Recently Added Vinyl

Presented In A Deluxe Spot-Varnished Jacket With Soft-Touch Lamination Finish.

First released on CD on December 13, 2022, “NADA-IZED!” is now released on vinyl with seven additional tracks.

Spanning 41 years of Death In June’s existence, from songs like “Heaven Street” to “The Trigger”, “NADA-IZED!” is a selection of tracks that spiritually revisit the group’s mid-1980’s dalliance with militant electro-dance whilst remaining very much aware of the present.

Recorded and produced in separate self-isolation, Douglas P. and Miro Snejdr (Herr Synthwave Himself), have produced these New Play Tunes for New Plague Times.

Tracklisting:
Side A
A Nausea
Going Dark
Their Deception
The Trigger

Side B
The Pole Star Of Eden
God A Pale Curse
Wolf Rose
Heaven Street

Side C
No Belief
The Maverick Chamber
My Little Black Angel
Luther’s Army
Last Europa Kiss

Side D
Break The Black Ice
All Pigs Must Die
Runes And Men
Fall Apart
Hail! The White Grain

New, second press on White Vinyl limited to 300. Comes with lyrics insert.

Deluxxe is a new post punk/new wave band from Buffalo, NY.

It was formed by Mason and Greg, and later completed with Nick, Bailey and Mackenzie, sharing members of Oi and hardcore bands such as Violent Way, Bad Blood and Exhibition.

Their punk background can be heard in the music, but it’s the love for new wave, post punk, darkwave, and goth that led to creation of their debut record "If You Were Me”.
Written in the cold winters of Buffalo, you can almost feel the harshness of the weather affecting the sounds that propagate from these grooves. Icy and frostbitten but somehow still relevantly civic and urban.

The Chameleons and The Sound are two main references here, but that whole cold dimension is rocked by a strong pop vein reminiscent of After The Snow-era Modern English and occasionally enhanced by an hoarseness typical of a young Paul Weller. Passionate lyricism proper of Echo And The Bunnymen and hopeless romanticism à la Sad Lovers And Giants get balanced by a sharp songwriting which keeps everything in perfect order, giving you exactly what you need, nothing more and nothing less.
You can tell some skinheads are involved here because the outcome is so tidy and neat, without losing one inch of atmosphere or enchantment.

If you are wondering how something that was invented forty years ago can still sound, literally, fresh and cool, look no further because what this band delivers lives just up to its name.

"If You Were Me” is out September 22 on black vinyl LP limited to 300.

Tracklisting:
Side A
1. Waiting For a Sign
2. Queen of Hearts
3. In Another Place
4. Moving On

Side B
5. Sweet With Sin
6. Phantom Figure
7. Common Ground
8. Lightning in a Bottle

Kode9's most ambitious work yet as a multi-disciplinary artist, ‘Escapology’ is the soundtrack album to the sonic fiction ‘Astro-Darien’, itself soon to be released on Hyperdub sub-label Flatlines.

Already available as a special edition CD and digital album, we now offer a 1000 piece limited pressing on lucent orange vinyl, in spot-gloss sleeve with additional artwork by Optigram.

‘Escapology’ reconfigures ‘Astro-Darien's tense, off-world atmospheres into slices of high definition, asymmetric club rhythms, woven through thrilling sound design and vertiginous sonics.

“A record brimming with ideas and novel sounds, departing from genre exercises to offer something genuinely different.” - Album of the Month -DJ Mag

“[Kode9’s] most dextrous and intuitive club music yet, full of mind-bending rhythmic nuggets. He's still the brilliant master behind the scenes, quietly one-upping everyone else.” - Resident Advisor

“The 15 tracks become proper dancefloor scorchers … ‘Escapology’ builds a futuristic jumble of aesthetics and sound design.” - The Wire

Tracklisting:
Side A
1. Trancestar North
2. The Break Up
3. Toxic Foam
4. Orbex
5. Angle Of Re-Entry
6. Freefall
7. In The Shadow Of Ben Hope
8. Sim-Darien

Side B
9. Cross The Gap
10. Uncoil
11. Astro-Darien
12. Lagrange Point
13. Docking
14. Torus
15. T-Divine

