smith's dominance of the band, Bramah was The Fall's first singer and primary songwriter at the start. His subsequent group, Blue Orchids, was originally a reconstitution of the first recorded line-up of The Fall, without Mark, but with another slightly later Fall member, Eric McGann. After slight revisions in the lineup, Blue Orchids created a singular sound of maniacally aberrant psych on two thrilling singles - "The Flood" and "Work" - before recording one of the most imperfectly perfect debuts in what could no longer really be called 'rock and roll'.

'The Greatest Hit (Money Mountain)' eschews the frenetic energy of those singles to present itself as the greatest 'morning after the trip' albums ever - Martin and Una's wonderful explanations of the experiential backdrop to "Sun Connection" take up nearly as much space as those of all the other songs combined! Without exception, the songs are brilliant, majestic and memorable . . . plus it's possible that more covers of songs from 'The Greatest Hit' have been recorded by bands of credibility and renown than from any single Fall LP (although we're counting!), with near-contemporaneous versions arising from Fish & Roses, Slovenly, Dustdevils and Aztec Camera and many others since.

Never reissued on vinyl since its 1982 release, due to objections from the WB Yeats estate for the album's musical interpretation of the author's "Mad As The Mist And Snow" (now in public domain!), this deluxe edition includes a bonus album with two unreleased pre-album demos, two further demos released only on long out-of-print cassette compilations from more than forty years ago, and scorching live set featuring several of their early songs, extensive liner notes from Martin Bramah and Una Baines, a reproduction of the original lyric fold-over booklet and (with the 2LP version), a download card. The original artwork for the album and booklet have been restored painstakingly, and as Bramah himself says, "It's better than the original." After over four decades, we're proud to make available this classic album again. Tiny Global Production's first release was a companion to this release (it's also available again), containing the band's two 7" singles, the album's follow-up EP 'Agents Of Change', and two unheard demos.

TRACK LISTING

Sun Connection
Dumb Magician
Tighten My Belt
A Year With No Head
Hanging Man
Bad Education
Wait
No Looking Back
Low Profile
Mad As The Mist And Snow
Disney Boys (demo)
The Flood (demo)
Low Profile (C81 Cassette Version)
Thirst (Pleasantly Surprised Cassette Version)
Live In Manchester, 2014: Motorway
Hanging Man
Olympian
Work
A Year With No Head
The Unknown

The sound of acid jazz on one record – heavy, organ-driven instrumentals from Hammond maestro James Taylor and his quartet. Part of Acid Jazz 35th Anniversary series, highlighting core releases from the label. The debut album from The James Taylor Quartet, premastered and pressed on clear vinyl.

TRACK LISTING

1. The Money Spyder
2. One Way Street
3. Car Chase
4. The Spiral Staircase
5. Mr. Cool’s Dream
6. A Real Mean Time
7. The Onion Club
8. The Stroll
9. “Los Cuevos Pablo”
10. Midnight Stomp
(The New Rumba)
11. Buzy Bee
12. In The Park 

"After receiving regional praise for his 1976 debut Abrabo, Dan Boadi set his sights on leaving Ghana and bringing his highlife sensibilities to an American audience. Recorded at Paul Serrano namesake studio on E. 22rd St. in Chicago, Boadi's U.S. debut showcased the true scope of his musical range weaving in and out of funk, highlife, afrobeat, and reggae. The title track immediately demands the listener' attention with a chugging drum lead by The African International's King Tuch setting the pace for Boadi's colorful orchestration to follow. Money Is The Root of Evi claims t's own space as a musical melting pot and reflects the excitement Boadi waslearningto harness as a musician in his newfound home of Chicago."

TRACK LISTING

A1. Money Is The Root Of Evil (Edit)
B1. Duodo (Edit)

Hot off the back of their self-titled debut single – the energetic five piece made up of Joel Douglas (vox/guitar), Tom Butler (vox/bass), Robbie Cottom (keys), Mike Hendry (guitar) + George Thompson (drum/percussion) follow it up with the provocatively titled ‘Your God Owes You Money.’

For those unacquainted with the band’s brand of esoteric eclectic pop - The Queen's Head are a five piece from South London making alternative music about modern anxieties. Blending elements of post-punk, noise-rock, disco and modern dance music, wrapped in a familiar verse-chorus pop structure, the resulting sound is simultaneously enchanting and terrifying.

Ordering this giddy chaos are the dual vocals of childhood friends Joel Douglas and Tom Butler. Together they combine cutting, spoken word narratives and growling melodies which take form as vigorous, traumatised calls to arms, scriptures not as much sung but bellowed and preached to the audience. It’s a sermon.

