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Re-mastered at Abbey Road and pressed on heavyweight vinyl - Gatefold LP sleeve. 8-page 11.5 x 11.5' stapled colour booklet with photos and lyrics Includes download code

First album from the legendary Japanese rockers fronted by Yuya Utchida. Although an album consisting mainly of cover versions, Anywhere still exhibited many of the musical traits that were to come to the fore on the band's next release, the classic Satori, an album of original material delivered with panache by the increasingly confident Uchida. An album made memorable by its risque cover as well as its ground-breaking approach to Western rock music

While U.K. SUBS were perhaps regarded by some to be in the shadow of The Clash, The Damned and other global brands, there was never any doubting their onstage power and the formidable presence of Harper in full flight. They remain one of Britain's best-loved punk bands among ordinary fans and have long outlasted most of their punk peers. In 2010, they won 6Music's audience-voted punk rock FA Cup', comfortably seeing off the Sex Pistols, the Clash, the Buzzcocks, the Ramones and the Damned. Interference proudly presents the U.K. SUBS live, loud and in your face from Paris. Fully remastered original sound recordings with expansive liners, rare interviews and photos. The filth and the fury is all theirs

With the eventual rise of bands such as Dara Puspita and an overall excitement and impatience to form a band, the Asian continent stirred with the sound of rock and roll thanks to the arrival of The Beatles and the Rolling Stones. Assisted by Rediffusion and various other British colonial networks, the sound and the fury were being absorbed by a new generation. Where else will you hear a Mandarin Nancy Sinatra chewing on Sugar Town Or an indescribably baffling masterpiece of Chinese Bubble-gum Toss away your potential pop prejudice and absorb the hidden treasures of life in an esteemed selection of forgotten 45s from the Far East. Past and Present presents an Oriental twist on pop with professionally re-mastered original audio, expanded liners and a plethora of rare archival photos.

Over a quarter of a century ago, these Groovy Gallic Girls' came to global attention and subsequently inspired a new breed of affection and influence. The tremors of the 1960s French YeYe explosion could be felt briefly, but have since disappeared back into obscurity. Now you have the chance to top up your glass and get drunk on vintage garage etiquette. Past and Present invites you into the exotic and sometimes, bizarre boudoir with 17 sonic blasts of Freakbeat Chic Featuring obscure artists from France, Quebec, Belgium and Montreal with expansive liners, a wealth of rare, archival photos and professional re-mastering.

One of the earliest psychedelic compilations and probably the strangest is The Magic Cube, which appeared inexplicably in 1982 in hip record emporiums around the world. A limited edition 9' flexi disc housed in a card envelope. When it was opened it unleashed a pop up psychedelic cardboard cube emerged to mystify and confuse. Purportedly the product of the same deranged collector mind who gave the world the first Acid Dreams compilation, Magic Cube certainly contained some killer US 60s garage psych punk, not least the stupendously rare Children of the Mushroom's You Can't Erase a Mirror and The Bedlam Four's crazed 'Hydrogen Atom' as well as The Front Page News fuzz fest 'Thoughts' and six other US '60s acid punk psych diadems. Now reissued in the original but improved packaging and pressed on 10' soft lilac vinyl the Magic Cube awaits once again to pop up and plunge into your fragile eggshell mind. Taste the cube this coming record store day....

By 1984, I was awash with these compilations and had racked up eightyfive of the suckers before I screamed 'Enuff! 'The weirdest was definitely the 10' flexi called THE MAGIC CUBE, whose free-standing 3D cardboard sugar cube I stupidly constructed one stoned afternoon in '85.' Julian Cope

International treasures British Sea Power release their first new material in four years on March 31st 2017.

Melodic, direct and brimming with emotional urgency, it's an album where rock muscularity joins inseparably with pop immediacy like a crate of the finest sparkling wine exploding inside a Marshall stack. The first track from the album -Bad Bohemian - is an invigorating pulse of modernist rock music that's available now as an instant grat with pre-orders of the album.
 
Across their entire history, British Sea Power have taken a broad and panoramic perspective that's drawn on historical events while mirroring the ageless wonders of the natural world. Let The Dancers Inherit The Party's twelve songs cover subject matters ranging from the stars in the night sky to the methodology of media manipulation. Both consistently contemporary and consistent in mood, the album alludes to a world full of chaos and disorder whilst seeking to answer that world with optimism and hope.
 
