{"title":"Dance\/Electronica","description":"","products":[{"product_id":"bicep-isles","title":"Bicep - Isles","description":"\u003cp\u003eReleased 22nd January.\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 6.0pt; text-align: justify; text-justify: inter-ideograph;\"\u003e\u003cspan style=\"font-size: 12.0pt; color: black;\"\u003eBelfast-born, London-based duo Bicep (Matt McBriar and Andy Ferguson) will release their hotly anticipated second album, “Isles”, on 22 January 2021 on Ninja Tune. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 6.0pt; text-align: justify; text-justify: inter-ideograph;\"\u003e\u003cspan style=\"font-size: 12.0pt; color: black;\"\u003eTwo years in the making, “Isles” expands on the artful energy of their 2018 debut “Bicep”, while digging deeper into the sounds, experiences and emotions that have influenced their lives and work. They describe “Isles” as “a snapshot in time” of their work in this period, with the tracks designed to evolve in their different iterations from record to live show and beyond. “This is definitely the home listening version,” says Matt, “the live version will be much, much harder”. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 6.0pt; text-align: justify; text-justify: inter-ideograph;\"\u003e\u003cspan style=\"font-size: 12.0pt; color: black;\"\u003eOn the title, “We have strong mixed emotions, connected to growing up on an island” they say, “wanting to leave, wanting to return”. For two natives of Belfast, any talk of islands, communities and identities will also have other, more domestic connotations, and has always been an aspect of their lives they’d been reluctant to talk about. “It’s always been an unquantifiable topic for us” says Matt. “We’re not religious, but we're both from different religious backgrounds. There was always a lot of interest in us talking about those issues, but we always felt that one of the things we loved about dance music was that freedom it gave you to be released from talking about those things.” \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 6.0pt; text-align: justify; text-justify: inter-ideograph;\"\u003e\u003cspan style=\"font-size: 12.0pt; color: black;\"\u003e“You’d enter the club and it would be people from both sides of the tracks and they’d be hugging” says Andy, referring to massively influential Belfast club Shine, where both cut their musical teeth. “And the following week, they’d be with their mates rioting. It felt like the safest place but, on paper, it should have been the most dangerous”. Musically, too, they find echoes of those days in their work. “It was like being smacked in the head with a hammer” Matt says, of the tunes that defined that scene, and which find expression in “Isles’” most raw and energetic corners. “It was either very intense, in-your-face Italo tinged electro or really aggressive techno”.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 6.0pt; text-align: justify; text-justify: inter-ideograph;\"\u003e\u003cspan style=\"font-size: 12.0pt; color: black;\"\u003eFrom those early days living and clubbing in Belfast, to their move to London over a decade ago, the breadth of music they’ve been exposed to during this time informs “Isles’” massive sonic palette. Both cite the joy of discovering Hindi vocals overheard from distant rooftops, snatches of Bulgarian choirs drifting from passing cars, hitting Shazam in a kebab house in the vain hopes of identifying a Turkish pop song. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 6.0pt; text-align: justify; text-justify: inter-ideograph;\"\u003e\u003cspan style=\"font-size: 12.0pt; color: black;\"\u003eLead single ‘Apricots’ encapsulates these disparate influences perfectly. Sampling traditional Malawian singers—recorded by ethnomusicologist Hugh Tracey in 1958 and released via the label Beating Heart, whose profits go towards supporting the ongoing music conservation work of the International Library of African Music—and a 1950’s performance by The Bulgarian State Radio \u0026amp; Television Female Vocal Choir, steeped in a shimmering bath of warm synths, its spare percussion and arresting vocals bring the big room chills of 90s rave, while still evoking something lost or forlorn. The accompanying video—also released today—is directed by Mark Jenkin, who recently took home a 2020 BAFTA for Outstanding Debut by a British Director for his 2019 film ‘Bait’.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 6.0pt; text-align: justify; text-justify: inter-ideograph;\"\u003e\u003cspan style=\"font-size: 12.0pt; color: black;\"\u003e‘Atlas’, the first track drawn from the record, was released to massive acclaim in March, making both the Radio 1 and Radio 6 playlists, its euphoric energy and bittersweet heft hit all the harder in uncertain times. It is, as Resident Advisor called it, “music that commiserates with you while you try to dance out your anxieties”. