MAGIC MIX

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

WEEK STARTING 5 Feb

Genre pick of the week Cover of Night & Day Sexy Ton / Shoe Shop by Finnitus Edits #1.

Finnitus Edits #1

Night & Day Sexy Ton / Shoe Shop

From the dusty bargain bins of Europe comes Finnitus Edits #1! Hidden in plain sight, two Italian disco monsters have been rearranged for your pleasure, with the seductive flamenco guitar of the up-beat "Night and Day Sexy Ton", balancing out the massive bassline madness of "Shoe Shop". If sultry, slinky disco brilliance is your cup of hot drink, then these two caffeinated killers should have you up all night long. On the A-side, the up-tempo disco stomp of "Night And Day Sexy Ton" romps out the grooves like an Italian stallion, hitting us with the same rocky Mediterranean sound the likes of Macho, Chaplin Band and Gianni Bella specialised in. Alongside rapid fire flamenco, chunky chords, a fluid bassline and sweeping strings, we get treated to dramatic, cinematic, progged-out chord progressions and shouted vocals for a full frontal 'kitchen sink' assault. On the other side, our mysterious editor sharpens his scalpel and gets to work on the pulsating, synth funk sound of "Shoe Shop", a camp as Christmas mid tempo cut perfect for sleazy nights in the club. A "Planet Claire" style bassline pushes us towards the peaktime, while wah guitars, twinkling synthlines and full blooded vocals introduce some welcome wonk into the track.


The P&P reissue-a-thon continues this week as we're treated to another pair of long out of press pearls from the classic New York imprint. One of the most powerful disco cuts from the P&P Affiliate 'Land of Hits' Label, "New York’s Movin’" is faithful to the name. A seven minute-plus disco gem of percussive breakdowns, a solid bass groove, classic strings, and enough guitar licks to make Nile Rodgers rip out his trademark hair with jealousy. Ahzz was a studio project by Osborne Hunter and Steve Boston and despite the backlash of Comiskey Park’s Disco Demolition in 1979 and the commercialization of Disco, it was clear New York City was still movin’ in '81. Underground hits like these were just undeniable, filling the floor at The Saint, Paradise Garage and Mancuso's Loft parties. Like a lot of the titles on Peter Brown’s labels, today "New York’ Movin’" is a rare and highly sought after record, even a holy grail for some. Go ahead, check Discogs then thank the disco gods for this re-issue!

Clyde Alexander & Sanction

Gotta Get Your Love

The latest in the recent flurry of superb P&P reissues is without a doubt one of the finest disco records ever released. Back in the day a very young Clyde Alexander went into the studio with Gary Davis and Sanction at the behest of Mr. Peter Brown. The cut they laid down that day has been filling dance floors ever since, thanks in no small part to the fact Gary Davis and his neighbor Truck constructed what many believe to be the ultimate hook in "Gotta Get Your Love". Gary's lavish yet simple arrangement and Truck's lyrics are backed with one of the most solid bass lines you'll ever hear over a beat so steady it's like bedrock. This record is so tight it's hard to believe every player at this session was in their teens when this was laid down on tape. That is with the exception of Gary Davis who was the elder statesman of this outing at the advanced age of 24. Give this one a spin and you'll understand how Gary and his crew from Camden made history that afternoon in '79. Do not sleep on this record!

Ron Bacardi

Way Back Wednesday Vol. 2

After starting a disco inferno with the first instalment of Way Back Wednesday, Ron Bacardi breaks out the Essex Rascals pack to rock our world all over again with another quartet of red hot edit action. Six days as week, the mysterious Mr Bacardi goes by the more familiar Ben Sims, ripping clubs apart with his big room techno and house. But on a Wednesday, Ben straps on his chest wig, digs out a medallion and goes deep into the history of the groove with his tribute to the rich heritage of the discotheque. It's riotous stuff from the off, as Ron serves up a suped up, echo drenched reshape of Lenny William's escapist soul hit "When I'm Dancing", drawing the groove out with well timed loops while filter sweeps should keep the floor peaking. Next up, Ben digs deep into the box labelled 'soul stompers' to pull out a disco-funk classic complete with sweeping strings, hot horns and sweet vocal harmonies, ripe for the dancefloor reshape. If you dig on the Detroit disco sound, then this realer than real rework should do some serious damage for you. Over on the other side, Ben gets break heavy with a bass led funk odyssey, dubbed out to perfection, before closing with the soulful sounds of Sharon Redd's "Try My Love On For Size", which is tastefully extended and expanded for the contemporary dancefloor.

