Air have been one of the most iconic French acts of the last two decades, with worldwide hits that have shaped the forefront of modern electronica, calling on various styles and constantly crossing genre barriers, re-shaping the rules as they go. Boasting eight incredible studio albums and live shows that few can match in technical ability, this new compilation album will feature all the greatest hits of the past twenty years, as well as 14 rarities tracks.

Featuring hits such as ‘All I Need’, ‘Sexy Boy’ and ‘Kelly Watch The Stars’ this album is the perfect showcase to the incredible downtempo and psychedelic Zen that is Air, and with rare recordings that includes live sessions to truly encapsulate the prowess of their on stage presence.


2xDeluxe LP Info: Limited / numbered 4 panel gatefold sleeve in a metallic paper slipcase containing: 2 vinyl (180gr random coloured vinyl), 2 black inner sleeve with holes, 3 CD in Wallet (the extra CD contains Air remixes for other acts – tracklisting below) and a full colour poster, 24 pages numbering + selling sheet.

FREE SHIPPING This item has FREE UK shipping!

2xLP Info: 2 x 180g vinyl gatefold sleeve + poster.

‘Ambulance’ sees The Amazing continue their journey to a place where music is free of restrictions. Despite reflecting Chris Gunrup’s often bleak worldview, the music is expansive and beautiful, marked by playing that’s as much free jazz as rock - pure music without any showiness.

The songs unfold slowly, without a traditional verse / chorus structure, spinning gauzy webs of shimmering mystery with their own inimitable dynamic of sinuous, swirling guitars; rich, ambient basslines; crisp percussion and restrained, church-like, keyboard textures. The stately tempos suggest a room full of shadows desperately reaching out for intimacy but never quite making the connection. The songs brim over with tension and more implied release than actual relief.

Gunrup is known for his reluctance to talk about his process and prefers to let the music speak for itself and if 2015’s ‘Picture You’ was brighter, exploding outward to explore the limits of experience, ‘Ambulance’ is much more intimate. The mix denser and darker, the instruments pressing closer, crowding each other, imploding inward to reconnoitre the uncharted distances that exist between us, even in life’s most intimate moments.

Sharing members with Sweden’s psych forefathers Dungen, the album delves into the hidden recesses of the heart, finding inner space to be just as expansive as the midnight sky. It was recorded in just a few days in one tiny room at Stockhom’s Buller & Bäng studio.

The Amazing’s drummer, Moussa, is one of Sweden’s top jazz drummers and has also played with Rodriguez and Jose Gonzalez.

The video for lead track ‘Ambulance’ features Ross Marquand (AMC’s ‘The Walking Dead’).

Previously the band have performed on The Late Show with David Letterman and toured with Tame Impala.

“The Amazing specialize in a beauty that isn’t airbrushed or slick or antiseptic, it’s elemental rock - earthy, molten, aquatic, but using each of their qualities to soothe rather than destroy or intimidate.” - Pitchfork


Barry says: Indie roots and melodic intonations with a tantalising mix of Jazz structures and surf-rock tinged slide guitar. Mournful moments mix seamlessly with more upbeat offerings, showing the breadth of talents on display. Sweet vocal refrains and layered otherworldly harmonies float around the fluid instrumental backdrop. Gorgeous heartwarming masterpieces.


Includes MP3 Download Code.

András cleans out the garage with new alias House of Dad - a project that's both a dedication of love and a constructive criticism. Recorded at his suburban family home, warmed by ducted central heating and microwaved frozen meals, this first release on HOD Records pays homage to his plumber father. A darting network of speedfit pipes, toilet supply lines and garden hoses, House Of Dad offers a steady flow with no drop in pressure. "Entrance To The Garage" welcomes us into the inner sanctum of the man cave with subtle percussion, emotive piano and Froesean electronics, paving the way perfectly for the mystical bleep of "Water Diviner". Kicking its flippers off the deck of the good ship Drexciya, this A2 heater takes the plunge and heads for the ocean floor via electro drums, squelching sequences and aquatic chords. András closes the A-side with the simmering beauty of "Hard Working Man", which tightens the sample-based house music cliches clockwise as it's HardYakka affirmation breaking in half under the weight of descending pianos and a gently whispered declaration of love. The flipside opens with the blissfully content "Stereo Dunnies", a dopamine soaked downbeat dream formed out of precise breakbeats and lush piano, while the unnatural ambience of "Roof Metal Corrosion" (surely an AFX reference?) and its choir of DX7 voices reflect on a job well done. Weary after a tough week's slog, the House Of Dad knocks off with a cool tinnie to the sumptuous sounds of "POETS Day". Possibly the most traditionally Andras offering on the EP, this curtain closer sees the producer layering tranquil piano and tropical synth vamps over restrained percussion, taking us dancing in the dust of the outback. András, we salute you!


12" Info: Includes printed A4 sheet 'Plumbers News'.

Horace Andy / Dub Specialist

Skylarking / Sky Rhythm

Digitally remastered classic essential recordings from the greatest reggae label in the world!

This is the first in the next Soul Jazz series of seminal reggae releases on 7” vinyl from the iconic Studio One Records. There are Studio One classics, and then there are Studio One CLASSICS! Horace Andy’s 1972 hit ‘Skylarking’ showcases Sleepy's wonderful honeyed vocal and is backed up with a Dub Specialist 'Sky Rhythm' dub version on the flip.


Two classic Roy Ayers productions back to back on a replica of the original Blue Thumb DJ promo release from 1977.

"Everybody Loves The Sunshine" is the quintessential summer track that has been sampled numerous times by hip hop artists such as Brand Nubian, PM Dawn, Common, Masta Ace, Mos Def and others as well as by R&B singer Mary J. Blige.

The Roy Ayers version is the better known track and is his signature tune. The legendary jazz-funk pioneer walked tall at Polydor Records in the 1970’s for whom he produced a number of seminal albums.

Roy Ayers Music Productions were a side project for Roy Ayers. He was not a member, though he did write and produce songs on the group’s debut album Come Into Knowledge (1977) on which this version the track was released.

Jojo Bennett With Lynn Tait & The Jets / Leslie Butler & Count Ossie's Drums

Living Soul AKA The Loop / Gay Drums

Sonia Pottinger was Jamaica's first and foremost female record producer; her husband, Lyndon O. Pottinger, was one of the unacknowledged founding fathers of Jamaican music. Lyndon O. Pottinger started producing records in 1961. In 1964, he sold his recording equipment to Duke Reid at Treasure Isle. The following year his wife, Sonia Pottinger, began to produce records for her Gay Feet and High Note labels. Sonia now started to produce a series of releases that included some of the most elegant rock steady records ever made. Three of these are now available again as strictly limited 45rpm re-presses.

Limited edition pressing from Sonia Pottinger's Gay Feet label of just 600 copies. On side A is Jojo Bennett's 'Living Soul' which was also known as 'The Loop'. Soulful heartfelt and smooth. The B-side is a thunderous poly-rhythmic percussive Nyabinghi assault by Count Ossie, with Leslie Butler on the organ. 

Gilles Peterson has said of Nat "One of the best musicians in the UK, no question" And Nat's last album (Invocations, on Jazzman Records) was featured in his best of 2015 show. Nat's music is regularly featured on Gilles' radio shows, as well as BBC Radio 3 shows, Jazz on 3 and Jazz Line-Up, plus Jamie Cullum's Radio 2 show and shows like Gideon Coe on BBC 6 music and a recent BBC Radio 4 documentary about John Coltrane's iconic album A Love Supreme.

'Creation' is Nat Birchall's eighth album and his most fully realised to date. The group assembled for this recording features two drummers, Johnny Hunter and Andy Hay, and along with Nat, pianist Adam Fairhall and bassist Michael Bardon they create a sound and energy perfectly matched to reveal the deepest messages within the music. From the opening bars of 'Love In The Cosmos' to the closing diminuendo of 'Light Of All Worlds' the music stretches and soars, taking the listener both deep within themselves and also to the furthest reaches of space/time on a journey of profound emotional expression that ultimately uplifts the spirit.

Cistern is the second album by prodigiously talented musician, collaborator, composer, arranger and producer Jherek Bischoff. Gloriously cinematic, these modern orchestral recordings showcase Jherek’s unerring ability to pull at the heartstrings.

Intrinsically linked to the space in which it was conceived, Cistern was born from time spent improvising in an empty two million gallon underground water tank in Washington state. A space which forced Bischoff to slow down, to reflect, to draw on his childhood growing up on a sailing boat; an emotional journey from the city back to the Pacific Ocean, via the Cistern.

The album itself was recorded with a live orchestra, the New York-based Contemporaneous ensemble, in a converted 19th century church in Hudson, NY.

Cistern follows on the heels of Strung Out In Heaven, a moving string quartet tribute to David Bowie, created with Amanda Palmer and featuring the significant talents of Anna Calvi and Neil Gaiman. They performed ‘Black Star’ at the recent all star Bowie tribute show at Radio City Music Hall in New York. Jherek will also take part in the Bowie tribute at the Royal Albert Hall as part of the BBC Proms in July.


Barry says: Haunted, dusty chamber-classical mini-movements. Staccato strings and violin sweeps. Cataclysmic percussion bursts and ambient echoes mix to form a cacophonous cocktail before breaking into multi-part melodies. Terse peppered electronic shards slowly morph into triumphant but cautious minor-key swells and ethereal waves of symphony. Superb.


Deluxe LP Info: Limited edition deluxe vinyl, including a printed inner sleeve and a CD of the full album.

Brentford All Stars / Im & The Sound Dimension

Greedy G / Love Jah

Digitally remastered classic essential recordings from the greatest reggae label in the world.

This is the first in the next Soul Jazz series of seminal reggae releases on 7” vinyl from the iconic Studio One Records. Here we get the super-funky all time B-boy / B-girl breaks classic, 'Greedy G' by the Studio One in-house band Brentford Road All-Stars (Vin Morgan, Leroy "Horsemouth" Wallace, Bagga Walker, Cedric Brooks, Pablove Black etc). Flip for the 1972 rootical offering by Cedric 'Im' Brooks & The Sound Dimension, 'Love Jah'.

Tim Burgess

Tim Book Two

    In 2012, Tim Burgess of the Charlatans published his hugely successful and critically acclaimed memoir, Telling Stories. Tim really enjoyed his new role as an author, and so here it is: Tim Book Two - a tale of Tim's lifelong passion for records, the shops that sell them, and the people who make them.

    In some ways, the biggest events in Tim's life happened in the couple of years after he had finished writing his first book rather than in the forty years before. So he had more to say, but instead of another autobiography he chose a different way of telling the story. Tim set himself a quest. He would get in touch with people he admired, and ask them to suggest an album for him to track down on his travels, giving an insight into what makes them tick. It would also offer a chance to see how record shops were faring in the digital age - one in which vinyl was still a much-treasured format.

    Tim assembled his cast of characters, from Iggy Pop to Johnny Marr, David Lynch to Cosey Fanni Tutti. Texts, phone calls, emails and handwritten notes went out. Here is the tender, funny and surprising story of what came back.

    Tim Burgess is a singer-songwriter and record label owner, best known as the lead singer of one of the defining bands of the 1990s, The Charlatans.

    Tim was born in Salford but grew up in a village near Northwich, Cheshire. Leaving school at 16 to work at ICI, his real love was music and soon afterwards he was invited to join new band, The Charlatans. They went on to have 3 number 1 albums and 17 top 30 singles. For 12 years, Burgess lived in Los Angeles but now lives back in the UK. 