British Sea Power guitarist Martin Noble says of the album: It was made to a background of politicians perfecting the art of unabashed lying, of social-media echo chambers, of click-bait and electronic Tonka Toys to keep us entertained and befuddled. All this can easily make the individual feel futile. But I think we've ended up addressing this confusion in an invigorating way, rather than imprisoning the listener in melancholy. Musically, it's our most direct album and maybe the first one where we maintain a coherent mood from start to finish. Perhaps a little clarity isn't a bad thing at this point. There wasn't a plan to create an album with any particular subject matter but we've kind of ended up with a case of 'think global, act local' - an album where individuals are dealing with their domestic and personal lives against a background of uncontrollable international lunacy.'
 
Recorded in Sussex, London and on the Isle of Skye, it follows the band's five studio albums for the great Rough Trade Records - a catalogue of releases that saw BSP become the longest continually-signed band in the label's history. Rough Trade remain a vital part of the BSP story and will continue to do so, but the new album is being licensed from the band's own Golden Chariot label to Caroline International. The entire recording of the album was funded by the band's remarkably dedicated audience. Money was raised via a multi-faceted programme with pledges ranging from pre-orders for a limited-edition box-set version of the album to paying £1,500 for a tattoo that gives entry to all future BSP shows.
 
Let The Dancers Inherit The Party follows on from the 2013 album Machineries Of Joy - an album Q praised as Their best record yet... a triumph of sophisticated rock engineering.'  In the four years since that record, the band released two film soundtracks and recorded a third, delivered the theme to BT Sports European Championship, re-issued their classic debut (The Decline of British Sea Power) and the 2015 compilation Sea Of Brass (a kind of best-of-BSP recorded with the UK's leading brass orchestras). All the while, they have enthralled fans by playing gigs in ever more bizarre and unconventional locations. Let The Dancers Inherit The Party sees the band return to the kind of exhilarating and bright-minded guitar music that has seen them nominated for the Mercury Music Prize and which has drawn praise from David Bowie, Lou Reed and the National Maritime Museum, alongside Doctor Who, Harry Potter and Sherlock Holmes (Peter Capaldi, Daniel Radcliffe and Benedict Cumberbatch have all declared an interest in the band).

Let The Dancers Inherit The Party's sleeve features typography influenced by the German Dadaist artist Kurt Schwitters, whose work BSP's two vocalists, Yan and Hamilton Wilkinson, discovered while growing up on the edge of the English Lake District. Schwitters fled Nazi Germany in the 1930s and ended up living in the Lakes, where examples of his work now reside, including at Abbot Hall Gallery in Kendal. BSP have long used Schwitters' sound-poetry recordings in their live shows and, in 2013, Yan created a Schwitters soundscape for Tate Britain. The Schwitters link hints at BSP's on going fondness for continental Europe.

International treasures British Sea Power release their first new material in four years on March 31st 2017.

Melodic, direct and brimming with emotional urgency, it's an album where rock muscularity joins inseparably with pop immediacy like a crate of the finest sparkling wine exploding inside a Marshall stack. The first track from the album -Bad Bohemian - is an invigorating pulse of modernist rock music that's available now as an instant grat with pre-orders of the album.
 
Across their entire history, British Sea Power have taken a broad and panoramic perspective that's drawn on historical events while mirroring the ageless wonders of the natural world. Let The Dancers Inherit The Party's twelve songs cover subject matters ranging from the stars in the night sky to the methodology of media manipulation. Both consistently contemporary and consistent in mood, the album alludes to a world full of chaos and disorder whilst seeking to answer that world with optimism and hope.
 
British Sea Power guitarist Martin Noble says of the album: It was made to a background of politicians perfecting the art of unabashed lying, of social-media echo chambers, of click-bait and electronic Tonka Toys to keep us entertained and befuddled. All this can easily make the individual feel futile. But I think we've ended up addressing this confusion in an invigorating way, rather than imprisoning the listener in melancholy. Musically, it's our most direct album and maybe the first one where we maintain a coherent mood from start to finish. Perhaps a little clarity isn't a bad thing at this point. There wasn't a plan to create an album with any particular subject matter but we've kind of ended up with a case of 'think global, act local' - an album where individuals are dealing with their domestic and personal lives against a background of uncontrollable international lunacy.'
 
