Recently Added Vinyl

Burial 'Rodent' New vinyl 10" on Hyperdub.

Side A:
Rodent 04:25 120bpm

Side B:
Rodent [Kode9 Remix] 04:41 150bpm

This latest work from Vanity Productions is a turbulence steadied to rest with care, and marks a critical high point in the project's evolution.As the nom de plume of Posh Isolation's co-founder Christian Stadsgaard, there is a deeply private yet fiercely empathic quality to 'Only the Grains of Love Remain.'

Pirouetting between his collaborative work with Loke Rahbek as Damien Dubrovnik, as well as The Empire Line with Varg and Iron Sight, to name just Stadsgaard's most recent activity, the inwardness reserved for Vanity Productions is perhaps a necessary step. That the emotive experimentation should generate such a touching soliloquy is an arresting watermark, presenting 'Only the Grains of Love Remain' as the most eloquent work of the project to date.

Following on from 'Mardini' last year, 'Only the Grains of Love Remain' takes a delicate and determined route through the terrain of Vanity Productions. Mapped with musique concrète's metrics, there is an uneasy sensation between guilty revulsion and cosmic longing captured in the moments of harmony.

Dissolving these small bursts of clarity-through-agony is however not a matter of exploring intensity with volume, or other such devices and motifs. With an almost bitter precision, Stadsgaard continually spikes the grounding compositional elements with unnervingly distant patterns of crisp synthetic alloys. Where weighted, gothic passages are undone into peaceful plateaus, and there is a sense of coveted respite from the body's adrenal chemistry.

Temporality is suspended, enough to solicit reflection. As the work coasts the mesh of decision/indecision, witness/actor, falling/flying, however it strikes, one gets the sense that the after-image of noise being articulated is in the end giving way to a greater cathartic broadcast that 'Only the Grains of Love Remain' documents: life, love, and thought.

Tracklisting:
Side A:
1. The Silk of Life
2. The Crack in Everything

Side B:
3. Blue Eyes Reflection
4. Only the Grains of Love Remain

Release Date: 13/10/2017

David West is a musical artist from Western Australia based in New York City. He's been active in the shifting sands of underground pop for over a decade. Not dissimilar to the main character in Star Wars, his musical career began in a backwater desert village, in this case, Perth, before he migrated to more glittering metropolises like San Francisco and Melbourne, and finally landing in his current home of New York.

He presently plays in the contemporary outfits Rat Columns, Rank/Xerox and Liberation. In the past he has participated in such groups as Lace Curtain, Burning Sensation and Total Control. DW began releasing eponymous platters in 2015 with the Night People/Happy Endin' full-length cassette Drop Out Of Collage.

This was followed in 2016 by the Peace Or Love LP which featured the radio semi-hit Dream On Dreamer'. DW's move into the "own-name" category of artists came as his other bands began to develop defined identities. He felt that recording under his own name would be an excellent umbrella for both roving experimentation and a more frivolous, post-modern style of pop music that would not fit in the frameworks of his other projects. Also, after crafting band names for over a decade, it was just time.

Cherry On Willow is DW's audio pop vision for 2017. It differs from the last two DW releases by introducing a more collaborative framework, creating the backing group Teardrops - an open ensemble of friends and collaborators, including Bob Jones of Eaters, Louis Hooper of Rat Columns, Mikey Young of Total Control and Eddy Current Suppression Ring, Raven Mahon of Grass Widow, dynamite drummer Griffin Harrison and other supremely talented individuals from the past and future.

The recordings were quite live and spontaneous, hoping to catch some of the magic involved in speed and improvisation, harvesting creative sparks from his musical colleagues and himself.

The album was recorded in various places in the latter half of 2016 - by DW in his practice space in New York City; in a rental rehearsal room in Glasgow; and a garage studio in Guildford, Western Australia, where Rat Columns' recent LP Candle Power was also recorded. Cherry On Willow was recorded quickly and with a 'first thought best thought' philosophy, to capture an old-school pop feeling, with rough edges intact, human movements tracked and uncut. Swiping liberally from various strains of underground pop, glam, rock'n'roll, synth-pop and disco.

RIYL: Felt, The Wake, Orange Juice, The Pastels, Feelies, Belle and Sebastian, Rat Columns.