‘It did feel like that’ recounts Speedy co-runner Pierre Hall who put them on at one of Speedy’s ‘Homecoming’ nights at The Social at the end of lockdown. ‘From the second they came on to the second they finished – everyone was completely entranced. You were sucked in. It was powerful. Scary, intense, confrontational. But powerful nonetheless. I was hooked.’

On the resulting track – a heady mix of post-punk influences crossed with everything from The Clash to The Specials via Daniel Avery and Charlie XCX, the band say: ’We are a band interested in world-building, with our process normally meticulous, pouring over tiny production and song-writing details. Taking 'Your God Owes You Money' into Dan Carey's space and method was a deliberate attempt to disrupt our complacencies. We played live, welcomed error and followed improvised ideas, under Dan's guiding hand. The version of this song we produced in just a day hopefully captures the rage and range of our live show - a direct glimpse into the band, what we believe and our frailties as self-confessed performers. An honour, a privilege and a wholly enjoyable day amidst Dan's Aladdin's cave.’ The genie is out of the lamp.

Reissue of the first Dire Straits greatest hits collection, originally released in October 1988 and featuring songs from their first five albums.

Fully remastered by Bob Ludwig, and cut by Bernie Grundman, this vinyl reissue includes ‘Telegraph Road (Live Remix)’ which was previously only available on the original CD format, and a brand new mix of ‘Portobello Belle (Live)’. It is cut over four sides of vinyl for the first time.

STAFF COMMENTS

Barry says: I remember having a copy of this on CD when I was younger, and thoroughly believed it to be a proper album. Imagine my surprise then when it turned out it's just a really good compilation. Andy and I were talking about just this the other week. I love Dire Straits, and this is the best 'album' that never was.

TRACK LISTING

LP1 - Side A
Sultans Of Swing (5:46)
Down To The Waterline (4:01)
Portobello Belle (Live: Alternative Out-take) (4:33) – Previously Unreleased Version
LP1 - Side B
Twisting By The Pool (Remix) (3:30)
Tunnel Of Love (8:10)
Romeo And Juliet (5:56)
LP2 - Side C
Where Do You Think You're Going (3:30)
Walk Of Life (4:08)
Private Investigations (5:50)
LP2 - Side D
Telegraph Road (Live Remix) (11:59) – Previously Unreleased On Vinyl
Money For Nothing (Single Edit) (4:06)
Brothers In Arms (Edit) (4:49)

‘Lola Versus Powerman And The Moneygoround, Part One’ is the eighth studio album by The Kinks, one of the most influential rock acts of all time, and was recorded and released in 1970. A concept album, it is a satirical appraisal of the music industry, including song publishers, unions, the press, accountants, business managers, and life on the road. This classic album appeared during a transitional period for the Kinks, and was a critical and commercial success.

50th anniversary LP release featuring the newly remastered original stereo album on black heavyweight vinyl in a carefully restored and replicated original gatefold sleeve. Includes a 12” booklet with comprehensive notes, new band quotes, rare photos and memorabilia. Features the hit singles ‘Lola’ & ‘Apeman’. Produced in association with The Kinks, with audio & visual content curated by Ray Davies.

This is the first time the album has been remastered and is the first LP re-issue of it since the mid-1980s

Funkycan aka Am Kinem teams up with Max Gee, while Money $ex regulars Imyrmind & Delphonic join Glenn Astro and Lonny Benz for a jam packed Money $ex outing. "Steiermark2017" is by Funkycan 7 & Graef and is a techno track made with a DR-550 and the crumar performer. It weaves and winds with slightly discordant melodies as fizzy, saturated drums pop and spurt. Glenn and Max drop the sub heavy and highly trickski, "No Tricks Dub". Thick walls of bass and intricately programmed tribal rhythms are order of the day as the pair conjure up a track similar to Paul Daly's cult remix of Jose Padilla's "Adios Amigo" - excellent! Delphonic & Astro provide the EPs crowning glory (in my opinion), a gentle propullsive, percussive glider that sounds like it's been ripped off a Sued record and should wins fans across the board with its delicate but engrossing sounds. Finally Imyrmind collaborates with Lonny Benz for the disjointed club attack that is "DID" - a juddering assault of drums embellished with subtle analogue nuances. A belter here from all involved, most recommended. 

STAFF COMMENTS

Matt says: I'll be honest, Money $ex doesn't always do it for me (then what does?! - ed) but this doozy from the allstars of the label has kept me more than entertained. Interesting sounds, intricate rhythms and experimental arrangements all keeping me hooked. Top one.