    Book Info: 272 pages. 13.8 x 2.1 x 21.7cm

    As the summer swelter begins to take hold of record land, the atmospheric and astrological conditions are primed for Groovin' to deliver a much needed reissue of the finest Italo-house record of all time, Don Carlos' masterful "Alone". Presented in three variations 'Paradie', 'Flute House' and 'Ambient', the track has that killer combination of immersive texture, expansive melody and uplifting arrangement, making it a floorfilling classic wherever or whenever you drop it. The 'Paradise' version drifts into life on breezy pads and synth strings, raising your arms and eyes skywards before a ribbiting bassline starts to move your feet. Soon after you'll fall under the spell of the solid kick, shuffling hats and classic house piano, powerless to resist the echo laced synth sax. They don't make them like this anymore. The 'Flute House' version rearranges the original motifs into an almost unrecognisable track, introducing an escalating bassline and deft M1 organ licks while leaving ample space for the titular flute (synth obvs) to wrap itself around our brainstem. The B-side's Sax Ambient mix is neither particularly ambient, nor overly saxy, but does serve up a different balance of flavour and nuance, which would suit a more laid back setting (a poolside terrace or festival warm up spot perhaps). Whichever mix you pick, you're guaranteed timeless deep house dopeness, so get this one bagged pronto!

    Ben Chatwin begins his new album with an instrument you’d least expect - a dulcitone. Created in the late 19th century, the keyboard hits tuning forks with felt hammers, sounding like an ornate music box. It serves as the perfect lead in to Heat & Entropy, whose title refers to how introducing heat (energy) and entropy (chaos) into any given system can create life, exploring the blurring lines between man and machine. The first Chatwin album to be recorded domestically, Heat & Entropy starts a new chapter for the Queensferry, Scotland-based musician. Under the name Talvihorros, Chatwin is known for his innovative combination of electronic experimentation and modern classical composition. However, last year’s The Sleeper Awakes took a left turn and exchanged vanguard minimalism for enhanced melodics. Heat & Entropy delves further into this world. The result is an ornate exploration into future possibilities.

    On Heat & Entropy, Chatwin originally intended to use only strings, forcing him to explore lesser-known instruments. For “Standing Waves,” he attached pieces of metal, rubber and tape to the piano strings. “The Kraken” uses Terry Riley’s repetition as a starting point, but leads to distorted vocals and an intense, hammered dulcimer climax. “Euclidean Plane” incorporates a bowed mandolin and a three-stringed didley-bow, along with acoustic guitar and metallophone by Ben’s brother, Jordan Chatwin, who has had no formal training and learned guitar by ear, playing with unconventional tunings and chords.

    Despite the unique sounds and textures Chatwin found among the strings, the lure of electronics proved too great. “The album then became about the tensions between the acoustic, or natural world, and the electronic world” he explains. “For me this is where the excitement lies…. It creates a unique world of contrasts and conflicting relationships.” Chatwin calls Heat & Entropy “an album of contrast, conflict and chaos, but also of complex relationships.” Melody rises above the maelstrom in these compositions. It’s an album of experimentation, of delicately contrasting the organic with the artificial, and ultimately of great beauty and sophistication. Heat & Entropy marks the emergence of an incredibly exciting and visionary Scots composer.


    Barry says: Pulsing ambient electronic fuzz meets spacey synth sweeps and industrial clanging rhythms. This, juxtaposed with the traditional strings make for a stunning and contrary coalition. Though initial furtive melodies are the basis of these compositions, they are soon challenged (and often overcome) by the impending electronic fog. Throughout, all these pieces maintain a balance rarely seen in electro-acoustic compositions, and end up being not only one world or the other but a beautiful and harmonious marriage of the two.

    The Chills / Martin Phillips

    The Curse Of The Chills / Martin Phillips Live At The Moth Club

    This exclusive hardback book contains 'The Curse Of the Chills' documentary on DVD, as well as the Martin Phillipps - Live At The Moth Club, London 2015. ‘The Curse Of The Chills’ is a major new feature documentary that features never-before-seen live footage, interviews and archive. With exclusive access to the Phillipps family home video archive, the film provides an intimate portrait of the man behind the Chills. Exploring the source of his creativity and his songwriting aesthetic, the film also follows Martin on his journey from scenester musician to international star, then follows him on the downward spiral, interest in the band waned and depression and addiction set in. It’s an age old rock and roll story where Martin is unflinchingly honest about his heroin addiction and struggles with Hepatitis. Happily, there is a final act to the story, and the film is ultimately one of redemption and vindication of living a life that stays true to your beliefs – whatever the cost.

    Hard back book, containing Martin Phillips – Live At The Moth Club CD and ‘The Curse Of The Chills’ documentary on DVD. 


    Book Info: Hard Back Book.

    Completely illicit, anonymous, no-hype ACID bizniz here straight outta LDN - and boy does it bite! A bit of discogs digging has revealed the producers. Brian Maffie is CL while Jarbas Agnelli & Waldo Denuzzo make up AD. All are pretty new on the block, with a few releases scattered between the group. This collaborative effort is however, very very good! 4 tracks of banging, heady, wall shaking acid, in the same vein as Paranoid London or Frak but remaining stylistically their own. Levels and distortion are pushed well into the red but it's allll good cos I reckon this shits all been recorded straight to tape, making the hot saturation all the more tasty! Heads down, lights low, you know where to go...

    Josienne Clarke And Ben Walker

    Through The Clouds

      British duo Josienne Clarke and Ben Walker have risen to star status lately on the English acoustic scene, earning last year’s Best Duo award from the BBC Folk Awards and across-theboard praise for two self-released albums, most recently ‘Nothing Can Bring Back The Hour’, with its lush single ‘Silverline’.

      Clarke and Walker release a new EP, ‘Through The Clouds,’ via Rough Trade, featuring a handful of the best tracks from their small catalogue, rearranged anew. ‘Through The Clouds’ is meant as an introduction to the duo; in addition to ‘Silverline’ it features a new, stripped-down version of ‘Done’ (ballads on opposite sides of love and loneliness), an alternate mix of the spooky Shirley Collins cover ‘Hares On The Mountain’ and the original album version of ‘The Tangled Tree’, a brilliant showcase of Clarke’s vocal range and expression.

      While The Guardian anointed them “chamber folk” (they certainly cut their teeth in that thriving part of the UK music scene), Clarke is an unusually compelling singer, sharing more in common with Sandy Denny, Gillian Welch, or even Nina Nastasia and Laura Marling, than your usual staid folk artist. Walker is a prodigiously talented guitarist and arranger and the two of them are engaging and often funny in a live setting where, in addition to their own songs, they choose covers brilliantly, from Denny, to Jackson C Frank, to Nina Simone, to death-obsessed traditional ballads.

      Clarke and Walker will be recording their Rough Trade debut album for an Autumn 2016 release, with an eye toward bringing bigger, more modern arrangements and production to their beautifully-wrought songs and Clarke’s tremendous voice.

      “Clarke and Walker stand out due to their originality… Impressive.” - The Guardian

      “A bold success” - The Telegraph

      Stephen Colebrooke

      Shake That Chic Behind / Stay Away From Music

      The affable and exceptional Athens Of The North return this week with a pair of odd Island bangers previously only avaible on the VERY rare Stephen LP you almost certianly don't own. Recorded in Freeport Bahamas and produced by the mighty Frank Penn, these two Colebrooke killers share an irresistible off-the-wall charm without ever falling foul of wackiness. We're in peaktime Island funk mode on the A-side, swinging our hips to the "Use It Up, Wear It Out" rhythms, spiralling Moog solos and smooth jazz-funk chords, while "My Baby Ain't No Plaything" on the flip sounds like a slick, soulful and sunny sibling of Doobie Brothers "What A Fool Believes". Catchy, on the edge and full of personality, this is what AOTN is all about.

      A duo from Melbourne, Australia made of members of Standish / Carlyon and Fingers - Conrad Standish and Sam Karmel. 808s and coastal synthesis. With a pacific, cinematic, tranquilizing feeling running throughout; very ethereal, very out there, very good! With a sound palette which takes on icy, glacial synth washes, rich bioluminescent twinkles, mood hightening pads and nerve-twitching drums CS + Kreme have created a sound all of their own. One that would soundtrack a day out on Lake Baikal perfectly, or a middnight dance ritual under the Northern Lights, or just yer bog standard igloo rave. You decide.
      Recommended for fans of La Beaute Du Negatif, Tin Man, Donato Dozzy etc.
      Mastering by Brandon Hocura - Cover by Thomas Jeppe - Layout by Manuel Bürger.
      Highly recommended stuff from this cult label. Move fast. 

      TCODK - a four-piece from the Midlands - make the kind of experimental goth- tinged psych that, has thus far, eluded 2016. Fans of Swans and The Icarus Line will find plenty to entertain them here – this is a band unafraid to take risks. The thing that first impresses on hearing TCODK is the sheer scale of their intentions. Speaking of first single ‘Broken Arm Of God,’ the band said “we wanted it to sound like a volcano giving birth to an atomic bomb. It has bass and baritone guitar that killed 3 guitar amps in one afternoon, then a studio preamp. It's probably costing us a fortune in damages and repairs. The result was exactly what we wanted though” This band can make a lot of noise. To focus on that however would be to negate what makes this band truly beguiling: nuance. Take ‘Deepest Pit Of Emptiness’ for example – its prog leanings combined with a decidedly English vocal delivery are as distinctive and profound as anything released this year. TCODK have pushed themselves sonically on this album, it’s by far their most experimental release to date. It’s also an album rooted in darkness. “The new album deals with the theme of uncertainty, and put more simply – the end.” That theme resonates throughout the entire album. Fans of Black Rebel Motorcycle Club will be enamoured, but play to it a Sisters Of Mercy fan and watch their reaction: there is a new contender for the throne. 


      Barry says: Full-force Fuzzed out basses and driving rhythm section. Sludgy drums and psych-rock guitar squeals. Anthemic and understated choruses with Curtis-esque poised vocals driving the melody. Elsewhere, heavy panned synth sweeps and resonant filters lighten the atmospheric tension and dense fog of sound, but (thankfully) do little to lessen the emotional impact. A stunning work of depth and variety.


      Coloured LP Info: 12" coloured vinyl.

      Recorded in St. Petersburg over the course of 2015, this first release on Glasgow based imprint 12th Isle is a collaborative effort between Dices & АЭМ Ритм-Каскад (aka Flaty/Dada Ques), affiliates of the Udacha and Gost Zvuk record labels. Titled 'Мыслепоток' (Thoughtstream), the LP eschews trend in favour of meaningful sonic discovery, and in doing so offers as much to the adventurous DJ as it does the attentive home listener. Side A encompasses ambient synth textures reminiscent of ‘70s-era library music, established upon rhythms that evoke turn of the century Detroit house. At once melancholic and playfully optimistic, the six tracks range from rhythmic experiments to sketch-like beatless vignettes. The flip side sets off in a slightly darker tone that is succeeded with pace and persistence in the drum patterns and winding arpeggiated bassline of “Caleidoscope”. Alongside the heavily swung “Hologram”, these tracks are very club considerate; a function that in no way offsets the records assured narrative purpose.

      Across both A and B the music maintains this singular intent, channeling aspects of early sequence-based electronics and vintage space rock around a diverse and playful compendium of rhythms.

      Comes with screen-printed sleeve, labels and insert.


      Ltd LP Info: Screen printed sleeve, labels & insert

      Musical activist from the city of Marseille, DJ Oil, aka Lionel Corsini, is an old friend of Les Disques De La Mort boss Ivan Smagghe. You might remember his Troublemakers (Guidance) and Lionel records for BBE. His first EP for Les Disques De La Mort kicks off with "Rain", which features Saul Williams' spoken words (treated to robotisation) over a swinging, moody jazz-house break. 'Voodoo house' if you want to call it something. The track is then turned into a gurgling acid house monster by Radioactive Man, who gives those breaks an electro twist. Cold Europe under the sun or a frozen Southern island. Who knows? We got lost on the way. "Space Opera" and "Hypnosis" sound like we've had our drinks spiked with acid as disorientated sampled speach flows across loose, shuffling, percussive freeform rhythms. Slow burners, potent mushrooms and warped politics for the criminally minded.

