This download is simply a thematic addition to this post. The main point is to confirm that Moon Pix, The Money Store and both Ging Nang Boyz albums have been reuploaded. They were down for much too long without my notice, so if a link is broken just leave a comment. Anyway, this upload contains a collection of BTMI demos, the Everybody That You Love single, the Mustard Plug split and Presidents Day split w/ Rick Johnson Rock & Roll Machine.

I wrote the metadata for all releases myself so everything should look (relatively) clean and ordered. Some artwork is included, some isn't.

When this blistering debut was originally issued as a vinyl only release in May 2015, it immediately propelled the duo to a position of prominence in the revitalised London Jazz scene and brought them a wealth of unexpected accolades. As the duo continue to make headlines with their landmark new album ‘Journey To The Mountain Of Forever’, this essential debut gets a full CD release for the first time as well as a vinyl repress. Tenor saxophonist Binker Golding and drummer Moses Boyd recorded the album at Mark Ronson’s Zelig Studio, never using more than two takes for each track, with minimal interference in the signal chain and no overdubs, then recorded direct to Gearbox's vintage Studer ¼” tape machine for true sonic purity. STAFF COMMENTS Millie says: Beautiful jazz percussion sweeping the stage with their album Dem Ones.

This record can transport you vividly to a snazzy jazz bar where you're twitching your heels to all that glorious percussion. Sit back and relax!

Serpent Power, the audacious musical pairing of Ian Skelly (The Coral) and Paul Molloy (The Zutons, The Coral). Their strange musical odyssey continues with the release of Electric Looneyland, the duo's second long-player following on from 2015's eponymous debut. Some bands invent and invite you into their worlds but none are quite like the technicolour horror landscape as evoked on Electric Looneyland.

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Imagine a nightmarish sonic theme-park of catacombs, occult mantras, fuzz wig-outs and spacey evocations, inhabited by a plethora of extra terrestrial mutants, far-out freaks and the undead. Written, arranged, produced and performed by the pair after they stumbled across a skip full of mysterious keyboards, seemingly beamed in from a distant solar system. When plugged in and played they tapped into an unearthly Martian scale with the power to raise Edgar Allan Poe from the dead! Serpent Power make 21st century psychedelia that takes its cues from no-one, and is powered only by the twisted wheels of their own imagination. STAFF COMMENTS Barry says: Sklly and Molloy pull together a predictably superb new LP as Serpent Power. Brimming with all the psychedelic hooks and hummable melodies you've come to expect from these indie veterans.

FORMAT INFORMATIONVinyl comes with CD version of the album enclosed. In 2014 and 2015 TURTLE released two EPs to universal critical acclaim. His magical ability to paint diverse changing landscapes within electronic music gained him comparisons with the likes of Jon Hopkins, SOHN and Thom Yorke, and champions like Lauren Laverne, Gilles Peterson, Nemone and Steve Lamacq BBC 6 Music, Huw Stephens BBC Radio 1. Now after a lengthily spell under the radar, Glaswegian based Jon Cooper emerges with his new album “Human”. ‘Human’ (the album’s title track) is a driving, celestial soundscape full of swelling strings and ethereal pads completed with the epic vocal stylings of Iranian / Swedish songstress Mariam The Believer, whose harmonious tones provide a beautiful and sentimental accompaniment to the proceedings. ‘Human’ is a result of Jon confronting a dark period in his Life head on. A window into the deepest corners of his mind where he has created a collage of moods, transporting you to an introspective headphone experience wrapped in a glow of positivity.

“Through my music, I found the way to let the light in” Cooper describes the recording process as being cathartic. Pouring his emotions into multi-layered soundscapes with cinematic builds, climatic releases and hypnotic, rhythmic beats. Organic and electronic sounds are mixed together in a colourful interplay STAFF COMMENTS Millie says: I fell in love the second I heard this, beautifully ambient looping chords swirl into an array of breathtaking compositions. Distant vocals echo in the background which make this album truly delicate and harrowing. Fans of Julianna Barwick need to listen to this! FORMAT INFORMATION Coloured LP Info: Mint Green Colour Vinyl.

Zomby's enjoyed an illustrious career thus far. His 'Where Were U In '92' immediately saw the producer rocket into our stratosphere while collaborations with Burial have ensured his credentials and desirability throughout the underground.

Last year's 'Ultra' album saw him exploring new territory - stark, barren lands of low-life microcosms, radiation scorched landscapes and varying levels of gravity and pressure - making for a completely alien and otherworldly listen. Plummeting even further into said environment is 'Mercury's Rainbow', an album totally befitting for interplantary exploration.

Apparently created between 2008-2009, it was actually conceived more as an Eski-concept album, paying tribute to one of girme's most iconic artists and sounds. Innovating the structure with a bewildering, modal style, shimmering is a 3-dimensional world, it recalls fellow space explores Seekers International; whilst shunning said act's pursuit of interstellar dub and reggae in search of something altogether more supernova in its creation. 'While it’s difficult to say with certainty, if Mercury’s Rainbow was issued at the same time it was created, it may have arguably altered the course of UK grime instrumentals in much the same way Wiley’s original template coined a whole new genre, essentially making it the last word in grime futurism, proper.' STAFF COMMENTS Barry says: Stark hi-octane arpeggios and bit-crushed chugs meet street-level kick-slinging, crackling videogame refrains and icy, progressive utopian futures. Fearless, and fantastic. Another brilliant outing for Manchester label Icecapades, following their well recieved LP from Sprinters earlier this year.

Where sprinters were the warm, silky sauce on the chips of Manchester, dinner party are the cripsy bits at the edges, the gritty scraps at the bottom and the acidic tang of vinegar littered around the peripheries. Formed from a veritable wealth of talent inc. Edwin Stephens of Irma Vep / Sex Hands / Klaus Kinski, and Nick Ainsworth and Tom Settle of Former Bullies (among Others), Dinner Party spew forth a clanging, variegated stream of off-kilter psychedelia, fuzzed-out garage rock and/or roll and scattered Americana references. A true melting pot, in the hands of some of the greatest pot-melters in the country. STAFF COMMENTS Barry says: Brilliantly accomplished and resolutely stirring fuzzy garage rock, fired through 70's psychedelia and jagged, gritty melodicism. For anyone preparing to battle a bout of seasonal-affective disorder, producer Martin Brew, otherwise known as Manchester’s sonic-maestro J-Walk, is all set to shine a little limelight through the dark with eight deep cuts that shimmer on the brand new LP Limelight Nights.

“I started on Limelight Nights during the spring and it was very much inspired by the nice weather at the time which also seemed to galvanise me into making something ‘summery’ in feel,” Martin explains. “It’s all about light, time, seasons and how certain points in the day or year can invoke a certain feeling or moodfrom melancholy to joyfulness and all the other places in between.” Serving as a precursor to J-Walk’s debut LP A Night On The Rocks, which captured the feel of a night-time world, Limelight Nights is inspired by what happens prior to that. The moment when twilight descends, the sun sets, the stars begin to sparkle and all the wild and wonderful anticipation, expectations and excitement it brings.

With 12 years between J-Walk’s debut and sophomore release, fans waited whilst J-Walk took a break after touring, remixed Baaba Maal, Rae And Christian, Kings Of Convenience, and Nitin Sawhney, then took some time to recharge when “life just kind of took over” but Limelight Nights was written in just 12 months. Surprising, given that J-Walk now plays the role of all members of a fictitious band, writing, playing and recording all instruments himself. “I now record my guitars to my computer rather than tape and have to think like each separate member of a band to play that particular instrument. It means the process takes longer than a band writing and playing together,” Martin says. One thing that hasn’t changed is the influence of Manchester. Whilst the city centre buckles under the weight of change and lines the pockets of the already rich, Limelight Nights takes a fresh new stance; “I live just outside Manchester and see it every day! It’s a dynamic city with all the development that’s still going on, but it’s now the fringes of the city where the interesting stuff happens in the old run-down industrial arches and warehouses; in the hinterlands that are probably an embarrassment to the council this is where the young and hungry creative energies can be found that I find inspiring.” Wiping off the raindrops and peering in from the outside, each track is shot with serotonin and brings a voyeuristic positivity to the changing northern landscape.

Since the days of the project’s incarnation after using one of New Order’s old Akai S900 samplers – an artefact that no longer works, but still takes pride of place in Martin’s home (“I can’t let it go as it’s a little piece of history and very special to me!”) J-Walk’s musical influences and passions have once again been given the treatment they so brilliantly deserve with a body of twisting sweeping synths for a deeper dance vibe. The seductive French vocals of ‘Aimons Toujours’ and infectious West-Coast groove of ‘Twilight’ draw inspiration from producers and artists such as Bibio, Peaking Lights, Jaakko Eino Kalevi, and MGMT plus The Durutti Column, Tom Tom Club, Sly & Robbie, and the Style Council. There’s even a nod to local legend, the late Rob Gretton. “Rob gave me my first break and released my first recordsomething I’m eternally grateful for,” Martin recalls.

“He was warm and brilliantly sharp, and always took a keen interest in the music I was making. I miss him and still think about him lots – in many ways he defined Manchester for me since my teens and still does, because that musical legacy and the city are inseparable. The vital thing, however, Martin says, is to keep looking forward and keep it light; “As an artist it’s important to develop and push yourself further all the time. I’ve been DJing since my teens, and have been buying records religiously since I was 13, so in a sense it’s my job to keep up to date with what’s happening.

I’m very proud of the music I have made, and am currently making – it’s all part of the journey and the overall oeuvre.” STAFF COMMENTS Patrick says: Incapable of anything but brilliance, J-Walk effortlessly entwines French pop, hip hop, dub and downbeat into a Balearic blend you'll savour again and again. After blowing minds (in the most calm manner possible) through a string of excellent releases on Tusk Wax, Back To The Balearics and Cosmic Pint Glass, electronic druid Maricopa lands at Is It Balearic? With his second full length LP, 'Sun Scope'. Intended as the dreamlike soundtrack to a hazy journey through natural surrounds, the LP conjures images of red dust and lush plant life, soaring birds and whispering insects. Split into two conceptual halves the A-side represents morning until dusk and the flip soundtracks midnight until dawn, coming together into a beautifully evocative album of mellow electronica on IIB.

When the city starts to encroach on the forest, nature will find a way to reclaim what is rightfully hers. Snapped Ankles come as messengers.

On debut album Come Play The Trees they hold a mirror up to us. They’re here to plant the seed. They’re here to have a good time, but never at the expense of their natural habitat. Snapped Ankles have emerged from the woods clutching an album that feels simultaneously modern and ancient.

This is what dance music will sounds like when computers finally fail us. Log synths, bass guitar and sticks on taut animal skin coalesce to form fearsome primal rhythms. Fuzz guitars rubbing up against dirty rolling arpeggiated synthesisers to ignite wild white noise fires. Forest folklore passed down through generations, has made its way onto the tracks. Subjects veer from dystopian futures to railing against Swedish flat-pack furniture, from the films of Jean-Luc Godard and Andrei Tarkovsky to throwaway YouTube comments. High art and cultural detritus are all fair game - a brave new world indeed. • This is Snapped Ankles debut album • Since relocating to bohemian East London, the woodwose have integrated seamlessly into the creative firmament, setting up camp at the Total Refreshment Centre • The videos for singles ‘Jonny Guitar Calling Gosta Berlin’ and ‘I Want My Minutes Back’ offer a glimpse into the off-kilter art-house minds of Snapped Ankles and display a certain preoccupation with spaghetti • A dish best served live: wildmen dressed in ghillie suits coaxing unholy noise from a forest of logs, wires, drums and guitars.

STAFF COMMENTS Barry says: Throbbing pulses, primal melodies and fiery aggression spew forth from the newest Snapped Ankles outing. It’s as if they were born to make this sound. FORMAT INFORMATION Coloured LP Info: Yellow vinyl edition. Vinyl comes with CD version of the album enclosed. Blasting right out of the BK, Talib Kweli goes loud on his 8th solo LP, bringing that timeless, high velocity flow over a succession of brassy and bassy golden age grooves. As you'd expect Kweli reflects on social issues such as gentrification, racism and capitalism, setting his stall out from the get go with the vocal fire of opener 'The Magic Hour'. Over strings and soulful voices that would sound welcome on any of his classic Rawkus Records albums, the MC goes in for a solid two minutes and change.