The oft requested second salvo from the Black Madonna. A fully realized work, and a big leap from the sample-clad disco house of her records for Home Taping Is Killing Music and Stripped & Chewed. Weaving live orchestration and irresistible synth lines through tough percussive frames, both tracks bare their souls to listeners with enough muscle to command dancers' attention. "A Jealous Heart Never Rests" immediately turns heads with its disco style octave B-line and infectious hand claps. After a long, steady build glistening strings and beautiful piano flecks dance on the master stems, dishing out yearning melancholy and a serene sophistication in equal measure. As the long arrangement marches forth we're taken deep into the Black Madonna supernova, never taking our eyes of the stars as we plummet further and further into the galaxy. B-side's "We Can Never Be Apart" hints at the emotive content within, with a chord progression set to raise a mountain range of goose bumps while the frenetic percussion keeps the body moving forward at pace. Who knew the Black Madonna could pull off epic, cosmic-house anthems with such aplomb! This is ace!
This is a fresh recut on 140gr vinyl with new black & white labels. 


Dego & 2000Black Family

Don't Stop (Let It Go) / Save It Til Later

Neroli welcome back Dego & the 2000Black Family three years on from their previous banger and instant classic ‘Find A Way’ circa 2013. Here they walk in similar territories with ‘Don’t Stop (Let It Go)’ a house tempo disco-boogie monster with strings to die for (courtesy of Izzi Dunn). On the flipside we get the chunky, morphing acid stomper ‘Save It Til Later’ with that unique Dego twist. Essential!

After swapping his native Russia for the USA in the late 80s, Serge got hooked on hip hop, getting his fingers dusty in all crates, breaks and loops on the way to a career making rap beats. You can him work his magic on killer tracks from the likes of Masta Ace, Edo G and Guru to name a few, and this second volume of disco edits sees him continue to exploit his vast knowledge of soul, funk, jazz, disco and boogie. A-side cut, "Trust Your Heart" sees Serge slice, layer and collage the raw soul power of Bobby Womack's 1978 cut of the same name over a sturdy 4/4 for extended dancefloor bliss. Boosting both the tempo and the bottom end, Serge gives the track a respectful facelift, raising it up to the dizzy heights of Theo's Harold Melvin and GQ reworks. Speaking of which, "Disco Party" sees Serge sticking his scalpel into a Philly disco classic and Detroit DJ favourite, turning out a bass fuelled peak time pounder with plenty of additional percussion and killer clav action. Strutting its stuff right at the crossroads between disco, soul and funk, EP closer "Gonna Get Your Love" hits us with vocal hooks, blaring horns and on-point percussion, before Serge plays merry hell with the FX!


Hot on the heels of his brilliant "Superfoods" trilogy of albums on BBE, Australian production powerhouse Inkswel returns with a brand new solo effort entitled "Unity 4 Utopia". Stellar collaborators Steve Spacek, Recloose, Crazy P, Lay-Far, Kid Sublime, Mark de Clive-Lowe and Colonel Red all make an appearance and help to make Inkswel's quest for musical utopia a reality - As the man himself puts it: "we need to work together if we want happiness and furthermore if we want positive change - this is mirrored in music, collaboration being key". Flawlessly combining a lifetime of influences, Inskwel shifts between the early hip hop of "Utopia Intro", the future funk of "Unity 4 Utopia" and "The Heat", the roller disco of "Outerspace Connection" and "Together" and the boogie tinged "Vibe On It", and that's only the first disc. Inkswel's artistic freedom extends beyond a disregard for genre confines to the playful approach he brings to compostion and groove, which draws together the disparate stylings with an abundantly positive feeling.