      After a considerable hiatus from releasing music, "Eliphino" makes a triumphant return with 4 tracks of deep, emotive and soulful music drawn from the diverse strands which make up the man's output. Made during a period of deep self reflection whilst taking a year break from London in Berlin, the results are at times sombre but always engaging and forward facing. This EP marks the first release on "Joy in Repetition", a new label and labour of love from Eliphino and Andy Lemay (Head of Press and Partnerships for Dimensions Festival). "Isabella Road", as heard on Jackmaster's DJ Kicks compilation, kicks things off with dreamy yet doomy synth lines and tough percussion before building into a wall shaking crescendo that would resonate with any discerning dancefloor. "Piano Day" and "April" are both rich in off kilter sonic ideas and intriguing drum programming. References to jungle and broken drum patterns and use of cinematic melody mean these tracks would both keep the attention of the listener at home or fit perfectly into a more adventurous DJ set. The EP is rounded off with "Linklater", a lush piece of house music with crispy drums and solemn, soulful strings.

      Mark Ernestus' Ndagga Rhythm Force

      Walo Walo Version

      Three killers heralding the next phase of this dazzling expression of a dream Dakar-Berlin nexus. All instrumental - though the opener has snatches of singing - with the vocal versions held back for the new album, out in the Autumn.

      The music just gets deadlier and deadlier - harder-boiled and deeper; more focussed, confident and dubwise.

      Evoking the ancient cultural legacy of the griots, 'Walo Walo' is also the name of the sabar rhythm underlying the opener, which features Ibou Mbaye's percussive synth-work, Mangone Ndiaye Dieng's kit-drumming, and Bada Seck's rigorous jolts of lower-pitched Thiol drum. The 'Groove' version is tough as nails; well and truly gnarly. A tribute to the Baye Fall leader, Ndiguel Groove is a sparse, mellow interpretation of the most traditional cut on the album, showcasing Assane Ndoye Cisse’s insinuating guitar lines, Laye Lo’s super-elasticated snare-drumming, and Bada Seck playing the khine drums associated with the Baye Fall. (Short and wide; lightweight but low-pitched.)

      Pretty awesome.

      Faun Fables are back with ‘Born Of The Sun’. Since 1998, Faun Fables has been the musical world of Dawn McCarthy, visited in collaboration with her partner Nils Frykdhal. In early times, their wild spirit roamed the streets and hills of the SF / Oakland community while, pilgrim-like, wandering the world and issuing two albums of deeply-rooted, swirlingly other folk music in 1999 and 2001. With the release of ‘Family Album’ in 2004, Drag City got involved and ‘The Transit Rider’ (2006), ‘A Table Forgotten’ (2008) and ‘Light Of A Vaster Dark’ (2010) followed. Now, suddenly, it’s 2016. Six years have passed since ‘Light Of A Vaster Dark’ appeared. Life has happened, in the form of three children born to Dawn and Nils.

      Anyone who has spent time in the thrall of Faun Fables’ bewitching sound knows that this was the dream; beyond Dawn’s passion for song, dance, theatre and all manner of folklore (plus a regular regimen of yodelling), the mythic shadows of home and hearth, friends and family, have infused all of their expressions. Now, raising the family that was once only dreamed about makes for an earthier and more expansive Faun Fables album, informed by the slow and sudden progress of time that occurs when we are with the very young.

      ‘Born Of The Sun’ is in itself another birthing, the songs gestating over several years, then recorded mostly in concentrated periods over the past two winters. On previous albums, the passions of Faun Fables seemed to be laid firmly on the stones of the Old World. The minstrels who cavorted across the cover of ‘Mother Twilight’ seemed out of another, hard-to-place time. ‘Born Of The Sun’ continues on in this exalted tradition but also reflects the rhythms of family living, where each day is a new and irreversible step forward through the necessarily scorched earth of raising children.

      Where ‘Family Album’ and ‘A Table Forgotten’ looked yearningly through time at the spiritual natures of communal living, ‘Born Of The Sun’ is forged in the crucible of now and, as such, has a feeling apart from the previous days of Faun Fables.

      Dawn and Nils and the kids (whose vocals on ‘Wild Kids Rant’ suggest they are following their parents’ path into the forest) are embracing the phenomena of creation as they move inexorably forward. ‘Born Of The Sun’ is the bountiful and exuberant album of this place and time - an old, candlelit world of arcane beliefs in our brightly-lit world, growing ever more profound in the light of perpetual discovery that bathes all of Faun Fables’ songs.


      Barry says: An enchanting and often beguiling mix of traditional medieval folk and swirling Californian psychedelic sounds. Progressive but coherent chord changes and textures develop as time goes on, building and morphing into a cacophony of instrumental depth and vocal intensity. Fascinating and thoroughly skilled instrumentation and (in places) frightening heart-wrenchingly poignant lyricism. A Journey not to be missed.

      Floating Points


      Floating Points' Sam Shepherd follows  2015’s critically acclaimed debut album ‘Elaenia’ with this double header 12" 'Kuiper' and 'For Marmish Part II'. An epic 18.28 minutes in length, 'Kuiper' is the ultimate builder: Simple drum machine patterns and synth pads are augmented with rising strings and jazzy kit breaks, swooshing, enveloping efx and layers of echo-drenched guitars - what a ride! Sitting on the same astral plane as Mike Oldfield's 'Tubular Bells' and Manuel Gottsching's 'E2-E4', 'For Marmish Part II' features a shuffling slo-mo samba rhythm over which a sequenced keyboard line, echoing bells, warm sub bass fills and a falsetto voice drift in and out of the mix. Sublime!

      Speaking about the new release, Shepherd says:

      “Since starting a band to realise the music from my LP, it has sparked a deep interest in the band itself, and so 'Kuiper' is the result of playing with Leo, Alex and Susumu. Each time we play it, its completely different. We set the scene with electronics, and some drum machines that form the foundation to allow the unfurling of the rest of the track. The version on this EP - believe it or not - was recorded at 8am!

      The other side - ‘For Marmish Part II’ - is carbon dated by my singing voice. I can’t get that high anymore! It was recorded way before ‘For Marmish’ on the album but the two tracks happened to be written around the same time.

      I want to share them because both sides reflect in two tracks where I was right at the start of the 'Elaenia' project, right up to now post-LP release, playing live and going on the road with a band. I hope, like I feel, people will find a common strand in the hypnotic nature of both tracks.“


      Sil says: After the brutally delicate and beautiful 'Elaenia', Floating Point serves us another masterwork. A relentless slow builder starting with a sparse beat and ending up in a powerful climax that could very much be the soundtrack for the end of this planet.
      James Holden's epic and timeless mix for Nathan Fake's The Sky Was Pink came to mind when attentively listening to this vinyl. It shares the same build-up, evocative feelings and epic climax. Both these anthems should be played loud.


      Includes MP3 Download Code.

      After going in hard with some superlative remix work for the label, Fouk return to Razor-N-Tape under their own steam, letting rip with a four track EP of swirling synths and driving organic grooves. From the pulsating Italo-style bassline of the the title track, through the soulful stomp of "New Canvas" to the sultry sounds o "Aldo Raine" and "Camille 2000", this record is perhaps the most focused expression yet of the duo's unique sound: both modern and retro in all the right places. The titular EP opener demands you don dancing shoes immediately, getting loose and limber from the get go thanks to sizzling, swinging percussion, a vulcanised bassline and pinging synth licks. Neat pads and subtle organ licks add their own nuance to proceedings, rounding out a floor filling introduction to the EP. The tempo and intensity drop a touch for the sultry "Aldo Raine" on the B2, a party starting groove perfect for the stiffling summer nights we're in thrall to right now. Hissing percussion rattles along over block party chatter, keeping perfect time for the jazzy bassline and spurting synth solos which dance away above. B-side opener "New Canvas" hits us with inventive drum programming (within the 4/4 framework before you run in fear), classy keys and lithe lead lines, before the sunkissed "Camille 2000" closes the set with a laser blast of spaced out soul - Wansel style. Their finest release to date, "Whiskey Ginger" is just the latest step on the Fouk path to world domination.

      Since 1987, Frak have been everyone's favourite, premier Swedish synthesizer-touching weirdos. Even if most people hadn't heard of them until 4 years ago. And yet, world of Frak is as long as it is wide. As blue as it is black. As ominous as it is glorious. As dirty as it is hairdryer. Sweet it is as yellow paper As. All of the above is a perfect example of how trying to convey what Frak is in the crass form of words is ultimately fruitless. Never has the inner workings of hardware sounded so good!

      Here is a double 12" vinyl product from Ultimate Hits featuring eight audio recordings from Frak: three men who have known each other since at least 1987. Careering with abandon from heads down machine dirge, to celestial electronic meditation, back to repetitive hardware funk and their iconic harnessing of the electro genre, Frak are the bridge that allows machines the power to communicate with us meager humans.

      The sleeve was lovingly hand screen-printed at the studio of House of Traps, and features the colours commonly known as pink and black.

      Glen And Dave / JoJo Bennett

      Wake Up To Reality / Musical Pressure

      Sonia Pottinger was Jamaica's first and foremost female record producer; her husband, Lyndon O. Pottinger, was one of the unacknowledged founding fathers of Jamaican music. Lyndon O. Pottinger started producing records in 1961. In 1964, he sold his recording equipment to Duke Reid at Treasure Isle. The following year his wife, Sonia Pottinger, began to produce records for her Gay Feet and High Note labels. Sonia now started to produce a series of releases that included some of the most elegant rock steady records ever made. Three of these are now available again as strictly limited 45rpm re-presses.

      Glen and Daves ‘Wake Up To Reality’ is an early plea for Jamaicans to get along and live together. The song is underpinned by the thumping Nyabinghi drums of Count Ossie. So many of the Gay Feet records seemed to feature Rasta infused drums around this time. The flipside is JoJo Bennett's 'Musical Pressure'. Limited to just 600 copies.

      Autonomous Africa are back in the company of the Green Door All-Stars, dropping four remixes of tracks from 2015's "Youth Stand Up!" LP. This phat remix wax sees the collaborative recording project between Glasgow’s Green Door Studio, Lebeha Drumming Center in Hopkins, Belize, and the Tafi Cultural Institute based in Tafi Atome, Ghana fall under the spell of dancefloor luminaries JD Twitch, Midland, Auntie Flo and General Ludd. Optimo legend JD Twitch opens the EP with a dark and deep rework of "Come With Me", which sets the track's echo-laded vocals over blasts of live drum and brooding bass, resulting in a proper heads down heater. Next up, Highlife mainstay Auntie Flo offers a spiritual dub of "Beat The Drum", extracting a hypnotic and organic groove from the original and rehousing it among detuned synth keys and post-tribal percussion. Chanted vocals and circular mallets lend an expansive feel to proceedings while the steady kick keeps us nicely grounded. Midland enters the arena on the B1, bringing his bass fuelled tech house styling to LP cut "Tsorna". The Leeds' producer establishes a pitch bending bassline and trippy drum program early on, locking the dancefloor in before unleashing the techy keybaord vamps, bleeps and siren squelches which take this cut to the next level. Techno eccentric General Ludd closes the EP with his totally disorienting reheat of "Tuteme Meets Tafi Atome At 58 Ft Mocco", a body moving blend of fucked up vocal snippets, burnt toastin and tremulous bass. As ever all proceeds will go to Tafi Cultural Institute, Tafi Atome, Ghana and Lebeha Drumming Center, Hopkins, Belize - Philanthropic floor fillers, surely the way forward!

      Marcia Griffiths / Brentford Disco Set

      Feel Like Jumping / Feel Like Jumping Pt. 2

      Digitally remastered classic essential recordings from the greatest reggae label in the world.

      This is the next in the Soul Jazz series of seminal reggae releases on 7” vinyl from the iconic Studio One Records. Marcia Griffiths' classic 'Feel Like Jumping' is lifted from her 1978 album 'Naturally'. The track is an update of the 1968 Studio One 'Boops' riddim, revived a decade later. Marcia's vocal cut is backed with a dub version here.