There's no hook and he doesn't pause to let that beat ride for a bit; it's just business as usual for Talib. Kaytra hooks up a fire brass beat for 'Travelling Light', locking a perfect groove for Talib and Anderson.Paak to do their thing, before album standout 'All Of Us' sees Talib teaming up with singer Yummy Bingham and the ever-elusive rapper Jay Electronica to pen an anthem in honour of the Black men and women disrespected by society and especially police. 'Radio Silence' does have more variety than just politically-conscious boom bap. 'The One I Love' with BJ The Chicago Kid is a straight-up love song that goes into more R&B territory without sacrificing Talib's bars; 'Chips' shifts into a more trap style with frantic horns on the beat to complement Waka Flocka Flame and 'Write at Home' features a more spoken word style over Robert Glasper's keys and Bilal's crooning. Elsewhere Amber Coffman, Myka 9 and Rick Ross round out a diverse set of guest stars, all united by Kweli's conscious style. Definitely the MC's best work in a decade. Sen Am' is the third album by London/ Freetown based artist Duval Timothy.

Drawing upon his Sierra Leonean and British identity, 'Sen Am' which means 'send it' in Krio is Duval's most personal album to date. The album continues Duval's work on solo piano on tracks such as 'Whale' as well as introducing layers of vocal samples, software instruments, field recordings and WhatsApp voice notes from friends and family sprinkled throughout the record. The project hosts one feature from longtime collaborator Nicholas Mandalos who's slide guitar Duval layers on the track 'Language'. Sen am is Duval's first release under his own label Carrying Colour. The album was recorded, mixed and designed by himself. In this way the project brings together the many disciplines Duval work's across into one wide ranging project. STAFF COMMENTS Millie says: The simplicity of the piano creates a beautiful ambiance of pensive and thoughtful album.

The layers of distant voice samples makes this truly emotive and personal, a definite must listen. Open Mike Eagle’s newest album is a masterpiece mural drawn in sidewalk chalk. Entitled Brick Body Kids Still Daydream, the album addresses gentrification, culture and family.

A multi-talented performer, the comedian, artist and rapper approaches music with a postmodern approach, making the audience look at themselves through the lens of his art. Open Mike Eagle’s last solo album release, 2014’s ‘Dark Comedy’ was included on SPIN and Rolling Stone’s “Best Rap Albums of 2014” list and was called “one of the most compelling indie-rap listens of the year” by Pitchfork. In 2016 he released ‘Hella Personal Film Festival’ with Paul White (Charli XCX, Danny Brown). The “art rap” MC, film/TV writer, podcast host and comedian polymath has also appeared on Marc Maron’s WTF podcast and the Eric Andre Show, and has performed with Thundercat and Flying Lotus on Hannibal Buress’s Comedy Central series.

STAFF COMMENTS Millie says: Chilled beats matched by ingenious rhymes with wit and poetic streaks, this album needs some serious attention. Brick Body Kids Still Daydream addresses complex issues while being so smooth and soulful lyrically. FORMAT INFORMATION Coloured LP includes MP3 Download Code. Music For Dreams is proud to announce the new album by Danish legend Dub Tractor. One of the founding fathers of electronica in Denmark in the early 90s, Anders Remmer has remained a reluctant beacon of Copenhagen’s scene ever since, with his musical legacy still a work in progress. As well as being a member of Future 3, Remmer has released material under a number of different aliases, but his most frequent guise dating back to 1994 has been Dub Tractor.

Under this name, he gently crafts complex yet warm and organic electronic music that flirts with ambient, dub and IDM. With “Hello Ambient Wash”, the first Dub Tractor album since 2009, Remmer explores further the possibilities of Dub Tractor after the more pop-oriented & shoegaze-flavoured approach of his last album 'Sorry'. In addition to new material, the second half of “Hello Ambient Wash” presents a retrospective of hand-picked tracks from his first three albums on Flex Records (the label which Music For Dreams founder Kenneth Bager ran with Ole Mortensen from 1994 to 2007). Two 'Discrete Recordings' tracks from 1994 highlight the atmospheric dub origins of Remmer’s sound, while the two tracks from the 1996 album 'An Evening With.' See Remmer at his most accessible and funky. The four cuts from his seminal 2000 album 'Delay' still sound as vibrant and fresh today as they did then, and perfectly add weight to this unique collection. Back on the new material, we see Remmer experimenting further with the style he has become synonymous with.

On tracks like 'Wow' and “Flutter”, he plays with elements of distortion and layers of sound to create an atmosphere of fragility and nostalgic haze. Loops trapped in reverse over the delicate but intense humming of lo-fi ambient noise create a sense that these tracks could fall apart at any given moment, but still push forward at a cautious pace. The melodic side of Dub Tractor shines through on the opening track 'C8 90', the title track 'Hello Ambient Wash', and 'A7 94'.

Coming off as crackly old cassette recordings of some lost Southeast Asian folk music filtered through the high-tech dub engines of Remmer, the sound of the new Dub Tractor proves a heady stew of influences that still sound wholly their own. “Stay Home” echoes more the shoegaze direction Remmer took on 'Sorry' with a melancholic sway which layers ghostlike vocals over muted lingering chords. While on tracks like 'SIne Song' and 'Ltl' Remmer truly gives cause to the name Dub Tractor, as he ploughs down tight rhythms over sub-bass frequencies and a myriad of trickling effects. Like walking through a dense rain forest of sound, drum clicks stick to your body like moist leaves - these tracks conjure the sensation of a cannabis high or an ASMR episode (google that if you don't know it). Remmer must have tapped into some masterful technology of sine wave manipulation to push the listener into these mind altered states. Bonus info: Nils Frahm is a fan. Sublime compilation of long-lost Australian indie-pop, acoustic jangle and beat happenings gathered by Melbourne-based collector and DJ Bayu and label head Moopie.

Twelve tracks of singular vision spanning up- and downbeat pop, post-punk and minimal synth rarities recorded between 1982 and now. Australian twee pop royalty the Cat's Miaow shares the stage with the Cannanes and the Particles; Ya Ya Choral with Sarah Records' own Even As We Speak. Included is the previously unreleased 'Dot', by Mutant Sounds cult band Maestros and Dipsos. Full colour reverse-card sleeve with printed insert and lyrics sheet.

STAFF COMMENTS Andy says: Wow, a beautiful blast from (predominantly) the past! Classic mid to late 80's indie with some earlier post-punk dislocation thrown in for good measure. Fragile, yearning pop music for all us Creation, Factory, Sarah Records nerds! Sigh etc etc! First ever vinyl edition of the legendary 1991compilation that defined the Tokyo psychedelic movement and first brought it to the outside world. * Newly created artwork and design expanding on the original by Rob Carmichael at SEEN Sudio. * Housed in custom printed deluxe Stoughton gatefold jacket with slipcase slipcase, including full color printed inner varnish * Remastered and cut by Pete Lyman at Infrasonic Sound and pressed to high quality vinyl at RTI.

Black Editions is proud to present one of the most iconic compilations in the history of underground music:“Tokyo Flashback”. Originally released in 1991 by Japan’s P.S.F.

Records, Tokyo Flashback defined the breathtakingly unique and previously obscured musical movement that had been developing in Japan since the late 1970’s. The compilation features some of the earliest released recordings by Keiji Haino, High Rise, Masaki Batoh’s Ghost, White Heaven, Fushitsusha, Kousokuya and Marble Sheep. It cap-tures the excitement and energy of a Tokyo awash in Technicolor and deep blacks; the music echoing Kraut Rock, Psychedelic freak-outs, Garage and No Wave.

At the same time it reveals astonishing, totally idiosyn-cratic expansions of rock music. In time, Tokyo Flashback expanded to a synonymous nine volume series that over the next two decades unveiled Japan’s ever evolving soundscapes to the rest of the world. Tokyo Flashback is a defining statement of late 20th Century Japanese psychedelic music and an essential primer to the world of P.S.F. All tracks are exclusive, this edition features the first time translation of the original liner notes. Black Editions’ deluxe edition is entirely re-mastered and marks the first release of Tokyo Flashback outside of Japan and it’s first ever vinyl issue. FORMAT INFORMATION 2xLtd LP includes MP3 Download Code.

Featuring Nick Cave & The Bad Seeds and Kylie Minogue and Sophia Loren with Tonis Maroudas Academy award nominated film and winner of the 2015 Cannes Film Festival Jury prize (among many others), ‘The Lobster’ is a dystopian comedy-drama directed by Yorgos Lanthimos (Dogstooth, The Killing Of A Sacred Deer) and co-written by Efthymis Filippou that stars Colin Farrell, Rachel Weisz and Olivia Colman. Love is a crazy thing that’s as perverse as the relationships that come with it, living in the digital age of love-matching and profiling, ‘The Lobster’ tackles humanity’s struggle with love, the fear of loneliness and societal issues. Forced by the government to find a partner in forty-five days under their watchful eye and extreme training program or you’ll be turned into an animal to survive in the woods. The absurdist sci-fi horror movie sees residents out hunting for ‘Loners’ who once caught are sent off to face their fate in return for extra time to find love that keeps them alive.

Out in the woods alongside them are celibate freedom fighters that have joined the resistance, it is here a love story unfolds. Curated by Lanthimos and music supervisor Amy Ashworth, the soundtrack “brings the film’s edgy tension and menace to the fore” (Screen Daily) with orchestral renditions of Beethoven, Stravinsky and Shostakovich alongside Nick Cave & The Bad Seeds with Kylie Minogue on ‘Where The Wild Roses Grow’ and Sophia Loren with Tonis Maroudas on ‘Ti Ein Afto Pou To Lene Agapi’. Fire Soundtracks and Lakeshore Records are set to release ‘The Lobster’ soundtrack for the first time on limited edition vinyl on December 1st.

FORMAT INFORMATION Coloured LP Info: Limited transparent vinyl edition. 21 shades of freak from the illuminati of lost sides, Light Sounds Dark. Carrying on the theme from Pt.

1 - lost excursions into black hole minimal wave, DIY-space electronix, alien jazz, red planet dub and a general feeling of being completely lost in the vast array of cosmic abandon. We got red-shifted AM radio transmissions beamed from broken down interplanetary delivery courier services mixed with primitive morse code bleeps from less established life forms attempted to connect with the Other. Don't let go of the space cord. SUPER limited - you know the deal by now.

One pressing, cop now or regret later. One of ex-staffer Michael Riley and current staffer Matt Ward's favourite rappers of late, Wiki of Ratking and solo fame drops a much anticipated new full length via XL as he climbs to the top of the new school and hits a well documented purple patch.

The toothless, skateboard loving, Arnold Palmer drinking upstart has had quite a rise to stardom, after blowing us away with hit after potty-mouthed hit and with some of the most creative and unique videos to have hit the hip-hop genre in recent times. With Ratking he flipped what was expected of hip-hop groups in general, adding a psychedelic yet gritty haze, flipping song structures and retreating from the misogynistic, all-frontin' bullshit that half of the hip-hop game seem to be peddling. Solo we see him in comfortable stride, mixing a half-sung vocal style with fiery and poignant flow, always sticking to content that's real and fully lived be him and his crew. You won't hear him fake-talking about peddling crack and having millions in the bank (or driving a Ferrari for that matter.), just quick-witted, keen-eyed observations on street life delivered with a sharp tongue.

The album features fellow New York natives, both legend and novice, including Ghostface Killah, Lakutis, ACAB, Slicky Boy, Your Old Droog and more. Production credits include Ratking’s Sporting Life, Tony Seltzer, Kaytranada, Earl Sweatshirt and Wiki himself; a who's who of who's reinventing the script in 2017>18. Highly recommended. STAFF COMMENTS Matt says: It's time for the whole world to hear how Wiki-speaks as the NY rapper climbs to the top of the game and shouts his message to the world.

Get on board. Not only is Steve Cobby a resonating force for social change and incredibly nice chap, he's also a TOTAL effin' ledge, and this latest LP delivers every bit of slow-release splendor you could hope for. 'Jenkem' opens the set with a sublime mid tempo groove, giving us blobby bass, funky guitar licks and mellow mallets, all topped with the purest pads and delivered with crystal clear production.

So far so funky, and the cool and cosmic of 'Rick James Dwells In The Abyss' delivers on its titular promise with a mega Charlie Murphy vocal sample, soulful strut and eventual evolution into rapid fire breakbeats and buzzing guitar-god riffage. 'The Canyons Of Lower Manhattan' powers into the peaktime with neat disco-house percussion, Metro Area style production and a heart wrenching leadline worthy of a Todd Terje classic. It wouldn't be a Cobby cut without a little dub, and 'Babylon On The Hudson' arrives right on time, translating Blaxploitation chords and soulful horns into a supreme smokers jam, while 'Heure D'or' is a thing of true beauty - all twinkly keys, broken beats and warm feelings. 'A Candle For The Moth' continues with the dreamy downbeat theme, serving us soulful keys and chiming mallets on a stoned Roy Ayers tip.