Ilan Kabiljo

Expressions EP

The Imogen label launched back in September with a pair of Ilija Rudman remixes of London Acid Jazz favourite Brand New Heavies. This second release sees them change tack somewhat, adopting an archival focus to dig out two tracks by Croatian hero Ilan Kabiljo. Known mostly for his '90s work, Kabiljo comes from legendary Croatian music stock - his father was composer and musician Alfons 'Alfi' Kabiljo. This "Expressions" 12" sees Imogen dig through the Ilan archives and pluck out two rare and unreleased tracks from 1990, ripe for contemporary rediscovery. We're in a dream right from the off here, as Ilan layers picturesque chimes, smooth Rhodes and lush cello for the sublime intro to A-side cut "Cool Nights". That coastal breeze soon leads us off on a moonlight stroll as off beat drum programming, fretless bass and killer chord progressions tell the history of jazz funk in the digital era - sweet. Over the way, "Golden Days" treats us to a rolling bass synth sequence, woozy, wonked out keys, some solid boogie percussion and more dreamy lead lines, before the synth sax solo and jazz funk piano land us on a lilo under a baking midday sun. It doesn't get much better than this folks.

Max Graef and Glenn Astro keep the hits flying out of Money $ex towers, mining the rich seam of new wave sample house talent with this storming EP from German producer Kickflip Mike. If you've had your ear trained on the Oye camp, then you'll have caught this cat on Box Aus Holz, tearing it up with his wonky stylings. Mike steps up for the fifth edition of Money $ex, working through a crate full of dusty samples and pushing through an MPC haunted by the ghost of Madlib, as pitch-bent melodies bounce off the heavily swung beat work. As always, hip hop provides a sturdy foundation for this house, but make no mistake, we're living very much in the future. The "Intro" sees Mike getting jazzy with some off centre Rhodes loops and brushed drums, keeping us cool before the tough and rough kick of "Vanilla Seibt" slams into view, heating shit up for the club. Taking an infectious rhythm and deep bassline as a starting point, Mike chops up a little spiritual jazz and takes us right to the peaktime with some future funk keyboard lines. "The Green One" continues the dancefloor assault, serving up crunchy beats and croaky bass beneath some smooth keyboard work, before the totally batshit sample overload begins. Two note loops, rapid fire bongo riffs, crowd noise and a whole host of other madshit takes over, sending about 1000 volts through the dancefloor. On the flip, "Wizard Island" lays the dustiest percussion over some immersive pads, while wonked out Fly Lo funk lines, spiritual synth leads and a bubbling bassline lift us up to cloud nine. Spoken Blaxploitation samples adorn a drawn out bassline before the funk strikes back, Seven Davis Jr style. Kickflip Mike closes the set out with a break heavy jazz-funk outro, proving without question that he can groove for days.

Following the lead single 'Dancing Star' co-produced with Tom Furse of The Horrors, described by Thump as "the perfect cosmic jam", Lilies on Mars announce their full length album '∆GO'. Born and raised in Sardinia, a magical island in the middle of the Mediterranean Sea, a place that recalls mystical legends and the strength of a population that has fought throughout history to keep traditions alive and never be fully conquered, Lisa and Marina moved to London 13 years ago. Some time later Lilies on Mars emerged, the result of many long nights spent listening to music and jamming with every imaginable instrument at their home studio in Hackney, from guitars to vintage organs, synthesizers, effects and drum machines.

The contrast of living between these two places has had a profound effect on Lilies on Mars' music. It became a way to navigate their experience, gently incorporating all the information that inspired them, becoming notes and melodies but more precisely a sound. Delicate, surreal and sometimes disturbing, like a lily growing on a red planet. This is the imagery within which they are suspended, where time does not exist. Collaborations with Italian pop experimentalist Franco Battiato also dramatically influenced and inspired the project in its early stages.

Lisa and Marina began writing '∆GO' immediately after returning from an extensive tour of Europe and America. Filled with inspiration, excitement and with overwhelming changes in their lives post tour, they searched for shelter at Lisa's beach house in Sardinia. Here they set up a studio and found the perfect space and freedom needed to create and experiment with new sounds. All songs on '∆GO' were written from edited improvisations and immediately recorded, whilst post production is also a key element in the whole creative process. Retro-futurist, psychedelic and cosmic pop elements are accentuated on this record. At times uplifting, at times drone- and Kraut-like.

