It's not alright but it's orky


Hello boys and girls, hope all’s well with you this week-

Tomorrow, Friday 10th August, we’re having an in-store swally at the shop in the usual slapdash fashion. Perhaps even more slapdash than usual 'cos this one is a FRIENDS & FAMALAM special, with Estelle, Meg, Jim, Kenny, Sanjay, Carla, me and Singer on reluctant-til-pissed DJ duties - come by, slug some beers, buy some records. It’s easy! BYO, 6pm-10pm or thereabouts. (Oh and apologies in advance for the state of the shopfront: our landlords are building some kind of walkway outside which I think will, eventually, serve us well, but is currently mid-construction and so both an eyesore and a deathtrap. We do have insurance, but still, TAKE CARE.)

This week’s choice new releases: another white label KILLER from John T. Gast, one part blissy techno levitation to two parts grime (experi)mentalism. An ESSENTIAL CD of alarmingly well-crafted ork Gabber from the original British Mordor Boy, DJ David Goblin. A revelatory reissue of Native Canadian art-song from Alanis Obomsawin (the kind of person whose biography makes you weep at the total dreariness and pointlessness of your own). A forbidding slab of junglist dark ambient, electro and dungeon steppers from Karim Maas. Amyl-fuelled death-disco and industrial auto-annihilation from Estonia’s Nikolajev. And a career-spanning compilation from UK DIY godhead Robert Storey (of Murphy Federation “fame”). Full details and links to listen and buy below, 

Head to the site for loads of other new arrivals, including a 2018 remaster of one of the crowning glories of (ahem) intelligent dnb from Source Direct under their Mirage alias, effervescent house bump 'n swish compiled on the self-explanatory The Deepest Sound of Blaze, and a first vinyl edition of brittle indie-pop perfection from Sarah Records luminariesBlueboy. Plus more and more. 

If you missed it last week, we urge you to check out the second release on our shop label,The Word by Special Occasion - originally released on tape by the mighty Jolly Discs, it’s a contemporary art-pop mini-masterpiece that locates the oh so (bitter)sweet spot between Eno, Jac Berrocal and Jam & Lewis. We’ve also re-stocked a bunch of crucials: FFT’s all-conquering 12” of pneumatic techno splackers on Uncertainty Principle, Mark’s two most recent offerings of yuppie-bating darkside dnb on A Colourful Storm and Unterton, arguablyTHE crucial Memphis rap document from Shawty Pimp, and a 12” of previously unreleased, weaponised synth-pop from D’Arcangelo +++ 

Still hot: C. Memi / Neo Matisse’s minimal synth wonder ‘No Chocolate / Dream’s Dream’, stricken Fourth World grimness from FRKSE on Iron Lung (one of the records of the year!),Lolina’s unbelievable The Smoke LP (probably THE record of the year), Simple Elements’gale-force brum techno classic 9.2%, and newcomer FUMU’s VERY attention-grabbing showcase of hard-edged, sweaty-palmed electro and aggro hip hop jams on YOUTH.  

Bliss to be alive!




NOT ON LABEL | 12" | £8.99

Second (and last???) circa-’13 dubplate showcase from Gast. Gliding high above the EBM sewer-crawl of BTEC #1’s ‘Angela’, ‘Club Version’ is a raw but GLEAMING, nu-era meditation on bluest and blissiest Detroit techno tropes, albeit with an undercurrent of proper Entropy-in-the-UK anxiety/unease. On the flip a pair of even more paranoid, perniciously psychedelic grime sufferahs: ‘Jettison II’'s tooth-grinding, nerve-shredding soundboy Minimalism (equal parts broken Glass and melted Igloo), and ‘NUN-II’ - which pivots between battery-acid-spitting, avant-hard electro/sublow and a kind of uptight Terminator blooz, all swooning darkside strings, machine-gun drum stabs, and properly dread, cone-crushing bass. Mastered by Amir Shoat. Ltd copies, no re-press. Cat#: NEXYARD13. 



PRR! PRR! | CD | £6.99

DJ DAVID GOBLIN launches 40 minutes of rabid new beat / gabber war-dance over the battlements and into your disc-drive.

Freeform Gandalf-bash is back on the menu with this boiling cauldron of nosebleed, Mordor-via-Rotterdam hard step and mead slosh'd euro synth-wave, all brought together in the hysterical GENIUS of the ‘Gobs buzz saw guitar and overdubbed Ork grunt.

This grubby wee CD is essential for all the realm dwellers but if you already get down to the likes of Kotzaak / that Popcorn album on Ultra Eczema / LOTR directors cutz or The South Yorkshire Mick Hucknall, then THIS will really awaken your inner goblin. ORK POWER!