'Cherry-skin Blanket' brings back the blorp, pairing slobbery synth bass with smooth guitars and pleasing arps, before Cobby calls time with a siren song for subtle bodies and sunsets alike, merging malleable electronics with divine acoustic guitar. STAFF COMMENTS Patrick says: Steve doesn't make bad records, but this is beauty even by his standards. A J Cronin The Citadel Pdf Free. Whatever your particular penchant is, if you like to live slowly, there's something here for you. Limited edition Greg Beato album / comp here under an alt alias and released on his own Ni Un Pero imprint. Existing fans should be kept more than interesting with his vigorous mix of bangin' and clatterin' drums, metallic textures and hefty kick drums.

Haphazardly contrasting stark, industrious moods with glimmers of harmony. Rhythmically strong throughout, paying most obvious tribute to the years of house and techno music that precede it. This isn't some pastiche though, every track feels real and honest and battered out of Beato's boxes with abandon. STAFF COMMENTS Barry says: Proper dark resonant electronic acid mayhem here from Beato, with snapping bit-crushed percussion, industrious squealing 303's and frantic, crescentic melodies. Tribute To is a collection of George Harrison songs recorded by Jim after George’s death.

“All I had was that eight track at our studio and right after George died I just went up there and sat in a room and played those songs to try and deal with the emotions I felt from his passing and pay tribute to him” said Jim James. Spin described the EP as “spare and somber – just that windy Americana tenor against a squeaky acoustic guitar Many of us remember where we were when Harrison died; now we hear when James began to heal.” This re-issue includes a bonus track, a cover of 'If Not For You'. FORMAT INFORMATION LP includes MP3 Download Code. After releasing the politically charged solo album ‘Eternally Even’ in 2016, My Morning Jacket frontman Jim James returns with ‘Tribute To 2’, a collection of cover songs that reverberate with hope. Unlike his 2009 mini album of songs by George Harrison and the Beatles, ‘Tribute To’, which was recorded on an eight-track, reel-toreel tape recorder in the days following Harrison’s passing, the 11 songs of ‘Tribute To 2’ were recorded over a period of years, in different places, with different gear and varied instrumentation.

James explains, “These are some of my favourite covers - songs I recorded trying to bring myself peace during a rough time or trying to make myself laugh or just have fun. I hope others can relate and enjoy the journey during these tough times and hopefully in times of peace and love as well!” FORMAT INFORMATION LP includes MP3 Download Code. Visible Cloaks’ 'Lex' proposes a utopian dream language and its accompanying sound, a limitless, delicate space developed by fluid musical techniques and subconscious voices.

The six pieces comprising 'Lex' simulate a more peaceful future, their mysteries telling a new tale in an unknown but imaginable melodic language. Visible Cloaks are the Portland-based musicians Spencer Doran and Ryan Carlile. Utilizing software-based composition rooted in randomization, MIDI-translation and chance operations, the duo has established an improbable humanist mode of music from esoteric processes. Following their self-titled debut album, Visible Cloaks offered 'Reassemblage', an album simultaneously honoring the post-Yellow Magic Orchestra school of avant musical adventure and diverging from it.

Veering from the paths cleared by Japanese and Italian electronic pop and ambient artists of the mid-80s / early-90s, 'Reassemblage' established Visible Cloaks’ own camp in a forest of deep sound canopied by trees grown from synthetic seeds.The sound represented on Lex is webbed with sculptural arrangements and interpolated by the sounds of alien speech. These strange and serene utterances were created by Doran feeding a chain of multiple dialects and accents through a language translation software to create an auditory poetry of an evolved place and time. 'Lex' features both the final version of this process and earlier, simplified experiments with it (“Keys”). “The idea – building on ‘fourth world’ or ‘global village’ type concepts – was to create a projected language that was a fusion of many,” Doran explains. Nonesuch Records releases The Way Is Read, a twelve-song album by the English trio The Staves – Emily, Jessica, and Camilla Staveley-Taylor (all vocals) – and New York City–based ensemble yMusic. After being commissioned in 2016 by Justin Vernon’s Eaux Claires Festival to collaborate on a live performance piece, The Staves delved deep into yMusic’s catalogue of contemporary classical compositions to find pieces suited to their lyrics and vocals.

While the Festival is known for bringing musicians together for one-off performances, this is the first time one of those partnerships has made the leap into a studio album. The LP was produced by Rob Moose and Jessica Staveley-Taylor and mixed and engineered by Brian Joseph at his studio, Hive, in Eau Claire, Wisconsin. The two groups will come together live again at a series of special shows at the Walker Art Center in Minneapolis on December 1 and 2, and they also will perform on public radio’s A Prairie Home Companion on December 16. Next up and equally fabulous is the great, and hotly anticipated, new album from Polypores. The artist’s third full length for the label following a private press style, mailorder release earlier the year and first album proper “The Fialka Transmissions” in 2016. Polypores aka Stephen James Buckley makes haunted space music using an ever-expanding mound of synthesizers, samplers, and old tape recorders. Bleak, icy drones give way to 1970's Sci-Fi synth lines, throbbing bass rumbles ominously beneath a psychedelic haze of wistful melody and disembodied voices.

“The Impossibility” was inspired by the destruction of the planet Earth by the human race, the early works of JG Ballard, Tarkovsky's “Stalker”, conspiracy theories, and places where the rules of time and space are brought into question. It was written and recorded in January 2017. STAFF COMMENTS Barry says: Every single time a Polytechnic Youth LP (or single) crops up, i'm instantly frought.

I try not to listen to it because I KNOW i'll want it. Spoiler: It never works.

I have now bought this one, as well as EVERY OTHER PY RELEASE EVER. This time we have a slightly claustrophobic, but absolutely spellbinding cosmic synth journey. It's impeccable, and as a serial PY purchaser, one of the very best. Tom Rogerson's life as an improviser began when, as a toddler, he would clamber up onto his family piano stool and try to emulate his sister's playing.

Now releasing his second solo album, a collaboration with Brian Eno, he feels that his musical life has come full circle: 'I remember smashing out C Major chords again and again and really loving it. It's the same as what I do now, funnily enough, I've come back to it.' After stints playing jazz in New York, a dilapidated fenland hotel and in noise rock band Three Trapped Tigers, Rogerson ran into Eno at a gig. Bonding over a love of the countryside of their Suffolk home, the pair entered the studio and worked with The Piano Bar, a device that converted the sound of the piano into midi signals, which were then further manipulated. 'It was this classic Eno, almost scientific thing,' Rogerson says now. 'He always finds a system that can be a source of creativity.' The result is an album that uses Eno's magic to pull deep from Rogerson's subconscious to evoke the strange flat landscape of Eastern England, all heathland, military testing sites and estuary mud.

'I do totally hear it, I'll listen and think, ‘oh that sounds like the bells at Woodbridge, that's the birds, the wind rustling in the reeds,' Rogerson says. 'I think it permeates my music, and Brian's ambient records. That 'is it organic or is it electronic thing' is so interesting.' STAFF COMMENTS Barry says: Beautiful arpeggios, shimmering ambient bliss and intricate, delicate progressions. A beautiful addition to Eno's considerable output, and a really brilliant collaboration in terms of the contrasting styles coming together with flair.

Soul and blues singer Robert Finley will release his second studio album, Goin’ Platinum! Via Easy Eye Sound. The album captures a singer at his prime, surrounded by all-time-great session musicians with skill to match his singular voice, including drummer Gene Chrisman (Elvis Presley, Aretha Franklin) keys player Bobby Woods (JJ Cale, Bobby Womack), horns players from Preservation Hall and legendary guitarist Duane Eddy. Goin’ Platinum! Was co-written and produced by The Black Key’s Dan Auerbach and also features writing credits by legendary songwriters John Prine, Nick Lowe, and Pat McLaughlin. “These guys are legends in their own time,” Finley says.

“I’m grateful to be part of the team and working with such extraordinary guys. We hooked up the soul and rock and roll and made one hell of a record.” STAFF COMMENTS Barry says: A beguiling and brilliantly soulful outing from Finley, brimming with elements of blues, funk and soul. Finley's voice remains as enchanting to this day as it ever has, and his songwriting has never faltered. A remastered version of Shenzhou on triple vinyl and double CD with the bonus album'The Samphire Tower. Paul Cooper, Pitchfork: 'Shenzhou', aside from being the name of the Chinese manned-spaceflight vehicles, means 'magic vessel', and I can't imagine a more apt description for Geir Jenssen's latest excursion into ambient deep listening.

After following an Aphexian trajectory with his releases on Apollo, the ambient sublabel of Belgium's R&S; Records, Jenssen veered from the padded sci-fi-inspired techno of Microgravity and Patashnik with 1997's Substrata, a genre-defining exploration of drifting soundscapes. Substrata remains for many the album that perfectly expresses the serenity and intensity of Arctic wildernesses, a landscape Jenssen knows intimately, having spent much of his life in the Norwegian Arctic Circle. In 2000, Jenssen nearly eclipsed the success of Substrata with Cirque, a frequently frosty submerging of excerpted conversations and found environmental sounds that rivals Wolfgang Voigt's Gas project in its rumbling, gauzy beauty.

Jenssen again relies on found sound as source material for Shenzhou, but this time, the found sound is old vinyl recordings of the orchestral works of French Impressionist composer and ambient precursor, Claude Debussy. Jenssen lifts fragments of these scratched records in a similar manner as he did for Cirque's 'Black Lamb Grey Falcon' and 'Iberia Eterea'. The ten tracks (out of the dozen on the album) that follow this model all begin as a barely audible hum, like a small electrical transformer, out of which the dust-dappled loops of Debussy's woodwind, brass, and strings emerge, condense, and fade out into pink noise rustles. Unlike Steve Reich's phase pieces or Brian Eno's Discreet Music, though, Jenssen doesn't set his loops against each other to produce juxtapositions and piquant dissonance; he uses them to describe imagined terrain, at first glance monotonously flat and barren, but on concentration, replete with minute detailing. The overall effect of these pieces is a sense of immensity.

The orchestral loops sound distant, abandoned in a vast wilderness, and strenuously battling against Arctic winds. Jenssen sets the listener down in this wilderness as an aloof observer, a witness to the music's futile struggles against entropic forces. The two tracks not derived from Debussy share the same hypnotic aesthetic. The brief interlude 'Bose-Einstein Condension' is a loop of piano chords lolloping in search of coherence, while 'Gravity Assist' is a longer voyage into woofer-quaking low-frequency manipulation, bell-like drones, and contrails of subdued noise. STAFF COMMENTS Barry says: Aah Biosphere, what can't you do?

Glacial cavey ambience, folky new agey ambience and now classical, chopped-up ambience? It might sound like i'm being derogatory here, but when it comes to ambient (which I love), nobody really does it better. More esoteric genius from Manchester's Gondwana. Started by Matthew Halsall in 2008 they've slowly become one of Piccadilly's favourite labels and can claim fans in Gilles Peterson, Mr Scruff and DJ Shadow. While the jazz of Halsall and GoGo Penguin might have established the label, with recent releases such as Portico Quartet, we've seen them embrace the new ambient and neo classical movement and with this latest release, from Leed's Noya Rao, a new direction again. If you're a fan of Little Dragon and Bonobo or the alt RnB of Kelela or Jesse Lanza then this is the album for you. Icaros takes the listener on a journey through the band's unique sound-world amplified by Tom Henry's bold and inventive production techniques.

Sometimes fragile, sometimes raw and visceral, it's an album of stark contrasts. STAFF COMMENTS David says: One last release for the year from our favourite label of 2017, Gondwana. Noya Rao walk a line somewhere between Alt RnB and jazz, difficult to pigeonhole and all the more refreshing for it. Debut LP from one of the cornerstone's of the L.I.E.S. Label, Terekke - 'This record contains 5 years worth of electronic experimentations, the bulk of which were recorded while living in the EU, and mixed down at a studio in Amsterdam.

The music was sequenced on a MPC and an inexpensive digital keyboard with reverb and delay.' Opening with the lucid coastal ambience of 'Tack' and into the rigid stomp of 'Bb2'. 'Need' sees a calm but bass heavy swamp of sound slowly churn, elusive currents and underwater ripples offering up some kinda of momentum deep within the drift. 'Swim' is covered in an semi-organic patina, microcosmic life forms sprouting up from the exotic flora. 'Mix 91' sees Terekke explore a dubbed out and echo-laden environment, sparse and reverberating and somehow equally in tune with the Idjut Boys tape-delayed dancefloor experiments. 'Padi' sees the serene and content nature reach a natural zenith, effortlessly elevating itself into the heavens through skilled synthesis and a sympathetic ear. Finally, 'Closer' allows ripples of Chain Reaction-esque flux collide with a heady, suspended pad preset; an endless flow of gorgeous, thick sound which sees the album drift off into infinite.

