Balearic . Yacht Rock . New Age . Downbeat


Genre pick of the week Cover of Resolutionary (Songs 1979-1982) by Vivien Goldman.
Ever since she migrated from pitching editors on the little-known music of Robert Nesta Marley to becoming one of the foremost chroniclers of the perfect storm of reggae, punk, hip hop and afro-beat, the London-born, New York-based Goldman has made documenting music her primary life work. But between 1979-82, Goldman was also a working musician, creating songs that, years later, would be sampled by The Roots and Madlib. These rare grooves are now collected for the first time on 'Resolutionary', courtesy of Staubgold Records.

'Resolutionary' takes us through Vivien's first three musical formations: first as a member of experimental new wavers The Flying Lizards; next as a solo artist, with her single "Launderette," featuring post-punk luminaries; and then as half of the Parisian duo Chantage, with Afro-Parisian chanteuse Eve Blouin. Goldman's synthesis of post-colonial rhythms and experimental sounds are threaded together by her canary vocal tones and female-centred themes. Her eclectic musical crew included PiL's John Lydon, Keith Levene and Bruce Smith; avantgardists Steve Beresford and David Toop; Aswad's George Oban: The Raincoats' Vicky Aspinall; the mighty Robert Wyatt; Zaire's Jerry Malekani; Manu Dibango's guitarist; and Viv Albertine, then of her good friends, the Slits. The majority of the tracks were produced by dubmaster Adrian Sherwood, and 'Resolutionary' channels the history of a time when the bon-vivant voice of music was in the air, and Vivien Goldman was its eyes, ears, and mouth. When she wasn't writing, broadcasting or filming - or even when she was - Vivien always sang. She sang in a lilting, clear-toned soprano honed during childhood, when she and her two sisters would harmonize with their violinist father. Spend even a little time with Vivien, and she is likely to burst into song.

"The Punk Professor" began her singing career in the late '70s, doing backup with Neneh Cherry and Ari-Up (the Slits) on Sherwood records by reggae artists, including Prince Far I. It was a time of musical fermentation, collaboration, and experimentation - and of post-punk boundary breaking.


Patrick says: Keith Levene (PIL), George Oban (Aswad), Steve Beresford (Flying Lizards), Vicky Aspinall (the Raincoats), Robert Wyatt, Bruce Smith (the Pop Group), Style Scott, Adrian Sherwood, Neneh Cherry and Carol Thompson (and many more) feature on these tracks - say no more!

As Telex so perfectly put it, "Diskow Moskow, Moskow Diskow!" After tearing sets up with appearances on Basic Fingers and That's A Steal, the Russian selector extraordinaire makes his Razor N Tape debut with a three tracker of willfully obscure and infinitely groovy edits. We're suspiciously close to library territory with A1 excursion "Son Of The Sun", a head-nodding, shoulder-rolling strut through Shaft-In-Outer-Space, Blaxploitation cosmic funk. The combination of dreamy textures, tribal synth riffing and belching synth bass lends this groover the same interdimensional spacesuit as Supermax's "Dance Dance Dance" but with new and improved hip manoeuvrability. After that excellent exercise in cosmic nonsense, we re-enter Earth's atmosphere somewhere above the mother continent, floating back down to earth to the proto-Balearic lilt of "Jungle Melody". This jazz-funk infused number utilises punchy bass, mesmeric flute and tripped out guitar to lead a conga line past lianas and lairs. The big band funk of "Fool Like A Child" strolls across the whole of the flipside, top hat doffed and cane a-swinging. Arsenii fuses a tuxedo clad horn section with cabaret piano, sci fi synth and sleazy disco bass, blowing our minds and moving our feet in equal measure. Pressed on transparent yellow 10" with a classic jazz library label design, this one is the perfect package for the discerning collector. 