Faten Kanaan's fifth LP Afterpoem is a mysterious, smudgy, bittersweet, and uniquely playful album. Deeply melodic, it continues her poignant exploration of counterpoint as a narrative tool. From the repetitive structures of modern minimalism and early music/baroque influences - to more languid textural ebbs & tides, there's a warmth in her use of electronic instruments that gives the album a curiously timeless feel. Composing intuitively, her music has often been described as 'strange', mostly because it creates its own world- one that isn't easily categorised. The album's title refers to the haze of a poem's intended meaning being abstractly fleeting and barely graspable. Glistening threads of understanding still touch us - the poetry becoming intimately personal, and no further literal explanation is needed. "I find pleasure in music as a language that nudges and hints. There's a potential that lives in things left unsaid... meanings drifting in and out of focus... hovering like spirits.  It's a romantic and earnest album... of yearning for lost places and people, while still looking out at the world with tenderness and humour".

Tracklisting:
Side A
1. Fin Août, Début Septembre
2. Trenchcoat
3. Ard Diar
4. Ebla
5. Florin Court
6. Snowing
7. Domari's Lamp

Side B
8. Votive
9. La Smorfia
10. Castling
11. Falconers
12. Cascando
13. Storm Signal

Close to 5 years on from their last transmission, Ulrika Spacek resurface from self-imposed exile with their 3^rd album, Compact Trauma, a collection of songs that function as a chance treatise of sorts for our current collective condition.

With a title like that arriving at this point in time, it’s tempting to interpret the record solely in the context of the global events of the past few years, but the roots of these 10 songs arc back much further in time, charged with their own personalised internal damage.

Mid 2018, approaching exhaustion and feeling increasingly fragile from the stresses of itinerant road life, the 5 piece of Rhys Edwards, Rhys Williams, Joseph Stone, Syd Kemp and Callum Brown began work in earnest on the follow up to their 2^nd album.

Released less than a year earlier and having promoted it constantly in the months that followed, now might have represented a fine moment for the band to take a breath. Yet Ulrika Spacek were not familiar with the concept of slowing down, conditioned by a strong work ethnic and the demands of capricious touring cycles that necessitated more content and at speed.

The band’s previous albums had both been recorded in KEN, a studio and rehearsal space that also doubled as their shared home. As writing for album 3 began, KEN suddenly became another victim to the indiscriminate violence of gentrification. Writing and recording was then abruptly shifted to a professional studio in Hackney. Tensions and logistical difficulties soon became apparent.

The enforced switch to an unfamiliar locale would have been discomforting enough, but when allied with the fractures already beginning to splinter through the band, made for an especially frazzled experience. Somehow, a record began to emerge though it was one obviously infected with its circumstances. In its first phase of life, Compact Trauma was a document of a band striving to perfect an idea while the universe around them seemed to want to shut down.

And then, at an impasse of sorts and with a record halfway complete, it suddenly did. If Ulrika Spacek were a band in need of the breaks applying, it was the force of a global pandemic that made it happen. As the world stood still, Compact Trauma was filed away, unfinished and unheard by the wider world. The prolonged break enforced by myriad lockdowns may have separated the group but it also afforded the 5 time to reflect on what had already been committed to tape... As the lights came back on and the shutters up, they found themselves drawn back towards Compact Trauma.

What they rediscovered was a record that seemed to pre-empt the shared grief of a global pandemic. Addressing existential freak out, displacement, substance reliance and encroaching self-doubt, these highly personalised songs suddenly took on a wider significance, speaking in part to a bigger narrative.

Opening track, ‘The Sheer Drop’, begins with the line “Homerton is caving in”; ‘It Will Come Sometime’ describes a “liver like a lightbulb and swelling”; and Lounge Angst (an almost perfect description of those maddening lockdown days indoors) laments, ‘seems my friends grew up or left’.

The fear and panic is palpable. The lyrics are matched to a soundtrack that oscillates between the febrile and the off-kilter, unconventional song structures and knotty arrangements either spinning the listener in unexpected directions or offering some kind of cathartic release. Take, as example, the aforementioned opener, ‘The Sheer Drop’. A wire-taut exercise in tension-and-release rendered in 3 parts, a whimsical synth opening giving way to characteristic chiming guitars before a nail biting coda sets its controls for the heart of the sun or the end of the world, whichever comes first.