      Jerome Hill returns to Super Rhythm Trax with four tracks displaying one of his biggest influences; that of mid nineties Chicago labels like Relief and Dance Mania. "It's Time For The" has been slaying crowds for the last year with its own no nonsense take on Cajmere's much sampled "Perculator" track. "Chicken Head George" sees stadium-sized synth stabs support a proper banging & jacking beat. "Def Jamming" sounds like its been eeked out of Steve Poindextor's studio mid-session, with twisted vox and sine wave abuse converging on slamming house beats. Finally some old school sequencing on "Lollypop Lady" sees a catchy vocal hook sped up to rave-chipmunk tempo before being lashed with tough jack beats. A hefty dose of fun and playability is injected into this EP and all 4 tracks are designed for maximum body jacking and involuntary head nodding, each bringing something a little different to the table. Highly recommended club tackle from the nations favourite.

      Support coming already from : Annie Mac/Radio 1, Justin Robertson, John Heckle, Ben Sims, Mark Archer, Perc, Groove Armada, JD Twitch, Locodice, DJ TLR, Craig Richards, WNCL, James Ruskin, Pangaea, Phil Kieren, Luke’s Anger, Posthuman, Bleaching Agent.

      The second release on Red Rack'em's sample heavy, 'from the vaults' imprint Nettles comes from Australian B-boy house-head Jules Inkswel. Nettles is all about releasing the CDR specials that Red Rack'em has been dropping in his club sets over the years and he first heard the tracks on this release in 2012 when staying in Melbourne with Jules while on tour in Australia. Music was shared, drunken fights ensued and donuts were thrown in faces. The tracks lay forgotten for quite a while in a folder called 'Inkswel Stuff' until recently when Rack'em began to play them out and the response was totally off the chain. So in the spirit of getting the good shit onto the streets again - here's Inxxxwels "Sativa Edits Vol. 1"! "Lipstick N Blushin" is the audio encapsulation of Desperately Seeking Susan being trapped in an elevator with Mesopotamia era B52s sound tracked with strictly analogue gear. Weirdo synth bass underpins oddball fx and sassy spoken vocals as we experience proper coked out, doe eyed NYC vibes. Sticking with the whiter than white NYC styling for the time being, "Bed Sores" sees Inxxxwel chop and drop a little old school disco rap, putting maximum emphasis on the kitsch lyricism and cock-rock guitar solo, while the groove rolls on and on. The B-side opens with the big room boogie of "Alicia Love James", a filter heavy banger complete with sunblushed bass, gliding keys and soulful vocals. If you've heard Red Rack'em, Inxxxwel or Benny Badge out in the field of late, chances are you've lost your shit to this dancefloor sureshot. Last but not least, "For Taki 183" is a rough and tough trip back to a time when the streets were paved with cardboard and boomboxes blasted out of every corner. Heavy beats and rhymes combine to give your dancefloor some shine. 

      The word ‘naive’ comes from the Latin ‘nativus’, meaning native, or natural. Today, to be naive is often seen as pejorative, a lack of experience or judgement, but in the art world the word retained some of its original meaning: a quality acquired through birth, a childlike innocence and wonder that produces spontaneous, unaffected art. For Mitchel Van Dinther, the Dutch producer known as Jameszoo, it is this quality that lies at the heart of his debut album, 'Fool', which he calls “naive, computer jazz”.

      Van Dinther emerged from the small town of Den Bosch in the southern Netherlands in the late 2000s. First as a DJ - with wide-ranging crates of avant-garde jazz, prog and kraut rock, electronic experiments, and beat oddities - and then as a producer capable of impressive sonic and rhythmic incongruities. This spring, Van Dinther joins Brainfeeder with an album that fits right into the label’s expanding take on the modern evolution of jazz music.

      'Fool' began life as just a simple debut album, but soon grew into something more audacious. During the recording process Van Dinther became obsessed with classic albums by Steve Kuhn (1971’s 'Steve Kuhn'), Arthur Verocai (1972’s 'Arthur Verocai'), and Robert Wyatt (1974’s 'Rock Bottom'). The melodies, compositions, and idiosyncrasies of these works made the young Dutch producer reconsider his approach, moving him away from the colourful, electronic productions he was known for.

      Not only did Van Dinther take inspiration from these works, he eventually contacted the artists he’d been studying and convinced Kuhn and Verocai to lend their inimitable touch to the recordings. Tapping into jazz’s tradition of playing standards and covers, ‘The Zoo’ re-imagines Kuhn’s playful ‘Pearlie’s Swine’ with Rhodes and vocals that the man himself recorded with Van Dinther in New York City.

      Across its 11 tracks, 'Fool' plays out Van Dinther’s journey to find a musical voice he can be proud of and which can also inspire others. Alongside Verocai, Dafé, and Kuhn, the album features a stellar cast of classical and jazz musicians including pianist Niels Broos, drummers Julian Sartorius and Richard Spaven, bass guitarists Raphael Vanoli and Stephen Bruner (aka Thundercat), and saxophonist John Dikeman. All of these different contributions and approaches are weaved together into a whole by Van Dinther, armed with electronics and naivety. At times coherent, at times seemingly haphazard, the album is always joyful.


      LP Info: Limited white vinyl pressing.

      Includes MP3 Download Code.

      Junior Soul With Lynn Tait & The Jets / Lennie Hibbert With Lynn Tait & The Jets

      Miss Cushie / Pure Soul

      Sonia Pottinger was Jamaica's first and foremost female record producer; her husband, Lyndon O. Pottinger, was one of the unacknowledged founding fathers of Jamaican music. Lyndon O. Pottinger started producing records in 1961. In 1964, he sold his recording equipment to Duke Reid at Treasure Isle. The following year his wife, Sonia Pottinger, began to produce records for her Gay Feet and High Note labels. Sonia now started to produce a series of releases that included some of the most elegant rock steady records ever made. Three of these are now available again as strictly limited 45rpm re-presses.

      Limited edition pressing from Sonia Pottinger's Gay Feet label of the long out of press ‘Miss Cushie’ by Junior Soul aka Junior Murvin. The super laid back ‘Pure Soul’ with Lennie Hibbert on vibes. Killer. 600 copies only.

      Better known as Kemback, Geoff Wright is a Bristol based producer, selector, composer, violinist, teacher, and waiter whose music is rooted in house and techno but often treads into the weird and wonderful worlds of jazz, soul, folk, and blues.

      While his gritty drums and shuffling grooves bear the hallmark of the city he now calls home, the melodic sensibility of his emotive strings and distant glimmering synths harks back to the tree-lined footpaths of the tiny Scottish village from which he takes his name.

      His debut release in 2014, on Bristol mainstay Futureboogie, received widespread support from DJs as diverse as Skream, Mosca, and Nemone.
      More recently his effort as part of Alfresco Disco's acclaimed Maximum Joy series, titled 'Awaken', has been likened to the music of artists including Floating Points and Leon Vynehall.

      'Good Night' and 'For You Today', the two tracks on Kemback's Omena debut, showcase a high level of production skill. To complete the package the always excellent Auntie Flo (aka Brian D'Souza) and Omena label boss Tooli take turns in remixing 'Good Night'. 

      Mary Lattimore & Jeff Zeigler

      Music Inspired By Phillippe Garrel's Le Révélateur

        Harpist Mary Lattimore and guitar / synthesizer player Jeff Zeigler present their score to French director Philippe Garrel’s 1968 silent film ‘Le Révélateur’. The duo blend ancient classical traditions with modern improvisation and electronic performance.

        Lattimore and Zeigler’s score powerfully conveys isolation, despair and awakening, amplifying sentiments portrayed in the film. Le révélateur - the processor of images - in the film is a small boy who is given voice through the rhythmic and inventive harp performance and through emotive melodica lines, eerie synth and guitar. Together, the duo create a soundscape that perfectly matches the film’s progression as it follows the boy’s journey from a family’s dysfunctional home life into a godless post-apocalyptic landscape.

        The LP only release is pressed on virgin vinyl with a printed inner sleeve and free download card. (Initial copies pressed on white vinyl.)

        The album artwork features stills from the film (used with the permission of the director). The score has also been approved by Garrel.

        Tim Maia

        Nobody Can Live Forever - The Existential Soul Of Tim Maia (World Psychedelic Classics 4)

        In the early 1970s, Brazilian popular music was approaching a high water mark of creativity and popularity. Artists like Elis Regina, Chico Buarque and Milton Nascimento were delivering top-shelf Brazilian pop, while tropicalists Caetano Veloso, Gilberto Gil and Os Mutantes were entertaining the college set with avant-garde fuzz-pop poetry.

        Enter Tim Maia with a massive cannonball into the pool. It was the only dive Tim knew. Standing just 5'7 (6' with the afro) Tim Maia was large, in charge and completely out of control. He was the personification of rock star excess, having lived through five marriages and at least six children, multiple prison sentences, voluminous drug habits and a stint in an UFO obsessed religious cult. Tim is also remembered as a fat, arrogant, overindulgent, barely tolerated, yet beloved man-child who died too young at the age of 55.

        Sebastiño Rodrigues Maia was born in Tijuca, Rio de Janeiro, on September 28, 1942. In 1957, at the age of 17, the singer went to America. He left home with $12 in his pocket and no knowledge of English. He adopted the name 'Jimmy' and lied to the immigration authorities, saying that he was a student.

        Living with distant cousins in Tarrytown, New York, he worked odd jobs and committed petty crimes. Having a prodigious ear he quickly learned to speak, sing and write songs in English. He formed a small vocal group called The Ideals who even recorded one of Tim's songs, "New Love." Intent on starting a career in America, Tim never planned on going back to Brazil, but like a badass Forrest Gump, he also had a knack for being in the wrong place at the wrong time. In a 1964 early pre-cursor to Spring Break's modern debauchery, Tim was busted in Daytona, Florida for smoking pot in a stolen car and served six months in prison. U.S. Immigration caught up with him and he was deported.

        Tim's first commercial records showed that a black Brazilian singer could assert his identity with confidence and power. His music helped to build the Black Rio movement, a new Afro-Brazilian music culture influenced by the US civil rights struggle. As a result, Tim Maia's soul music described a modern Black Brazilian identity that blew the doors off mass culture's tightly circumscribed role for Afro-Brazilians. A funny thing happened when Tim Maia launched his career in Brazil: he kept on writing and recording songs in English. Every album (all self-titled, with only the copyright years to differentiate) included at least one, if not a few songs in English. Obviously, Tim "Jimmy" Maia's teenage dreams of international soul success didn't die when he was deported from the US.

        In 1971, fresh from the big hit of his first album, Tim went to London and spoiled himself. He smoked, inhaled, drank, traveled on acid, listened to music, argued with his wife and returned to Brazil with 200 doses of LSD to distribute amongst his friends. As soon as he arrived, he went to (recording company) Philips' offices, which he called "Flips," where he visited various departments, beginning with those he considered most "square," like the accounting and legal departments, where he acknowledged the boss and repeated the same introduction, in a calm and friendly voice: "This here is LSD, which will open your mind, improve your life, and make you a better and happier person. It's very simple: there are no side effects. It is not addictive and only does good. You take it like this . . . " He would place the acid in his mouth, swallow it and leave another at the front desk. Since he was one of the best-selling artists for the company, everyone thought it humorous. In the production and journalism departments, the gifts were a success. Even Andre Midani, the president of the company, received his.

        In 1974, he converted to a religious sect, the cult of Racional Engergy. The sect was based in the faith that we are perfect beings from a distant planet, exiled on Earth to suffer but able to purify through the reading of a single book and to finally be rescued by flying saucers of our original home. It was a perfect fit for someone like Tim.

        Cliff Martinez

        Neon Demon OST

          “(The score) is almost all synthesizer… There’s a lot of places where the music is really pushed out more into the spotlight, even more than “Drive”. I think I got a bitter part in the film, it’s flattering.” - Nicolas Winding Refn

          The Neon Demon is the latest film from acclaimed director Nicolas Winding Refn (Drive, Only God Forgives). Starring Elle Fanning (Maleificent, Trumbo), The Neon Demon follows Jesse, a young woman who moves to the neon-drenched city of Los Angeles to pursue a career in fashion modeling. Soon thereafter a group of beauty-obsessed women begin to circle her, hungering for her youth and vitality. Before long, Jesse finds herself caught in the sinister world of Los Angeles’ unforgiving underbelly. Keanu Reeves (The Matrix, John Wick), Christina Hendricks (Drive) and Jena Malone (The Hunger Games series) round out the principal cast.