A truly impressive body of work from Terekke. If you liked Huerco S' LP from last year or the celestial gloop of Burial & Zomby, then I'm sure there's plenty for you to get stuck into here. Most recommended. STAFF COMMENTS Matt says: I love it when someone who's previously been responsible for arse-tearing techno and industiral business, turns their hand at something more enchanted and ethereal for their full length excursions. No one wants and hour and a half of wall shakers, Terrekke perfectly addresses the dyanamic balance, across eight tracks, yet remained decidedly modern and focussed. It’s already two years since volume one of ‘Kaminari’?

Time flies, but things changed. For the best. Since late 2005 there was a new door open for some of today’s most exciting Japanese rock n roll and garage bands to be able to showcase their music abroad.

This buzz about the healthy Japanese scene even inspired other more established labels to step forward and try their luck in the Japanese camp. What they miss is the inside knowledge of the Japanese underground scene and language domain. Luckily Groovie Records has Mr. Chris Jack of the mighty Routes onboard. Having a direct ear to ground, and speaking the language means he’s the best man to compile ‘Kaminari’.

Two volumes under his belt and the results are ACE! True to its original concept this new volume of ‘Kaminari’ brings you another batch of 19 exciting underground bands from all over Japan (Tokyo, Osaka, Nagoya, Hokkaido, Kobe). While some names might sound familiar, others will sound new but all, and I mean ALL, of them deserve your full attention. Older bands together with the newbies ready to storm your Saturday night out.

If garage rock, trash punk, 60’s beat, fuzz or surf is your thing then you’ll dig ‘Kaminari’ like candy. The bar is set higher and I can’t wait for volume 3. Hope it doesn’t take another two years. One thing I’m pretty sure: In the near future we’ll hear more about these bands, hopefully with more releases in and especially out of Japan.

You Might Not Like This [YMNLT] have teamed up with Martin Christie - the founder of the nationwide Electronic Music Open Mic [EMOM] - to bring you this one-off physical release, featuring many of the acts that have graced the EMOM nights. EMOM was started to provide a space in which electronic musicians could meet and play music with a view to promoting this often overlooked form of music making. Nights have taken place in Manchester, Sheffield, Leeds, Liverpool, Bristol, London, Coventry and Salford. The approaches to music making have varied enormously, ranging from modular to groove boxes and loop stations, from live coding to synthesisers and launch pads, and many more. This compilation album includes a representatively diverse sample of such music.

A double-disc full of resplendent delights, from the haunting spoken-word ambient drone of 'A Collection Of Notes', turning into a churning cosmic synth odyssey, Lizzie Bradley's scattered Kosmische glitch and thundering percussion on 'Why Don't'. Offset with more haunting gothic numbers like the hazy crepuscular hum of TOOM or the icy euphoric synthwave of Elle Call. There is a wealth of talent creeping through every fibre of this underground compilation, and it wouldn't be surprising at all to see this very release mentioned as the start of a good number of careers.

Killer stuff. STAFF COMMENTS Barry says: A brilliantly diverse, and consistently superb look at the thriving nature of underground electronic music, all brought together by Martin Christie and Bizzle's impeccable curatorial flair.

A great compilation, and a top listen. A hybrid meeting of two musical voyagers working at maximum velocity for the betterment and detriment of all human kind.

Join Steve Mason (The Beta Band) and Martin Duffy (Primal Scream) as they take you out of this world, into near Space and back to planet Earth again with their collaborative four track mini album, ‘Livin’ In Elizabethan Times’. Rush released before imminent, full disclosure, this musical space ride from Alien Stadium is the sound of two enormous brains working in unrestricted full flow. This record is inevitable and is beautiful, frightening and enlightening. 30 minutes of music. STAFF COMMENTS Barry says: A collaboration between two of the biggest names from two of the biggest bands in indie music history is always going to be an exciting prospect, and this does not disappoint. An equally weighted, and beguiling mix of the sounds you'd expect from both camps. FORMAT INFORMATION Coloured LP Info: Limited indies only pressing on heavyweight magenta vinyl.

Coloured LP includes MP3 Download Code. LP includes MP3 Download Code. CD includes MP3 Download Code. Everyday Is Kill is the first new material from Damon Baxter (aka Deadly Avenger) in 8 years. Having previously released records on the legendary D.C Recordings & Wall Of Sound imprints, we here at Death Waltz Originals are thrilled to be releasing this brand new LP. You will have heard Deadly Avenger even if you don’t own any of his records - Over the last few years he has supplied music for trailers such as Ant Man, The Avengers & John Wick. He has created a neon-drenched nightmare of a record that can stand shoulder to shoulder alongside current synth wave heavyweights such as Le Matos, Carpenter Brut, Perturbator or composers such as Steve Moore and Cliff Martinez.

It’s an assured mix of speaker crunching synth bangers and more contemplative tracks. STAFF COMMENTS Barry says: Silken dystopian filter sweeps, pulsing sub-metropolis oscillators clash headlong into snapping snares, and echoing gated verbs. Brilliantly evocative, and a more than worthwhile addition to the synth/soundtrack expertise of Death Waltz. FORMAT INFORMATION Ltd LP Info: 200 copies for the UK. November 2015, saw the return of the legendary New Order to play two nights at a sold out Brixton Academy in support of the new album Music Complete.

“(New Order) shimmer through an untouchable back catalogue of electro alchemy just when it was needed, they have delivered us a profoundly life-affirming evening.” ✶✶✶✶✶ The Guardian The second of the two shows was captured by Live Here Now, and is now released as NOMC15 (New Order Music Complete 15). STAFF COMMENTS Barry says: An essential document of New Order's groudbreaking two night stint at Brixton Academy on their massive Music Complete tour. All the classics, performed without fault, from a band perpetually at the height of their career. Superb stuff. Here's a new EP from Pender Street Steppers, Vancouver's hottest house exports and one of the poster boys for the Riviera's iconic Mood Hut label.

Thankfully, they're not ready to switch up the formula juuust yet, as that natural drum kit (think Jack J's 'Something On My Mind'), airy synth-flute, sweeping pads and gorgeous atmospheres all make a welcome return across five brand new tracks. There's joyfully picked guitar lines, squelchy analogue elements, and hazy, celestial washes - but the whole thing is undeniably PSS! It's nice to see the inclusion of some more experimental bits ('Mirror (Dub)') as well as them offer up some content to the recent converts of all things electro-funk and street soul related, thru the intimate and heartfelt licks of 'No Need'. Another Mood Hut essential?

The only thing you'll need to keep warm of the Winter months. STAFF COMMENTS Matt says: Sure to get enough hype via the blogosphere and similiar information streams, but for once it's rightly deserved. Possibly their strongest release to date.

And that's sayin summat. The Blue Room at Third Man shook with the sludge-drone majesty of Olympia, Washington’s Earth. Anchored by wife-husband duo Adrienne Davies and Dylan Carlson, this band has an integral spot in American music by bringing a low-frequency uproar and six-string extremism to the forefront of the experimental, punk metal underground. More concisely, they are widely considered the pioneers of drone metal. The band built their reputation on widely respected albums, starting with Sub Pop and moving to current home Southern Lord.

Using the device of repetition, the band disarms and transforms first impressions with a performance so plodding and insistent that each song is stretched to its limits. The set spanned their catalog with four first-class compositions, employing powerful guitar drones and Davies’ precise, slow-motion percussion swirling throughout. STAFF COMMENTS Barry says: There is nothing quite as hypnotic as an Earth live show, the slo-mo heft of alt-drone-country rock taking hold of the atmosphere in the room, and taking everyone along on their hypnotic trip is beguiling, and here we get four of their live classics on the ever-reliable third man. There’s no better way to celebrate the 10-year anniversary of your best record than playing it in full, twenty-nine nights in a row. Hailing from Tokyo, beloved psych-doom shredders Boris performed their critically acclaimed album PINK in full, live in the Blue Room at Third Man Records. They recorded it direct to 8 track, 2” tape, providing an incredibly high fidelity document of an unforgettable night. Local weekly The Nashville Scene reviewed this show as “at least in that momentby far the greatest show Third Man Records has hosted to date.” It’s hard to disagree.

Atsuo, Takeshi and Wata filled the room with foreboding smoke, dark red light reflecting off of the blue walls and, to this date, was our loudest performance yet. This is almost certainly the only time that we’ve handed out and required earplugs for every single audience member upon entry. And now you can keep the celebration of PINK going with the choicest tracks of the night – get this record! STAFF COMMENTS Barry says: They really are branching out now aren't they? It used to be the staple of a lot of great indie bands to do a stint for third Man but on their latest run (along with Earth), we get the drone-rock scuzz of Japanese noise-deities Boris.

Prominent members of the Boston music scene and post-rock specialists, Pile began as the brainchild (and solo project) of Rick Maguire in 2007. In the earliest incarnations, the songs were the broken bones of bigger ideas: the impassioned, ramshackle work of one dude with a momentous sense of riff and mood. In the time between then and now, the band has enjoyed a steady output and expanded to include Kris Kuss, Matt Connery, Matt Becker and, from time to time, Chappy Hull. This spring, their new critically-acclaimed LP A Hairshirt of Purpose was given a rare 10/10 by The AV Club, citing the record is “still pushing the (rock music) form to its outermost limits,' and fortunately, our live LP was recorded right after its release, capturing them at a distinctly creative peak and unparalleled energy.

This record is somehow chilling and explosive - kicking off with their total jam “Baby Boy” and including a surprise Blonde Redhead cover. It stands shoulder to shoulder with the rest of their catalog and will no doubt remain a shining example of our live series for years to come. STAFF COMMENTS Barry says: A dynamic and fierce combination of soaring post-rock melodies a-la Lift To Experience, and clashing post-hardcore drive. Complex and ever-changing melodies interwoven with gloomy introspective glimmers and scathing vocal outbursts. Originally issued in 2002 as a Saddle Creek store exclusive, the aptly titled Christmas Album begins with a piano, flute, ambient noise, and musical saw-driven version of 'Away in a Manger,' which will help weed out your basic yule jam fans who were just drawn in by the generic name, from the Bright Eyes/Conor Oberst disciples who know that the warmth of the holiday season is trumped only by its potential for melancholy.

What follows is a sort of half-comforting, half-sad jamboree with Oberst and a small army of friends at his house playing through Christmas standards like 'Have Yourself a Merry Little Christmas,' 'God Rest Ye Merry Gentlemen,' and 'Oh Little Town of Bethlehem,' the latter of which, when delivered with Oberst's trademark tremble, sounds more like a lament from a filthy, near-suicidal pauper locked outside of the city's walls than it does a hymn of ecclesiastical joy. That said, the fragile, homespun, and largely insular vibe that permeates much of the album, provides a nice bit of contrast to other, less sonically humble seasonal offerings, and oddly enough, is probably more aligned with the true spirit of the season. STAFF COMMENTS Barry says: It's a familiar thing, isn't it. Band brings out Christmas album near Christmas, it's full of your old favourite classics, recreated without straying too far from the feel of the OG, but with your favourite artists voice. Yeah, this isn't that. Hauntingly melancholic, beautifully meditative and a welcome change from the standard Christmas fare. Dbh is a composer, guitarist and multi-instrumentalist based in Manchester, England.

For a long time he has had a hand in an inordinate amount of the great music emerging from Manchester’s music scene, as guitarist of NASDAQ and the FTSE 100, and playing all manner of instruments with Kiran Leonard and Irma Vep, to name but two. Most recently he has been playing live with New York singer-songwriter, Julie Byrne. Mass is dbh’s third album of solo instrumentals, and the followup to Mood (Thread Recordings, 2015) and Time Flies (Crowfoot Records, 2013).

It was recorded and mixed by Karl Sveinsson at Queens Ark Audio, Manchester, and mastered by Peter Fletcher at Black Bay Studio, Outer Hebrides. Much anticipated follow up to the sell-out 'Time Flies' and 2015 Piccadilly top 20 album 'Mood'. We at Piccadilly have had a soft spot for this guy since day one - a fresh faced, highly skilled guitarist paying more than homage to the spirits of John Fahey, Robbie Basho, Jack Rose and Bert Jansch. Mixing electric with acoustic compositions on this newie - we see forays into bottleneck slide and experiments with loops alongside some sterling performances on violin and banjo. There's a serene and delicate nature as usual, but the songwriting seems to have taken on new forms and directions. The mood is definitely in tune with a Sunday afternoon spent whiling away the hours in the cottage. Totally recommended.

