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The album sees a collaboration between the European post-punk electronic discipline of Immersion meeting the American ambient country band SUSS and their big sky, new world, Americana cinematic soundscapes to create a perfect Nanocluster! It’s a perfect combination that fits the Nanocluster vision. Immersion’s open-minded approach sees their music spark new textures with the American band who were once described by UNCUT magazine as “Eno’s Apollo Atmospheres crash-landed in America’s Sonoran Desert,” and by Pitchfork as “Neither rawboned nor ramshackle … their elegantly composed brand of ambient country stands as tall and clean as a brand-new pair of cowboy boots.” Suss are composed of veteran musicians Pat Irwin (the B-52s, Raybeats, 8 Eyed Spy), Bob Holmes (numun, Rubber Rodeo), and Jonathan Gregg (the Combine, the Linemen), SUSS combine Pedal Steel, National Steel Guitar, Mandolin, Harmonica, Baritone Guitar, and the Harmonium, which they weave with synthesizers and loops to create their big, lonesome sound.","brand":"SWIM","offers":[{"title":"2 X 10\"","offer_id":53021501325654,"sku":"MRM-01486","price":27.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":53021501391190,"sku":"MRM-01487","price":13.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1000\/6088\/9430\/files\/ffe55c4ef146910165e5d541cf3ba833_489059f4-6068-4125-9a68-dd1322bb17e4.jpg?v=1775194069"},{"product_id":"immersion-with-thor-harris-cubzoa-nanocluster-vol-2","title":"Immersion With Thor Harris | Cubzoa - Nanocluster Vol.2","description":"\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eHere’s something that gloriously glides through from start to end. 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Whoopee is an esoteric, kaleidoscopic movie in music form directed by Julia McFarlane and co-conspirator Thomas Kernot. Full of life, breakbeats and smokey vignettes on the fragile nature of interpersonal relationships, Whoopee is a stylistic evolution from everything McFarlane has done before. Surreal, beautiful in parts and replete with the aching wisdom McFarlane’s songwriting has always promised, this Reality Guest pulls back the curtain on a whole scene of naked truth.\u003c\/p\u003e\n\u003cp\u003eRecorded in Melbourne in bursts since the release of 2019’s Ta Da, Whoopee features a new sound palette and band member in Kernot. The duo dive deep into electronic pop tropes, mining digital synths, samples, breakbeats and deep bass grooves, largely dispensing with live instrumentation. If Ta Da took twists and turns with your expectations, offering a Dada-ist, monochromatic take on pop music, Whoopee is McFarlane’s subterranean love-sick pinks, reds, greens, purples and blues. Becoming something of a tradition, the album starts with an instrumental intro pilfered from a 90s’ spy film or cinema intro music, puffing up the listener for the heart\u003cspan class=\"bcTruncateMore\"\u003e-squeezing bathos of Full Stops. Over a bleary backdrop of walking bass lines, jazz-inflected keys and smoked-out atmosphere, McFarlane’s poetry narrates the fragile state of a relationship: “You put a full stop where I thought there’d be a comma, I want the story to continue even with all the drama.” Over a palpable pain, the narrator is revelling in the drama of a relationship, addicted to tumult and heightened emotion. On Sensory, a space age bachelor lounge pad ballad, the converse state of the previous song is explored, here the narrator is battling the numbness of being out of the drama, stuck in a sensory-deprivation tank, anaesthesized and battling to emerge from the fog. Wrong Planet explores an otherworldly pop music, hewing a bright hook out of a sense of confusion. A bona-fide, sing-along chorus bursts out of the narrator musing on the absurdity of existing in this reality. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\"\u003eIt speaks of one of Julia McFarlane’s main talents, her knack of inspecting human relationships and states with a clear perspective, like an alien visiting Earth and realising everything we are is really, really strange.\u003c\/span\u003e\u003c\/p\u003e","brand":"NIGHT SCHOOL","offers":[{"title":"LP","offer_id":53021504930134,"sku":"MRM-01537","price":21.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1000\/6088\/9430\/files\/c9113329628578736bbe6ec266e12fcf.jpg?v=1775194347"},{"product_id":"joe-meek-i-hear-a-new-world-2025-reissue","title":"Joe Meek - I Hear A New World (2025 Reissue)","description":"\u003cp\u003eThe first and most independent of all independent producers, Joe Meek needs little introduction. 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Aided by The Blue Men formed by Rod Freeman (group leader, guitar, vocals), Ken Harvey (tenor sax, vocals), Roger Fiola (Hawaiian Guitar), Chris White (guitar), Doug Collins (bass), Dave Golding (drums) - also known as Rodd-Ken and The Cavaliers - who provided a tight base to his electronically produced sounds, Meek came up with what he envisioned as the soundtrack of the future, the sounds he envisioned were to be heard in outer space. It was too way out for its time, certainly. To the point that of all the opus, only four tracks saw the light of day on a 7\" EP released on Triumph, Meek's very own label. 