From the edge of Germany’s Black Forest to the English hamlets of Dorset, The Dandelion Set make psyched-out, blow-your-mind sound nuggets with the (un)self-conscious freedom of the 70′s. Drawing on library music, radiophonics and Krautrock, the band produce a heady mix of psychedelia, prog, folk and electronics with beautiful sounds created on harpsichord, 12 string and acoustic guitars, electric bass, moog, woodwinds, autoharp with fat beats and tripped-out effects.

This incredible debut album also features vocals and sleeve notes by legendary writer + graphic novelist Alan Moore (V For Vendetta, The Watchmen, Swamp Thing, The Killing Joke). Produced by Glyn Bush (Lightning Head, Rockers Hi-Fi) and lifelong friend PK Chown the album reflects their love of a huge range of musical styles, with the emphasis on un-formularized tunes and originality over familiarity.

Each format contains a unique combination of tracks, rarities and exclusive material. Very limited edition!! 


Includes MP3 Download Code.

The Diabolical Libertes

The Diabolical Libertes

The Diabolical Liberties turned down nobody to put out a limited run of vinyl EPs. They remain at large planning how to scrape the off cuts of lost ideas and misplaced rants, from a dance floor where nobody can hear you no matter how loud you scream.

In the old industrial warehouses , down there bellow the sub bass. Down in Phorcy’s kingdom of misshapen beats swimming in their own echo. The new future has already started. A darkness disturbed by the occasional flash from someone thumbing a device. It’s then you see who’s been dancing next to you for the last 2 hours.

Now you notice there’s ‘something in their motion’, they been looking for the ‘dance floors of England’ . The ‘sons of the bass bin’ try shouting, ‘hey you lets dance’, but that doesn’t disturb them. They just keep on with that ‘get it off me’ face, knowing ‘this will change it‘, but feeling to ‘wind up saint peter’ on the way in.

Rizla birds feeding in the speaker stack echo code met you in the passing – i’m only dancing bleach another night we bleach another night vanquished and claimed on the dance floors of England promises promises our dirty little promises dancing all together on our own money in the meter put your money in the meter i lost me in the mirrors on the dance floors of England flooded toilet expectations every box n sound i’ll dance you in the morning dance me full of fire stumble like an old man i’ll stumble like an old man drop and fall to the dance floors of England club upon pub out of my constriction heroes and ghosts lost and still looking for the dance floors of England."

The Arab world of the 70s and 80s spawned more than its fair share of interesting rock and pop acts. Chief among them is Libyan genius Ahmed Fakroun, whose stunning "Mots D'Amour" LP is finally back in print after a three decades hiatus. Originally released on France's Celluloid, the 8 track LP was the perfect fusion of synth pop, new wave, funk and traditional Arabic sounds - bounding out the speakers like the Tom Tom Club's kaftan-wearing cousin. Deeper and more danceable than the typical chart bothering ethno-pop of the era, "Mots D'Amour" effortless skipped between lightly spiced pop, Big Apple funk and the mystical melodies of the Middle East, boasting the double whammy of "Love Words" and "Soleil Soleil" at the top of the B-side. Loved equally by disco kids, Balearic heads and world music fans, these two 80s pop gems are undeniable underground hits, and had Bat For Lashes moving and grooving in the shop this very morning. Grab a copy of the reissue and make your dance party go crazy with this fascinating guy from Libya.