          Director Refn turned once again to his frequent collaborator Cliff Martinez (Drive, Traffic) for scoring duties. Martinez has created a powerful, modern tapestry of sound utilizing synthesizers as a framework for the dark corners and vibrant vistas that make the City of Angels. The soundtrack also features the dark electro piece “The Demon Dance” by Julian Winding, as well as “Mine” a pop track by Sweet Tempest. “Waving Goodbye“, an original song written by Australian singer Sia and produced by the Grammy Award-winning producer Diplo serves as a bookend to the album.


          2xColoured LP Info: Limited blue and red vinyl pressing (one LP is red, the other blue) in gatefold sleeve.

          Includes MP3 Download Code.

          Debut output from new label Made In Glasgow Recordings established to give a platform to homebased Glasgow artists in collaboration with established DJ’s and producers worldwide. First release is Octave One’s interpretation of Glaswegian singer / songwriter Pete MacLeod’s version of "Lounge Act". A bass driven dub mix in typical Octave One style with full vocal remix from the US techno pioneers on the A side. The track toys with dynamics and frequency variations beautifully, with the sheer power of the B-line the main point of focus. Already receiving DJ support from the likes of Andrew Weatherall & Sean Johnson plus being well received by Terry Francis and Fun D'Void. Sterling stuff from these Detroit masters and a promising introduction to this fresh new Glasgow talent. Check! 

          Valentino Mora

          Body Nostalgia EP

          The men behind House of Mora, Berlin's one stop shop for deep and dreamy dancefloor tackle, return with a brand new imprint, IDO (Inter-continental Dance Organization). The name may have changed but the style is the same; slow and psychedelic house pressure for very late in the session. The debut release sees label cofounder Valentino Mora step out from the shadows to totally trip us out with two soft focus masterpieces perfect for those moments when your egostate starts to slip into the collective consciousness. Drifting into being via a sub aquatic kick and pitch shifting synth refrain, "Body Nostalgia" soon starts to spread from your inner ear to those hungry serotonin receptors in your main brain, using misty pads to coat your world in a well-cushioned softness. Relaxed bongos and shuffling hi-hats keep us moving ever forward, but happily take a backseat behind the more esoteric elements and lysergic sound artifacts. The B-side plays host to the suitably humid "Steamroom", a dopamine soaked bit of deepness which sees Mora taking the dance to the ocean floor. Fusing dream house with dub techno, the Frenchman elegantly sweeps through intangible synth lines, spheric bass and aquatic stabs, coating each element in the same watery reverb. Sexy, sensual and seriously spaced out, this is as essential as it gets right now.


          Patrick says: Valentino Mora, the man behind French Fries and that killer HOM 12" we had last year returns with another dream house essential here. Both cuts deliver dub techno textures at a relaxed house tempo, with all the right additions to trip you out at the looser end of the evening.

          Airto Moreira / Gilberto Gil

          Celebration Suite / Maracatu Atomico

          Just in time for the Olympic Games the $tateside label celebrates the music of Brazil with this double A-sider 7” single.

          On side A we have Airto Moreira's jazz-fusion / samba batucada anthem 'Celebration Suite'. A classic at the likes of Gilles Peterson's Sunday afternoon jazz-dance session at Dingwalls back in the day, and still filling floors today, nothing screams SUMMER or CARNIVAL more than this!

          On the flip we get the more mellow, slinky bossa samba track 'Maracatu Atomico' by Gilberto Gil, lifted from his 1975 album 'Viramundo'. It's another amazing track, and another sizzling summer sensation!

          Pure worries from Leipzig - three club burners steeped in Detroit traditions, distilling the explorations in collective, nervy hypnosis of KM live sets. As the music slowly unfurls, there he is at every turn, subtly tweaking its parameters, redistributing its weight, pricking its grooves into a state of utterly infectious perpetual movement.

          The two visions of 'Chilazon' track opposite pathways: the first is twelve minutes of gorgeous, dubwise, aquatic techno, spattered with kicks and razor-sharp hi-hats, and smeared with ghostly echoes; then a terse mesh of broken drums, escalating to a quiet yet feverishly intense peak. 'Lanthanum' is calligraphic swordplay, its toms and bass stabs warily circling one another in a graceful steppers’ dance, spaced-out and fathoms-deep.

          Original edit impressario Danny Krivit lets another pair of pearls slip out of his personal collection, dropping a DJ friendly 12" double header boasting two of his most secret weapons. Up first on the A-side is Danny's essential extension of Abaco Dreams' early funk classic (1969!!!) "Life & Death In G & A", a hot and horny funk strutter which powers through the dancefloor on a throbbing bassline, blazing brass and stomping percussion. Throw in some super cool vocals, harmonica and sizzling guitar licks and you're ready to rip apart any dancefloor out there - it's a total crossover killer! Over on the flip, Danny ups the dancefloor damage on the Sergio Mendes version of Tropicalia classic "Viramundo". Originally recorded with Brasil '66 for their 1970 LP "Stillness", the cut leads us beachwards with polyrhythmic percussion, sweet female vocals and killer bossa piano. Here, Danny focusses on those percussion breaks, working the loops and tweaking the EQ to boost the dancefloor impact - Superb stuff!

          New Holidays

          Maybe So Maybe No / My Baby Ain't No Plaything

          Another Athen Of The North outing into Deep Soul Space, released on their Ocean Of Tears sub label. You might recognise this track as Mayer Hawthorne's did respectable cover a few year back, as heads (Mayer included) have been on this record for years. The New Holidays massive 'Maybe So Maybe No' is part of a strange club where some original pressings of certain records only ever turn up beat to shit. DJ Fryer likes to think this is because they were SO good, and got played a lot, but there seems no good reason collectors can fathom. There are many notable members of the crap OG club, including this record right here. So, not only is 'Maybe So' a total banger but this Ocean Of Tears minty new pressing from the masters is as good as it will ever sound. Grown up soul.


          BBC Session 1971

          Previously only available as a vinyl release on John Peel’s and Clive Selwood’s Strange Fruit label during a brief period in 1988, this four track vinyl EP was the first of two sessions Nico performed for John Peel (the second was in 1974), and was recorded live for BBC Radio One’s Top Gear on 2nd February 1971 and broadcast the following week. This haunting session is Nico at the height of her creative powers as testified by those who saw her solo concerts accompanying herself on harmonium around this time.


          12" Info: 12" 45 rpm EP STEREO.

          Includes MP3 Download Code.

          Paranoid London

          We Come To Rock

          "We Come To Rock" is a cover version of a classic electro track. Given xxxtra beef and juice by Paranoid London. True to form the percussion fizzes off the wax and their acid b-lines hum and buzz and tickle all the right spots on the EM spectrum. Their trademark reverb heavy, Green Velvet-esque vocals come present and correct while the inner mechanics churn and grind for maximum dancefloor pleasure. "Buck Stoppin" samples another slice of classic electro and hot wires it for dancers & DJs alike. Pneumatic drums, rhythmic vocal snips and heavy breaks characterize this track before bleepy rave melodies place the icing on top of this highly intoxicating cake.
          This is the first new stuff since last year's album with more to come very soon. Move quick!

          The Parrots

          No Me Gustas, Te Quiero

            The Parrots release a 7” featuring the tracks ‘No Me Gustas, Te Quiero’ and ‘Let’s Do It Again’.

            Released on Heavenly Recordings, the tracks are taken from the band’s forthcoming debut album, ‘Los Niños Sin Miedo’.

            The tracks were recorded last September during the album sessions with Paco Loco at his studio in Cádiz.

            STAFF COMMENTS

            Laura says: Ace scuzzy, slo-mo garage rock from this Madrid trio.

            Dawn Penn / Jackie Mittoo

            No, No, No / Ghetto Organ

            Digitally remastered classic essential recordings from the greatest reggae label in the world.

            This is the next in the new Soul Jazz series of seminal reggae releases on 7” vinyl from the iconic Studio One Records. For this 45 we're treated to Dawn Penn's sing-along anthem 'You Don't Love Me (No, No, No)'. This is the original 1967 recording, and it comes backed with  Jackie Mittoo's instrumental organ-led Instrumental version 'Ghetto Organ'.

            Pet Shop Boys

            Inner Sanctum - Inc. Carl Craig Remix

            To celebrate their highly-anticipated, sold-out residency at London's Royal Opera House this July, Pet Shop Boys release a special 12" pressing of their single 'Inner Sanctum'. The 12" features a remix by legendary Detroit techno DJ / producer Carl Craig, as well as two original demo versions of the the track, which are exclusive to this vinyl release. The EP is completed with the album version.

            Piccadilly Records

            Slipmat - Cityscape

              Piccadilly Records logo and white 'Cityscape' print on black felt slipmat. Designed by Mark Brown (, the design is a features a graphic representation of the Manchester cityscape, which also looks like an electronic waveform created by music.

              Piccadilly Records

              Slipmat - Cityscape / Half Record

                A pair of Piccadilly Records slipmats including one each of the 'Cityscape' and 'Half Record' designs.

                Slipmat 1: Piccadilly Records logo and white 'Cityscape' print on black felt slipmat. Designed by Mark Brown (, the design is a features a graphic image of the Manchester cityscape, which also looks like an electronic waveform created by music.

                Slipmat 2: Piccadilly Records logo and white 'Half Record' print on black felt slipmat. Designed by Mark Brown (, the design is a features a graphic representation of the Manchester G-MEX Centre combined with half a vinyl record.

                Piccadilly Records

                Slipmat - Half Record

                  Piccadilly Records logo and white 'Half Record' print on black felt slipmat. Designed by Mark Brown (, the design is a features a graphic representation of the Manchester G-MEX Centre combined with half a vinyl record.

                  Pitched Black / Rage Against Time

                  Cosmicology / Rocket Number 10

                  Our faithful city has been churning out the hits this summer, with labels like Natural Sciences, Ourtime, Cerberus Future Technologies, Ruf Kutz and Red Laser all in the spotlight as producing some of the finest dance music in the world! Something In The Water can proudly stand alongside those labels, supplying Manchester with a much needed hit of freebased electronic narcosis. Run by Irfan 'Rainy City', this is the fifth release to date and features artists Pitched Black and Rage Against Time. The former contributes "Cosmicology" - a wonderfully rich and detailed electronic music EPIC. And I don't use that word lightly! - fully immersive, almost trance like in its breakdowns and rivaling all the great expansive producers like Carl Craig, Henrick Schwartz, Deep Dish etc. Choose your timing wisely with this baby and the Earth will indeed move. On the flip, Rage Against Time offers up a nouveau tribute to Sun Ra with "Rocket Number 10". A bleepy, serene audio floatation device, lying languidly somewhere between Neptune and Venus. Unhurried but captivating, RAT deploys phazed pads, light percussion and sine tone bass to the Event Horizon; conjuring up some electro-space-jazz which ranks as some of the finest of the genre. Excellent stuff as always from this MCR legend. Recommended.

                  Professor Tim O'Brien, Jim Spencer & David Tolan

                  Hello Moon, Can You Hear Me? - Limited Picture Disc

                    Hello Moon is a unique collaboration between Professor Tim O Brien from Jodrell Bank and Stargazing Live and music producers Jim Spencer and Dave Tolan who have worked with New Order, The Charlatans and Echo & The Bunnymen. The idea was simple - to make the sound archive of Jodrell Bank into a hit single/dancefloor smash using sounds from the big bang to the present day, from sounds sent to earth from all over the universe.