Danish producer Palta caps off a stellar year for Melody As Truth with his label debut 'Universal'. In keeping with the label's catalogue, this five track LP seduces us with an array of ambient and esoteric sounds, though the approach is more expressionistic than its predecessors. Rather than the clean lines and clear tones of Jonny Nash or the crystalline futurist journeys of Suzanne Kraft, Palta creates aquatic soundscapes, rippling with organic rhythms and blurred frequencies. 'Universal' drifts peacefully through the depths before 'Tabt Optagelse' surfaces into the humid shimmer of a tropical night. 'Pa Genesyn' is an indecipherable collage of crashing cymbals, unpredictable rhythms and subtle sequences, while 'At Ville' lets us rest in the suspended dark of a floatation chamber. Finally, 'Optagelse 16A' sees us out with beautiful melody, gentle bass and nebulous electronics - cleansing tones for tuned in folks.

STAFF COMMENTS Patrick says: The last Melody As Truth of 2017 and a total stunner! Expressionistic, detailed and dreamy, 'Universal' offers the kind of other-worldly ambience you'd expect from Jons Kelihor or Hassell. Toronto-based songwriter, vocalist, producer, and multi-disciplinary artist Maylee Todd incorporates elements of disco, funk, soul, electronic, and experimental sounds into her music with a quality that belies her tender years.

Her previous two albums 'Choose Your Own Adventure' and 'Escapology' saw her chart worldwide, establishing her as a breakout Canadian indie artist. Her third studio album 'Acts of Love' sees Maylee wholly embracing technology and taking on the role of producer, arranger, and multi-instrumentalist, recording and playing the bulk of the music in her home studio.

From a sonic standpoint, the new album marks a departure from the harder-edged sounds of her previous work, boasting a more stripped down, synth-based production approach, with hypnotic beats and undeniably poppy hooks. 'This record is a bedroom record. I spent the winter writing and learning software, so creating can be limitless,' explains the self-professed augmented reality nerd. 'Acts Of Love' is essentially a tale of Maylee's metamorphosis, of constantly mutating and evolving musically, with the ultimate goal being to enlighten listeners on the symbiotic relationship between music, technology, performance art and human nature. STAFF COMMENTS Millie says: Alt R&B vibes beaming from this diverse album filled with elements of electronic synth-y disco and pure groove. What's most impressive about this album is that Maylee Todd learnt all the skills to produce and create this marvel in her own home studio.

Acts of Love is filled with her intricate ways of weaving in important thoughts and world issues into this very catchy album. Much like our own Matt Ward, Baltimore’s PJ Dorsey has engaged in a lifelong journey into those psychoactive experiences which can alter one’s cognitive and conscious state. He harnesses this awareness to create music as Tarotplane. Using guitar, effects and processing he produces time suspending soundscapes - immersive music for merging the mind and body.358 Oblique is the follow up to First which was released on Aguirre Records in 2015. Find yourself adrift in the lapping waters of a slow unraveling sea of sound, a spectral vortex of shimmering tones and discrete samples guide the listener into an aural abyss, while plangent six-string melodies offer glimpses into a sanctifying sensory space. The two exploration provide an evocative journey through a psychedelic continuum and beyond.

STAFF COMMENTS Patrick says: Undoubtedly a hit for the Microdosing crew, Tarotplane's '358 Oblique' is a gorgeous ambient LP created from the high speed hurtle of a DMT hit. Well, wiggy, otherworldly and esoteric, this shit is a total trip.

For many, few bands imbue the free spirit and ancient nature of the Scottish highlands better than Lau. For over a decade they've been the flag bearers of traditional Celtic and folk music; continuing song legacies older than the combined age of the band themselves. Which, by the way, are reassuringly current; not hiding behind a faux-traditional persona which many are guilty of in these circles but instead appearing as the swash-buckling Isle-lovers that they indeed are. Yes, listeners, Lau are the real deal, and one experience of seeing them live should be enough to convert you - the sheer level of musicianship, songwriting and instrument playing enough to overshadow the less accomplished and frankly embarrassing 'musicians' that often litter the charts and the press. There's an enchanted, quite mythical energy coursing through every one of these song's roots; which were chosen by long term fans of the band who delved into their astonishing discography to pick the best bits for this anthology. A wonderful introduction to this band who I've very quickly fallen in love with here after a recent, killer RNCN live performance which left me in absolute awe.

The 13 track black, double heavyweight vinyl is limited to 1,000 copies (for the world) and features bonus song Lord Yester (first time on vinyl). It's a sprawling epic, well over an hour and the perfect glimpse into the various facets of the band: from the spiraling, traditional Celtic numbers which build into an epic, looping climax, to the star-lit, electric folk meanderings which set them apart as a formidable live act. In one breadth you could be swilling vintage drams in a candle-lit pub deep on Orkney, with the band unassumingly playing in the corner, the next you could be dazzled with psych-folk shimmers and beguiling vocals that come out of nowhere, the band remarkable at keeping you second guessing what's coming next. In short, I implore you all to get involved in the sounds of this all encompassing act, if not for a brief moment of transportation into an older, purer and more honest world than that which we seem to occupy now. A masterpiece.

- Matt STAFF COMMENTS Matt says: Gig of the year for me in 2017. Capturing that character, energy and songsmanship onto wax is quite a feet - but they've done it! FORMAT INFORMATION Ltd LP Info: The 13 track black, double heavyweight vinyl is limited to 1,000 copies (for the world) and features bonus song Lord Yester (first time on vinyl). Heed The Call! Collects the best New Zealand material from the afrotastic days of 1973 to 1983.

Artists like Mark Williams whose House For Sale became a sought after northern Soul single, The (three) Yandall Sisters (two of whom are pictured behind Mark WiIlliams on our cover), a teenage Tina Cross, Dalvanius & Prince Tui Teka, all became household names in NZ. The collection mines some overlooked nuggets from their respective catalogues alongside lesser known boogie cuzzins The Pink Family with their non-secular floor sizzler Don't Give Your Life Away, the gritty gospel soul of Sonia & Skee, The Johnny Rocco Band, Inbetweens, and The Totals. The Kaukau brothers were four fifths of Golden Harvest who hit the national charts with the number one I Need Your Love in 1978 which featured new addition 17 year old Karl Gordon fronting the band. Local 60s beat pioneer Larry Morris fresh out of the big house after a public LSD misdemeanour finds his groove on Who Do We Think We're Fooling. Funk dynamos Collision hail from Tokoroa, and in an earlier incarnation were known as The Shriek Machine, move to Australia on Dalvanius's insistence to record the showstopper You Can Dance. Early 70s Acid Rockers Ticket flaunt their funky flare(s) with their Vertigo single only release Mr Music (later covered by Collision), and the windy city jazzmen The 1860 Band take form fitting self promoting t-shirts to the next level while re- interpreting Rita Jean Bodine's Thats The Kind Of Love.

Described wholly accurately by Boiler Room as 'one of the best producers and arrangers of disco music to have ever done it', Bronx native John Morales has more than three decades of hits and over 800 remixes to his credit. This 4th volume of M&M Mixes on BBE is without doubt the most ambitious yet, containing gems from Barry White, Diana Ross, Level 42, Teddy Pendergrass and Eddie Kendricks among others, all woven together with that special, intricate M&M magic. Gaining unprecedented access to original multitrack recordings from the vaults of Sony and Universal Records, John has once again upped the ante, going where no DJ has gone before. Accept no imitations, nobody does remixes quite like John Morales.

Bronx native John Morales has more than three decades of hits and over 800 remixes to his credit, he's also stormed his way through three mega volumes of M+M Mixes, all eagerly received by the Piccadilly staff. This 4th volume of the BBE series is without doubt the most ambitious yet, containing gems from Barry White, Lenny Williams, Level 42 and Dan Hartman, all woven together with that special, intricate M&M magic. Gaining unprecedented access to original multitrack recordings from the vaults of Sony and Universal Records, John has once again upped the ante, going where no DJ has gone before. Accept no imitations, nobody does remixes quite like John Morales. First up we have the slow, sensual and fairly sleazy 'I'm Gonna Love You Just A Little More' by the one and only Barry White. A weighty statement by a man of such great stature, this killer disco-strut is responsible for one of the finest drum breaks of all time (as sampled by Daft Punk for 'Da Funk', NWA, De La Soul and all rappers from 1988-1998), locks us into an irresistible bassline and features Barry in full on pillow talk mode.

Chuck in some cinematic keys, wah guitar and the occasional hit of strings and you're in low tempo heaven, especially with this supremely stretched out mix from the main man. Over on the flip, John houses up the slick, bass-led brilliance of Lenny Williams' 'You Got Me Running', taking a diversion from the dubby style of Danny Krivit's timeless version, to turn the cut into a soulful, disco house stomper - nice. Over onto the C-side and we're caught in the tractor beam of Dan Hartman's zero gravity pulser 'Vertigo', rolling shoulders and enjoying those wild vibraphone licks, nodding along to the chunky gospel piano and then totally losing our shit as the cut eventually transforms into high NRG vocal screamer 'Relight My Fire'. Symphonic disco at its finest.

Finally, Level 42's jazz-funk floor filler 'Mind On Yo' gets the M+M treatment, taking us for a dream-dance through the baggy trousered dancefloor of the Britfunk era. As always, the bass is the best here!

Described wholly accurately by Boiler Room as 'one of the best producers and arrangers of disco music to have ever done it', Bronx native John Morales has more than three decades of hits and over 800 remixes to his credit. This 4th volume of M&M Mixes on BBE is without doubt the most ambitious yet, containing gems from Barry White, Diana Ross, Level 42, Teddy Pendergrass and Eddie Kendricks among others, all woven together with that special, intricate M&M magic.

Gaining unprecedented access to original multitrack recordings from the vaults of Sony and Universal Records, John has once again upped the ante, going where no DJ has gone before. Accept no imitations, nobody does remixes quite like John Morales. Volume 4, vinyl edition #2 kicks off in much the same manner as its partner, powering out the blocks with a belting rework of Barry 'Walrus Of Love' White. Swirling, psychedelic and powered by stomping piano chords and drums, this Morales mix is gonna get your dance floor hot. Morales moves into boogie territories next with a high voltage version of Teena Marie's 'Lover Girl', stretching out the arrangement to squeeze the maximum juice out of each individual element. The second slab o' wax serves us an instant classic as big Jon gets delightfully dubby with jazzy, funky, disco delight 'Love Is The Message' by MFSB (currently threatening to upset the desk with its irresistible groove) before a loopy, lovely chop shop cut of Mannix' b-boy blinder 'Standing Right Here' plays us out.

Just as you begin to get comfortable with something, the rug is pulled from under you. Very recently, John Dwyer and his band Oh Sees released their newest record, the monolithic psych opus Orc. This release represents the 19th album under some amalgam of the name Oh Sees/Thee Oh Sees/The Oh Sees, OCS, etc. Wasting no time, John Dwyer presents the 20th album (in the 20th year of the band's existence), ‘Memory of a Cut Off Head’ (out 17/11 on Castle Face), returning to his roots as OCS. It is easy to forget (especially amidst the ringing of ears and aching of muscles after your typical Oh Sees show) that initially, OCS was a rather hushed affair. After the minimalistic brutality of Coachwhips, OCS was a diametric opposite corner of John’s musical world, quiet to the point of whispered in the wind, buffeted by the airy whirr of singing saw, soft and strange. Those early records especially had a rather contraband hush about them, as if the party has gone on all night and continues into the morning but everyone’s raspy from talking too much and gradually agrees to whisper and pantomime as they watch the sun come up over the hills.

Since then of course, things got gradually louder, faster, crazier.the band evolved since then into the Oh Sees everyone knows. For the 20th Oh Sees release, 100th Castle Face title, and 20th year doing it, John re-examines the quieter roots of it all in particularly baroque and homesteadly fashion. Memory of a Cut Off Head was co-written with longtime collaborator and vocal counterpoint Brigid Dawson, recorded in total in John’s own Stu Stu Studio, and it’s lush, sumptuous in texture, but satisfyingly retains the gentle grace of the early stuff. There’s beautifully executed strings throughout, courtesy of Heather Lockie’s fine arrangements, horn arrangements courtesy of Mikal Cronin, and they even brought back the old saw - Patrick Mullins, that is - on saw and electronics. A return and a refinement of old forms, a few solemn meditations on life lived at high velocity, perhaps a respite from ita softer side of JPD and distinguished company.

STAFF COMMENTS Darryl says: Unveiling a mellower side to the Oh Sees output, John Dwyer revisits the OCS moniker. Co-written with Brigid Dawson it’s a beautifully lush and sumptuously hushed affair. FORMAT INFORMATION Coloured LP Info: Very limited coloured vinyl edition. The Fall is an English post-punk band, formed in Manchester in 1976. The band has existed in some form ever since, and is essentially built around its founder and only constant member Mark E. Initially associated with the punk movement of the late 1970s, the group's music has gone through several stylistic changes over the years, characterised by an abrasive guitar-driven sound and frequent use of repetition, and is always underpinned by Smith's distinctive vocals and often cryptic lyrics. The band is noted for its prolific output: as of autumn 2017 they have released over 32 studio albums, and more than triple that counting live albums and other releases.