Either way, it’s a hell of a way to reintroduce yourself after a 5 year absence. ‘If The Wheels Are Coming Off, The Wheels Are Coming Off’ is equally instructive, a lacerating exposition of self-doubt that bursts into ecstatic release at its climax, demanding repeat listens, while ‘Stuck At The Door’ is an 11-minute Pacific North West-style epic that threatens, ‘the worst of it’s to come’. But it’s the title track that might be the true heartbeat of the record.

Either addressing itself or some unknown assailant, it begins by demanding that they “take your hands and your head off the table”, while spiralling around a breathless riff fuelled by an infectious anxious energy, before changing tact completely and shifting to a lullaby-like finale, concluding with the ominous thought, “compact trauma? Or full blown disaster? I'll be back in an hour (Or so i think)”. It’s a fitting encapsulation of a highly complex record. They could have left it alone, but in coming back to what they knew, Ulrika Spacek found their best work yet.

Tracklisting:
1. The Sheer Drop
2. Accidental Momentary Blur
3. It Will Come Sometime
4. Lounge Angst
5. Diskbänksrealism
6. Through France With Snow
7. If The Wheels Are Coming Off, The Wheels Are Coming Off
8. Compact Trauma
9. Stuck At The Door
10. No Design

Public Service Broadcasting announce This New Noise, the newly remixed and remastered live recording of their acclaimed 2022 BBC Proms show at London’s Royal Albert Hall, released on 8 September 2023 via Test Card Recordings. A celebration of the power of radio written in recognition of the centenary of the BBC, This New Noise saw the band joining forces with the 88 piece BBC Symphony Orchestra, conducted by Jules Buckley.

A standout performance from 2022’s BBC Proms, it received 5*s in The Telegraph who called it “a resonant, timely and ultimately touching show”. Founder member J. Willgoose, Esq. remixed the concert from scratch, bringing out even more depth and texture from a multi-layered performance and showing it in a new light. This New Noise is the second time Public Service Broadcasting have been commissioned for the BBC Proms.

In 2019 the band performed an orchestral arrangement of their 2015 studio album The Race for Space with The Multi-Story Orchestra to mark the 50th anniversary of the first manned mission to the Moon. In conjunction with the announcement, the band shares "Broadcasting House". Public Service Broadcasting have been “teaching the lessons of the past through the music of the future” for more than a decade now.

2013’s debut album Inform - Educate - Entertain used archival samples from the British Film Institute as audio-portals to the Battle Of Britain, the summit of Everest and beyond. Two years later, The Race For Space used similar methods to laud the superpowers’ rivalry and heroism in orbit and on the Moon. An indie DIY phenomenon the album has remarkably since achieved gold disc status having sold over 100,000 copies in the UK alone.

In 2017, joined by voices including Manic Street Preachers’ James Dean Bradfield, Every Valley was a moving exploration of community and memory via the rise and fall of the British coal industry. Their most ambitious undertaking yet, Bright Magic brought the listener to Europe’s heart and de facto capital, the cultural and political metropolis that is the ‘Hauptstadt’ of the Federal Republic of Germany – Berlin.

Released in late 2021, and debuting at No 2 in the UK album chart, the band’s fourth album was described by Electronic Sound as “their most ambitious, leftfield and majestic work to date, their glorious creative peak, their magnum opus”, DIY said “it flourished at its most calm and erupted at its most fervent” and Clash said it “cemented PSB's reputation as a vital act right at the top of their game”.

The album also featured multiple BBC Radio 6 Music A-Listed singles, including “People, Let’s Dance” [ft. EERA] and “Blue Heaven” [ft. Andreya Casablanca].

Tracklisting:
1. Ripples in the Ether (Towards the Infinite)
2. This New Noise
3. An Unusual Man
4. A Cello Sings in Daventry [ft. Seth Lakeman]
5. Broadcasting House
6. The Microphone (The Fleet is Lit Up)
7. A Candle Which Will Not Be Put Out
8. What of the Future? (In Touch with the Infinite)

Mike Cooper wrote his final songwriter record, a suite of gloaming glam-rock anthems performed with a spiritual jazz trio, while living on the Costa Tropical of Granada, Spain, an era when he was considering retiring from music altogether. A chance encounter and a last-ditch record deal convinced him to make one last album, which he recorded in 1974 at Pathway Studios in London, with “The Greatest Rock and Roll Band in the World,” featuring the inventive South African jazz rhythm section of Louis Moholo and Harry Miller with UK saxophonist Mike Osborne.