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 6.0pt; text-align: justify; text-justify: inter-ideograph;\"\u003e\u003cspan style=\"font-size: 12.0pt; color: black;\"\u003eBicep’s globe-trotting sound was forged as their own rapid ascent through the musical ranks began. After starting their legendary FeelMyBicep blog in 2008, its humble trove of Italo, house and disco deep cuts grew into a runaway success, regularly chalking up over 100,000 visitors a month. Once the blog had spawned a record label and club night, the duo were propelled on to the international stage via sought-after DJ sets that reflected the eclecticism of their online curations. Following success with productions for Throne of Blood and Aus Music, Bicep were signed to Ninja Tune in 2017, where they released their wildly acclaimed self-titled debut album the following year, attaining a Top 20 entry in the UK charts, and a cover feature in Mixmag to add to the magazine’s gong for “Album of the Year”. Tracks like  ‘Opal’—and the subsequent Four Tet remix—as well as he record’s lead single ‘Glue’, with and its iconic Joe Wilson-directed video, became touchpoints for electronic music in 2017, with the latter named DJ Mag “Track of the Year”. The ‘Glue’ video, alongside Bicep’s RA Live performance were also recently included in the lauded ‘Electronic’ exhibition, first shown at the Philharmonie de Paris last year and currently at London’s Design Museum.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 6.0pt; text-align: justify; text-justify: inter-ideograph;\"\u003e\u003cspan style=\"font-size: 12.0pt; color: black;\"\u003eThe album was followed by a massively successful tour, which saw them raise the roof at Primavera, Coachella and Glastonbury before a triumphant three-night sold-out run of shows at Printworks in London. The pair sold out their two forthcoming Brixton Academy shows in a matter of minutes, and amassed a 10,000 person waiting list once tickets were all gone. Additional headline dates across the UK, EU and US are hoped for in 2021, including a headline slot at Field Day in London, as well as performances at Parklife, Roskilde, Creamfields, Primavera, MELT! And more. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 6.0pt; text-align: justify; text-justify: inter-ideograph;\"\u003e\u003cspan style=\"font-size: 12.0pt; color: black;\"\u003eWith the live music \u0026amp; touring industry in a state of flux, Bicep recently undertook a one-off ticketed livestream performance—one of the first of its kind for an electronic artist—broadcast across 5 different timezones, and watched by people in over 70 countries, with visuals by close BICEP LIVE visual collaborator Black Box Echo. Bicep will also launch their ‘FeelMyBicep Radio’ show on Apple Music in October, giving listeners an insight into the music that has shaped everything in the world of Bicep, with shows set to continue monthly throughout the coming year. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 6.0pt; text-align: justify; text-justify: inter-ideograph;\"\u003e\u003cspan style=\"font-size: 12.0pt; color: black;\"\u003eBicep are also ambassadors for Youth Music, a charity working to change the lives of young people through music and music production. Both take an active role in mentoring young people coming through YM programmes, reflecting their own eagerness to give back as musicians who themselves received industry support when they were coming up. \u003c\/span\u003e\u003c\/p\u003e","brand":"Bicep","offers":[{"title":"CD","offer_id":39266221293754,"sku":"ZENCD261","price":6.99,"currency_code":"GBP","in_stock":true},{"title":"2LP","offer_id":39266221326522,"sku":"ZEN261","price":24.99,"currency_code":"GBP","in_stock":false},{"title":"Indies 2LP (Picture Disc)","offer_id":39266221359290,"sku":"ZEN261P","price":30.99,"currency_code":"GBP","in_stock":false},{"title":"Deluxe Orange 3LP","offer_id":39266221392058,"sku":"ZEN261DX","price":33.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0535\/1453\/5098\/products\/bicep-500x500.jpg?v=1614451291"},{"product_id":"hannah-peel-fir-wave","title":"Hannah Peel - Fir Wave","description":"\u003cp\u003eReleased 26th March 2021.\u003c\/p\u003e\n\u003cp\u003eHannah Peel has announced the release of a new album, Fir Wave, out on 26 March 2021 via her own label imprint, My Own Pleasure.\u003cbr\u003e \u003cbr\u003e The new album, a sonic shimmer of textures and pulses that switches between raw atmospheric edges and environments, arrives with a fascinating history. As Peel explains, “The specialist library label KPM, gave me permission to reinterpret the original music of the celebrated 1972 KPM 1000 series: Electrosonic, the music of Delia Derbyshire and the Radiophonic Workshop.” This process of re-generation and finding fresh inspiration in pioneering, experimental electronics from the early 1970s is at the core of the album. Peel has made connections and new patterns that mirror the Earth’s ecological cycles through music. Peel explains, “I’m drawn to the patterns around us and the cycles in life that will keep on evolving and transforming forever. 