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The half-light, atmospheric flow of the album recalls the artist’s own series of short stories, The Quiet Man (published by Essential Works in 2020).\u003cbr\u003e\u003cbr\u003eHowever, as Foxx writes in an essay to accompany the album, there’s another text - by Walter Benjamin - that provides some of the inspiration, as well as the title for the new record. Foxx explains how he first came across the book, ‘when I was at art school, in the mid 1960s a number of obscure books were discussed and dog-eared copies often circulated. Among these ‘The Arcades Project’, by Walter Benjamin, was especially tantalising. It was often referred to, but its existence seemed no more than a rumour. In those days before the internet, you could never find a copy. 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Earlier that year, John had been introduced to Ivor Guest, producer and composer at Grace Jones’ Southbank show, the finale of her Meltdown Festival. They began talking about two records Guest had worked on, ‘Hurricane’ for Jones, ‘Prohibition’ for Brigitte Fontaine. “Grace and Brigitte are two very big artists for me,” says Grant. “I love the albums he did for them. ‘Hurricane’ is an indispensable piece of Grace’s catalogue.” An idea was sparked. “I said, I really think you should do this next record with me. He said, I think you’re right.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eA year and a half later, the result is John Grant’s most opulent, cinematic, luxurious album yet: The Art of The Lie. As the title suggests, the lyrical ingenuity counterweighted under all this considered musical largesse is as dark as its production is epic and bold. Ivor Guest and his cast-list of storied musicians have brought the drama, flecks of intrigue as beguiling as Laurie Anderson or The Art of Noise. John Grant has earthed it in deeply felt humanity and pitch-black realism. “The clothing that it’s dressed up in makes it more palatable,” he says. “It helps the bitter pill go down. Music and humour are how I’ve always dealt with the dark side of life\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e. Come to think of it, it’s how I deal with the good side too.”\u003cbr\u003e\u003cbr\u003eGrant likens the musical flavours of The Art of the Lie to the sumptuous Vangelis soundtrack for Bladerunner or the Carpenters if John Carpenter were also a member. 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It is a journey that returns to where it began – from the opening note of foreboding to the final sound of acceptance. Shaped by his experiences with meditation and trance states, the album flows seamlessly from rugged techno to transcendent choral music, from solo acoustic piano to psychedelic ambient.\u003c\/span\u003e\u003c\/p\u003e","brand":"DOMINO RECORDS","offers":[{"title":"CD","offer_id":53021519905110,"sku":"MRM-01685","price":8.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1000\/6088\/9430\/files\/a2268335778_10.jpg?v=1776092246"},{"product_id":"kaitlyn-aurelia-smith-gush","title":"Kaitlyn Aurelia Smith - Gush","description":"On \u003ci\u003eGush\u003c\/i\u003e, she sets her sights on aesthetics, focusing on the heightened awareness of and presence in the world, where every interaction whether with people, objects, or nature has the potential to become a moment of connection, and personification.\u003cbr\u003e\u003cbr\u003eKaitlyn Aurelia Smith is a classically trained American composer, performer, and producer from the Pacific Northwest. Her music is a form of auditory interpretation, powered by curiosity and her toolkit of modular, analog, and rare synthesizers (including her signature Buchla), orchestral textures, and voice. Since her first self-releases in 2012 (Tides), she has explored the endless possibilities of electronic instruments and the relationship between sound, shape, color, body movement, and expression.","brand":"NETTWERK","offers":[{"title":"LP","offer_id":53021523312982,"sku":"MRM-01727","price":25.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1000\/6088\/9430\/files\/0faf4dbc91e4fa99c6b0aa28437f8658.jpg?v=1775195497"},{"product_id":"keith-seatman-counting-to-ten-then-back-again","title":"Keith Seatman - Counting To Ten Then Back Again","description":"\"I remember when at school on the last day of term, all the class would bring games in to play, but it always seemed that no one really knew the rules or could fathom out how to play some of them. 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A slow-motion excavation of drug-tech, dub, dreamy noise and frozen ambience, the album gradually mutates into hypnotic pulsations and melodic melancholia. It is arguably Martin’s most striking release to date under his given name.\u003cbr\u003e\u003cbr\u003eOriginally released digitally on Bandcamp only in the depths of winter 2022, amid the final year of the COVID-19 pandemic and Russia’s initial invasion of Ukraine, this desolate epic went on to become KRM's best-selling digital album on the platform. With persistent demand for a vinyl pressing and a full DSP release from fans, Martin thought the time was right for \u003cem\u003eSub Zero\u003c\/em\u003e to finally surface in its full glory: remastered and paired with fresh new artwork.\u003cbr\u003e\u003cbr\u003eUnnervingly, the album is as beautiful as it is solemn, as glacial as it is relentless, and as subtle as it is terrifying. 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