This first-ever reissue includes a bonus CD of Milan Live Acoustic 2018, a previously unreleased solo set that represents Cooper’s return, after forty-four years pursuing free improvisation and electronics, to a new, deconstructed approach to singing, steel guitar, and songcraft.

The deluxe LP+CD edition also features a six-panel insert with additional artwork and an essay by the artist about both records. The deluxe 2xCD gatefold edition features an eight-panel version of the same insert.

In the wake of his magisterial triptych of early 1970s avant-folk-rock records Trout Steel (1970), Places I Know (1971), and The Machine Gun Co. (1972) the British songwriter, guitarist, and fledgling improviser Mike Cooper retreated to the Costa Tropical of Granada, Spain. With no prospects for touring or recording again, his fiery band the Machine Gun Co. had disintegrated.

Cooper sets the scene in his liner notes of the first-ever reissue of his unjustly forgotten next album Life and Death in Paradise (1974): No one came running with offers of fame and riches, and we fell apart, and I left the country and headed for the beach, disillusioned and a bit disorientated musically. I went to Almuñécar in Andalusia, a place I had been going since 1969, because a painter friend from Reading, Rowland Fade who made the collage in the gatefold of my earlier album Trout Steel had moved there in 1968.

It was in this synthetic coastal “paradise,” unmoored and adrift, considering retiring from music altogether, that he began tentatively writing new songs. A chance encounter with producer Tony Hall, who offered Cooper a last-ditch record deal on Hall’s nascent Fresh Air label, convinced him to make one last album with the stipulation that he could assemble what he called “The Greatest Rock and Roll Band in the World.” I told Tony that I would do it if I could hire some of my South African jazz musician friends that I had used on my Pye/Dawn albums and some friends from Reading that I still knew and admired.

I called up Harry Miller, Louis Moholo, and Mike Osborne, who were in fact a trio at the time … and several local Reading heroes, including the singer-songwriter Terry Clarke.

The result, recorded live with minimal overdubbing at Pathway Studios in London, was Life and Death in Paradise, an utterly singular suite of gloaming glam-rock anthems performed with a spiritual jazz trio comprising the inventive South African jazz rhythm section of Moholo and Miller with UK saxophonist Osborne. Unlike anything else in Cooper’s extensive catalog. Fresh Air fizzled, and Life and Death became Cooper’s final record as a songwriter, having pushed the form as far as he could.

Drifting north from Spain back to the UK, he fell into the scene of the London Musicians Collective (LMC) including Paul Burwell, David Toop, and saxophonist Lol Coxhill, Cooper’s bandmate in the Recedents and fully embraced free improvisation.

He was still, however, interested in singing and lyrics, so, influenced by Tom Phillips, William Burroughs, and Brion Gysin, he began experimenting with text collage and cut-up techniques, arriving at his own hybrid compositional strategy for improvisatory songs.

The previously unreleased solo set Milan Live Acoustic 2018 represents Cooper’s return, after more than four decades pursuing free improvisation and electronics, to a new, deconstructed approach to singing, lap steel guitar, and songcraft. Presented here together with Life and Death in Paradise, the two records provide fascinating bookends to Mike Cooper’s long, mercurial, and pioneering practice as a songmaker.

Tracklisting:
Side A
1. Rocket Summer
2. Black Night Crash (including “Horry Rocker Show”)
3. O.M.M. Coda

Side B
4. Suicide De Luxe (including “Rock and Roll Hi Way”)
5. Life and Death in Paradise (including “Through a Veil,” “Beads on a String,” and “Reprise”)
6. Critical Incidents.

Milan Live Acoustic 2018:
1. Migrants Song
2. Approaching Zero
3. Industrial Hazard
4. In Moments of Reverie
5. Peach Trees
6. Sage and Thyme
7. Lord Franklin

“I was lucky enough to release Godflesh 'Love is a dog from Hell' on my old label Pathological many moons ago. I was equally lucky to drop JK Flesh 'In Your Pit' on my new label PRESSURE three years ago, and then follow that up with the G36 vs JK Flesh sound clash 'Disintegration Dubs' last year.