They are strongly influenced by primitive electronic experimentalists and pioneers such as Delia Derbyshire and Daphne Oram of The BBC Radiophonic Workshop. The title '∆GO' symbolises the retro-futurist concept; without context the word becomes abstract and helps to weave together the past and future (AGO also means needle in Italian). It can be read as AGO as used in story telling of times 'long ago' or as A GO, as if giving a go at something new in the future. Equally, the lines of Lisa and Marina's distorted silhouettes on both album cover artwork and 'Dancing Star' video, inspired by Rutt-Etra-Izer, provides a visual representation.

"'Dancing Star' is a pulsing, sensual piece of ethereal synth pop with dreamy, trippy textures created with vintage analogue equipment including space echo (just like King Tubby!), ancient, dusty organs and the duo's lysergic vocal tones..." – Louder Than War.

"Lilies on Mars' 'Dancing Star' Is the Perfect Cosmic Pop Jam..." – Thump .

'Dancing Star' is a blissfully kissed slice of cruise controlling Kosmiche über-pop, sending forth love notes from an unspecified solar outpost through the galactic slipstreams on vapour trailing ice cream vans." – God Is In The TV.

"Lilies on Mars are two very talented girls, I really love this song." – Lauren Laverne on 'Dancing Star' (selected for 6 Music Recommends 30/06/2015).


FORMAT INFORMATION

Includes MP3 Download Code.

Man Friday (Larry Levan)

Groove / Winners

Here’s an EP featuring two songs that are sure to take you back. Written by Brodie Williams, and mixed by the legendary Larry Levan of Paradise Garage fame, these two tracks were both considered anthems back in the day, and spun regularly at the club by Larry. Originally released on Warners back in 1986 'Winners' is a typically mid 80s synth-funk / electro-boogie cut. At the time the stripped-back ‘Demo Mix’ of 'Winners' was never released, finally getting issued on King Street Sounds in 2003. Having been bootlegged since (LARRY001), it's nice to get this killer track back on a legit reissue, complete with replica label artwork. On the flip “Groove” was another track Larry used as a secret weapon, making a long-overdue appearance back to back with 'Winners' on the same KSS twelve.




Following an erotic adventure in the jungle on his own Moonlighting imprint, Øyvind Morken returns to Full Pupp, with "Invisible Objects". The Oslo producer ventures into the functional aspects of dance music for his latest EP, calling on his invaluable experiences from the DJ booth and moulding them into four dance floor tracks that highlight the more mysterious corners of his hometown’s dance floors. Built on the foundation of syncopated high hats and elastic Juno bass sequences that have become the Oslo DJ’s trademark sound palette, "Invisible Objects" finds Morken in a coy mood. Catchy melodic phrases repeat over driving rhythm sections, constructed from Morken’s vast knowledge and experience of the dance floor. Øyvind ingrains a mysterious air in the title track as the main melodic phrase drifts off its central pitch in a woolly distraction from the precise rhythm section. "Unholy Trance"’s Theremin-like central motif carries this sentiment through on the A-side, creating a hazy B-movie aesthetic against the backdrop of the primal pulse that has transcended the jungle for the cold solitude of space. Morken is nothing if not a curator of mood, taking the experience of the DJ booth once again to the recorded format. As "Invisible Objects" moves over to the B-side, the producer tones things down with the lusciously serene "New Age Of Smokin", a cover of LB Bad´s classic Nu Groove record from 1989, before making the final ominous statement with "Dance of the Drunk", a track forged in the bowels of an electro beat while metallic bass-stabs make a sizeable impression in the speaker cabinet, before moving onto its next victim.

Berlin-based Palms Trax continues adding to his run of quality efforts with the forthcoming release of his 'High Point On Low Ground EP' - impressive effort number two for the Dekmantel imprint.

Serving up three retro-futuristic killers, Donaldson parades his ability to touch on the many different corners of contemporary house music, whilst delivering heavyweight dancefloor standards. The title track blazes a beaten-up vocal snippet over stanked-out synths, stretched to a breaking point across a low-riding bass line. A stabbing Moroder-esque bass line dominates 'Cloud City', whilst 'Paws' equals pure and raw broken-beat bliss with a pinch of acid.