This collection features all the A-sides recorded across a multitude of labels: Step Forward, Rough Trade, Kamera, Beggars Banquet, Cog Sinister, Permanent, Artful, Action oh, and Cherry Red! We got the lot! STAFF COMMENTS Barry says: As well as the massive box set, we also get this slightly trimmed-down but no less superb 3CD version of this stunning fall singles compilation.

Some well-known classics, and maybe a few you won't have heard (who am I kidding, course you've heard them all!). Nonetheless, it's a worthy addition to any Fall fan's compilation, and needless to say, a brilliant starting point.

FORMAT INFORMATION CD Box Set Info: 3xCD edition. The Fall is an English post-punk band, formed in Manchester in 1976. The band has existed in some form ever since, and is essentially built around its founder and only constant member Mark E. Initially associated with the punk movement of the late 1970s, the group's music has gone through several stylistic changes over the years, characterised by an abrasive guitar-driven sound and frequent use of repetition, and is always underpinned by Smith's distinctive vocals and often cryptic lyrics.

The band is noted for its prolific output: as of autumn 2017 they have released over 32 studio albums, and more than triple that counting live albums and other releases. This is the first collection of all the Fall singles recorded across a multitude of labels: Step Forward, Rough Trade, Kamera, Beggars Banquet, Cog Sinister, Permanent, Artful, Action oh, and Cherry Red! We got the lot! Lovingly compiled here in a 7-CD box set with a full illustrated discography by renowned Fall expert Conway Paton.

The discs have been re-mastered by Fall engineer Andy Pearce and come with a newly designed book in a box. STAFF COMMENTS Barry says: Remember the 'Manchester North Of England' box set?

Well, it was our top box set of the whole wide year, and it was made by Cherry Red, as is this. I assume you're following me, if not i'll say this. It's STUNNINGLY presented, and the content on it is obviously no less than seminal.

An absolute essential. FORMAT INFORMATION CD Box Set Info: Deluxe 7xCD edition. Steve Moore (Zombi) returns with another hypnotizing new score for the acclaimed action/horror film Mayhem, starring Steven Yeun (The Walking Dead, Okja).

A veritable portrait of shock and dread across seventy-plus minutes of analogue synth tension, SteveMoore methodically crafts pulsating rhythms and penetrating arpeggios that constrict the listener into a deep sense of aural anxiety. With four soundtracks under his belt, STEVE MOORE is quickly becoming one of the most sought out synth composers in the horror realm and Mayhem is the ultimate demonstration of his unquestionable mastery of the style Recommended if you like: Zombi, Goblin, John Carpenter, Tangerine Dream, S U R V I V E, Trans Am STAFF COMMENTS Barry says: I'm a firm believer that nothing Steve Moore does can possibly ever be bad. Since his mindblowing cinematic synth odyssey 'Pangaea Ultima', our Steve has been working hard, and this is his latest and most inspired soundtrack to date. Lo-fi house superstar, DJ Seinfeld here debuting on new label, Lobster Fury, the new label from the Lobster Theremin omniverse. Further cementing / displaying his unique stylings - showing us the different moods and feels of the multi-dimensional producer as he takes us on a whistle stop tour through house music's mirrored doors and time portals.

There's more than a nod to the M1-organ sounds of early nineties dance music, with a plethora of tasty breakbeats and Baby-D wannabee's to boot. Infact, the whole thing plays like a holographic refraction of the last 25 years of dance music; before being re-sampled, bit dithered and generally reassembled by today's modern machinery. The vibe is uptempo and the mood is bright; a childlike naivety permeating throughout the album that'll see it soundtrack as many teenage bedroom moments as it does nightclub peak hours. A tour de force by one of the leading lights of the so-called 'lo-fi' scene and surely one of house music's new saviors. In the early 1980s, Alice Coltrane Turiyasangitananda formed an ashram in Agoura Hills, California. There a beautiful, multi-ethnic and multi generational religious community grew up around her.

The highpoint of living in this very special and loving environment took shape on Sundays when Alice would lead the community in a musical ceremony, mixing both gospel and Indian chant, to create a music she wholly invented - it was something extraordinarily powerful. The Ashram is still there today. There are still some who live there and there is still a weekly Sunday service that is open for everyone. The folks who populated the Ashram world of Alice Coltrane Turiyasangitananda were a very special group of people. Many of the adult members were musicians before having moved there, and many of the younger followers have become musicians and film makers as they grew older. One these amazing artists is John Panduranga Henderson. Panduranga played organ, piano and sang with Ray Charles in the 1970’s where he was a star performer in Ray’s band.

When he joined the Ashram, he became in essence a star performer there as well, though of course there were no ‘stars’. Alice sitting at the organ would say, “Panduranga” and John would come to the front and let loose one of his amazing gospel-esque solos praising Rama or Vishnu or Jesus, Muhammad, Moses and more. He made one record under his own name - a record so obscure it’s not listed on Discogs, nor found on the interweb? Today, for you dear listener, we would like to present Panduranga Henderson’s “Ocean of Love.” Om Shanti.

STAFF COMMENTS Patrick says: Not content with blessing us with that majestic Alice Coltrane collection (Piccadilly Reissue of The Year), Luaka Bop shake up a super rare, private press masterpiece from Ray Charles' affiliated, Coltrane disciple Panduranga Henderson. Deep and spiritual, this is food for the ears and the soul.

The Gorillaz return for their newest offering since 2010's 'Plastic Beach'. Having amped up the guest-factor on this release, there is a whole host of influence from all over the musical spectrum. The Peven Everett number, 'Strobelite' for instance is a luminescent dancefloor house number, complete with soaring vocals and thumping bassy rolls, lots of filters and clanging sweeps, all topped with a smooth-as-silk string synth overlay. Move along to 'Charger' though and we get the scary/alluring big baddie vox of disco-not-disco legend Grace Jones, before sweeping spookily into Albarn's dulcet Gorillaz voice. Backed by an industrious clanging synth sweep and charged percussives, it slowly segues into anthemic swirl of grooving disco before fading into the solemn follower, 'Andromeda'. By integrating a diverse selection of supplimentary talent, Gorillaz have managed to increase the scope of their already venerable musical palette, and absorb all sorts of influence along the way. 'Humanz' is littered with references to classic electronic music in all it's forms but still relies heavily upon that good old-fashioned songwriting we're all so keen on, providing their most diverse offering yet, whilst not sacrificing the cohesion and flow that has set them in such good stead so far.

STAFF COMMENTS Barry says: Featuring a who's who of electronic influence, 'Humanz' is as thematically diverse and as musically capable as any of their previous collections, but endowed with a maturity and scope previously unheard. Their best work so far. FORMAT INFORMATION 2xColoured LP Info: Double Picture Disc edition. LP Box Set Info: Super Deluxe Vinyl Box Set.

FREE SHIPPING This item has FREE UK shipping! Best known to most people for his early work as a Portishead collaborator and International tour DJ, Andy Smith earned his ‘Legendary’ title among crate diggers in 1998 when he released seminal mix album ‘The Document’. In the years since, Andy has continued to live up to his reputation as one of the finest and most creative DJs on the planet, tirelessly digging in the crates and emerging with pure gold. Following in the footsteps of his 2006 exploration of Trojan’s mighty reggae vaults and his two compilations exploring funk music from New Orleans and Jamaica, Andy turns his attention to disco and boogie for the very first time.

The concept for ‘Reach Up – Disco Wonderland’ was born from ’Reach Up’, a DJ collective founded by Andy in 2012 to reflect the spirit of legendary NYC clubs such as Paradise Garage and Studio 54. ‘Reach Up’ showcases 80s boogie, disco and proto house; the foundations upon which dance music culture was built. As you might expect, Andy Smith’s selections for the album are not only delightfully obscure but highly memorable. Many titles will spark recognition, having been sampled for more contemporary hip hop and R&B tracks. Disco & Boogie this compilation may be, but it’s been put together with a b-boy mentality. As Andy himself puts it “At my ‘Reach Up’ and ‘Boombox’ nights a fair few of these will have been played, but interestingly some of these tracks might well get played at more ‘hip hop orientated’ nights I do too because of the disco breaks: tracks like “T Connection” & “Freedom.” Containing a raft of undeniable dance-floor fillers and slept-on anthems, 'Reach Up – Disco Wonderland' also at times displays that indefinable, other-worldy, almost eerie sonic fingerprint that’s been present in Andy’s productions and DJ sets since day one.

Above all, this album is testament to a youthful obsession with home taping. As Andy puts it: “just being able to officially put these tracks out that i used to play on my ghetto blaster in the streets is an amazing thing!” FORMAT INFORMATION 2xCD Info: One CD mixed, the other unmixed.

“We started with the principle – the cosmic idea that we were taught by our father from a very young age – that the stars and planets make a sound, that deep in outer space there is audible harmony.” With its cathedral-like, richly resonant acoustics, the new HBE album is a brilliant expression of this interplanetary principle. The album is by turns urgent and contemplative, funky and reflective, varied in its textures; but entirely of one piece. Underpinned by concepts of our earth’s place in the cosmos, held in place by meditation, swirling with notions of history, science, theology, ancestry, there is a rich conceptual brew here. But always, what talks loudest is the music.

The album rings with what back in the 1950s the jazz critic Whitney Balliet called “the sound of surprise”. At a time when the phrase Spiritual Jazz threatens in some quarters to become a tired cliche, this is a record that makes you believe again in the genre’s validity. Talking to Cid, one of the Ensemble’s two trombonists, one phrase recurs: “back to the beginning”. “We wanted to go back to the beginning, when we were kids, real young, and our father would wake us up at 5 AM to practice for two hours before breakfast.” One outcome – initially unplanned but subsequently embraced – is that unlike their two previous albums on Honest Jon’s, this is an album without a drummer. “When we started, as Wolf Pack, just brothers on the street with our horns, there wasn’t a kit in sight.” Book Of Sound retains plenty of rhythmic heft, but the absence of a drummer opens up space for a notably varied instrumental palette. Acoustic guitar, piccolo, synthesiser, alto sax – none of them typical HBE Instruments – all have their place on the album. Most striking perhaps are the vocal lines that thread through the album and give it a palpable warmth.

“In Wolf Pack, we rapped and played, this time we took it a step further.” Sessions were recorded in Brooklyn and Chicago, and brilliantly mixed at Abel Garibaldi’s studio in the Loop (“Abel was like a musician on this record”), and it’s the Hypnotic’s hometown that permeates. For Cid this is a deeply Chicago record: “it’s got the vibe of the lake, the vibe of the prairies opening up to the west”. It also has the vibe of those Sun Ra Arkestra albums recorded in Chicago in the 1950s, and – of course - the Phil Cohran albums from the 1960s It’s Phil Cohran (the father of all seven members of the Ensemble and their first teacher, and not just in music) who is the album’s guiding spirit. For Cid it’s a major regret that, in the months before their father’s death early in 2017, Phil was not well enough to play on the album.

“He loved the whole idea, and we had the perfect place for his zither”. But Book Of Sound is a magnificent testament to their Cohran legacy. “You know, it’s tough trying to satisfy everybody with our music. It’s hard enough satisfying ourselves, let alone the jazz scene, the hip hop guys, what have you. With this album we just dropped all that as a consideration, and tuned into deeper principles.” STAFF COMMENTS Millie says: Gradual building of dreamy brass instruments blossom across this beautiful ensemble of jazz wonderfulness. Influential and cathartic, escape into a haze of captivating sounds that fill the air. With two long plays already on his portfolio, Grant grants us his senior 2017 ouvre, this time in his very own label, Duke's Distribution.

If you are familiar with Grant's sound, there are no surprises here. You get what you expect. Eight gorgeous deep house numbers.

Hypnotic, deep, intricate at times, sensual, infectious and most importantly, as effective on the dancefloor as it is for your horizontal dancing sessions. Think of seminal Guidance and Cajual labels and you will get an idea of the quality. There are no fillers here. Tight production that sounds astounding in black wax.

This one will fly as soon as we open the distributor box! Do not sleep. STAFF COMMENTS Sil says: This one could have been a killer at the end of the 1990s as it will be today.

An excellent compendium of textbook deep house music. Reminiscent of the best deep house American labels, it reads at times as an homage to that era. Get your copy pronto. Given the brilliantly simple concept behind this fine compilation - contemporary Detroit producers remix Funkadelic - we're rather surprised nobody's done it before. With 17 varied re-rubs stretched across two hugely entertaining CDs, there's plenty to enjoy. Highlights come thick and fast, from the deep house/P-funk fusion of Alton Miller's take on 'Get Your Ass Off and Jam' and Andres' loose, hip-hop influenced revision of 'Music For My Mother', to the thrusting loops and heady late night hypnotism of Anthony Shake Shakir and T-Dancer's version of 'Standing on the Verge'. While many of the versions stay relatively faithful to the original, the more 'out-there' interpretations - see BMG's outer-space ambient dub of 'Maggot Brain' and Moodymann's epic revision of 'Cosmic Slop' - are also consistently impressive.