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In 2019 she composed and recorded the soundtrack for Game of Thrones: The Last Watch which earned her an Emmy nomination for ‘Outstanding Music Composition For A Documentary Series Or Special (Original Dramatic Score)’.\u003c\/p\u003e","brand":"Hannah Peel","offers":[{"title":"CD","offer_id":40186889765050,"sku":"MOP15CD","price":11.99,"currency_code":"GBP","in_stock":true},{"title":"LP","offer_id":39285633679546,"sku":"MOP15V","price":19.99,"currency_code":"GBP","in_stock":true},{"title":"Indies Pink LP - SOLD OUT","offer_id":39285633712314,"sku":"MOP15VN","price":21.99,"currency_code":"GBP","in_stock":false},{"title":"Dinked Edition LP - SOLD OUT","offer_id":39285633745082,"sku":"MOP15VB","price":21.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0535\/1453\/5098\/products\/hannahpeeldirwavedinked-500x500.jpg?v=1614717767"},{"product_id":"a-winged-victory-for-the-sullen-invisible-cities","title":"A Winged Victory For The Sullen - Invisible Cities","description":"\u003cp\u003eReleased 26th February.\u003c\/p\u003e\n\u003cp\u003eA Winged Victory for the Sullen, the composer collaboration between Stars of the Lid founder Adam Wiltzie and L.A. composer Dustin O'Halloran, are set to release new album ‘Invisible Cities’ on the 26th February 2021, the stunning score to the critically acclaimed theatre production directed by London Olympics ceremony video designer Leo Warner and produced by Manchester International Festival, Rambert, 59 Productions and Karl Sydow.\u003cbr\u003e \u003cbr\u003e Premiering at Manchester International Festival in July 2019, Wiltzie and O'Halloran were commissioned by Manchester International Festival, Rambert, Brisbane Festival, Hong Kong New Vision Arts Festival, Sadler’s Wells, SMG Live, Sheikh Jaber Al-Ahmed Cultural Centre (JACC) and Karl Sydowto to compose the music for the 90-minute multimedia stage show adapted from Italo Calvino’s 1972 novel. Centered on the tense relationship between Kublai Khan, the volatile head of a vast empire, and explorer Marco Polo, ‘Invisible Cities’ brings to life a series of fantastical places and disparate worlds through the medium of theatre, music, dance, design and visuals. 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As befits\u003c\/p\u003e\n\u003cp\u003ean age in which realities can change in the blink of an eye, from one day to the\u003c\/p\u003e\n\u003cp\u003enext, the Berlin band nevertire of changing themselves, their music or personnel.\u003c\/p\u003e\n\u003cp\u003eAs Karlheinz Stockhausen noted: “New methods change the experience. New\u003c\/p\u003e\n\u003cp\u003eexperiences change man.” Taking this as their lead, Michael Drummer (the\u003c\/p\u003e\n\u003cp\u003edrummer) and CAMERA surprise us once more on“Prosthuman” as they reinvent\u003c\/p\u003e\n\u003cp\u003eand reformulate their sound without sacrificing the project’s identity which has\u003c\/p\u003e\n\u003cp\u003ematured over the past decade. Less surprising is the fact that some record stores\u003c\/p\u003e\n\u003cp\u003egive CAMERA their own section, alongside Krautrock pioneers like NEU!, Can and\u003c\/p\u003e\n\u003cp\u003eLa Düsseldorf. “Emotional Detox”, the predecessor to this album, was distinguished\u003c\/p\u003e\n\u003cp\u003eby the presence of two keyboard virtuosos (Steffen Kahles and CAMERA founder\u003c\/p\u003e\n\u003cp\u003emember Timm Brockmann). Finding replacements for “Prosthuman” was, as Michael\u003c\/p\u003e\n\u003cp\u003eDrummer stresses, “a difficult process.” The two keyboardists had – indifferent\u003c\/p\u003e\n\u003cp\u003ecreative periods – formed the backbone of a band structure otherwise prone to\u003c\/p\u003e\n\u003cp\u003efluctuations. Decisive input came from an unlikely source: Tim Schroeder, who first\u003c\/p\u003e\n\u003cp\u003eteamed up with CAMERA as aperformance and video artist on their six-week tour\u003c\/p\u003e\n\u003cp\u003eof the USA in 2017. Over the course of various jams and recording sessions, he was\u003c\/p\u003e\n\u003cp\u003eable to offer ample proof of his synthesizers skills. Alex Kozmidi, a musician and\u003c\/p\u003e\n\u003cp\u003ecomposer with a flair for experimentation, completed the triumvirate on guitar,\u003c\/p\u003e\n\u003cp\u003ewith Michael Drummer adding his own guitar riffs here and there. Change and\u003c\/p\u003e\n\u003cp\u003efriction can be useful allies in pursuit of creativity, something to which Drummer\u003c\/p\u003e\n\u003cp\u003ehas grown accustomed as the only ever-present member of CAMERA. The pleasures\u003c\/p\u003e\n\u003cp\u003eand pain of isolation – suddenly a mass phenomenon in pandemic times – are well\u003c\/p\u003e\n\u003cp\u003eknown to the quasi frontman of the group. Over the years, he has spent many hours\u003c\/p\u003e\n\u003cp\u003ealone or with a shifting cast of co-musicians in the band’s basement studio, beneath\u003c\/p\u003e\n\u003cp\u003ea former factory site in a less than hip southern district of Berlin. 