Tracklisting:
1. Morning Rain
2. Cherry On Willow
3. Joy
4. Love Comes On
5. Time To Forget
6. Reds For The Blues
7. Soft
8. Swan's Beat
9. Call Me Sometime

Release Date: 20/10/2017

"This is music that should be performed at the Roundhouse in Twin Peaks" - Post-Punk.com.

Available on 180gm white vinyl.

Nicholas Wood is a Berlin-based musician who's best known for making up one-half of well-known synth/post-punk duo The KVB.

Following a break in The KVB's busy touring schedule, Nick spent the last summer working on a solo album under the moniker Saccades'and Fuzz Club are delighted to have signed the project for its self-titled debut, officially released.

These new tracks mark a distinct difference from Nick's other musical endeavours, ditching the dark post-punk synths for a dive into wholesome and totally immersive psychedelic pop.

Tracklisting:
1. Distant Sea
2. Bleeding Colours
3. Elusive Dream
4. Crying Land
5. Gone Too Soon
6. In And Out
7. Know My Name
8. Running Wild
9. Red
10. Cigales
11. Early Rise Again
12. High Drift

A leading figure and respected elder in the Teklife family, Traxman has waited patiently while releases from young upstarts like Taso and Dj Earl have been enjoyed by footwork lovers all over the world.

Now the time has come for Traxman to take centre stage, presenting a collection of new material that demonstrates his mastery of the footwork sound. Tekvision arrives hot on the heels of Teklife 005: Greenlight by DJ Manny, bringing an interesting contrast of production methods and styles.

A prodigious crate digger, Traxman has provided the sample sources for many of Footwork's classic tracks over the years. So while DJ Manny recorded the majority of the vocals on Greenlight himself, Traxman uses his expert sample flipping techniques to add the human element to his productions.

Traxman is a mainstay of the Chicago underground, with a discography stretching back to the golden era of Dance Mania Records in the 1990s. Ghetto House was an important precursor to Footwork, and Traxman was a key figure during this transition. Echoes of the Ghetto House sound resonate through Tekvision, with tracks like Drop It Down and Twist The Party Out paying homage to the origins of Juke and Footwork music.

Be Gagen feat DJ Earl is a beautiful opening track, with a soulful, melancholic synth unfolding patiently over a half-speed beat. When the bass kicks in after 1 minute 10 seconds it has a profoundly uplifting effect, and the late arriving vocal rounds off the composition perfectly.

Many of the tracks demonstrate brilliant and playful manipulation of vocal snippets, with Let Me Get Up and Control Ya Bitchezzz among the finest examples of this art. Finally,Tone Deaf and Whop Line show yet another side to Traxman's sound with an intoxicating and angular mix of bass and bleeps.

Tracklisting:
Side A:
1. Be Gagen (Feat DJ Earl)
2. Drop It Down
3. Control Ya Bitchezzz
4. Gone Girl

Side B:
1. Tone Deaf
2. Let Me Get Up
3. Twist Da Party Out
4. Whop Line

Release Date: 03/11/2017

'Melancholy and darkness, and dissonant, uncomfortable music, resonates with us, for whatever reason,' says singer and spokesman Craig Johnson. 'The new record is more melancholy than dissonant. I feel we're just opening up a bit more on this record.'
 
A sliver of strings, a squeal of feedback, pulsing drums, sheets of steely guitar and sonorous bass, and a rough, declamatory voice - from these primary components, Leeds quintet AUTOBAHN unfurl their second album, The Moral Crossing, which adds more finesse, dynamic and colour to the commitment and energy shown on their 2014 debut Dissemble - an album that Louder Than War described as, 'driving, powerful and passionate - ¦ tapping into addictive darkness of our past and reminding us that that we cannot escape its attractive desolation.'
 
While Dissemble was made by imagining what the late, great producer Martin Hannett would do, The Moral Crossing is the sound of what AUTOBAHN would do. To capture the new sonic details of the band, lead singer and principal songwriter Craig Johnson, guitarists Michael Pedel and Gavin Cobb, bassist Daniel Sleight and drummer Liam Hilton decided to give up their practice room that doubled as a hardcore/punk venue (which influenced their original sound, as did a love of The Birthday Party) and build their own studio space.
 