STAFF COMMENTS Sil says: There is a track here for every one but I am going to stick to the gorgeous 9 minutes revision done by Moodymann and the feel-good remix by Amp Fiddler. Top class package here, folks.

Svengalisghost captured here in his most true form, the live setting. This recording comes direct from the board during his performance on French television in 2015 and harnesses the maniacal energy of his live set in perfect form. What may be the Chicago born artist's darkest and most plodding recording to date, this is the definintion of deconstructed death-industrial, forward thinking and freeform yet totally focused and razor sharp, plodding drums over open wire electronics and zodiac killer vocals hitting you from all angles. This is sound of evil personified. Limited copies available worldwide.

Necessary evils for yer bag, grab it while its hot. STAFF COMMENTS Matt says: A truly arresting, haunting and terrifying excursion into sound here from the already hyped Svengalisghost. Drinking from the same PCP-laced broth as The Trash Company and much of the Dark Entries camp, with a bit of Ron Hardy's sherm thrown into the pot for good measure. - will fuck you up! THE PICCADILLY RECORDS ALBUM OF THE YEAR 2017. PICCADILLY RECORDS EXCLUSIVE: For a limited period only, buy either the vinyl or CD of 'Kelly Lee Owens' and get a free 3 track remix CD bonus disc. Also comes with a free Piccadilly End Of Year CD sampler.

Click for more info. Without wishing to get too jackanory, I'm gonna start this review with a little anecdote. Way back in April 2015, when I was a little younger and lot lighter, Kelly Lee Owens strolled into our glorious establishment and casually inquired if we'd be interested in stocking her self-released debut 12'. Always a sucker for something new, limited and hand labeled I took a cursory ten copies off her hands as she left for the train station. Approximately four minutes later, as the dreamlike shimmer of ghost-pop paean 'Lucid' echoed through my headphones I called the number she'd left and asked if she could drop off another thirty copies without missing her train.

Fast forward two years and three Piccadilly Record Of The Weeks later and the Welsh wonder is back with a majestic full length on the excellent Smalltown Supersound. As she leads us through ten tracks of spectral techno, nebulous synth pop and squelching waveforms, Kelly meditates on anxiety, sadness and darkly-shaded ecstacy, pouring pure emotion into an expansive electronic landscape. Previous 12' tracks 'Arthur', 'Lucid' and the hypnotic 'CBM' sound better than ever next to the brooding synth soul of 'S.O.' And late night mysticism of Jenny Hval collaboration 'Anxi', while the bleep heavy 'Evolution' is a sultry, seductive club cut for very late in the session. For me, this LP perfectly captures those moments when you get home from the club with a loved one and settle into that time honoured pre dawn routine. It's intimate, emotional, sexy and slightly blurred - in other words, midnight music at its finest. STAFF COMMENTS Patrick says: An absurdly accomplished debut, this is just about as Piccadilly as it gets, referencing our collective favourites and transforming them into something fresh and exciting.

Harnessing the Cocteau’s, MBV and JAMC, as well as the rhythmic thrust of Chicago and Detroit, KLO trades in immersive, psychedelic pop music, as danceable as it is dreamy. Swathes of hazy synthesis eddy and whirl beneath crystalline vocals, lending the music an aquatic depth matched perfectly by the intimate, expressive lyrics. Fusing the outsider musings of Arthur Russell with Bjork’s cryptic poetry, Kelly meditates on anxiety, sadness, identity and ecstasy, pouring pure emotion into an expansive electronic landscape. A dynamic listen from start to finish, the LP ranges from the hypnotic thump of ‘Evolution’, ‘CBM’ and ‘Bird’ to the medicated daze of ‘S.O’, ‘Lucid’ and ‘Keep Walking’, constantly varying tempo and intensity on its way to sprawling closer ‘8’, a wonderfully blurred end to this nocturnal journey. FORMAT INFORMATION Deluxe LP Info: Clear vinyl. This extended version includes 3 bonus tracks (on a CD), 'Spaces', 'Pull' and '1 out of 3'. Also includes a Piccadilly exclusive free CD bonus disc + a free EOY 2017 CD sampler.

Deluxe CD Info: This extended version includes 3 bonus tracks, 'Spaces', 'Pull' and '1 out of 3'. Also includes a Piccadilly exclusive free CD bonus disc + a free EOY 2017 CD sampler. Low in High School is Morrissey’s first studio album since 2014 and was recorded at La Fabrique Studios in France and in Rome at Ennio Morricone’s Forum Studios. The record is produced by Joe Chiccarelli (who has worked with Frank Zappa, The Strokes, Beck and The White Stripes to name a few).

Morrissey’s talent for combining political statements and beautiful melodies is more prevalent than ever on Low in High-School, capturing the zeitgeist of an ever-changing world. STAFF COMMENTS Barry says: Morrissey's new album is brimming with the sort of melancholy jangles and clever chord structures of yesteryear, but coupled with wry and ardent policism, a bit of conga and some flamenco stuff too.

Lots of sounds, all worked into songs. FORMAT INFORMATION Coloured LP Info: Standard LP (Clear Vinyl).

Indies Exclusive LP Info: RSD Stores Exclusive LP (Green Vinyl). 5x7' Box Set Info: Import copies!!!

5 x clear vinyl 7's, 6 x art cards and download code. As featured in the Piccadilly Records End Of Year Review 2017 Top 20 Compilations. Comes with an EXCLUSIVE End Of Year CD sampler. Click for more info. “Everything I do now started with record collecting. It’s the foundation of my career; from writing about music, DJing in clubs, putting compilations together or spending many late-night hours, glass of red wine in hand, bidding on stupid records on eBay.” – Bill Brewster Spanning 41 tracks, ‘Tribal Rites’ is a musical autobiography of sorts from one of dance music’s most dedicated historians, Bill Brewster.

Released on 3 CDs and double vinyl via Belgium’s Eskimo Recordings, the compilation takes us on a personal journey through Bill’s 36 year long involvement in the music industry. Whether running DMC’s New York offices or labels including Twisted UK and Forensic, being one of Fabric’s original residents, writing (with Frank Broughton) probably the definitive overview of DJ culture, the seminal ‘Last Night A DJ Saved My Life’ and the equally essential ‘How To DJ (Properly)’, running the DJhistory website or promoting their much loved Low Life parties, Bill’s fingerprints can be found all over dance music’s past few decades. So whilst there are few people more qualified to compile such a thing, ‘Tribal Rites’ isn’t just a ‘House & Disco Greatest Hits’, instead we have the soundtrack to a life spent at the coalface of record collecting, of early mornings at car boot sales and late nights logged onto Discogs.

Split into three sections, the compilation begins in the post-punk period, and through tracks such as explores the influence of dub on bands of the time such as Orang Utan, General Strike and The Raincoats. The second section takes us into that mish-mash of sounds and styles best described as ‘Balearic’ where the likes of Bobbie Gentry and Final Edition can happily co-exist and a country and western cover of Hall & Oates ‘I Can’t Go For That’ seems like the most obvious thing in the world. The final section then concentrates exclusively on house music, though again showcasing just what a broad church House is, able to accommodate both the spiritual yearnings of Mother Tongue’s ‘Message of Love’ and the precision tooled productions of Basic Channel’s Maurizio. At a moment in time when dance music is more prominent than ever and DJs are treated like pop stars, ‘Tribal Rites’ is a vital reminder that there’s a lot more to DJing than just downloading the latest Beatport chart and waving your hands in the air. STAFF COMMENTS Patrick says: DJ Historian, dance music encyclopaedia and all round legend, Bill Brewster takes the helm for Eskimo’s latest compilation, serving up the loosest of musical autobiographies for our listening pleasure. At a mammoth 41 tracks, and covering everything from post punk obscurities to tops off house, via the beardiest Balearic of course, this extensive collection is audio nirvana for all the trainspotters out there. FORMAT INFORMATION 2xLP 1 Info: Includes a free EOY 2017 CD sampler.

2xLP 2 Info: Includes a free EOY 2017 CD sampler. 3xCD Info: Includes a free EOY 2017 CD sampler. It’s been over three years since the last proper Bitchin Bajas album - a natural paradise of woodwinds, droning organs, analogue synths, field recordings and an ever-expanding sense of more (and less). In between then and now came a series of collaborative albums, with Natural Information Society (‘Automaginary’), filmmaker Olivia Wyatt (‘Sailing A Sinking Sea’) and Bonny Prince Billy (‘Epic Jammers And Fortunate Little Ditties’). Each time these varied external stimuli came into contact with the Bitchin Bajas’ acroamatic process, it left the group with expanded perimeters to traverse. So 2017 - the pursuit is still the same: a perfect continuous flow. The means to attain it are in full, fluid transition; woven into the strands that unspool so peacefully (and with such potent enervation) are new elements - like chord changes, for instance.

The use of percussives is evident for the first time as well. Plus a horn section, a cover song but before you start thinking that this ‘Bajas Fresh’ is some kind of whole-cloth change, recall to your mind that the nature of equilibrium around Bitchin Bajas is such that new properties tend to melt into the surrounding texture, providing vivid sonics without uprooting the mindset. While flowing towards a wholeness, the four sides of Bajas Fresh feature distinct approaches, approaching the ephemeral with subtle tweaks from new angles. Eschewing the grainy expansiveness of the self-titled album, this new one has an almost monolithic approach, whether spitting forth with Harmonia-styled data riffs, finding Denny-esque South Pacific exotica within a classic Sun Ra piece or teasing out almost imperceptible inflections inside the epochal fizz and whir with glassy-eyed, glacial patience.

On ‘Bajas Fresh’, the cellular system of Bitchin Bajas continues to synthesize amid a growing ecosystem also of the Bajas’ making, both morphing naturally together into a state perhaps not that far removed from its former incarnation, while also essaying refreshing new tones for new zones. Succulent half-speed mastering done at Abbey Road gives the LP pressing greater depth, extension and resonance than all previous Bajas incarnations but the double cassette version of course holds its own unique experience. STAFF COMMENTS Barry says: Hypnotic Kosmische synth arpeggios, soaring pads and trance-inducing percussion, displaying the very best of Bitchin Bajas' already impressive catalogue, and once again taking us on a journey through the stars. Brilliant as ever, from these modern synth lords. PPU do the do all over again, bringing the heat from the street with this long overdue reissue of rock city pioneer Billy Jones.

In the early 80's Billy Jones was the lead guitarist for an outstanding group of touring musicians who called themselves 'The Incredible Rock City Band'. They performed on military installations all over the United States for the U.S. Of MWR for more than ten years during the 80's and 90's. As you'd expect, their brand of funk was rough, tough and futuristic, beaming off-it FX from distant outposts, snapping out synth percussion and topping the whole she-bang with growling vocoders. The leather clad cosmic boogie of 'Invasion Of The Rock-O-Mites' kicks off the set in a cloud of laser fire and a shuffling bassline before the sexualised but kind of silly sci-fi funk of 'I Got My Eyes On You' calls to mind a chrome-plated romp at Prince's hotel suite.

More synth-funk for freaks on the B-side as the sleazy Rick James-sized 'She Turns Me Out' gives way to the woozy and warped dance floor strut of 'Swingers Hot Line'. Finally the tempo drops for night ender / erection section killer 'Life Without You', a sublime female vocal number for heartsick space marines.

STAFF COMMENTS Patrick says: Totally batshit freak-funk from PPU here, as they wipe some of the tape scuzz off IRCB's 'Invasion Of The Rock-O-Mites' and slap it on the black stuff. Robo-boogie and underground funk for cyber-gees everywhere! Daphni (aka Caribou, aka Dan Snaith) follows up his special Fabriclive mix (made entirely of his own productions and edits) with a full length album released on his own Jiaolong imprint. What a prolific little bugger! Fully solidifying his vision and style across twelve tracks, it sees Snaith in comfortable but pioneering form; effortlessly delving into the highly compressed, chucky tribalism-meets-upfront-house music that's quickly becoming his signature.

He might switch up the groove and mood, but usually within a few bars you recognize a Daphni production through its expertly mixed and constructed hooks. Not a frequency is out of place, allowing the tracks as much space and power as necessary, whether it be across digital radio bandwidth or rattling the Void rig down your nearest WHP. Daphni's tunes bite hard, yet the melodies and hooks are universally accessible.