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Can it do anything but fester? \u003cem\u003e\u003cstrong\u003eIn Ferneaux \u003c\/strong\u003e\u003c\/em\u003eexplores pain in motion, building audio-spatial chambers of experience and memory. Using an archive of field recordings from a decade of global travels, isolation gave \u003cstrong\u003eBlanck Mass\u003c\/strong\u003e an opportunity to make connections in a moment when being together is impossible. The record is divided into two long-form journeys that gather the memories of being with now-distant others through the composition of a nostalgic travelogue. The journeys are haunted with the vestiges of voices, places, and sensations. These scenes alternate with the building up and releasing of great aural tension, intensities that emerge from the trauma of a personal grieving process which has perhaps embraced its rage moment.\u003c\/p\u003e\n\u003cp\u003eAn encounter with a prophetic figure on the streets of San Francisco presented the question of “how to handle the misery on the way to the blessing.” This is the quandary of the impasse we now all find ourselves in, trapped in our little caves, grappling with the unease of the self at rest – without movement, without the consumerist agenda of “new experiences.” The possibility of growth, always defined by our connections with others, held in limbo. Sartre said that “Hell is other people,” but perhaps this is the Inferno of the present: the space of sitting with the self.\u003cbr\u003e \u003cbr\u003e A blessing is often thought of as a future reward, above and beyond the material plane. 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So, I was trying to think of all the collaborators and friends that I knew, who’d recorded stuff with this horizontal vibe. Plus, I was also trying to help my friends' stuff get into the world. I know the story of Khruangbin blowing up after appearing on the series (in fact, I think that's how I discovered them). So, the main idea was to create a certain atmosphere, but also to help some of my favourite collaborators and bud- dies to give their songs a little push out into the world. Hope you like it” Jordan Rakei\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eDue for release on 9th April, Late Night Tales celebrate their 20th anniversary with the release of multi-instru- mentalist, vocalist and producer Jordan Rakei’s majestic compilation. The 28-year-old modern soul icon effortlessly stamps his own jazz and hip-hop driven sound all over this gorgeous array of handpicked tracks. A beautifully layered blend that is mirrored in the music he’s made, it comes as no surprise that such a supremely gifted songwriter should deliver a mix that is all about the song.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eRakei, born in New Zealand, but raised in Australia, moved to the UK in 2015; he released his debut album, Cloak, with Oz label Soul Has No Tempo, but his two subsequent LPs, Wallflower and Origin, came out on Ninja Tune, the former #2 in Album Of The Year for Gilles Peterson’s Worldwide poll, while Origin was nominated for Best Album at the AIM Awards. Jordan had this to say on his upcoming mix:\u003cbr\u003e\u003cbr\u003eAs Jordan says, there’s so much more to the song selection on Late Night Tales’ latest outing than a random collection of artists. Many have some sort of personal connection, so just as Bonobo provided a platform for the breakout of Khruangbin on a previous LNT, this may have the same ef- fect for Rakei’s friends. After a soothing opener from Fink, good friend and big influence Alfa Mist (part of the Are We Live collective) delivers ‘Mulago.’ “I want to champion their sound and show the world how good he is, and I thought it’d be fitting to start the mix with family,” says Jordan.\u003cbr\u003e\u003cbr\u003eNext up is Charlotte Day Wilson with ‘Mountains,’ followed by ‘Count A Heart’ from Moreton, an exclusive collab- oration with Jordan, who grew up on the same street in Brisbane, Australia. “She was the first artist I ever collabo- rated with, and one of the first artists to be involved in my career,” he explains. Elsewhere we hear Scottish producer and multi-instrumentalist C Duncan’s haunting ‘He Came from the Sun,’ Barcelona collective Oso Leone deliver a dreamy ‘Virtual U’ and Bill Lauren’s ‘Singularity,’ which evokes a striking sense of time and place.\u003cbr\u003e\u003cbr\u003eSnowpoet’s ethereal ‘Evitenity’ is a “long mediative nar- rative over a beautiful soundscape,” which at times seems chaotic, nicely juxtaposed with undeniable beauty, and Maro’s kooky songwriting shines on ‘Always And Forever.’ Long-time buddy Armon-Jones contributes ‘Idiom,’ and Jordan’s exclusive cover version is a two-for-one, Radio- head’s ‘Codex’ merging with ‘Lover, You Should’ve Come Home’ by Jeff Buckley and another exclusive, original com- position by Jordan, ‘Imagination.’ The latter works as a piece with the spoken (Spanish) word voiced by movie director Alejandro González Iñárritu (Babel, Birdman, and The Reve- nant,) who is a big fan of Jordan’s. “He messaged me when I went to L.A and asked to come to my show. I was in such shock and we hung out after. I thought it would be nice to get him to do this in his native tongue, because I don’t think that’s been done yet on the series.” It certainly is a family affair. Not the blood is thicker than water kind, but certainly musical kindred spirits.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e1. Fink - Covering Your Tracks\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2. Alfa Mist – Mulago\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3. Charlotte Day Wilson – Mountains\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4. Moreton feat. Jordan Rakei – Count A Heart (Exclusive track)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5. Puma Blue – Untitled 2\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e6. Connan Mockasin – Momo’s\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e7. 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The songs on the EP, originally by Roger \u0026amp; Brian Eno, Thom Yorke, Luke Abbott and James Yorkston, are presented in a completely new context to their initial form. On these versions, Hopkins used his upright piano as the centrepiece of the EP, whilst recording the ambient, environmental elements around it.\u003c\/span\u003e\u003c\/p\u003e","brand":"Jon Hopkins","offers":[{"title":"CD","offer_id":39505084809402,"sku":"RUG1217CD","price":9.99,"currency_code":"GBP","in_stock":true},{"title":"LP","offer_id":39505084874938,"sku":"RUG1217T","price":14.99,"currency_code":"GBP","in_stock":false},{"title":"Indies Ocean Blue LP","offer_id":39505084907706,"sku":"RUG1217TX","price":15.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0535\/1453\/5098\/products\/jonhopkins_PIANOVERSIONS_3000.jpg?v=1617967958"},{"product_id":"metronomy-the-english-riviera-10th-anniversary-edition","title":"Metronomy - The English Riviera (10th Anniversary Edition)","description":"\u003cp\u003eReleased 30th April 2021.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eMetronomy’s career-changing album The English Riviera is turning ten years old. 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The band are currently working on what will be their seventh album, due for release next year.  Metronomy’s biggest album to date, The English Riviera was nominated for the Mercury Prize, is certified Gold in the UK and platinum in France, and upon release was met with wide scale critical acclaim: ranked as NME’s #2 album of the year (“a deep sea of ideas and imagination”), NYLON’s #2, Uncut’s #3, Mixmag’s #4, and #7 by The Guardian (“an assured, beguiling album”) among many other end of year lists. 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I started to make music specifically for the shows yet, as plans continued to shift, I fell deeper into the waves. I considered a 12” or an EP but by the time I came up for air, I realised I had a complete record I wanted to share. I feel it’s some of my best work and I’m gassed for you all to hear it.”\u003cbr\u003e\u003cbr\u003e“As the music evolved,” Avery continues, “I also felt it was only fair to shine a brighter light on the live gigs themselves, especially during a time when travel continues to feel like a distant dream. So, on Sunday 27th May we will be presenting a Together in Static global live stream from Hackney Church. It’s been a tough year for everyone so we’ve kept tickets at five pounds.” The album pre-order and tickets for the live stream are live now along with limited edition prints and t-shirts designed by Brad Mead, plus a bundle option.\u003cbr\u003e\u003cbr\u003eTogether in Static comes almost a year to the day after Avery’s surprise third studio album Love + Light, released last June in the midst of the coronavirus crisis. Where his previous record was hailed by NME as \"a heartfelt eulogy for the hedonism we’re missing this summer,” hope and expectation course through the new album. 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As usual, the band didn't approach the album with any pre-conceptions, and instead created an organic journey that represents everything great about Morcheeba. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEdwards' lyrics are primarily focused on positivity and overcoming personal adversity that lies within. 'Sounds Of Blue', is a stunning cut that puts Skye Edward's sultry vocals to the forefront, floating high above an ethereal backdrop. The album includes features with Duke Garwood (known for his work with Mark Lanegan, amongst others) and Brad Barr (The Slip, The Barr Brothers). \" Morcheeba's global reach is impressive, taking them to every corner of the world . Their signature chilled electronic\/organic sound has been border-hopping ever since the London-based band emerged as a household name. 