                    The results have been made into a moon shaped picture disc with Professor Tim running through the origin of all the sounds on the B-side. Billions of years in the making

                    Psychic Lemon

                    Psychic Lemon

                      Brighton’s very own Drone Rock Records are pleased to present the perfect Psych album to soundtrack the summer (when it finally arrives!) …Psychic Lemon's self-titled debut. Having worked with bands from Argentina, Germany and Canada it's time to bring things a little closer to home and Cambridge's Psychic Lemon fit the bill nicely. This album has already received glowing reviews including :-

                      "If you have ever wondered what a cross between Primal Scream, Amon Duul and Jethro Tull sound like then Psychic Lemon may just be the band for you. A curious amalgamation of sounds, their entire album is akin to freewheeling out of the cosmos on a wave of flutes and thumping bass lines. Throw in a huge dose of Bobby Gillespie style vocals circa Vanishing Point and you have an album fit for the title of most stupendous psych release so far this year.”
                      Echoes And Dust

                      "every now and then a 'small' band will contact me whose material just blows me away...Psychic Lemon are one of those"
                      Dayz Of Purple And Orange

                      "Psychic Lemon have released certainly one of the most kick-ass amazing psychedelic records I’ve so far heard this year"
                      Psychedelic Waves

                      "How much musical bliss they bring is hard to describe"
                      Arctic Drones

                      The record has also been picked up by Tom Robinson at BBC6Music and has had several airplays on his show. This edition is pressed on Psychic Lemon yellow vinyl.

                      FORMAT INFORMATION

                      Coloured LP Info: Pressed on Psychic Lemon yellow vinyl.

                      Modern day Double-O duo Nick The Record and Dan Tyler team up for another Record Mission, digging deep into their collections for a trio of tip top dancefloor oddities primed for a little edit action. This time round the duo drop a Gospel heavy holy trinity here, treating us to irresistible god-bothering booty shakers, for beginnings, middles and ends. Praise be! Holding it down on the A-side is "Highway To Heathen", an oddball electro-disco groover which sees simmering jazz-funk keys and lively brass soar through the pearly gates on the wings of Latin percussion. Electrifying synth noodle and evangelical vocoder round out a weird and wonderful dancefloor delight, clothed in an appropriate amount of spectral echo and dreamy delay. The flipside kicks off with "For Heathen's Sake", a biblical boogie anthem blessed with sanctified vocals, euphoric piano and propulsive bass, perfect for the lazarus-style revival of weary revellers at the tail end of a heavy night. Appropriately enough, the EP closes with the sing-a-long Balearic end of nighter "He Touched Me", a spiritual experience if ever I've heard one. Celestial pianos scoot along atop a bubbling electronic bassline, while our robed vocalist leads the congregation in righteous song, lifting us on high before the heart swelling chord progression pushes us over the end. It's the best Balearic-disco-gospel floor filler since Mark Seven's "Higher", and that's the highest praise I can think of!

                      Lou Rhodes


                      Lou Rhodes’ fourth solo album defies categorisation. Yes, there are elements of the singer-songwriter roots she bathed in growing up but these are embroidered with a rich palette of stark piano, vocal layering, transcendent harp and strings all wrapped up within a heady smattering of vintage reverbs.

                      “I had a bunch of songs”, says Rhodes, “but I wasn’t sure which way to go with them. I had a gut feeling I wanted to experiment with a slightly psychedelic feel and, by chance, met up with Simon Byrt (co-producer) in a friend’s studio. It turned out that he has a strange passion for vintage spring and tape echoes and, before long, we’d decided to make a record together.”
                      Recorded in that same friend’s studio in rolling Wiltshire countryside crammed full of an analogue nerd’s paradise of vintage desks (one of which was used in the Beach Boys “Smile Sessions”), microphones and tape machines supplemented by Byrt’s own collection of reverb boxes. Acoustic guitar was played by Rhodes, additional guitar, bass, piano and synths by Byrt, abstract pedal steel by Ian Kellet, drums by NikolajBjerre, string arrangements by Danny Keane and harp by Tom Moth.

                      After six albums with electronic genre-benders Lamb and three solo albums to date, including the Mercury nominated “Beloved One”, Rhodes’ capacity as a songwriter and interpreter of songs is fully road-tested but never formulaic.

                      Rhyton are the Brooklyn-based trio of Dave Shuford (D. Charles Speer & The Helix, No Neck Blues Band), Jimy SeiTang (Stygian Stride) and Rob Smith (Pigeons).

                      Rhyton take ancestral forms, instrumentation and scales, primarily sourced from Middle Eastern and Greek traditions and incorporate them into the context of scorching improvised rock.

                      On ‘Redshift’, Rhyton expand their sound and defy expectations by creating a galactic country throwdown, exemplified by the otherworldly cover of Joe Walsh’s ‘Turn To Stone’.

                      Artwork by legendary New York illustrator Arik Roper (Sleep, High On Fire, Howlin’ Rain, Earth, Pig Destroyer).

                      “Freewheeling homeland psych.” - Uncut

                      “Ecstatic cyclic euphoria. Right on!” - Mojo

                      “Their astral flights can end up anywhere, carrying on the ethos of collective spontaneous combustion that goes back to ancient trance rituals, as well as the Fillmore West and New York underground.” - Prog

                      “There’s literally no other band that could handle this heady material with such confidence and ease.” - Exclaim!

                      FORMAT INFORMATION

                      LP Info: LP version pressed on virgin vinyl with free download card.

                      Max Romeo

                      Horror Zone

                      Max Romeo has teamed up with UK based, Grammy nominated producer Daniel Boyle; to create a stunning return to form, roots reggae album with accompanying dub versions.

                      Max and Daniel have teamed up with an all-star cast of musicians to create a true Part 2, to Max’s legendary; ‘’War Ina Babylon’’ album. Using strictly Studio equipment ranging from between the 1950’s – 1970’s, recorded and mixed in 100% analogue format, and presented with stunning artwork by Tony Wright. To compliment the music, we have some stunning original artwork hand painted for the project by the legendary Tony Wright. Tony was responsible for hand painting Max Romeo's' War Ina Babylon' album artwork, Lee Perry's seminal dub album 'Super Ape', Bob Marley's Natty Dread, I Jahman Levi's 'Hail him', Junior Murvin's Black Ark album 'Police and Thieves',

                      Sterling Roswell

                      Atom Brain Monster - Rock!

                        New Psychedelic Space Rock From Ace Spaceman. "Atom Brain Monster-Rock!", Sterling Roswell’s first release with Blang (limited edition 7”vinyl) is a lurching blank-eyed rock and roll swamp-abilly thing dripping fuzz and tremelo over your turntable as the Spacemen 3 cosmonaut Sterling Roswell calls from the shadows about Obama keeping Cameron's brain alive in a pickle jar. In Sterling's own words, "It’s about a greedy little man that is supposed to be working for the good of the nation, but instead tries to rip off the system that people have worked so hard to build – the NHS and the welfare of the people is being traded off the jet set life styles of a class of pig fucking, oil spilling, gun running Tory terrorists."

                        Any attempt to categorize ROSCO aka Sterling Roswell, runs the risk of misrepresenting a true radical. Artist, musician, poet and producer, Roswell is all of these and more and over the years, as he has embraced a myriad of artistic forms to great effect. Live appearances include a successful solo tour of the UK in April 2016 ( with Jim Jones & The Righteous Mind) also 2015 shows in Holland, Belgium, Germany, France, Spain, and Portugal, 2014 UK shows in London, Glasgow and Edinburgh, 2012 and 2013 two tours of all major cities of Italy and also 2012’s solo tour of the USA,18 cities in 21 days, starting in NYC and zig zagging across country to Los Angeles for the LA Psych Fest at Echo with The Strawberry Alarm Clock, the show has always held audiences spellbound and is THE act to see in this new age of psychedelia. The band is a rotating collective of musicians that centre around Roswell’s songs and guitar with Martin Langshaw ( The Perfect Disaster / Spacemen 3 ) on drums and percussion, Claire Harrison on Voltage Controlled Oscillator and on occasion Pete Bassman ( Spacemen 3 / The Darkside ) bass vibrations. 

                        Spring Theory alumni Keita Sano returns to deliver the latest EP on the San Francisco / Paris-based label. Titled "Miles", it's an adventurous sample collage of a three-track EP that showcases the rising Japanese producer's knack for crafting unusual yet effective cuts for leftfield dancefloors. The EP begins on a jazzy tip with the sample heavy drive of the titular "Miles." Tough and jarring, it features a jigsaw puzzle of piano riffs, vocal blips and symphonic murmurings that build into one neatly designed sonic sculpture. Never one to be satisfied with the ordinary, Sano breaks it all down with a trumpet-led interlude that evokes the muted coolness of the track's namesake. "Blue" sees another rich sonic tapestry constructed from bare bones. Its chugging, tribal drums provide a trance-inducing rhythmic base for a moody mix of saxophone wails and lush keyboard runs. Headturning yet totally in sympathy with the dancefloor, this may well be the functional cut on the whole EP. Sano finishes the record with a blur of digitally chopped, ritual chanting on "Varna." Complete with jittering voices, droning gongs and weaving calls to prayer, it's the kind of weirdo psychedelic track that'd perfectly soundtrack the shift from a late night to an early morning. Another quality set from Sano, most recommended.

                        The LP "Mirage", as predicted by Record World, "will establish Klaus Schulze as one of the most outstanding electronic music composers."

                        Re-release with extended linernotes and bonus-material Schulze's flexibility in voice and and the final product certainly show the bizarre winter scenery, especially the epic piece "Crystal Lake", which is loved by Schulze fans all over the world

                        For many fans "Mirage" is considered to be one of the most important Klaus Schulze works of the 70s.

                        Klaus Schulze


                        Re-Release of the originally 1974 released Klaus Schulze-classic album "Timewind". Digipack re-release with extended liner notes in a 16-page booklet and with generous bonus.

                        Evolving slowly but deliberately over the course of each album side, "Timewind" has been deemed an electronic version of an Indian raga. It resembles in many ways a longer variation of the third track from Tangerine Dream's classic 1974 album Phaedra, "Movements of a Visionary", but it remains a transitional work somewhere between the Krautrock of Schulze's earlier output and the Berlin School character of his following efforts. The intention of "Timewind" was to invoke a timeless state in the listener.

                        Both track titles are references to the nineteenth-century composer Richard Wagner, Bayreuth is the Bavarian town where Wagner had an opera house built for the first performance of his massive Ring Cycle. Wahnfried is the name of Wagner's home in Bayreuth in the grounds of which he was buried in 1883. It is also a pen-name used by Schulze himself.

                        Nina Simone

                        It Is Finished

                        Cool 1974 semi-live soul-jazz LP from Nina with sitar, Madagascar harp, Spanish guitar and lots of interesting-sounding African percussion instruments. Includes the epic heavy-afro version of "Funkier Than A Mosquito's Tweeter" with a massive percussion breakdown! Very nice stuff.

                        Some believe that the environment in which you make music - from the studio space, to the location itself - has a profound effect on the creative process. Immerse yourself in the world around you, the theory goes, and it will shape the music you make.

                        Listen to 'Gorthleck', the third album from veteran downtempo alchemists Benjamin Smith and Paul ‘Mudd’ Murphy, and you can almost visualise the craggy, windswept and breathtakingly beautiful environment in which it was made.

                        Reconvening after a near seven-year hiatus last summer, the duo headed up to the Scottish Highlands to spend a week recording in the surrounds of Gorthleck House, nestled on the shore of Loch Mhor in Inverness-shire. Earlier this year, they returned to the same venue, with its’ stunning views of the tranquil loch and rocky, wooded hills rising in the distance, to complete the nine-track set.

                        Certainly, the immersive environment and famously changeable weather seems to have inspired the longtime friends and studio partners. The album’s epic centrepiece, the nine-minute “Mhor”, sounds like an emotional love letter to the body of water they strolled alongside every day. Its undulating synthesizer line - reminiscent of classic Tangerine Dream and the Orb’s “A Huge Ever Growing Pulsating Brain” - mimics the slow ebb and flow of water across the loch, while Smith’s shimmering guitar lines mimic the glint of sunlight reflecting off the surface.