Recorded in Sussex, London and on the Isle of Skye, it follows the band's five studio albums for the great Rough Trade Records - a catalogue of releases that saw BSP become the longest continually-signed band in the label's history. Rough Trade remain a vital part of the BSP story and will continue to do so, but the new album is being licensed from the band's own Golden Chariot label to Caroline International. The entire recording of the album was funded by the band's remarkably dedicated audience. Money was raised via a multi-faceted programme with pledges ranging from pre-orders for a limited-edition box-set version of the album to paying £1,500 for a tattoo that gives entry to all future BSP shows.
 
Let The Dancers Inherit The Party follows on from the 2013 album Machineries Of Joy - an album Q praised as Their best record yet... a triumph of sophisticated rock engineering.'  In the four years since that record, the band released two film soundtracks and recorded a third, delivered the theme to BT Sports European Championship, re-issued their classic debut (The Decline of British Sea Power) and the 2015 compilation Sea Of Brass (a kind of best-of-BSP recorded with the UK's leading brass orchestras). All the while, they have enthralled fans by playing gigs in ever more bizarre and unconventional locations. Let The Dancers Inherit The Party sees the band return to the kind of exhilarating and bright-minded guitar music that has seen them nominated for the Mercury Music Prize and which has drawn praise from David Bowie, Lou Reed and the National Maritime Museum, alongside Doctor Who, Harry Potter and Sherlock Holmes (Peter Capaldi, Daniel Radcliffe and Benedict Cumberbatch have all declared an interest in the band).

Let The Dancers Inherit The Party's sleeve features typography influenced by the German Dadaist artist Kurt Schwitters, whose work BSP's two vocalists, Yan and Hamilton Wilkinson, discovered while growing up on the edge of the English Lake District. Schwitters fled Nazi Germany in the 1930s and ended up living in the Lakes, where examples of his work now reside, including at Abbot Hall Gallery in Kendal. BSP have long used Schwitters' sound-poetry recordings in their live shows and, in 2013, Yan created a Schwitters soundscape for Tate Britain. The Schwitters link hints at BSP's on going fondness for continental Europe.

International treasures British Sea Power release their first new material in four years on March 31st 2017.

Melodic, direct and brimming with emotional urgency, it's an album where rock muscularity joins inseparably with pop immediacy like a crate of the finest sparkling wine exploding inside a Marshall stack. The first track from the album -Bad Bohemian - is an invigorating pulse of modernist rock music that's available now as an instant grat with pre-orders of the album.
 
Across their entire history, British Sea Power have taken a broad and panoramic perspective that's drawn on historical events while mirroring the ageless wonders of the natural world. Let The Dancers Inherit The Party's twelve songs cover subject matters ranging from the stars in the night sky to the methodology of media manipulation. Both consistently contemporary and consistent in mood, the album alludes to a world full of chaos and disorder whilst seeking to answer that world with optimism and hope.
 
British Sea Power guitarist Martin Noble says of the album: It was made to a background of politicians perfecting the art of unabashed lying, of social-media echo chambers, of click-bait and electronic Tonka Toys to keep us entertained and befuddled. All this can easily make the individual feel futile. But I think we've ended up addressing this confusion in an invigorating way, rather than imprisoning the listener in melancholy. Musically, it's our most direct album and maybe the first one where we maintain a coherent mood from start to finish. Perhaps a little clarity isn't a bad thing at this point. There wasn't a plan to create an album with any particular subject matter but we've kind of ended up with a case of 'think global, act local' - an album where individuals are dealing with their domestic and personal lives against a background of uncontrollable international lunacy.'
 
Recorded in Sussex, London and on the Isle of Skye, it follows the band's five studio albums for the great Rough Trade Records - a catalogue of releases that saw BSP become the longest continually-signed band in the label's history. Rough Trade remain a vital part of the BSP story and will continue to do so, but the new album is being licensed from the band's own Golden Chariot label to Caroline International. The entire recording of the album was funded by the band's remarkably dedicated audience. Money was raised via a multi-faceted programme with pledges ranging from pre-orders for a limited-edition box-set version of the album to paying £1,500 for a tattoo that gives entry to all future BSP shows.
 