This was a funny one. I had to first search ol' Bernardino Femminielli's name on discogs to check I wasn't uploading some obscure 70s French disco that later become an unknown Cosmic club hit. But I was right first time - this is NEW music folks - no need for reissue or bootleg, just damn fine cosmic slop first time around! Sleaze is the first thing that comes to mind as "Gluantes Pornographies" opens up on the record player. Even without a basic grasp of French I can see the words 'pornographies' and the music gets even sleazier! So Bernardino Femminielli is from Montreal, Canada, that explains the French vocals but what else? "Plaisirs Americains" continues like a soundtrack to some obscure spy / espionage film, bursting with vibrant piano chords and Femminielli's chain-smoked ruff vocals. Can I just point out at this stage that the sleeve comes with all the lyrics printed on the back - this is the real deal folks! "Touch-Pipi" allows us a sensuous moment behind the speaker stacks with the girl / boy of our fantasies, Femminielli narrating the action as he keeps one eye on the fun. "Babylone Straße" recalls Air's sophistication and grace as lush guitar and delicate piano notes drip out of the speakers with pure eroticism. Side A should leave you feeling highly sexed if nothing else.
"My Baby Takes My Money" opens side B with some tense urgency, a plodding b-line supporting suspended strings and stabbing chords. "Tatouage" takes us coastal for some sun-blushed Balearic goodness. Finally, "Boy's Trottoir" is the epic, end of feature credits track, moving through its arrangement with all the style and panache of Serge Gainsbourg himself! There - I've mentioned his name! You were waiting for the reference weren't you?
A future classic of the Balearic / French / Cosmic scene? I hate to say it but yes! I can't help think that if this was released 20 years ago we'd have already sold out on preorder but I guess that's the nature of the beast sometimes. Trust me though - people are gonna be paying big bucks for this in 10 - 20 years time! Timeless, essential sleaze for people that know - highly recommended! 


Matt says: A proper record. Stylistically complete from start to finish. Epic sleaze.


Ltd LP Info: Varnished 350g premium quality paper sleeve. Limited edition of 400 copies.

After treating us to the sophomore offering from Albrecht La'Brooy last time out, Analogue Attic arrive at their fifth release in the company of Butter Sessions bosses Sleep D. Last summer Maryos Syawish, Corey Kikos and guitarist Joe Karakatsanis got together for a live performance under the gumtrees of Melbourne's iconic Fairfield Amphitheatre, perfectly soundtracking the sunny afternoon with a procession of slowly unfurling ambient pieces. Propulsive basslines sit underneath interlocking arpeggios, laying the foundation for the crystalline melodies which cascade and scatter through the air. While there are undoubtedly echoes of kosmische legends Tangerine Dream, the lithe guitar licks and tropical percussion lend the set an unmistakably antipodean feel. Pour yourself a cool beer, pack a ready rolled and let Sleep D take you far out. 


SRB07SGL 7" Single Storage Carry Case (Green)

    - Portable 7" Single Record Storage Box.
    - Carry Handle in matching colours
    - Protective chrome effect aluminium trim on corners and all edges of the box
    - Hinged lid with strong closing clasp
    - Will hold up to 80 7" singles in their sleeves 

    Spring might not yet have sprung, but the Growing Bin is always in bloom. After brightening our days with the opiate beauty of Barthel, Bohm and Bauer and the dusky grafts of Moon B last year, Basso’s well tended imprint begins 2016 with an antipodean gem. The green fingered, or thumbed, among you might recognise A.R.T. Wilson from his time in the Growing Bin a while back, when he soothed our cares with the drifting dreamscape of ‘Overworld’. Now the sometime club menace returns to Hamburg’s finest label in the company of numerical pioneer Eleventeen Eston AKA John Tanner for another journey into the heart of the horizontal. Setting up camp where the Swan River meets the Indian Ocean, Wilson and Tanner tuned into nature, translating the warm sun, sea air and blue sky into a postcard from paradise. Lithe clarinet dances around tranquil piano, relaxed guitar decorates velvet synth textures and unhurried percussion makes an occasional appearance, as if to remind us that time’s still passing. Employing an innovative alfresco recording technique, Andy and John invited members of the local animal community to join their jam sessions, saving a Blue Swimmer Crab from the flames of the barbecue and encouraging him to claw the ivories. Drop the needle and drift away on the distant ocean of “Pilot”, freefall into the soothing ambience of ‘Further Than Your Headlights’, and let “Sun Room” guide you gently back to terra firma. The dream team of Australian musicians (not to mention a very talented crustacean), come together on one vinyl – and it’s better than you could possibly imagine.