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First released on the now inactive Rephlex label, the album has not been available on streaming platforms until now and has been out of print for more than a decade. It will be reissued on vinyl (2 x 12” 1 x 10” + booklet) and deluxe casebound book CD.\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003eThis complete edition has been remastered from the original DATs and features two extra tracks which were first released on the B-side of the\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSquarepusher Plays\u003c\/em\u003e… EP and later featured on the original Japanese release of this album. 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Like much of his output after, it also showcases disarmingly intricate melodic composition like on ‘Squarepusher Theme’ and extraordinarily complex rhythmic sequences i.e. on ‘Tundra’ whilst retaining an impressive cadence. \u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003eThe album was a key release for Richard D. James (Aphex Twin) and Grant Wilson-Claridge’s Rephlex label and has gone on to be regarded as one of Squarepusher’s best. As well as a close friendship there was perhaps a bit of healthy competition between Squarepusher and Aphex Twin at the time (\u003cem\u003eHangable Auto Bulb\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewas released in ‘95 and is cited as an influence).  However, strong jazz influences and accomplished bass playing set Tom apart from his contemporaries. 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With Kye now residing in the birthplace of house music, Chicago, and Matt remaining in London, the creation of ‘Olympia’ marked a career first for the duo, having produced the project from entirely separate continents - but that has not dimmed their light.\u003cbr\u003e\u003cbr\u003eAn album shrouded in Greek mythology, ‘Olympia’ is an eclectic and euphoric mix of past and present, it’s a celebration of musical worlds coming together, with 90’s house blending seamlessly with 2020’s finest pop. ‘Olympia’ is a collaborative piece of work showcasing Gorgon City’s strength in discovering and developing vocal talents that are genre-spanning and varied. 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I knew the album was going to be about the city, and its history and myths, and I was going to move there. So it’s quite a personal story. It’s become an album about moving to Berlin to write an album about people who move to Berlin to write an album…”\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThough PSB’s use of electronics and surging guitar rock remain familiar,\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eBright Magic\u003c\/em\u003e\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003euses samples, and the English language, sparingly. It differs from their previous albums in other ways: less linear and narrative, instead it’s an impressionistic portrait of a city from the ground up. A Eureka moment of sorts came in November 2018 when Willgoose heard Walter Ruttman’s radical Berlin tape-artwork\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eWochenende\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/strong\u003e(or Weekend), which is sampled on three of\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eBright Magic\u003c\/em\u003e\u003c\/strong\u003e’s tracks. Created in 1928, the piece collaged speech, field recordings and music into a sonic evocation of the city. Resolving to integrate these long-gone fragments with new manipulated sound sources, he set about making his own\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eWochenende\u003c\/em\u003e, a narrative drama for the ears which decodes and realises the dreams of Berlin he’d constructed in his mind. \u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eJ.Willgoose, Esq. said “I started to get a feeling for where the title of\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eBright Magic\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003ewanted to take me, towards ideas of illumination and inspiration, electricity and flashes of light and colour and sound (all the tracks would eventually be colour coded). I sent it to the rest of the band, and said, I know it’s going to change, but we’ll see how the city itself colours that.” \u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eJ.Willgoose, Esq moved to Berlin from April 2019 to January 2020. Combining sound archaeology and the flâneuring of the psychogeographer, one street-level pursuit of the city’s energy involved Willgoose walking the Leipzigerstrasse, site of the city’s first electric streetlight, using a wide-band electromagnetic receiver from Moscow’s Soma Laboratories. “I walked up and down recording electrical currents and interference,” he laughs. “You can hear a few of these little frequency buzzes, clicks and impulses in Im Licht (a song inspired in part by pioneering lightbulb manufacturers\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eAEG and Siemens). It’s what I was trying to do in the wider sense, I suppose – to capture those tiny little pulses you pick up while walking through a city.”