Fucking hell, this is good! Theo Parrish turns Tullio De Piscopo's mid-80s Spanish Balearic sunshine pop anthem into a 16 minute-long beatdown rave monster. To be honest, I don't hear much of the original in this remix, so just treat it as a totally new Theo track - and a darn good one it is too! Equally good is the shuffling Isoul8 & Mark De Clive-Lowe Tullio refix on the flip. This is a "Stop Bajon" 2010 instrumental 2.0 type of rework, taking the original and adding crunching layers, extra bass and some shaker action. A smile is already on my face! Super-limited!


Phillipi & Rodrigo

Karma / Gueto De Gent

The latest Deewee release sees the Belgian Soulwax brothers hook up with Sao Paulo duo Phillipi and Rodrigo, otherwise known as Fatnotronic, for a pair of road testing club killers. Experimenting with synths, European club sounds and the rhythms and textures of their native Brazil, the duo have hit upon a unique sound which has done serious damage on the Despacio sound system in recent months. A-side cut "Karma" is a playful acid stomper built out of Wink-esque resonating synth lines, circular marimbas, village square breaks (complete with church bells and loose chickens) and some solid drum programming. On the B-side, the vocal led "Gueto De Gent" drops the pace and bubbles away with a body moving bassline and sunny synth sounds, treating us to some modern Balearic beat for the slower dancefloor.


After bringing the noise with artists from Amsterdam, Newcastle and Manchester over their first three releases, this fourth offering on Intimate Friends finds Vienna's Roman Rauch representing, with a little help from Essen-based Glenn Astro. Broadcasting live and direct from the home of the Wiener Schnitzel, Rauch gets deep right from the get go, twisting our melons with a beatdown monster by the name of "Essig Jazz". Tough claps and hats dance around the thudding Detroit kick and subbing bassline, while sampled female vocals shift in and out of focus through the haze of echo. Classic deep house keys create that bloodless effect, while the screaming siren conjures the memories of a thousand RZA beats. On the other side, Caits Meissner drops by to preach some spoken word truth on the uptempo "Got To Be", bringing the realness to a piano-heavy house roller, rich with dubbed out textures and rattling percussion. The B2 plays host to this week's official winner of the Ronseal award, "Slowswing", which takes a beatdown wrecking ball to the nearest club at, you've guessed it, a 'slow swing'. Thunderous bottom end, filtered female vocal snippets, and jazzed up percussion come together in perfect alignment as Roman conquers the globe all over again. On a remix tip, we're in the capable hands of Glenn Astro, who flips the script on "Essig Jazz" with a tempo pushing remix which moves from head nodding hip hop to peaking house and back again in the blink of an eye. Totally off its box, this rework changes outfits more often than an Oscars host, and still seems effortless throughout.


Unpredictable but ever exceptional, Golf Channel just keep coming up with the goods whatever the genre. Their latest offering sees UK legend Jaime Read making his label debut with a deep and diverse four tracker for the backroom and the bedroom. One of the few UK artists who has had the dubious honour of being ripped off by Chicago house royalty, Jaime's been dropping bombs since the early 90s, and recent collaborations with Felix Dickinson as LHAS Inc have seen the producer gracing Rong, Cynic and Tsuba. Switching things up on EP opener "Is It Real What U Feel", Jaime balances dreamy chords with a gentle 2-step for a languid R&B number dedicated to all the lovers out there. Featuring his own filtered vocals, the cut perfectly nails that lovestoned feeling of a blissed out morning after. From there we skip nicely to the slinky "Kaanlile", a lighthearted blend of new jack swing beats, squirming acid bass and emotive melodies. Immersive pads bring some late in the session depth to the cut, while a sumpuous melodica line floats into the clouds with the dancefloor in tow. A steady beat introduces the Fingers-esque "Rolling Dreams", a head nodding groove-a-thon which naturally features a rolling bassline. Echoing piano drifts in and out of focus while Jaimie channels Robert Owens for some sleazy, E'd up vocals. Last but by no means least, "A Night In Shirley" strolls through the dusk as sunny keys and an afterhours bassline vie for attention. The result is a mellow but restless body mover perfect for fans of PPU or Alliance Upholstery.