    Patrick says: A.R.T. Wilson aka Andras Fox is back on Growing Bin, this time collaborating with the mighty Eleventeen Eston on a spirit-lifting, life changing ambient masterpiece. Undoubtedly the record of the year for me...

    Various Artists

    Eskimo Recordings Presents - The Yellow Collection

    Eskimo Recordings is back for its annual inspection of what propels the Belgian imprint’s throttle, exploring the boundaries of their house, disco and pop infusions in ‘The Yellow Collection’.

    The fifth episode of their colour collections checks in with renowned artists and esteemed guests recognisable from the label such as Du Tonc, This Soft Machine, Atella and Man Power, as well as visiting fresh faces and novel sounds from the likes of Mexico’s Zombies In Miami, Los Angeles’s LUXXURY, Israeli duo Middleskyboom & Eliezer, and Belgium’s own Go March and Blackie & The Oohoos.

    The opening moments of ‘The Yellow Collection’ come from Eskimo’s core artists, tasting the superior quality of its roster with Norway’s Atellae. Greek producer NTEIBINT’s ‘By Your Side’ is a deliciously mellow and disco tinged track that features the former Twin Shadow bassist Rush Midnight (aka Russ Manning) and the unstoppable Du Tonc’s head spinning classic ‘We Can Hold On’ cultivates the pinnacle of the unique indie/disco sound suffused with pop sensibilities that Eskimo does so well. ‘The Yellow Collection’ unveils the previously unreleased dub mix from iconic German duo, Satin Jackets, for the first time.

    Man Power showcases ‘Fisky’, a driving and hypnotic cut that follows nicely on from his recent contribution to Permanent Vacation and his nomination as artist of the year from XLR8R. This Soft Machine has graced both Nicolas Jaar’s Other People label and Eskimo’s The Orange Collection, plus picked up props from the likes of FACT magazine for his robotic demeanor, revisited in ‘It’s Operational’ that can be first heard on ‘The Yellow Collection’.

    Handpicking talent from the local Belgian scene, Eskimo present two new acts from Antwerp for the project. Go March is an instrumental group whose debut single ‘Rise’ stretches a post-rock groove in a sort of Mogwai meets Kraftwerk synthesis. While the dark, hypnotic and electronic Blackie & The Oohoos’ “Aphexy” shifts ‘The Yellow Collection’ towards rhythm and coherence and shows a band at the top of their game.

    Well-known figures from the Tel-Aviv scene, MiddleSkyBoom & Eliezer Perez embrace their post garage influences, Scandinavian melodies and rough improvisation in ‘Slow With The Run’ and in the true spirit of 1970s smooth disco and funk, ‘Breathe’ is stunning original material from LUXXURY following support from the likes of SPIN magazine. The LA based moniker was first brought to global attention by some unexpected legal kerfuffle a couple of years ago over some unofficial remixes of classic songs by The Eagles, Blondie, David Bowie and Duran Duran (who later invited them to make an official remix).

    At the heart of the collection are two acts from the cooler Scandinavian climates of Norway that are familiar to the tastebuds of Eskimo fans. The alluring vocals of Else Born (also known as Norway’s finest pop export Philco Fiction) appear on ‘Colours’, a track from Horixon that references 90’s R&B, classic house and a touch of garage and Oslo’s Vinny Villbass finds his way back onto Eskimo with ‘The Itch’ and it’s haunting synths that infiltrate the lower frequencies.

    A final introduction to the label, Zombies in Miami are one of the most prominent electronic acts in Mexico, known for releases on Kompakt, Correspondant, and Bedrock and their track ‘El Wild’ manages to capture the menace, drive and excitement of their unbridled live show. While ‘You Could Be Floating’ sees James Curd & Turbotito return to Eskimo after first appearing on Aeroplane’s compilation half a decade ago. Their melancholic cut of disco hedonism is a result of a few weeks in Australia skating and writing music in order to earn a few extra miles.

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