Let The Dancers Inherit The Party follows on from the 2013 album Machineries Of Joy - an album Q praised as Their best record yet... a triumph of sophisticated rock engineering.'  In the four years since that record, the band released two film soundtracks and recorded a third, delivered the theme to BT Sports European Championship, re-issued their classic debut (The Decline of British Sea Power) and the 2015 compilation Sea Of Brass (a kind of best-of-BSP recorded with the UK's leading brass orchestras). All the while, they have enthralled fans by playing gigs in ever more bizarre and unconventional locations. Let The Dancers Inherit The Party sees the band return to the kind of exhilarating and bright-minded guitar music that has seen them nominated for the Mercury Music Prize and which has drawn praise from David Bowie, Lou Reed and the National Maritime Museum, alongside Doctor Who, Harry Potter and Sherlock Holmes (Peter Capaldi, Daniel Radcliffe and Benedict Cumberbatch have all declared an interest in the band).

Let The Dancers Inherit The Party's sleeve features typography influenced by the German Dadaist artist Kurt Schwitters, whose work BSP's two vocalists, Yan and Hamilton Wilkinson, discovered while growing up on the edge of the English Lake District. Schwitters fled Nazi Germany in the 1930s and ended up living in the Lakes, where examples of his work now reside, including at Abbot Hall Gallery in Kendal. BSP have long used Schwitters' sound-poetry recordings in their live shows and, in 2013, Yan created a Schwitters soundscape for Tate Britain. The Schwitters link hints at BSP's on going fondness for continental Europe.

"""A lot of geezers my age don't work out of their comfort zone anymore because once you become legendary you don't want people challenging you.'-- Iggy PopThe existence of the sublimely secretive desert opus conceived by Iggy Pop and Joshua Homme was confirmed to an unsuspecting studio and home audience of The Late Show with Stephen Colbert. And now the world at large can know: March 18
will see the release of Post Pop Depression , the 17th Iggy Pop album, and a worthy addition to the 22 album legacy spawned with the immortal trilogy of The Stooges, Fun House and Raw Power, spanning massively influential solo outings including 1977's opening 1-2 combo of The Idiot and Lust For Life, and 1990's gold-certified Brick By Brick. Cover features confirmed in Guardian Guide/Mojo/Shortlist/The Sun Something For The Weekend'. Currently 6Music B list and Radio X daytime rotation. Deluxe LP is a limited run of 2k with no extra music but a bigger booklet, and gatefold packaging!"

Mondo is proud to present the soundtrack to Laika's fourth animated feature: KUBO AND THE TWO STRINGS. Composed by Dario Marianelli (THE BOXTROLLS), and featuring an incredible cover of George Harrison's classic "While My Guitar Gently Weeps" by the inimitable Regina Spektor.

KUBO, continues the masterful legacy of Laika Animation Studio's filmography: Incredible visuals, and craft - and equally as powerful soundtracks. This Dario's second time composing for the studio, this time dabbling in Japanese instrumentation to bring our titular hero's journey to life.

Originally released in 1992 by Che Records, Disco Inferno's debut album 'In Debt' is to be made available as a double limited edition vinyl LP and single cd package including one previously unreleased track and with new artwork and sleeve notes by 90's music zeitgeist legend Neil Kulkarni on May 5th 2017.

Almost entirely out on their own, out of step with the times, Disco Inferno were widely ignored and underappreciated during their (pre-internet) existence. Remaining largely unknown beyond a small but slowly expanding cult of devotees, they were probably the most ambitious and isolated band of the '90s. Over a six-year span (1989-95) they were also quite simply, jaw-droppingly great - a virtually peerless group mining a steady stream of uncompromising, pioneering recordings. One of the first wave of 'post-rock' acts (and perhaps it's ultimate example), they combined avant-garde aesthetics with a basis in solid pop hooks, credibly depicting suburban alienation and national decay through embittered, intelligent lyrics.Whilst it's now almost second nature for a band to incorporate digital technology into their armoury, you'd struggle to find anyone who went anything like as far as Disco Inferno. In 1992, they took the quantum leap from their modest beginnings to totally rewire themselves and become the most radical, forward-thinking guitar band on the planet, with a revolutionary sample-based approach that was simply years ahead of the curve. Whilst numerous acts were making use of the sampler and MIDI technology, no other band integrated it so thoroughly into the process. DI didn't simply tack on a dance beat or spice things up with the addition of a few novel sonics or quirky quotations. The technology was hard-wired into the very heart of their music. Veering between the deeply challenging and the downright catchy, they continually attempted to push themselves forwards, resulting in two unrivalled albums and a dazzling collection of EPs that consistently redefined the boundaries.