They found a former double-glazing firm, under a disused bridge, in Holbeck (Leeds'red light district), and despite having no experience of such a job, they undertook this feat. It took a year from ripping out the existing contents to finishing the album - which was then mixed in New York by Ben Greenberg, known for his work with the Sacred Bones label.
 
On top, Johnson taught himself how to make a record after the studio was built. 'I was down there nearly every night,' Johnson recalls. 'It was pretty horrible at times, but worth the pain to have control over everything. We've had the chance to create the sound we want, at times it's more melancholic, and romantic.'
 
Part of the shift comes from Johnson's newly honed melodies such as Vessel'and Torment', part from a greater use of electronics, such as the synthesiser underpinning a haunting Future', evoking neon-lit rainy-nocturnal rides through a cityscape, likewise the album's title track, which is one song to benefit from the judicious addition of violin and cello. '!'d been listening to classical music, and I'd seen the Warsaw Philharmonic Orchestra doing Beethoven's Ninth, which was mint, but I felt out of place, that people were looking down at me,' Johnson recalls. 'So, it's good to bring some of that to the record. A couple of tracks, Torment'was one, we ended up replacing the guitars with strings - whatever was best for the song. Like the French female voice in Torment'too, it just felt right.'
 
 
This time around, AUTOBAHN decided to create their fearsome depth charges by building the tracks as they went along rather than working on completed songs. As a name, AUTOBAHN has been a bit misleading, as they sound quintessentially Leeds, not Munich or Dusseldorf, but Johnson chose the name because he loved the repetition of rhythm. With Hilton - surely one of the best young drummers alive - driving, Johnson requested they all, 'imagine they were all different part of a machine: a steam engine, say. Again, it just felt right. And then we put it all together. The lyrics came right at the end.'
 
Johnson's lyrics on The Moral Crossing combine to form a whole: the theme of a birth, 'but that person had no choice in the decision. And then it's about the different outcomes that could happen. Which could be glorious or torturous.'
 
The words and songtitles suggest more torture than glory - for example, 'A selfless crucifixion / You've nailed in the hard sell' in the manic Obituary': 'Pain out of control' in Torment': 'With your withered hand / Drag me deeper into the fallen ground' in the escalating drama of Fallen'- a word, alongside 'fall', that crops up in several songs. Though Johnson points out that another line from 'Fallen', 'Give a break to that child in the noose' is an example of AUTOBAHN's, 'dark northern humour' (another example was the billboard ad for Dissemble: a hearse, parked outside a funeral parlour, with the band's name in flowers, next to a group of kids holding balloons - ¦)
 
And though Johnson admits to sudden negative episodes (documented by Low/High', another slowburner that eventually bursts into flames), 'they don't last long. Actually, as a band, we're more optimists. I don't find talking about this stuff as dark', but it's stuff people don't usually want to talk about - execution, rising from the dead, depression, feeling utterly lost and unsure where to go. To understand the moral crossing, to go one way or the other, and how it can change your life. For me, saying this stuff out loud give the feeling that there's a future.'
 
On Low/High', Johnson sings, 'You're floating higher now / No more discontent' and in the part-spoken word litany that is Creation', 'I want to be there for you / I want to rise on through.' To reinforce the optimistic feeling, gospel singers from the local church sing on both tracks. 'I wouldn't call it holy'but some of the lyrics they were singing were about going to a higher place, even if the whole lyric might contradict that,' says Johnson.
 
AUTOBAHN have checked their own moral compass, and chosen the hard way - not just building their own studio, but to keep confronting the dark stuff. But their music is infused with the joy of exorcising the darkness: to be there, and rise on through. There is a future, and AUTOBAHN and The Moral Crossing are very much part of it.
 
Martin Aston, August 2017

Tracklisting :
1. Prologue
2. Obituary
3. Future
4. The Moral Crossing
5. Torment
6. Low/High
7. Execution/Rise
8. Creation
9. Fallen
10. Vessel

Release Date: 03/11/2017

" - ¦rich and rewarding - ¦a gleaming sonic world - ¦" Pitchfork

" - ¦one of the most pioneering musicians in the world." Dazed

" - ¦an entrancing - ¦playful, engaging, and often incredibly soothing synth odyssey - ¦" Gorilla Vs. Bear

In 2017, the musical term 'electronic' is nearly obsolete given the ubiquity of computerized processes in producing music. Even so, the prevailing assumption is that musicians working under this broad umbrella must be inspired by concepts equally as electrified as their equipment.