An emphatic marriage of sparse, minimalist jazz and agonised bellows of cultural identity lie at the heart of the only solo LP of Canada's Alanis Obomsawin: a seemingly unstoppable powerhouse of social activism and esteemed documentary filmmaker. Originally released in 1988, "Bush Lady" features both traditional songs of her Native American Abenaki people and original compositions, rendering ancient folkways in thoroughly avant-garde arrangements. Her voice, with its beautifully strange, (to our parochial ears) otherworldly tonality, floats like a feather over waves of sombre violin and deep, rolling rhythms, bringing to life heart-wrenching tales of the isolation and exile of an indigenous woman in the modern world. 

It’s totally out on its own, but worth checking if you get a buzz out of Robbie Basho / Patty Waters or some of the gear on Ocora. For us anyway, who before now had little to no familiarity with her numerous endeavours, this LP illuminates the immense body of work that Obomsawin has accomplished, in all forms, over her life. If you're in the same boat as us this LP comes with hench amounts of added DISCOVERY / future reading - not just a beautiful record, then, but a doorway. 180g vinyl with extensive liner notes and pull-out poster. Highly recommended! 



UVB-76 | 12" | £10.99

Lawless but carefully wrought d’n’b/electro/dark-ambient experiments from incognito UVB-76 operative Karim Maas (“a familiar face behind a new mask," apparently).  ‘C_C_E_D’ is a lean, mean, dungeon-stepper in the vein of classic Ruffhouse (‘Straight 9’s, ‘The Foot’++), but with even more missile-like speed, intensity and bad intentions. With its ominous sampled speech and post-nuclear bass tremors, the beatless ‘Lizzard King’ owes equal debts to Photek’s ‘UFO’ and Lustmord's forbidden planet dronescapes. Huren’s remix of ‘Cassette A’ comes over like distorted radio transmission from a 2000AD-ish guerrilla commando unit on some distant planet (worries in the dance, to put it mildly), 'Civilised' is reverb-choked, noise-corroded post-BMB techno, and, beyond the gothic FX, ‘Zombissim’ is a pretty visionary slice of sub-walloping, dnb-compatible electro. You spent so long waiting for people to make music like this, don't forget to show up now they finally have! Killer 12”!




Don't be put off by the sight of finger-wagging old man Robert Storey trying to lure you up to his gaff ("Come Up and Hear My Etchings?! Fuck off you dirty old get!) It would be an understatement to say that the cover design/photography here doesn't do justice to the music - which is, by truly ironic contrast, AGELESS and IRRESISTIBLE. Though far from exhaustive - you’d need a box set or ten to harness Storey's recorded flotsam in its entriety - this is certainly a definitive and fantastically digestible retrospective of the UK DIY godhead’s peripatetic career. Plucking jewels from nigh-on 40 years’ worth of CDs, tapes, LPs from various solo and collaborative projects - mostly variations on the floating membership/concept of Murphy Federation / Orchestre Murphy / Murphy Working Stiffs etc etc, but also The Miners of Banal and other more recent one-man-bands and guises - it makes a pretty convincing case for Storey as being among the most effortlessly brilliant songwriters of his generation - so brilliant, in fact, that he didn’t ever bother to seek popularity or acclaim, just buggered on, his songs getting better and better - ever simpler, and ever richer. A contemporary and frequent collaborator with Bing Selfish and Chris Gray (The Just Measurers, Amos & Sara), Storey has a lot in common with them, but there’s a poise and polish to his work that sets him apart - even when he’s slumming it, which basically he ALWAYS was, he can’t help but bring a certain elegance to proceedings. As with, say, Flaming Tunes or Mick Hobbs’ Officer!, the best Storey songs feel like TRUE post-punk in that they represent a drug-muddled, chronically self-aware but still thoroughly sincere response to exactly the kind of poetic British folk-rock and psychedelia that punk had declared verboten. Anyway. What’s really amazing about this comp, though, is that the newish recordings not only hold their own with the old, but arguably steal the show: by this point, Storey is gifting his compositions to several talented and distinctive female vocalists: Akiko Sato and Tomoko Minamizaki call out to the most potent moments of Les Rallizes Denudes in Murphy No Geisha, while further down the record the duets with Rachel Gardner as Nobodies and Kathy Hulme as C siders nail the minimal indie-pop sublime a la YMG and The Cannanes. Can't believe how undersung Storey is, in the scheme of things. It's impossible to recommend this comp highly enough. 



PÄÄSTEVEST | 12" | £8.99

Slamming, route-one death-disco/scumdance from Tallinn. With its ultra-concussive gated snares and relentless corkscrewing synth lead ‘Retta (Dance)’ lives up to its name...a proper amyl-fuelled, Nitzer-indebted, intergalactic club weapon...irresistible. ‘Evil Mix’ steers things into noisy but carefully modulated abstraction - its bombed-out, subtly rhythmic industrial scree charting a course between queasy power electronics, the haunted Digital Hardcore of Carl Crack’s ‘Black Ark’, and techno with its head kicked in. Sick record from one half of Dima Disk, check it! 


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