Steepletone

12" Record Storage Carry Case - Orange

    - Portable LP record storage carry case
    - Robust vinyl covering available in 5 colours
    - Protective chrome effect trim on corners and all edges of the box
    - Hinged lid with 2 closing clasps and carry handle in matching colours
    - Holds approx upto 50 LPs / 12"s in their sleeves
    - 3.8 KG

    Tiger & Woods

    Scoring Clubs Part 2

    The inaugural release of T&W Records. Brought to life by Tiger & Woods and associates, this brand new record label will be a home to all things Tiger & Woods: from legit sample songs and up-beat boogie beats to darker deeds.

    The new label series starts with the epic and infectious disco trancer “Boca”. As ever with T&W, the track is all about the build (and drop), adding extra elements as the tune progresses; tribal drums, hissing hihat, vocal snippet, 909s, disco keyboard loop... and funky bassline (cue hands-aloft and happy faces on the dancefloor)! Flipside cut “No More Talking" is a prime-time sample-cleared, sliced and spiced disco house banger! Powered by Running Back!

    The ever reliable Hell Yeah get collaborative with DJ Ralf's Laterra Recordings to serve up two sublime Balearic tinged remixes of the popular Italian chant, "Bella Ciao", by Brooklyn troupe Underground Soundsystem. This new project came about after Leo Mas played the afro-beat original cover on his Boiler Room set in Ibiza and made it a bonafide Balearic modern classic! Legendary DJ  Alfredo loved it so much he requested a copy, which lead the label to get official rights for its release. Originally, Bella Ciao is actually a partisan Italian song created during the civil war that is a hymn of freedom and resistance. Here it is flipped into two tantalisingly feel good disco anthems by Leo Mas & Fabrice, who bring a lifetime of dancefloor experience to the mixing desk. The vocal version is full of gentle tumbling toms, cute guitar riffs and rolling bass. The exquisite vocal chants up top add plenty of joyous vibes to the already summery beats and then it just rolls and rolls, making you shake your behind and swing your hips as it goes. The dub version is deeper and more low slung, with more emphasis on the drums and the elastic, lazy grooves. If this doesn't hasten summer's appearance, then I don't know what will!


    Yellow Magic Orchestra

    BGM - Clear Vinyl Edition

    180 gram audiophile vinyl
    4-page insert
    PVC protective sleeve
    First pressing of 1000 numbered copies on transparent vinyl

    On their fourth album 'BGM' (1981), YMO continued where they left off with 'X∞ Multiplies', by venturing further into synthesizers, drum computers and experimentation with rhythm, sequences and speeds.

    This album is more focused on atmosphere and mood, some even say this album is a turning point for YMO and the international pop music scene. They successfully merged lyrics, sound bites and their signature electriconically programmed music on 'BGM'.

    "1000 Knives" and "Cue" are the most famous; the hand clap on "1000 Knives" is probably one of the most used samples in the 80s, early 90s.

    Midnight Riot celebrate the arrival of their killer Hot Mix 5 CD compilation with the release of this floor pleasing vinyl sampler, which collects together four of the hottest and heaviest jams. The set opens with a stunning statement of intent from Ron Basejam, who brings his trademark combination of boogie, synth disco and acid to Ralphi Rosario's classic "You Used To Hold Me", delivering a dynamic remix perfect for Horsemeat Disco, El Diablos and the Croatian festival scene. Emotive melodies, chunky beats and a nagging 303 line combine as this cut ascends to the next level! Next up, Mallorcan house hero Kiko Navarro brings his percussive style to Kenny 'Jammin' Jason's "Can U Dance", turning up the heat nicely with additional programming and synth work. Over on the other side, HMD's Severino takes on the hypnotic bassline of MG2's "My House Is Bigger Than Your House", beefing the cut up and dropping some of the more retro elements for a slick and modern sound aimed at the big rig systems. London edit expert Leo Zero closes the set out with the quality we've come to expect, freaking us on out with his stripped back rework of Mario Diaz's "Can U Feel It". The unconventional vocal styling, precision drum programming and detuned keyboard vamps are all Leo needs to jack your ass off, so you'd better start practicing your death drops.



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