Kaitlyn Aurelia Smith has demonstrated in her still-blooming discography that this notion couldn't be further from the truth, and that more often than not, rich worlds of synthesized sound are born from deep reverence of the natural world. Smith has embodied such an appreciation on The Kid in as direct and sincere a way as possible by sonically charting the phases of life itself.

The album, which punctually follows up her 2016 breakthrough EARS, chronicles four defining cognitive and emotional stages of the human lifespan across 4 sides of a double LP. The first side takes us through the confused astonishment of a newborn, unaware of itself, existing in an unwitting nirvana. Smith's music has always woven a youthful thread befitting of the aforementioned subject.

Here she articulates it in signature fashion on the track 'An Intention,' which serves not only as a soaring spire on The Kid, but on her entire output. There is playfulness here, but it's elevated by an undertone of gravity into something compelling and majestic that is fast becoming Smith's watermark. The emotional focus of side two is the vital but underreported moment in early youth when we cross the threshold into self awareness.

The subject is profound enough to fill an entire album, but rarely makes its way into a single track, indicating Smith's ambition to broach subtler and deeper subjects than the average composer. This side offers up another highlight in the form of 'In The World But Not Of The World' which serves its subject well with epiphanic, climbing strings and decidedly noisy textures over a near-Bollywood low end pulse.

Side 3 emphasizes a feeling of being confirmed enough in one's own identity to begin giving back to the formative forces of one's upbringing, which is arguably the duty that all great artists aim to fulfill. This side ends with the exploratory album cut 'Who I Am & Why I Am Where I Am' recorded in a single take without overdubs on the rare EMS Synthi 100 synthesizer.

This humble piece of sound design serves as a contrast to side 4's verdant orchestral moments, all written and arranged for the EU-based Stargaze quartet by Smith herself.

This final side represents a return to pure being, the kind of wisdom and peace that eludes most of us until the autumn of life. On 'To Feel Your Best' this concept is voiced in the bittersweet refrain 'one day I'll wake up and you won't be there' which Smith intended to be a grateful acknowledgement of life rather than a melancholy resentment of loss.

Kaitlyn Aurelia Smith belongs to an ilk of modern musicians who are defined by their commitment to creating experiential albums despite the singles-oriented habits of modern listeners, and here she represents her kind proudly. The subjects on The Kid are not simple to convey, and yet through both emotional tone and lyrical content, Smith does just that.

Tracklisting:
1. I Am A Thought
2. An Intention
3. A Kid
4. In The World
5. I Am Consumed
6. In The World But Not Of The World
7. I Am Learning
8. To Follow And Lead
9. Until I Remember
10. Who I Am Why I Am Where I Am
11. I Am Curious I Care
12. I Will Make Room For You
13. To Feel Your Best

Release Date: 06/10/2017

Available on 180gm vinyl. 

JuJu is the brainchild of Sicilian multi-instrumentalist Gioele Valenti (Lay Llamas, Herself).

Having now signed to Fuzz Club Records, the project is set to release the sophomore LP Our Mother Was A Plant' - the follow-up to 2016s S/T debut that was widely hailed as one of the most innovative psych albums of the year.

Carrying on in its predecessor's footsteps, the new LP is a continuation of JuJu's ritualistic sonic exploration into the cultural implications of the current refugee crisis, humanities increasingly strained relationship with Mother Earth and neo-pagan mythology.

Even more adventurous than the last, JuJu has changed the game for modern psychedelia once again.

Calling it just a psych'record would be an injustice though, JuJu's shamanic, lysergic mantras are influenced just as much by afrobeat, krautrock, glam, post-punk, art rock, drone and just about everything in between.