Regardless of the injustices of history, Disco Inferno were without doubt a trailblazing, unique, utterly important band. With huge ambition and integrity, they rejected the easy routes and rewards. Setting themselves directly against the stylistic regression and rabble-rousing bluster dominating Britpop and grunge, against the bland facelessness of so much of the dance / electronic scene, Disco Inferno ought to have been widely championed as an antidote, a vital blast of nonconformist bravery and brilliance. In reality they received very little coverage. Buried away for way too long, their recorded legacy continues to offer revelations to the open-eared and actively inquisitive. Whilst it may have been their curse to have been overlooked throughout and long past their short existence, the chances of some overdue recognition rescuing them from the limbo of obscurity have nonetheless recently risen. Certainly more popular now than they were during their creative peak, you might detect either direct influence or certain similarities in the likes of MGMT, The Third Eye Foundation, Hood, Epic45, Piano Magic, Deerhunter (particularly offshoot projects, Lotus Plaza and Atlas Sound), Matmos, Animal Collective, Black Dice, The Avalanches, The Books, Battles, and No Age. But no-one has really come close to replicating their awesome output and utterly singular aesthetic. Whilst digital music technology has evolved dramatically, becoming smaller, faster, cheaper, and consequently far more widespread, Disco Inferno's inspired approach and consequent sound seems unlikely to ever be reproduced without seriously compromising its futurist spirit. Littered as pop history is with unsung heroes and buried brilliance, few bands are so deserving of such recovery as Disco Inferno.
The whole is much greater than the sum of its parts... one of the most creative uses of sampling I've ever heard. It sounds like the future. I'm still figuring out just how cool they are.' Ben Goldwasser, MGMT quoted in Q Magazine, January 2011  An unimpeachably brilliant treasure' ****Stephen Worthy, Mojo  Even now sound bewilderingly, excitingly innovative' ****Wyndham Wallace, Uncut  Still sounds timeless and fresh' The Wire

High Treason was formed in the heyday of the New Wave of British Heavy Metal (NWOBHM) movement, taking inspiration from bands like Judas Priest, Saxon and Thin Lizzy. The band developed a serious following in the London area and their single Saturday Night Special became a regular favourite on Radio One's Friday Night Rock Show. The single quickly sold out and is now recognised as seminal. In his book The NWOBHM Encyclopaedia' (2001) author Malc Macmillan had the following to say: As most serious collectors will surely be aware, this release represents a true classic of the genre, being an incredibly energetic and catchy number, with a decidedly Thin Lizzy edge to compelling guitar work.' The band split but reformed in 2007 and issued their first album Radio Will Find Me (High Roller Records), which quickly sold out in both vinyl and CD formats. With changes in personnel the band recorded their second album Everything's Gonna Change, produced by Dennis Weinreich (who worked with long list of luminaries including: Queen, Supertramp, Blancmange and Wham), at Smokehouse Studios in London. With guest appearances by Steely Dan's Elliott Randall and Thunder's Ben Matthews the album represents a new phase of song writing for the band, combining power and energy with a commercial classic rock feel. Guitar Techniques' review of the album says: This is classy writing with strong performances all round, demonstrating real understanding of what makes this genre work.....This is good honest British rock, strong on melody and well-delivered

Product Information High Treason was formed in the heyday of the New Wave of British Heavy Metal (NWOBHM) movement, taking inspiration from bands like Judas Priest, Saxon and Thin Lizzy. The band developed a serious following in the London area and their single Saturday Night Special became a regular favourite on Radio One's Friday Night Rock Show. The single quickly sold out and is now recognised as seminal. In his book The NWOBHM Encyclopaedia' (2001) author Malc Macmillan had the following to say: As most serious collectors will surely be aware, this release represents a true classic of the genre, being an incredibly energetic and catchy number, with a decidedly Thin Lizzy edge to compelling guitar work.' The band split but reformed in 2007 and issued their first album Radio Will Find Me (High Roller Records), which quickly sold out in both vinyl and CD formats. With changes in personnel the band recorded their second album Everything's Gonna Change, produced by Dennis Weinreich (who worked with long list of luminaries including: Queen, Supertramp, Blancmange and Wham), at Smokehouse Studios in London. With guest appearances by Steely Dan's Elliott Randall and Thunder's Ben Matthews the album represents a new phase of song writing for the band, combining power and energy with a commercial classic rock feel. Guitar Techniques' review of the album says: This is classy writing with strong performances all round, demonstrating real understanding of what makes this genre work.....This is good honest British rock, strong on melody and well-delivered'






[F[ Blues Is Following Me

Jakuzi don't sound like any other band out there right now. Their debut album 'Fantezi Müzik' could be described as a lo-fi pop masterpiece from a faraway time, place and perhaps an alternate universe. Think David Bowie having a fever dream in Turkey, Depeche Mode stranded at the Bosporus... but at the end of the day they just sound completely like themselves.

