disco . italo . cosmic . disco-not-disco . boogie


Genre pick of the week Cover of Heaven Scent - Feat. Chloe Sevigny by Soulwax.


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.

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.

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. 

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'. 

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!

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.

        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!

        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

        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.


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

        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...

        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!

        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.


          2xLP Info: Double vinyl in gatefold sleeve.

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