\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eHe wrote and recorded in Kreuzberg’s famous\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eHansa Tonstudio\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003erecording complex. This brought closer several inescapable musical touchstones: Depeche Mode’s classic eighties triumvirate, U2’s Achtung Baby and, crucially, Bowie’s “Heroes” and Low. “The whole shape and structure of the record is very much in debt to Low,” says Willgoose. Indeed, the\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eWarszawa-evoking\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e“The Visitor” – whose designated colour is the particular Orange of that album’s sleeve – was initially intended to feature a sample of Bowie reflecting, says Willgoose, on “how he viewed himself as this vessel for synthesizing and refracting other influences, and presenting avant-garde influences to the mainstream. We tried to absorb a bit of that spirit.” \u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eAs well as EERA, the album’s other guest voices include\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eBlixa Bargeld\u003c\/strong\u003e, veteran of\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eThe Bad Seeds\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/strong\u003eand\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eEinstürzende Neubauten\u003c\/strong\u003e, who becomes the voice of Berlin’s industry on the robo-teknik\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e“Der Rhythmus der Maschinen\u003c\/strong\u003e”.\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAndreya Casablanca\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eof Berlin garageistes\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003eGurr\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003estands in for Marlene Dietrich in “\u003cstrong data-mce-fragment=\"1\"\u003eMy Blue Heaven\u003c\/strong\u003e”, an anthem of proud self-determination. \u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eA very pro-European record,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eBright Magic\u003c\/em\u003e\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eis ultimately not just about one city, but all centres of human interaction and community which allow the free exchange and cross-pollination of ideas. \u003c\/p\u003e","brand":"Public Service Broadcasting","offers":[{"title":"CD","offer_id":39808448135354,"sku":"PIASR1230CDX","price":10.0,"currency_code":"GBP","in_stock":true},{"title":"LP","offer_id":39808448168122,"sku":"PIASR1230LP","price":18.99,"currency_code":"GBP","in_stock":false},{"title":"Limited Orange\/Black Marbled LP","offer_id":39808448200890,"sku":"PIASR1230LPX","price":19.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0535\/1453\/5098\/products\/PSB_BrightMAgic_cover.jpg?v=1622556347"},{"product_id":"rudimental-ground-control","title":"Rudimental - Ground Control","description":"\u003cp\u003eReleased 3rd September 2021.\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003eRudimental have announced the release of their much-anticipated fourth studio album, ‘Ground Control’ – a full-colour, 16-track epic that toasts a decade’s worth of the group’s extraordinary music-making.\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003eTapping everything from anthemic drum \u0026amp; bass to woozy, iced-out house, soulful UKG and huge, festival-worthy club anthems, ‘Ground Control’ captures Rudimental in full bloom – at their free, expressive and kaleidoscopically creative best. 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F.S.Blumm, for instance, is co-founder of Quasi Dub Development, whose 2014 album, Little-Twister vs Stiff-Neck, featured Lady Ann and Lee Scratch Perry, while Frahm’s music – not least 2018’s All Melody – has occasionally betrayed a fondness for the form’s associated studio techniques, though he concedes wryly that his approach has always been “a little bit more German” than his influences.\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eF.S.Blumm, a revered mainstay of the German underground for over two decades, and Nils Frahm, who’s enjoyed significant success in recent years with his ground-breaking compositions for piano and synths, first met in the early 2000s. Frahm was a big fan of Blumm’s 2001 album, Mondkuchen – he refers to his fellow Berlin resident admiringly these days as “a vital brick in the Berlin Wall” – while Blumm was soon dazzled by Frahm’s studio set up. “Compared to mine,” he says, “it was like a space ship!” Soon they were working together on a variety of projects – including theatre pieces and animated films – and by 2010 they’d released their first collaborative album, Music For Lovers Music Versus Time. 