                        Elsewhere, the audio references are a little more subtle, but no less relevant. The hazy jazz guitars, twinkling pianos, rich grooves and fluttering clarinets of “Nether” sound like the perfect accompaniment to a single malt whisky-fuelled sunset session at the water’s edge, while the quietly foreboding aural textures, layered guitars and urgent electric violin of “Enos” evoke memories of watching storm clouds gathering behind distant Highland mountains.

                        The same could be said of “Mr Coats” - a track arranged in steamy Mexico, and blessed with all the humidity you’d expect from such an excursion - while you can hear gale force winds whistling around the rafters on “Dogwood”. As for “Errogie”, it’s as bracing as a crystal clear morning in the Highlands; chilly, but hugely life affirming.

                        The duo’s previous two albums, 2007’s 'Blue River' and its 2009 follow-up, 'Le Suivant', were both hugely evocative, but neither captured a distinct a sense of time and place quite like 'Gorthleck'. Listen carefully, and you could almost be there with them, watching the sunrise and sunset.

                        FORMAT INFORMATION

                        CD Info: Limited edition - individually numbered.


                        Heaven Scent - Feat. Chloe Sevigny

                        The Deewee machine powers on, rotating its robotic limbs into all manner of oddball dancefloor contortions, throwing metallic shapes to the sublime sound of Soulwax. "Heaven Scent" sees the brothers Dewaele team up with renowned actress Chloë Sevigny for a kitsch and killer take on the wonkier end of the 80s discotheque. While the boys augment a bell-led percussion groove with woozy keys and low slung bass, Ms Sevigny recites 'Prayer To Saint Thérése', resulting in an odd brew of celestial sleaze which swings loose limbed between "The Dominatrix Sleeps Tonight" and "Adventures In Success". The B-side has the effect laden DEEWEEDUB doing exactly what it should do, expanding, extending and rearranging those delicious ingredients into a new flavour.

                        Crunchy, tattered and enjoyably odd 'Orange Melamine' is a lovingly produced and deeply personal album that laces supernatural sounds and translucent synths with a sense of overflowing harmony. Washed in reverb and draped in hiss, the album draws influence from the old VHS tapes handed down to Space Dimension Controller from his older brother and cousins, as well as artists like Boards of Canada, Brian Eno and William Basinski. The album is also steeped in audio and visual references from 80s and 90s sci-fi films and animations; from The Guyver, Short Circuit, The Gobots, and Ghostbusters through to The Fifth Element, Escape from New York and Power Rangers.

                        The recording process involved Space Dimension Controller (real name Jack Hamill) using a batch of unopened Pyral cassette tapes from the 70s, some of which were so old they had degraded, he claims: “A lot of the drum sounds were created from scratch in some granular programs and putting them onto the tapes really changed the sound of them. Every track in each track was recorded separately onto one of these tapes at double speed and 200% pitch then the tape was recorded back into the DAW at half speed. Looking back at it now, I can’t believe how patient I was when making this album, it really took a long time.” The use of these tapes creates a rough prettiness and incessant buzz beneath the stuttering beats and glitch-heavy techno effects. On tracks like “The Bad People” and “West G Cafetaria” Hamill, like the best producers of his ilk, has made something just short of pop music without compromising the album’s essential strange qualities.

                        On 'Orange Melamine' Hamill skilfully displays his early ability to make electronic tracks there are intricate and futuristic but also imbued with personality. Original without being difficult, enjoyable while being distinctive; that Orange Melamine triumphs without compromise is testament to a distinctively creative artist.

                        FORMAT INFORMATION

                        Includes MP3 Download Code.

                        Starship Commander Wooooo Wooooo


                        Truly nuts and really kind of essential... the Starship Commander had his whole approach to the synthesiser voice technique. A B-boys / B-girls delight. Check the instrumental cut, 'Mastership' - a head nod synth voyage of the highest order. Limited copies. 
                        “How are you doing, Earthling?” That’s how Omer Coleman, Jr. addressed his public in the 80s, driving around Kansas City, Missouri in the electric space-car built especially for his alter ego Starship Commander Wooooo Wooooo.

                        Left Ear Records went back to Coleman’s original master tapes for their vinyl reissue of the Commander’s 1981 private press album 'Mastership', a lost electronic funk classic. Coleman performs in an alien voice that comes not from electronic filtering but from his own natural vocal distortions. This visitor from Mars wants people to be happy and, like his song goes, “Laugh and Dance.” It’s an endearing and very personal space-age funk that blends George Clinton and Kraftwerk in a vision of a better and happier world.

                        Born and raised in Kansas City, Coleman was musically inclined from an early age. His parents couldn’t afford to buy him a real drum for orchestra, so he took up electrical wiring and wood shop instead, which fed his muse in a different direction. Omer built enormous speaker cabinets. In the late ‘70s he was a DJ, and ran a Mobile Disco business that took him across the country, hosting parties. After a trip to California, he came back to Kansas City inspired to dress up as Commander Wooooo Wooooo.

                        The future commander began working at the Armco Steel Mill in Kansas City when he was 18. He was inspired by older machinists who demanded perfection in their work and in their character. It was while he was working at the steel mill that Coleman came up with Starship Commander Wooooo Wooooo. One day coworker John Manley came up to Coleman with a vision of an electric car, and built it. His coworkers built all of his equipment, from lighting and fog machines to big steel eyeglasses. Coleman’s sister, a seamstress, created his outfits.

                        Coleman started his own label in 1985 but took some time off from music to raise his children, and when they came of age his son recorded with Coleman as a gospel vocalist. When his son was killed in an auto accident in 2004, it took something out of him, and he stopped making music. But he's starting to get the feeling again.

                        Now 62, he’s currently enjoying his retirement from a long stint with the IRS. The former Commander is in the middle of a house project where he’s using metal ceiling tiles to line his walls. It’s starting to look like a spaceship. Coleman promises, “There is a real good possibility that we have not seen the last of Starship Commander Wooooo Wooooo! - Pat Padua

                        Sterling Styles

                        Bye Bye / Nobody

                        22a’s eleventh release comes from Sterling Styles. A newcomer to the 22a roster, Sterling offers two cuts of classic garage, originally recorded in 1998. "Bye Bye" skips along with soulful male vox and a rambunctious, snappy beat which rumbles with supporting sub undertones. Rich piano chords compliment the arrangement wonderfully with Styles showing pure finesse with the construction of this potent club jam. "Nobody" revisits that golden time when deep house and broken beat collided. Again, full of sensuous sub frequencies, this particular offering is peppered with lush horns and more emotive vocal snippets. OG garage heat from this south London camp. Limited to 500 this is a release not to be missed.

                        LA/Joshua Tree based Sugar Candy Mountain deliver carefully built psychedelic odes in the style of Jacco Gardner and Tame Impala. Their newest album 666 feels like something unearthed from a box of records found in your dad's garage, glowing wistfully with vintage inspired tones, rambling organs, fuzzed out guitars, shimmering keys and sprawling drums. Ash Reiter's woolly voice croons with the icy warmth of Francoise Hardy, while Will Halsey's tender Lennon-esque vocals uncoil with easy languor. Recorded with Jason Quever of Papercuts, the bands sophomore album sits comfortably between 60's Laurel Canyon bliss and more modern production of Dave Fridmann (Flaming Lips/Tame Impala).

                        666 is the band's first record after deciding to retire Ash Reiter's eponymous solo project to focus solely on Sugar Candy Mountain. With this shift Ash became more heavily invested in writing for the project. On 666 the band moves away from the grandiose production of their previous album, Mystic Hits, on which some songs featured over two hundred instrument tracks. The majority of basic tracking was done on Jason Quever's 16 track Ampex tape machine through a Neve console, and completed at the bands home studio. Under Quever's guiding hand, production on 666 is significantly simplified, favoring featuring strong melodies over the wildly playful orchestrations of Mystic Hits. Quever is also significantly featured on the record as a player, with his influence distinctly coloring the album. 

                        FORMAT INFORMATION

                        Indies Exclusive LP Info: Pink vinyl edition.

                        Hot on the Heels of the essential TCP reissue (I know I say that a lot, but I strongly suggest you get on that cosmic masterpiece), Middle East-via-Berlin imprint Disco Halal drop a trio of reworks from label head Moscoman. A longtime fan of the LP, and the driving force in its much needed reissue, Moscoman kept the idea of this passion project in the back of his mind for years before his dreams finally came true. 'It all started when I first heard the record a few years back, I did an edit for the first track, "The Dynamic Energy" and started to play around with "Oasis" as a sample. "TDE" has been on my DJ stick for a long time, and I've basically played it almost every set for the past 2 years or more, but that's where it stopped, figuring nobody would ever try to license the other tracks, or samples, the release of it seemed like a faraway dream. I still remember the message I got back from Tony Carey, being so casual about it, "Yeah sure, do whatever you want with it", one of my highlights no doubt, I rushed back to the old folder in my studio and dusted it off, this is the result! (I have done edits/reworks for all of the tracks, but I selected to release only these, the reason to be disclosed soon.)' 

                        We're still faded off Ichisan & Nakova's Scando-learic "Princesa" and already the Cosmic Pint Glass gets a refill, coming back for another round of double-hopped dancefloor delight. The loopy juice comes courtesy of London's Toby Tobias this time out, who takes the sun, citrus and grape of Eivissa and blends them into a thirst quenching brew with all the right notes. Dedicated to his Ibizan land lady, lifelong hedonist, original White Isle party chick and friend of Grace Jones, "A Room For Babette" takes us out onto the terrace for a swift sundowner before slipping us something extra funky and taking us for a dance. Boasting crunchy effects and the odd explosion, the steady mid tempo beat pays homage to dub pioneers while the future primitive sounds of synth flute, synth sax and synth bass are reminiscent of the early 90s Italian sound or recent rockers from Young Marco or Andras Fox. There's so much sun, sea and sand in this number you'd think it were pressed on a frisbee. Totally under the influence of Toby's intoxicating funk we sneak off to a secluded cover for the late night loving of "Touch Meh". The sexiest and sleaziest cut to fall under Toby's edit spell, "Touch Meh" bounds through bump and grind bass and leisure suit vocals while the London producer cooks up a sizzling streetsoul beat and gets frisky with the space echo - remember to use protection kids. As we float away on a wave of post coital bliss, the hazy sound of lapping waves, dreamy pads and sultry strings starts to sharpen into focus, leading us off on an ocean of pleasure. With Ptaki at the helm, we sweep past seals and dolphins, sea birds and swell, exploring the tropical textures and natural melodies of the deep ocean. A pulsating kick and submerged hats remind us that time still goes on, holding us down before the aquatic keys expand our minds beyond all limits. Drink this one deep and long my friends.

                        FORMAT INFORMATION

                        12" Info: Limited pressing in hand screen printed sleeve.

                        'Lost Stories' is a collection of 18 beats from the archives of UK producer Jim Coles, best known today as Om Unit, and released by Justin “Kutmah” McNulty’s IZWID label. The album is both a portrait of the artist as a young man, and the completion of a circle, ten years in the making, that stretches from London to Los Angeles. Before he became Om Unit, Coles was working under the name 2tall. Throughout the 2000s he lived in and around London, lodging in various smoky flats where he would set up an always shifting home studio. Days were spent studying music, meditating, and learning the ropes of electronic music production while also honing sharp turntablist skills. Between 2005 and 2008, Coles made a lot of beats, part and parcel of his artistic growth. Lost Stories collects eighteen of the best, unearthed from old hard drives and Cubase sessions and never heard until now. Influence came from American labels such as Plug Research, Ghostly International, Poobah, and Stones Throw where a new generation of artists worked in a middle ground between hiphop and electronic, a place of infinite possibilities. The album shows a maturing 2tall sound while sketching out the outlines of what would become Om Unit: you can hear it all in the swing of "Potholes", the confident chug of "Timeless World", the hypnotic bass of "The Roller", the awkward loop of "30 mins", the strut of "Night Vision", and the uplifting vibes of "Over The Clouds". Kutmah first discovered 2tall’s music after Ras G had ordered copies of his last album into Poobah Records. Years before they ever set eyes on each other, the two were connected through a mutual appreciation of their respective work. 'Lost Stories' came together during a joint Australian tour in spring 2014. Featuring artwork by Kutmah, it captures a moment in time when experimentation mattered above all else, when possibilities felt abundant, and when a beat could be a doorway into infinity. And it also reminds us that you must remember where you came from in order to understand where you’re going. 