Tracklisting:
1. Death By Beautiful Things
2. In A Ghetto
3. And Play A Game
4. James Dean
5. I Got Your Soul
6. Patrick
7. What A Bad Day
8. Sunny After Moon

Release Date: 22/09/2017

Limited 7' of tracks only available on CD Version of Lekhfa'

Tracklisting:
Side A:
El Shahwa Wel Soaar

Side B:
Teskar Tebki

Release Date: 27/10/2017

Available on 180gm black vinyl.

It's easy to guess Acid Baby Jesus'shtick just going on their name but to those who aren't already in the know: don't be fooled into thinking these are just another quasi-religious, LSD-loving psych-rock band - there's a reason these Greek garage-rockers have been championed so highly in the European scene.

Acid Baby Jesus are less concerned with the spiritual and tripped-out realms that their name foreshadows than they are with pure hip-shaking, rock'n'roll hedonism. After a long three-year wait the Athens four-piece are back with their third album Lilac Days' - their first on Fuzz Club Records.

The LP sees ABJ at their best; their frenetic garage-rock distilling a hazy mix of 60s Western psychedelic pop, traditional Eastern folk and the scuzzy R'n'R sounds of The Stooges or Brian Jonestown Massacre.

Tracklisting:
1. Lilac Days
2. Faces of Janus
3. No Such Thing As Twice
4. Down The Ley Lines
5. Me & Panormita
6. Birth
7. Guide Us In
8. Vile Man
9. Love Has Left My House Today

Release Date: 29/09/2017

Blancmange has been part of the soundtrack to my life ever since Happy Families was released.'JOHN GRANT

'Listening to Blancmange obsessively. Probably the most under-rated electronic act of all time.' MOBY

Blancmange's new album was written and recorded by Neil Arthur and co-produced by Benge (Wrangler/John Foxx & The Maths and Gazelle Twin co-producer). It's been a fantastically creative period for both of them, releasing their debut album as a new electronic duo - Fader's First Light - in June 2017 and then the final sessions for Unfurnished Rooms followed immediately in the summer.

For the new Blancmange record, all the songs were written by Arthur while Benge added percussion and layers of analogue synth, with the pair then mixing the record together in the latter's Memetune studios in Cornwall. 'Don't Get Me Wrong' features John Grant on piano and backing vocals.

Tracklisting:
Side A:
1. Unfurnished Rooms
2. We Are The Chemicals
3. What's The Time?
4. Wiping The Chair
5. Anna Dine

Side B:
6. In December
7. Old Friends
8. Gratitude
9. Don't Get Me Wrong

Mnestic Pressure' is Lee Gamble's first album since 2014 and his first with Hyperdub, a reset that sees a noticeable change in his sound and the concepts that feed into his music. Lee says From 'Diversions 1994-1996' (2012) through to 'Koch' (2014) - my music felt like I was dealing with signals from elsewhere - signals from the unconscious, sub-aqua, hallucinated, dreamt. 'Mnestic Pressure' feels like their decoded offspring, a terra interpretation.'

The title 'Mnestic Pressure' comes from Lee's thinking about how our contemporary memory is pressured, individually, but also collectively. We live in these strobing, visual times, like a constant subliminal advertisement but, also over the last few years the world seems to have become more and more dreamlike, alien, and parodic itself and there was this part of me that wanted to drag my music back from this Shangri-La, but fully drenched and infected by its ghosts.'

'Mnestic Pressure' as a whole is a simulation of this experience; a flow of targeted information, through contrasting and quickly changing terrain, from one track to another you're dragged into a new space. The pressure to move is intrinsic to the flow of the album, one thing morphologically transforms into another, zooming in and out from wide angle to detail, reshaping into new forms at a speed Lee's music hasn't before.

The music on 'Mnestic Pressure' has a hardness, with a structure and melody that was sublimated in Lee's previous LPs. It builds on his more recent experiments with more functional dancefloor forms.

Here his hypermodern production and crunchy, dissembled beats feel like they could be malfunctioning holograms projected onto the hallucinated memories of his early work.

Tracklisting:
Side A:
1. Inta Centre
2. Istian
3. East Sedducke
4. 23 Bay Flips
5. Swerva
6. Quadripoints
7. You Hedonic

Side B:
1. UE8
2. Locked In
3. Ignition Lockoff
4. A tergo Real
5. Ghost
6. Déjà Mode

Release Date: 20/10/2017