While music fans and the press were busy catching up on the Turkish legacy of 70s rock and psychedelia, a very active and vibrant underground music scene was developing under the radar in Istanbul. Jakuzi are the latest offspring, and their debut record might just change the international perception of contemporary Turkish music.

When Kutay Soyocak (vocals) and Taner Yücel (bass / synths) started Jakuzi, their aim was to create something different to their previous punk and garage projects, a background which has frequently brought out the best in synth-wave bands. Many of the songs are deeply rooted in the rich history of Turkish pop but Western listeners will also take note of a wide variety of influences ranging from krautrock, disco and post-punk, which Jakuzi were able to translate into something uniquely gripping. In the Autumn of 2016, the band released a handful of songs on cassette tape and digitally via Bandcamp in Turkey (until Paypal was banned) and quickly rose to fame in their hometown of Istanbul, excelling at a genre that was more or less unfamiliar in their country, and surprising everyone including themselves.

Jakuzi bring synth-wave back to its glorious heyday, as explained by bass player Taner: Jakuzi's mission is the essence of the earliest wave bands - wanting to express to their listeners that emotional songs can still be made for dancing, and that celebration and physical expression aren't limited to shallow or dumbed down pop music . A perfect example of this is Belki De Sen Haklisin', a dreampop song written while Kutay and Taner were both dealing with relationship problems of their own and worked them out through their musical collaboration. Masculine Turkish music of any genre is not known for being introspective. Arabesque music, another form of Turkish Synthesiser music, is literally an entire genre of blaming your partner for your own problems. Jakuzi's gothic sensibility however reaches deep into their own experiences and pulls out honest, raw and even sensual emotions.

Jakuzi's openness extends further than just being upfront about their feelings. The song Lubunya" is about Kutay and Taners' respect for people of trans-orientation, which is an absolute first for Turkish popular music. Their concerts offer a safe place for Turkish punks and goths but also for people of alternative sexuality. This nakedness to their audience is reciprocal - Taner recalls a live event when a member of the crowd danced naked and trance-like onstage, inspired by the liberating erotic atmosphere generated by Jakuzi's music. Even though at the time it did not seem unnatural, in reality it was a highly subversive act of freedom.

Highlights of the album include the opener Geriye Dönemiyor' and the closer Yine Ayni Seyi Yaptim', both of which point out Jakuzi's attraction to more progressive new wave styles. Istedigin Gibi Kullan and Koca Bir Saçmalik' are two straightforward synth disco numbers, Her An Ölecek Gibi' mixes Turkish romanticism with supreme chillwave and Bir Düsmanim Var , a fan favorite, has turns of phrase and harmonic artistry that would make Bryan Ferry blush.

'Fantezi Müzik' is a record that is stoked by enthusiasm for music, a manifest for life and change, it creates an alternative option to the harsh reality. Kutay's voice, which deals throughout the record with all the elements of life's miseries: alienation, love, death, passion and not giving up, is eerie and haunting. It's in Turkish, but you can still understand and relate to it - it's a voice so powerful that it sends shivers down your spine. 'Fantezi Müzik' is a magical, emotional and romantic journey that embodies individuality and disaffection and exhibits a true underground pop spirit that is also far more punk than it would first appear.

Jakuzi don't sound like any other band out there right now. Their debut album 'Fantezi Müzik' could be described as a lo-fi pop masterpiece from a faraway time, place and perhaps an alternate universe. Think David Bowie having a fever dream in Turkey, Depeche Mode stranded at the Bosporus... but at the end of the day they just sound completely like themselves.

While music fans and the press were busy catching up on the Turkish legacy of 70s rock and psychedelia, a very active and vibrant underground music scene was developing under the radar in Istanbul. Jakuzi are the latest offspring, and their debut record might just change the international perception of contemporary Turkish music.