                        FORMAT INFORMATION

                        LP Info: Limited green and black marbled vinyl pressing.

                        After setting controls for the heart of the sun with the psychedelic glory of Sleep D's "Live At The Fairfield Amphitheatre", Analogue Attic slip into the oceanic calm of "Open Water". Inspired by marine moments and aquarium acoustics, UDMO aka Daniel Oliverius leads us through four more immaculately produced electronic workouts firmly in the ambient / deep house realm. Close your eyes and slow your breathing as you begin a journey into the deep, the titular "Open Water" riding fluid bass and drifting pads towards the beauty of an underwater cave. "Pope's Eye" sees UDMO top a brushed drum beat with immersive textures and slow burn strings, while "Point Roadknight" grows from drizzling ambience into a refined dub techno masterpiece. "Isolation Theory" rounds the set out with more dub techno aesthetics, this time though incorporating dream house keys and Italo motifs to form the perfect companion to the recent Valentino Mora 12". It's another beauty from this fine Aussie import, and one that should have no problem soundtracking a lazy summer afternoon.

                        Jim White

                        No Such Place

                          Superior Americana from Jim White. Includes contributions from, Morcheeba, Q-Burns, Sohichiro Suzuki and Andrew Hole.

                          “Mr. White has both a literary streak and a crackpot imagination... he brings shards of Southernness, including plinking banjos and bluesy slide guitars, into surreal realms where they may collide with finger cymbals or hip-hop drumbeats ... His lyrics mix the calm fatalism of old country music with the fractured causality of Surrealism, while his arrangements set the words in a backwoods filled with electronic ghosts.” - New York Times

                          “Sounding like a deranged hillbilly hipster, (part Gram Parsons, part Jack Kerouac), White makes creepy music deluxe.”

                          “Faded church bells, muted sirens, insect noises, white noise, rickety turntable scratching, and electronic beats take “alternative” country music to places it’s never been before.” or “ times gothic, at times bizarre, and at times, absolutely stunning.” -Stylus Magazine

                          Norma White

                          I Want Your Love / Version

                          Digitally remastered classic essential recordings from the greatest reggae label in the world.

                          This is the next in Soul Jazz series of seminal reggae releases on 7” vinyl from the iconic Studio One Records. This 45 includes vocal and instrumental cuts of Norma White’s heavyweight Studio One reggae version of Chic’s ‘I Want Your Love’. As reggae-disco covers go, this is right up there - a surefire BBQ winner!

                          Various Artists

                          Africa Airways One & Two (Funk Connection 1973-1980, Funk Departures 1973-1982)

                          First released in 2015 as two separate vinyl compilations, “Africa Airways” is a deep exploration into the furthest parts of 1970’s and early 1980’s. 

                          The last decade has seen the un-tapping of an apparent endless well of music from the mother continent and this compilation (in our not so biased opinion) uncovers some of the cream of the crop and stands as one of the finest exponents of the African take on the music that it directly influenced, that being the funk and disco from the USA.

                          Featuring music from Cameroon, Nigeria, South Africa and the international African diaspora with artists including Manu Dibango, Jo Tongo and Jake Sollo this a truly pan-African affair, full of analogue synths, polyrhythms, rich vocals, jangling guitars and production slicker than oil. For lovers of music to get down to, this will make your rubber soled shoes burn.

                          The original pressing of the vinyl compilations sold out so quickly that another two represses had to be made to keep up with demand. For those not to latch on to the vinyl resurgence and prefer the old school CD format, this compilation is the one for you!!!

                          After the success of ‘Kouté Jazz’, Heavenly Sweetness comes back with a dancefloor compilation, something keep your feet moving through the whole summer! 13 disco, boogie and zouk tracks recorded in the 80's in the West Indies.

                          This is a dancefloor album compiled by Digger’s Digest and is a great project for fans of the Tropical music movement and electronic music with 12 tracks that have never compiled before.

                          The advantage of this selection is that it reveals a broader spectrum to the Zouk music style that is poorly defined. Consider the tracks hidden gems, despite previously being interpreted by some big names in Caribbean music (Pierre-Edouard Decimus / Patrick St. Eloi / Eddy La Viny). These Tracks reveal this will of singularity, this merger between traditional and other rhythms genres (funk, disco, afro-beat, Latin Brazilian), with the addition of new instruments such as synthesizers and drums machine in the creative process.

                          In many Zouk's albums, this period often included one or even several tracks that were qualified as "proto-zouk" and "funky-zouk" or the "boogie-zouk" to emphasize the fusion of genres. But these tracks have remained unknown to the general public...

                          The 4th Ark to Ashes hits us with more of that deep, dubby house sound that's perfect for sweltering oneself under the summer sun. The A-side features a new project called APSE by Shadi Megallaa & Sasha Kaline of Alka Rex. "Conflux" marches forth with tribal congas, ghostly atmospheres and a smoked out sound which merges UK soundsystem idents with a rootsical, dub-house aesthetic that should get the shoulders dropped as much as it gets the hips wiggling. The Linguini’s remix of Monotax's "Speaker Head" is up next. Previously released on Igloo Records it makes a worthy reappearance here with unfathomably deep dub textures, delicately placed perc artifacts and a real heads-down approach. Excellent. Side B features a collaboration between 2 of the Analog Room residents, Shadi Megallaa & Siamak Amidi. "The Gyps" a cerebral, textured glider which lulls the listener onto its serene plane with ease. Lysergic elements are introduced compassionately throughout as we're taken on a smooth trip into an expansive horizon. Up next are the Leftback boys, Michael McLardy & Dudley Strangeways. "Spacer" sees the astronaut's tether cut completely for some anti-gravity space walking; complete with those authentic dub-techno stabs which instantly bring to mind the master Basic Channel and Deepchord. Brilliant EP from the Ark To Ashes crew. Recommended. 

                          Multi Culti's astrological archive expands into vinyl-phase #2 with deep lunar trips and solar worship from Nicola Cruz, Moscoman, Zongamin, Manfredas, Umoja and Crowdpleaser feat Mah'Mood. Fly with us, friends - we have places to go, faces to see, sounds to collect and feelings to make. We start our journey in the company of Ecuador's Nicola Cruz, a musical maestro fresh off his debut album on ZZK and primed to take off with his folklorically dope live set. His most floor friendly work to date, "Pagano" strolls out of Compass Point studio's in a multicoloured poncho carrying the smell of good ganja. Mr Cruz lifts a tasty bit of the "Pull Up To The Bumper" riddim, lays down some sweet guitar (rhythmic wah and voodoo lead), hypnotic bass and tripped out synth licks, resulting in a cosmic swampsong for the horizontal dancers - this is my jam! The A2 sees Disco Halal mainstay Moscoman kick it in a latino style for a change, flexing his skills into different lingual terrain, masterfully mixing things up in his inimitably unconventional style. Freestyle drum machines, naive mallets and South American vocals all combine to make this mother a must have. News flash, Zongamin is back - The madly talented Japanese cowboy-funk maestro throws down a six string shoot-em-up serenade for talented lovers in cults of the future, everywhere. Kicking off the flip with a bang, Manfredas lights a lethal stick of incense on "Glasswalk", a musical memoir of riding a crack pipe out of an opium den in the slums of Mumbai. True story. Alongside skewed sitar drones and mind altering fx, the Lithuanian lays down a thick and rumbling bassline, purpose built for bursting out the subs.Next up, flying Dutchman Umoja drops "Umboweti", a cheerful jungle jaunt which sounds like Francis Bebey, stripped down and mixed for the club. Devastatingly simple, this future primitive ode to pygmy polyphony guarantees smiles and vibe elevation. The trip concludes with Switzerland's Crowdpleaser teaming up with Egyptian homie Mah'mood for a majikal rendition of pre-Islamic poem Yasmin, featuring hauntingly beautiful vocals from Tunisian wedding singer Habib. Boasting far out future cosmic and dancefloor psychedelia from the off, this is right up my milky way!

                          Sky Girl is a mysteriously unshakeable companion, a deeply melancholic and sentimental journey through folk-pop, new wave and art music micro presses that span 1961-1991. A seemingly disparate suite of selections of forgotten fables by more or less neverknowns, Sky Girl forms a beautifully coherent and utterly sublime whole deftly compiled by French collectors DJ Sundae and Julien Dechery.

                          From Scott Seskind’s adolescent musical road movie to Karen Marks' icy Oz-wave, the charming DIY storytelling of Italian-American go-getter Joe Tossini and the ethereal slow dance themes of Parisian artists Nini Raviolette and Hugo Weris, Sky Girl resonates on a wide spectrum historically, geographically and stylistically. It unites in a singular, longing, almost intangible ambience.

                          If the names sound wholly unfamiliar that doesn’t matter, the nature of the compositions swiftly nurtures an intimacy with these lonely, poignant, openhearted wanderers. Most were available in a very limited capacity at the time of their release, some were never really released at all - Gary Davenport declined to release Sarra after he split with the girl for whom the track is named - years later a friend convinced Davenport to allow him to put 100 copies online to sell and DJ Sundae was quick enough to snare one. Beyond their scarcity, these tracks are bound together by a certain raw beauty that's achievable when music is made and no one is listening.

                          Sky Girl comprises of fifteen officially licensed songs, a two year international scavenger hunt through long-folded home label operations, the depths of internet forums and traceless acetates. Both compilers are well trained record sleuths - DJ Sundae's labels Hollie and Idle Press have reissued Arthur Russell affiliate Nirosta Steel and DIY relic Pitch, while Julien Dechery previously compiled 'Fire Star', a retrospective on Tamil film composer Ilaiyaraaja, for Bombay Connection.

                          FORMAT INFORMATION

                          Includes MP3 Download Code.

                          Various Artists

                          The Minimal Wave Tapes Volume One

                            This is the first volume of a series of compilations bringing together undiscovered new wave music from Europe and North America recorded in the 1980s. Most of the songs were originally released on limited edition cassettes or 45s by the artists themselves, and only a handful of people knew about them. Now, they've been remastered from their analogue source tapes for your listening pleasure, brought to you by Veronica Vasicka and Peanut Butter Wolf. 14 tracks including Linear Movement, Crash Course In Science, Oppenheimer Analysis, Mark Lane, Tara Cross, Turquoise Days, Bene Gesserit, Esplendor Geometrico, Das Ding, Martin Dupont, Deux, Somnambulist, Ohama, and Das Kabinette.

                            FORMAT INFORMATION

                            2xLP Info: Double vinyl in gatefold sleeve.

                            Rose Records celebrate their first five years as a record label this Summer.

                            What started out as a boutique outlet for the productions of a bunch of close friends morphed into one of the industry's most sought-after imprints, kick-starting the careers of Martin Hayes, Luvless and M.ono, who manifested themselves as headline attractions at clubs and festivals the world over.

                            A birthday calls for a party. A house party, in a no-frills basement with a fat rig, for which Rose Records provides the soundtrack. Rhode & Brown nabbed Moony Me again and set the mood with their hard-hitting, synth laden chug-fest 'Lonnie's Stiff'. Martin Hayes turns down the lights and takes things to the deep with the rolling basement groover that is 'Villa Vanilla', which should please fans of Box Aus Holz releases.

                            On the flip Jan Ketel & Siggatunez provide the eyes closed / hands in the air moment with the lush 'Grand Central Park Piano' that couldn't be more Rose Records if it tried, and finally M.ono & Luvless give the punters what they came for with a beefy, retro sounding slice of big room Deep House with massive stabs and chopped up hiphop vocals.

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