TRACK LISTING

A1. Funkycan 7 Max Graef - Steiermark2017
A2. Max Graef & Glenn Astro - No Tricks Dub
B1. Glenn Astro & Delphonic - Riddim Fur Die Atzen
B2. Imyrmind & Lonny Benz - D.I.D

Beach Baby will release their much-anticipated debut album, 'No Mind No Money', on September 2nd. The band will be supporting Beaty Heart around the US in September, before playing their own series of headline dates across Europe Additional festival slots are still to come at Reading & Leeds and Festival Number 6, with across-the-board support at Radio 1, 6Music, Radio X and Spotify. Captured vividly across ‘No Mind No Money’, London four-piece Beach Baby have built up a tightly-sealed, vaguely surreal world of their own. Beach Baby’s touchstones have now evolved to include seminal acts on both sides of the Atlantic –from Parquet Courts and Mac DeMarco to Ariel Pink and cult lo-fi artist Cleaners From Venus. They each supported themselves throughout this creatively-intense period with make-ends-meet jobs, which included working in burger joints, ‘charity muggers', and - in perhaps the oddest of odd jobs - working as a script reader for production companies like Icon.

The aptly-titled ‘No Mind No Money’ touches frequently on those less-glamorous uncertainties of post-campus life: apathy, escapism, and the distance between your own future and the iconic bands or movies you grew up on. “One of the best new bands in Britain” Sunday Times Breaking Act. “Make no mistake, Beach Baby have every means of triumphing in the big leagues” DIY. “Captures the best of several genres – post-punk, baggy, shoe gaze, grunge –without sounding like a mess” Guardian. “That aching, inexplicable magic of college innocence is all here” Stereogum. “You’ll fall for this London foursome” i-D

In 2013 MONEY released their debut album ‘The Shadow Of Heaven’, following a handful of concerts that felt more like communions in out-of-the-way venues, advertised by word-of-mouth only.

Two years on, the new MONEY album, ‘Suicide Songs’, takes you deeper into their sound and vision. It feels more advanced and yet simpler, more perfected and yet more open. It is, by turns, a tender, barren, cavernous, smouldering, despairing and inspirational piece of work.

Out of a renewed, richer palate of sound, a sense of greater self-belief has emerged. However, as its title suggests, ‘Suicide Songs’ doesn’t shirk from the emotional truths that birthed it. “I wanted the album to sound like it was ‘coming from death’ which is where these songs emerged,” Jamie explains. “Above all else, I’m just trying to project and portray a poetic truth. Suicide is about anonymity, to the point where you don’t exist, which I definitely feel in my songwriting and as a person. But rather than writing myself out of anonymity, I want to remain there, in this record at least.”

TRACK LISTING

I Am The Lord
I’m Not Here
You Look Like A Sad Painting On Both Sides Of The Sky
Night Came
Suicide Song
Hopeless World
I’ll Be The Night
All My Life
A Cocaine Christmas And An Alcoholic’s New Year

MONEY release their debut album The Shadow of Heaven on 26th August via Bella Union Records. Recorded in London through the deep, dark winter of 2012/13, it’s an ethereal, transcendent record that’s notable for its musical and intellectual ambition. Though ambition is perhaps not quite the right word. Because MONEY would never talk about ambition. Such things don’t sit well with them. They’d talk about anti-ambition and the revision of existing values — the kind of bold gesture already signalled by their unabashedly iconic name. It’s an album that defies convention and cliché, asking us instead to be courageous enough to see the world in different ways. As lead singer and ideologue Jamie Lee says, ‘Our aim with this band — in all things we do — is to create the world afresh on our own terms.’

MONEY are Jamie Lee, Charlie Cocksedge, Billy Byron and Scott Beaman. Having formed in Manchester amidst a prolific underground milieu, they soon came to embody the passion, creativity and optimism of a new generation of artists and musicians who found themselves presented with what Jamie describes as ‘an extraordinary, poetic city’. MONEY played shows in esoteric venues such as Salford's Sacred Trinity Church and ‘the Bunker', a former factory near Strangeways Prison and home to the cult independent label SWAYS, who released the band’s debut 7” single, ‘Who’s Going to Love You Now’ / ‘Goodnight London’ to wide acclaim. Having been tracked down by Simon Raymonde, the band subsequently signed to Bella Union, headlining the label's Christmas party at the Union Chapel before taking to the studio to record 'The Shadow of Heaven'.

The album consists of ten songs that range from stripped-back piano ballads such as ‘Goodnight London’ and ‘The Cruelty of Godliness’ to the more epic ‘Hold Me Forever’ and ‘Bluebell Fields’. Rooted in universal themes of the spirit, love and loss, the album also addresses man’s condition in the modern world, issues ‘such as isolation and mental health as logical reactions to it', says Jamie. It’s an album full of yearning and soul-searching, a voyage of (non-) discovery that only ends up finding itself and the sheer, aching beauty of questions asked in full knowledge of their own answerlessness. It’s metaphysics for the modern age, which might not be quite as spiritually bankrupt and bereft of meaning as we once believed.