When Kutay Soyocak (vocals) and Taner Yücel (bass / synths) started Jakuzi, their aim was to create something different to their previous punk and garage projects, a background which has frequently brought out the best in synth-wave bands. Many of the songs are deeply rooted in the rich history of Turkish pop but Western listeners will also take note of a wide variety of influences ranging from krautrock, disco and post-punk, which Jakuzi were able to translate into something uniquely gripping. In the Autumn of 2016, the band released a handful of songs on cassette tape and digitally via Bandcamp in Turkey (until Paypal was banned) and quickly rose to fame in their hometown of Istanbul, excelling at a genre that was more or less unfamiliar in their country, and surprising everyone including themselves.

Jakuzi bring synth-wave back to its glorious heyday, as explained by bass player Taner: Jakuzi's mission is the essence of the earliest wave bands - wanting to express to their listeners that emotional songs can still be made for dancing, and that celebration and physical expression aren't limited to shallow or dumbed down pop music . A perfect example of this is Belki De Sen Haklisin', a dreampop song written while Kutay and Taner were both dealing with relationship problems of their own and worked them out through their musical collaboration. Masculine Turkish music of any genre is not known for being introspective. Arabesque music, another form of Turkish Synthesiser music, is literally an entire genre of blaming your partner for your own problems. Jakuzi's gothic sensibility however reaches deep into their own experiences and pulls out honest, raw and even sensual emotions.

Jakuzi's openness extends further than just being upfront about their feelings. The song Lubunya" is about Kutay and Taners' respect for people of trans-orientation, which is an absolute first for Turkish popular music. Their concerts offer a safe place for Turkish punks and goths but also for people of alternative sexuality. This nakedness to their audience is reciprocal - Taner recalls a live event when a member of the crowd danced naked and trance-like onstage, inspired by the liberating erotic atmosphere generated by Jakuzi's music. Even though at the time it did not seem unnatural, in reality it was a highly subversive act of freedom.

Highlights of the album include the opener Geriye Dönemiyor' and the closer Yine Ayni Seyi Yaptim', both of which point out Jakuzi's attraction to more progressive new wave styles. Istedigin Gibi Kullan and Koca Bir Saçmalik' are two straightforward synth disco numbers, Her An Ölecek Gibi' mixes Turkish romanticism with supreme chillwave and Bir Düsmanim Var , a fan favorite, has turns of phrase and harmonic artistry that would make Bryan Ferry blush.

'Fantezi Müzik' is a record that is stoked by enthusiasm for music, a manifest for life and change, it creates an alternative option to the harsh reality. Kutay's voice, which deals throughout the record with all the elements of life's miseries: alienation, love, death, passion and not giving up, is eerie and haunting. It's in Turkish, but you can still understand and relate to it - it's a voice so powerful that it sends shivers down your spine. 'Fantezi Müzik' is a magical, emotional and romantic journey that embodies individuality and disaffection and exhibits a true underground pop spirit that is also far more punk than it would first appear.

All I am about is making history,' says Janka Nabay. After a string of cassette releases, Nabay became a star of electronic bubu music back home in Sierra Leone. But he was soon forced to escape his homeland's explosive civil war in the 1990s. Over the years, Nabay gradually rebuilt his musical life in the United Stat e s while supporting himself working at hotels and fried chicken restaurants.

Nabay's bubu music may sound futuristic, but its existence spans centuries. The original bubu is cloaked in mythology: as legend has it, a young bubu boy' took the music from witches 500 years ago, brought it to the public at large, and sacrificed his own life in the process. Over time, bubu evolved into a music played collectively on percussive instruments and bamboo horns. Upon the arrival of Islam in Sierra Leone, the hypnotic sound of bubu music was adapted for processionals during Ramadan. As Janka says: Bubu is an old, old music, but people don't know about it. You can add new things into the beat if you know it really well, and make your own sound out of it.'

Phobophobes rise into 2017 nestled atop a wave of attention focused towards the revitalized South London scene with new single 'The Never Never', due for release March 17th via Ra-Ra Rok Records.

Following previous single 'Human Baby', an elegy to their late guitarist George Russell that was played every day for a week on BBC 6Music, 'The Never Never' arrives an ode to the precarious survivalism of society's most disenfranchised. Swirling through repetitive slogans, rubbishing the adverts that promise a life we can't really afford as pastiche, and asking earnestly, what separates those treading water to survive from the religious idols who struggled so similarly'

The Never Never is a critique of today's excessive consumerism. The repetitive and slogan-esque nature of the track evokes the reductive nature of advertising.' explains frontman Jamie Taylor.