Justin has consistently handed me pure audio gold, and actually gifted me some of my favourite releases from him full stop, in an incredible career of riches which he has tirelessly. produced since Napalm Death til today. So again, I’m now totally psyched to drop 'Sewer Bait' on my label PRESSURE.

The sixth album from JK Flesh, this album is a Slo-mo, Slo-fi, Sewer tech journey into utter gutter level filth. Overdriven, corroded, corrupted and absolutely blasted, it contains so many essential elements of clubland low life, but yet manages to remain beautifully original whilst pushing all levels deep into the red until it hurts in the best possible way.

Anyone hooked on Andy Stott's dirtiest works, Porter Ricks deepest explorations or Techno Animal's speaker punishing grooves will find addictive nourishment within these relentlessly distorted heavyweight grooves.... Not so much hard as completely f-ckin brutal, the master stroke from Justin Broadrick however, is takin his raw materials and feeding them militantly into the dub chamber.

This is like a wholesale destruction of Techno, 4/4 for people too wasted and strung out to give a f-ck about dancefloors, yet compelling enough and magnetic enough to completely insist upon fully body hypnotism in an undersized room with an oversized rig.

The album's title track sounds like Drum & Bass don Digital or the peak of the Metalheadz label dragged down into hell for the ultimate bad rave trip, whilst 'Crawler' could be Killing Joke, jammin with Regis and his aggro allies from Birmingham Techno's underappreciated discography, deep in a warehouse warzone. You don’t have to dig techno to dig this dirt, you just have to enjoy having your head taken off and your body physically punished. If Jeff Mills output had been chopped, screwed and then painfully, slowly crushed, it may resemble the monolithic, psychedelic, crawl of 'Sewer Bait'.” – Kevin Martin

Tracklisting:
1. Soaked to the Skin
2. Flushed Away
3. Sewerbait
4. Cruiser
5. Crawler
6. In the Drain
7. Gutter Level
8. Washed Up

Thousand Shadows volume 2, a second chapter was needed to highlight the many shadows that still linger everywhere.

The shadows that linger on the borders, hiding the violence of the fights for them. The shadows that time has on the relationships and their persistence, because the shadows move.

Plato's cave, modern version, would be the one of toxic relationships, antidepressants and the acceptance of the regression of freedom and/or the vision of a dying world...

Between shoegaze, noise pop and psychedelic rock, You Said Strange absorbs its time to incant a music in which melancholy, love and the search for plenitude meet.

Tracklisting:
1. No way Out
2. The raft (No way In)
3. (Song for a) Wasted land
4. Control
5. Rats
6. Trade your soul
7. Eastern side
8. What a day

Gatefold Sleeve with Transparent Vinyl.

Elmir Records is pleased to present a reissue of a collection of "unreleased songs" by the one called the Star of the East, both for her magnetism on stage and her somptuous voice.

Born in Tmaïe al-Zahayira (Egypt), Oum Kalsoum, also spelled Oum Kalthoum (1898 ≈ 1904/1975) is unanimously considered the greatest singer of the Arab world, which music she modernized for nearly five decades.

Produced on 78 rpm records between 1926 and 1936, these short but rare works are among her earliest recordings and contrast with the diva's long and iconic pieces.

A remastered collection with biographical notes written by Rabah Mezouane that invites the listener to (re)discover these masterpiecewith the best conditions.

Tracklisting:
1. Talet Layaly El Be'Ad / Longues Sont Les Nuits De Notre Séparation
2. Mehtar Ya Nas / Oh! Inquiétude
3. Ya Eshret El Mady / L'Amour Jadis
4. Ya Nassim El Fagr / La Brise De L'Aurore
5. Einy Fiha El Doumou / Mes Yeux En Larmes
6. Yally Shaghalt El Bal / Toi Qui Occupe Mon Esprit
7. Saddeq We Hobbak "Min Yaqoul" / Qui Dirait Que Ton Amour Est Sincère
8. Ala Eany El Hagr / Dans Mes Yeux Se Lit La Séparation