STAFF COMMENTS

Andy says: There's always been a buzz around this band. This passionate debut album totally justifies it. Today: Piccadilly Records, tomorrow The World?!

The concept of the compilation is very simple: Permanent Vacation asked their favorite producers if they could each contribute with an exclusive track for the compilation. All of these artists seem to work from very different angles at first glance. But from our point of view, they are all unified through a certain down to earth and back to the roots vision of house music that is more inspired by the time when disc jockeys cut the rhythm sections of the records one after another to create a steamy and sweaty atmosphere through the whole night than the streamlined excrescence of house music that got popular in the era of the super clubs.

Lluckily, almost everyone they asked was up for it, and if that wasn't enough they even got two new pairings of artists who gave their debut on our compilation: Soul Clap and Trickski teamed up for a slow house bomb, while Jacob Korn and Cuthead from the Uncanny Valley family also got creative. Together they morphed to the double-headed mythical creature Kornhead who can kill you with a single groove. We also get ace cuts from John Talabot and Pional, who both individually gave PV back their faith in new house music that doesn't sound like clones of the old masters. Talabot created "Leave Me" one of his most dance floorfriendly productions to date. Beautiful Swimmers drop their first release outside of their Future Times homebase and Slow Hands, after the success of his track "Rough Patch" on the Wolf + Lamb vs. Soul Clap DJ Kicks, brings us "Kreuzberg Blues". Which leads us directly to the big Berlin resident crew consisting of Hunee, Mano Le Tough and Session Victim. All three tracks are crackers. The same is true for Good Guy Mikesh & Filburt, who bewitched us with "Roamer". This time the Permanent Vacation producers also seized the chance to participate in the compilation with "Hendiadyoin" and an edit for the epic "Sightless Brightness" by the ever innovative Contra Communem Opinionem.

TRACK LISTING

01. Pional – Just Passing Through
02. Slow Hands – Kreuzberg Blues
03. Mano Le Tough – Let’s Not Talk About Love
04. Beautiful Swimmers – Excited
05. John Talabot – Leave Me (Friendly Pattern Version)
06. Jacob Korn & Cuthead – Ooohja
07. Hunee – A Study In Wild
08. Permanent Vacation – Hendiadyoin
09. Contra Communem Opinionem – Sightless Brightness (Permanent Vacation Edit)
10. Session Victim – Large Processor
11. Trickski & Soul Clap – Members Of The Clap
12. Good Guy Mikesh & Filburt – Roamer

Senseless Records are back with another of their genre-bashing EPs to have future beats dancefloors in a spin. First up Philly street-bass kingpin Starkey delivers a remix of Sarantis and Warrior Queen's "More Than Money". It's one of his instantly-recognisable smash-up of dubstep, grime, gutterhouse and hip-hop that's made him one of THE producers of the last couple of years. Over on side B there's some future baile-funk flavours on "Click" by Deville, featuring vocals from Violet. Then it's back to Sarantis for the hyper-arpeggiated dubetp finale on "Focus".

The Brighton boys who were fresh meat for Zane Lowe have now released their debut album care of Kasabian's producer Dan Swift. They achieve an edgy psychotic sound chock full of angular guitars that contrast with the languid vocals.

Following two exceedingly scarce EPs, the indefatigable Money Studies present a full length album by Scott Herren (AKA Savath & Savalas, Prefuse 73, etc.). Not actually a collection of singles at all, these tracks were apparently produced solely with drums (both machines and kits) and various keyboards. The result is a coherent discourse of typically Herren material, all performed in a single, recognisable dialect.

The ex-Beastie Boys keyboard player returns with another understated solo album. Featuring a wealth of well-crafted electro-acoustic songs, mostly played by Mark himself with the backing of people like G-love, Woody Jackson, Carol Kaye (Axelrod's bass player of choice) and Jim Keltner, the album recalls the slightly off-kilter psych-soul of Shuggie Otis.

Daniel Rachel's second album "A Taste Of Money" has a glorious upbeat feel, with captivating, luscious string arrangements, fantastically catchy pop chorus' and beautiful, bitter-sweet ballads.

With their second album "God's Money" Gang Gang Dance creates a modern music which reorients the palette of electronic music into an organic context, manipulating sound, rhythm and melody in an almost mercurial manner. Painstakingly recorded over the course of a year at Junkyard Audio Salvage, the band utilized whatever means were available to them to craft their sound: drums of all shapes, sizes and circuits, various keyboards and synthesizers, midi-triggering guitar scenarios, vocals reconfigured via guitar effect pedal and even the occasional aluminium chair. Blending their hypnotic rhythms into a highly structured compositional style or soaring in the lofty heights of practiced improvisation, this recording follows in the footsteps of the bands previous output all the while marking new ground.

Part of the local Minus Money collective.