In the wake of a tumultuous 2016, Phobophobes continue to forge their own path, taking whatever's thrown at them and squeezing every ounce of inspiration from it. It's the only way they know. Frontman Jamie Taylor has built studio space wherever he's roamed, from Paris to Peckham to Primrose Hill. Even Pittsburgh, Iowa, Palm Beach and New York whilst working on a touring art exhibition across America, setting up a studio in each hotel room to work on new tracks. Even when invited to Abbey Road Studios to record with Ken Scott (Bowie, Lennon, the list goes on), bass player at the time, Elliot, took swabs of their oldest microphone and grew bacteria in petri dishes, the results of which are immortalised in Phobophobes' artwork and in the centre of their 7's.

This boundless DIY mentality echoes through Phobophobes' every move. Having now found home in the basement of The Brixton Windmill, the nucleus of South London's gig circuit where Phobophobes record, rehearse and also put on their own shows, playing alongside Shame, Goat Girl, Meatraffle, The Fat White Family, Childhood and countless others, they remain progenitors of the scene.

Sharks were originally formed in 1972 by Andy Fraser after the demise of Free, who left the band before their second album, Jab It In Yore Eye, which gained them a cult following amongst the punk cognoscenti, including The Clash, Chrissie Hynde and The Sex Pistols. The latter worked with Sharks' Chris Spedding on the demos for Never Mind The Bollocks. Over the last 40 years guitarist/singer Spedding and singer/composer Steve 'Snips' Parsons have performed and recorded with the likes of Paul McCartney, Johnny Marr, The Sex Pistols, Ginger Baker, The Cramps, Elton John, Roxy Music, Tom Waits and The Wombles. Andy Fraser's death in 2015. Spedding and Parsons decided to reform Sharks and are joined in this new incarnation of Sharks by keyboard player Nick Judd, who played on Sharks' second album 'Jab It In Yore Eye' in 1974, along with bassist Tosh Ogawa and ex-Sex Pistol Paul Cook on drums. The original band offered a mix of the blues rock and pub rock of the 1970s and the snarl that would influence the punk rock movement that would arrive a few years later. That formula survives with the Sharks' new album, Killers of the Deep, which was recorded in 3Ms' Smokehouse Studios in London and features a classy cover by comic book legend Shaky Kane. This album is an acknowledgement of the band's performing and song writing quality and a vindication of the decision to reform Sharks

Sharks were originally formed in 1972 by Andy Fraser after the demise of Free, who left the band before their second album, Jab It In Yore Eye, which gained them a cult following amongst the punk cognoscenti, including The Clash, Chrissie Hynde and The Sex Pistols. The latter worked with Sharks' Chris Spedding on the demos for Never Mind The Bollocks. Over the last 40 years guitarist/singer Spedding and singer/composer Steve 'Snips' Parsons have performed and recorded with the likes of Paul McCartney, Johnny Marr, The Sex Pistols, Ginger Baker, The Cramps, Elton John, Roxy Music, Tom Waits and The Wombles. Andy Fraser's death in 2015. Spedding and Parsons decided to reform Sharks and are joined in this new incarnation of Sharks by keyboard player Nick Judd, who played on Sharks' second album 'Jab It In Yore Eye' in 1974, along with bassist Tosh Ogawa and ex-Sex Pistol Paul Cook on drums. The original band offered a mix of the blues rock and pub rock of the 1970s and the snarl that would influence the punk rock movement that would arrive a few years later. That formula survives with the Sharks' new album, Killers of the Deep, which was recorded in 3Ms' Smokehouse Studios in London and features a classy cover by comic book legend Shaky Kane. This album is an acknowledgement of the band's performing and song writing quality and a vindication of the decision to reform Sharks.

'This Close'is the debut single from West Londoners Weird Milk, and it's a compelling introduction to their sound. A bright verse and sultry chorus nod towards a combination of Alex Turner at his most romantic and arch New wave, all sprinkled with creamy 60s beat harmonies. Linking up for their first release with Camden based label Ra Ra Rok, who have been integral indocumenting the vital, burgeoning South London indie scene (Shame, HMLTD,Goat Girl et al.), Weird Milk are a melodic relief to these scuzzy, noisy, sounds and politically intense times

Remixes of the recent Croatian Amor album "Love Means Taking Action" as a one-off limited pressing - please preorder.