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That place ended up being Tayos Caves in Ecuador, where Hopkins went on a life-changing creative expedition in 2018.\u003c\/span\u003e\u003cspan data-ccp-props='{\"134233117\":true,\"134233118\":true,\"335551550\":6,\"335551620\":6}'\u003e \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-ccp-props='{\"335551550\":6,\"335551620\":6}'\u003e \u003c\/span\u003e\u003ci\u003e\u003cspan data-contrast=\"none\"\u003e“‘Sit Around The Fire’ exists from one of the deep synchronicities that ushered this thing (Music For Psychedelic Therapy) into being\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-contrast=\"none\"\u003e,” comments Hopkins.\u003c\/span\u003e\u003ci\u003e\u003cspan data-contrast=\"none\"\u003e “I was contacted by East Forest, who had spent some time with Ram Dass in Hawaii before he passed. He was given access to several lesser-heard talks from the 70s, and asked to set them to music. He sent me some starting points, including the beautiful choral vocals he recorded which open the piece. I put my headphones on and with Ram Dass’ voice inside my head, I sat at the piano and improvised. What you hear is the first thing that came out - it just appeared in response to the words\u003c\/span\u003e\u003c\/i\u003e\u003cspan data-contrast=\"none\"\u003e.”\u003c\/span\u003e\u003cspan data-ccp-props='{\"134233117\":true,\"134233118\":true,\"335551550\":6,\"335551620\":6}'\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-ccp-props=\"{}\"\u003e \u003c\/span\u003e\u003cspan data-contrast=\"none\"\u003eThe “Sit Around The Fire” video was made by \u003c\/span\u003e\u003cb\u003e\u003cspan data-contrast=\"none\"\u003eTom Readdy\u003c\/span\u003e\u003c\/b\u003e\u003cspan data-contrast=\"none\"\u003e and \u003c\/span\u003e\u003cb\u003e\u003cspan data-contrast=\"none\"\u003eLucy Dawkins\u003c\/span\u003e\u003c\/b\u003e\u003cspan data-contrast=\"none\"\u003e at \u003c\/span\u003e\u003cb\u003e\u003cspan data-contrast=\"none\"\u003eYes Please\u003c\/span\u003e\u003c\/b\u003e\u003cspan data-contrast=\"none\"\u003e using beautiful animated imagery from the pages of Ram Dass’ iconic book \u003c\/span\u003e\u003cb\u003e\u003ci\u003e\u003cspan data-contrast=\"none\"\u003eBe Here Now\u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cspan data-contrast=\"none\"\u003e, which celebrates its 50th anniversary this year. \u003c\/span\u003e\u003cspan data-ccp-props='{\"134233117\":true,\"134233118\":true}'\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-ccp-props=\"{}\"\u003e \u003c\/span\u003e\u003cspan data-contrast=\"none\"\u003eHopkins elaborates on \u003c\/span\u003e\u003ci\u003e\u003cspan data-contrast=\"none\"\u003eMusic For Psychedelic Therapy: “What grew from this experience is an album with no beats, not one drum sound, something that is closer to a classical symphony than a dance \/ electronica record. 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Based in Brooklyn, NYC together they’ve crafted a crystalline full length of nocturnal, electronic pop music that charts a way out the post-global, cyberpunk dystopian environment it was crafted in. Their debut album This New Heaven drenches minimalist song structures in post-industrial washes of six-string delay and gothic post-punk synths. Presiding over it is the most evocative, emotive vocal performance Frankie Rose has committed to tape to date. \u003c\/p\u003e\n\u003cp\u003eFollowing Hord’s relocation from Chicago, the pair wanted to explore new avenues apart from their respective bands or solo projects. “The sound we were going for was an attempt to capture the dystopian feel of New York during a period of desertion by the wealthy. It was produced in a time-frame saturated in both uncertainty and serenity, and the soundscapes we created felt fitting and almost organic as a response to our surroundings. The title also reflects this in an arguably literal, maybe even satirical way.” Sonically, Fine Place references the pioneering mid-to-late 80s pioneers of icy melodrama The Cure and Cocteau Twins, while reflecting both the individuals’; music trajectories thus far. Modular synthesis triggers rhythm boxes and fluttery arps chirp around clanging 808-patterning as Rose’s reverb-laden vocal layering envelops the remaining headroom. The result is massive; a towering, shadowy music that embraces darkness while offering Rose’s bright vocal as chinks of light in the cracks; the production filling the head space of the beholder with preternatural imagery and emotional resonances that are real but not quite defined.\u003c\/p\u003e\n\u003cp\u003eThe title song propels forth out of the fog, scintillating with delayed guitar before the reverb-immersed vocal injects the human drama. 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