A tour de force from one of the decade's rising stars. STAFF COMMENTS Barry says: It seems to be 'A thing' that Four Tet and Dan Snaith (Daphni / Caribou) release stuff very near each-other, and this is no exception. This time we get a fascinating and satisfying jaunt through funk, borderline ambient and downright tribal club tackle, peppered with the ever-present vocal snippets. Perhaps due to a youth playing console RPGs, I like to imagine everyone has their own speciality. Barry has parenthesis, Martin has humous, Dave has distemper, and Norway's Preservation Records have encyclopedic knowledge of Scando-yacht rock and white Norse disco.

Niche I know, but no less exciting than any other fringe genre. Their latest discovery is a whole host of unreleased, archival material from Norse DUDE Atle. Funky, soulful and presumably blue eyed, Atle trades in the kind of moving, grooving disco perfect for a cocktail party or first time meeting the parents. An aspirational chap, the teenage Atle Lauve spent his cash on music, women and partying, drinking in the high living and hedonism of a Santa Monica celebrity.

We have midtempo moods on opener 'Du Er Sa Deilig' and the jazz-flecked 'Vekk Med Tv'en', Doobie Brothers-style yacht-rock on 'Ut Pa Turne' and Fleetwood Mac-style emotion on 'Hold Meg' - and that's just dealing with the A-side. You'll have to buy it to get a handle on the flip. STAFF COMMENTS David says: Scandanavian blue eyed soul anyone?

Let Atle blow away the arctic winter winds and take you to a better place, where the sun always shines and the beer is always cold. A kind of intimate scrapbook of the startling collaboration between the techno maestro and this long-standing musical collective based in Bishkek, devoted to the roots music of Kyrgyzstan.

Loose-leaved but balanced, lucid and intimate, it sets out from stunning a cappella and virtuosic komuz and kylak, mouth harp and traditional percussion: not field, but expert studio recordings, using marvellous vintage microphones, made over several days in Berlin. Further, a few of these are deftly treated by Moritz, using Reichian de-synced double-tracking, and discreet effects. Also two ten-minute dubs: a deadly, signature Berlin steppers, plus its version; and an echoing, mystical drum session, recorded live on stage in Bishkek.

And a side-long, dream-like summation: the locomotive, oceanic, clangorous, dread Facets. Ravishing, rooted, searching music; beautifully presented.

STAFF COMMENTS Sil says: A very soothing, blissful journey of an album. Sakhna's melodies and instruments coupled with Von Oswalds well-known production skills have produced a truly essential 2017 release. As the world goes to shit and the impending apocalypse draws ever nearer, the dancers and DJs head underground, swapping the frothy delights of the terrace for the grit and grime of the basement.

Handy then, that Mannequin treat us to a killer LP from unsung Industrial heroes Nocturnal Emissions. Led by Nigel Ayers, the band was one of the first to use tape cutting, avant-garde art, and underground video works to create a stage experience that was being cultivated by like-minded artists like Throbbing Gristle and Cabaret Voltaire.

The band moved on to using samplers and electronic noise in their early 80's work, creating a twisted funk sound that would go on to influence everyone from Foetus to Negativland. They still utilized their former tricks, upping the ante with extremist performance art and more professional video displays.

The group avoided signing to a major label, instead focusing on releasing their own music more effectively. They followed this path into the 90's when they started www.earthlydelights.co.uk, an incredibly detailed website that promotes their various ideologies (they are strongly against the British monarchy and believe that citizens should have unlimited access to space travel) and constant release schedule. The band has released countless tapes and CDs of their material, and continues to unleash their noise through their website. STAFF COMMENTS Patrick says: Industrial anti-heroes Nocturnal Emissions land on Mannequin with a twenty track set of wobbly tape funk, squirming synthwave and cranky mechanics - hot and hissy folks. ‘Love Letter’, the opening track from The County Liners’ debut mini album, cuts “Lucinda Williams’ own particular strain of lonesome” with “Rolling Stones swagger” (NPR) to set the tone for a collection of five “country-rock songs that buck like an old pickup” (NPR). The County Liners started in Mary Jane Dunphe (Vexx, CC Dust, CCFX) and Chris McDonnell (CC Dust, CCFX, Trans FX)’s country home in Olympia, WA in the winter of 2016. Longtime friends and collaborators, Chris and Mary Jane began writing 80s / 90s inspired country tunes when Mary Jane found herself bedridden with a debilitating ankle injury.

Riley Kendig, also living with Dunphe and McDonnell, and Mirce Popovic (Trans FX) joined the band to help arrange and perform these deeply personal songs. “Loaded with broad desert plains and cloudless skies and open roads and a time lost in memories of blood and industry” - Impose “Deeply grooved, intelligently written and electrified by immediacy” - Autumn Roses. Sequestered away in rural bliss, 90 minutes north of Seattle on the Washington state coast, Karl Blau has been making records for 20 years but never with European distribution. So, when Bella Union released ‘Introducing Karl Blau’ in 2015, it shone a belated and deserved light on “one of the great hidden treasures of music,” claimed album producer Tucker Martine. However, given ‘Introducing’s specific agenda - a set of gorgeous, lush cover versions drawing mostly on vintage Nashville’s country-soul with Blau concentrating on his rich, reverberating voice - his latest album ‘Out Her Space’ is so different that it could be titled ‘Reintroducing Karl Blau’. ‘Out Her Space’ features Blau’s own material, production and multi-instrumental skills and forges a gorgeous, languid and hook-infested gumbo of soul, funk, some jazzy blowing and Afro-pop, to arrive somewhere else entirely. Or as the Secretly Important blog says of Blau: “He manages to find what’s unique about a genre and throws it against the wall like a fist full of wet noodles; over and over, until what’s stuck is a unique genre amalgam.” The album also testifies to Blau’s studio skills, as he captures the glimmering, humid depths of those sweltering southern influences, despite his north-western heritage.

But then Blau has engineered and produced a heap of records for himself and others, often at his home in Anacortes, releasing records on Washington’s favourite indies K and Knw-Yr-Own, as well as through his own Kelp Lunacy Advanced Plagiarism Society subscription service. FORMAT INFORMATION Coloured LP Info: Limited edition red vinyl. Coloured LP includes MP3 Download Code. There is no end to composer Peter Broderick’s creative output, and so we present to you his new album titled All Together Again - available worldwide on November 17th 2017 via Erased Tapes. They say music takes you on a journey, and this collection of commissioned work by Peter quite literally does that. From a ferry boat ride in Istanbul, to walking down the aisle at a wedding, these songs were created for particular situations, yet Peter found a way to work without any sort of limitations and on his own terms.

The result is an assortment of works from the past ten years, coming together as one: Peter’s new album. Words from Peter, October 2017: Ever since I started releasing records in 2007 (10 years ago now!), people have contacted me periodically to ask if I’d be interested in making music to accompany their projects. Most of these projects have been things like films, dance pieces and theatre plays...

But every so often I get the odd request for something a little different. Peter, would you write a song for my wedding? My one year anniversary? A ferry boat ride? In early 2015 I was asked to perform 12 minutes of music during a runway show as part of New York Fashion Week.

I agreed and began composing a 12-minute piece which I could perform on my own with a few different instruments and some looping pedals. I made a recording of the piece and sent it over to my contacts at the fashion show... But a few days before I was to fly out to New York, they wrote back and told me they actually just wanted me to play a few older songs that they were already familiar with. Feeling slightly disappointed, I shelved the other piece, giving it the title If I Were A Runway Model. It is with great pleasure that I now present this piece in a collection of commissioned works spanning the last decade... It’s All Together Again. This group of oddball works does indeed include a couple pieces written for weddings (Our Future In Wedlock and The Walk), and a song someone asked me to write as a gift for his wife on their first year wedding anniversary (Emily).

And indeed, there’s a 17-minute piece written to accompany a ferry boat ride in Istanbul (A Ride On The Bosphorus). A few of the pieces were written for films (Robbie’s Song, Atlantic and Seeing Things), and one for a kind of interactive installation (Unsung Heroes). In my early days of recording, I took pride in playing all the different instruments myself and doing the recording myself as well. And then at some point I started branching out, working with other musicians and recording engineers. But this record is very dear to me in that it’s a return to that original approach... Playing all the different instruments myself, working with my limits on each one, and my own limits in recording and mixing.

I’ve always held a broad curiosity for all different instruments and all different styles of music, and if nothing else I hope this record will portray that curiosity, and my pure love for this thing we call music. Can you dig it? The cover art was made by Peter himself in his hometown of Portland, Oregon, by cutting and sticking different coloured paper fragments to depict the individuality of each track. Tenderlonious led jazz outf it Ruby Rushton drop their second album of 2017.

Following on from the success of ‘Trudi’s Songbook: Volume One’ the band are back with their highly anticipated ‘Volume Two’. Comprised of a further six cuts the listener is treated to another journey through modern day jazz! Stand out tracks include 'Tisbury Truckin', which is a stunning opener! Starting with an atmospheric soundscape it unexpectedly drops into a neck-snapping hip-hop groove with a punchy melodic line before effortlessly sliding into an up-tempo, afro-beat inspired rhythm with strong solos from trumpet and keys in tow. “Song For Christopher” is a heartfelt ballad, which begins with a touching flute solo and continues to take the listener on a journey through the emotions, ending in a crescendo of optimism - a fitting tribute to the late Christopher Rushton. ”Charlotte Emma Victoria” is another strong track and includes some tasteful sousaphone and trombone parts to add extra oomph to its bounce, accompanied by a soaring saxophone solo by band leader Edward Cawthorne (aka Tenderlonious). The album ends with a classic Herbie Hancock jazz-fusion standard, “Butterfly”, which the band handle with finesse.

A fitting cover that I have no doubt would impress its original writers. ’Trudi’s Songbook: Volume Two’ is a fantastic album, which further solidifies Ruby Rushton’s place on the modern jazz scene.

This is a must have album that would hold its own in any jazz enthusiasts record collection - make sure you check it out! Released on the anniversary of her passing, Sharon Jones & The Dap-Kings' final studio album, Soul of a Woman is a lush, orchestral masterpiece.

A true testament to the life and career of Daptone's fearless leader and one of the world's greatest performers. In the year prior to her death from pancreatic cancer in 2016, Sharon Jones toured and performed tirelessly, and was also the subject of Miss Sharon Jones!, an acclaimed documentary by Oscar-Winning director Barbara Kopple. Yet somehow, the beloved and heroic soul singer found time to complete a studio album. Soul of a Woman features eleven songs which reveal that the emotion, dynamics, and drama of Jones' voice remained at full power until her final days. The songs on Soul Of A Woman exemplify two distinct sides of the band’s sound. Side One showcases grittier, bluesier material like 'Matter Of Time' and 'Sail On!,' giving Sharon the room to flex her vocal prowess and creating a 'liveness' that few studio albums posses. Side Two takes on a more sophisticated orchestral mood.

Tracks like 'When I Saw Your Face' and 'These Tears (No Longer For You),” capture a soft vulnerability in Sharon's vocals that draws you deep inside, and yet they remain nuanced with the signature toughness that never allow you to forget she's steering the ship. The finished product is an album that captures a band and a singer at their peak.

FORMAT INFORMATION Coloured LP Info: Limited red vinyl with download code. 1500 copies only for Europe. LP Info: Black vinyl edition. LP includes MP3 Download Code. Originating in a New York apartment and completed in a garage in suburban Sydney, Jonti's new album Tokorats will see release on Stones Throw Records. Following up from 2012 releases Twirligig and Sine & Moon, Tokorats is a psychedelic, harmony-rich dream-hop journey. Originally recorded as a sister record for Jonti's debut album Twirligig in 2011, Jonti scrapped the entire album and started again in 2013.

After four years and hundreds of versions for each song, Jonti is finally ready to invite you into his Tokorats universe. Jonti explains, 'A Tokorat is that supernatural creature in the mirror. A multicolored weirdo mutant composed of all the elements of your story and all the complexities of your character. In every song, I was having a conversation with all the good and unflattering reflections of myself -- AKA my Tokorats.

While this album does document a five-year spiritual journey, it was ultimately a fun and luscious experience. I'm lucky I got to know my Tokorats' Jonti's five-year journey included collaborations with, most recently, The Internet's Steve Lacy on 'Scrood', Mark Ronson, BADBADNOTGOOD, King Krule, Earl Sweatshirt, and a 40-date world tour with Gotye. He also teamed up with fellow Australians The Avalanches as they made their long-awaited return on Wildflower, an album Jonti helped record and performs live with the group. Having grown up in South Africa, lived in Los Angeles and New York, Jonti settled in a beachside suburb in Sydney where Tokorats was completed with the help of Jonti's friends. Helped along the way with various studio contributions from Australian artists Gotye, Kirin J Callinan, Bus vipers, Gauci and Mohi, Jonti called on O.