There I was, keepin' on truckin', when I heard the coolest sounds this side of Saturn by the side of the funk highway trying to hitch a ride downtown. Man, these Roadside edits are far out.... I'll take them anywhere they wanna go. But listen close suckas, 'cause it's you and me who are getting taken on a trip! A-side cut "Olmec Disco Special" is a deep and dense journey into the massive centre of the nearest blackhole. Jazz-funk, boogie, disco and soul are drawn together and merged into a maximal groove alive with rhodes, wah wag guitar, sumptuous strings and heavy laser fire! Thick and thumping, this is certain to cause a supernova on the floor. On the flip, the "Discomonica Instrumental Edit" plots a direct course for the loft party dancefloor, boasting an infectious arrangement filled with sweet harmonica solos, tight bass and soaring strings that lift the track and the crowd to cloud 9. Dope!

Back in stock Cover of Reflektor by Arcade Fire.
Arcade Fire return with a stunning album Produced by James Murphy, Markus Dravs and themselves. 'Reflektor' is closer to turning-point classics such as U2's 'Achtung Baby' and Radiohead's 'Kid A' - a thrilling act of risk and renewal by a band with established commercial appeal and a greater fear of the average, of merely being liked.

‘Reflektor’ is the bands most epic-in-scale album yet; 13 tracks split across 2 discs.

Both formats are beautifully packaged in 'reflektive' mirror board sleeves.

David Bowie & The Philadelphia Orchestra

Peter And The Wolf - Red Vinyl Edition

• 180 gram audiophile vinyl + insert
• classical music on vinyl release: packed in sturdy PVC bag
• first pressing of 1500 numbered copies on red/gold mixed vinyl

David Bowie Narrates Prokofiev’s Peter And The Wolf (1978) is a classical music album containing David Bowie’s narration of Sergei Prokofiev’s 1936 composition Peter And The Wolf. The music is performed by the Philadelphia Orchestra conducted by Eugene Ormandy. The album reached number 136 on the US Pop Albums chart.

Side One contains the narration by David Bowie of public domain material originally written by Prokofiev. The second side of this LP features Eugene Ormandy conducting Benjamin Britten’s Young Person’s Guide To The Orchestra with the Philadelphia Orchestra. Ormandy and the aforementioned musicians from Philly also back up Bowie on side one.

Critics lauded the album, saying Bowie ‘found his most charming guise since Hunky Dory.’ He tells the well-known fable with his usual eloquence and style, and gives instructions at the beginning for kids to understand how the music corresponds to characters in the story. The accompaniment from the Philadelphia Orchestra is first rate.

The Music On Vinyl re-release includes detailed liner notes on the project by Mary Campbell, specifically geared to “introduce children to the sounds of the individual instruments in the symphony orchestra.” Both Prokofiev and Britten wrote their respective pieces with this aim in mind.

Mario Molino

Gli Angeli Del 2000 OST

Wow! We are very happy to bring back to light this fantastic soundtrack by one of the most underrated Italian musicians. It is well known the rich musical heritage that the Italian film industry has left us, and all those who enjoy the likes of Ennio Morricone, Alessandro Alessandroni, Piero Piccioni, Piero Umiliani, Riz Ortolani, Armando Trovajoli et al. will welcome Gli Angeli del 2000 to their collections. If you are into soundtracks or library music you probably already think that even if not as prolific as some of the aforementioned classics, Mario Molino's name deserves to be also on the list since he was behind a number of albums that contain little gems such as 'Operazione Beat', 'I sogni del mare', 'Lamento Beat' or 'Bossa Jaguar' and also thanks to his guitar playing in works by other masters like Marcelo Giombini or even Mikis Theodorakis.

Gli Angeli del 2000 is a 1969 flick directed by Honil Ranieri that has all the drug, sex and counter culture ingredients of the era but which had very small distribution when first released - it was probably better distributed its photonovel version rather than the film itself! Bits of its soundtrack, though, have surfaced on different compilations in the past years, especially the famous 'Psyché Rock' rip-off title track.

Apple And The 3 Oranges

Love Brings Out The Best Of You / My Baby

Pure Californian funky soul sunshine from drummer and bandleader Edward 'Apple' Nelson, who first featured for Jazzman way back on our California Funk compilation with the tough and gritty 'Curse Upon the World'. Originally issued in scant numbers on Apple's own Sagittarius imprint, 'Love brings Out The Best In You' is a far lighter affair, a breezy Northern soul dancer which lilts away like a hot Cali afternoon.

The Marlboro Men

(Ride On) Iron Horse

A long established classic of the Deep Funk genre, the Marlboro Men's 'Iron Horse' has been filling dance floors and appearing on wants lists for many a year. As such it's surely long overdue a 45 reissue as is, but what makes this release really special and essential for any funk collector is the inclusion on the flip side of the previously unreleased instrumental version of 'Iron Horse', appearing here for the first time as taken from the original, 40 year old master tapes.

Young Jessie

You Were Meant For Me / Mary Lou

Two incredible sides from the legendary Young Jessie. 'You Were Meant For Me' is a timeless piece of jazzy, dancefloor blues from the rapidly changing early '60s era. On the flipside, an equally excellent updated reworking of Young Jessie's 1956 hit 'Mary Lou'. Cut during his stint with Mercury Records, both sides boast superb production and impeccable musicianship, and of course that trademark, oaky baritone of Obie Jessie himself

Hieroglyphic Being

The Fourth Dimensions Of A Nubian Mystic

Jamal Moss adopts his Hieroglyphic Being moniker to continue his spiritual journey through the cosmos with this new two tracker on Technicolour. Although his music takes cues from the EBM and house that played a huge part in the Chicago's musical underground in the late eighties and early nineties, from Ron Hardy and Adonis, the Mathematics boss has always blazed his own trail, fusing elements of industrial, avant-jazz and noise into his dancefloor brew. His tireless schedule of rough low-key releases over the last 12 years and his intense, very physical, psychedelic music, have made him a pioneer of what's recently come to be named 'Outsider House', although he prefers the more Sun-Ra like descriptors of 'Rhythmic Cubism' and 'Cosmic Be-Bop'. Listening to the sprawling and complex 'Fourth Dimesion' these terms come alive, perfectly describing the intricate, crystalline sequences Moss layers and tesselates over a jacking beat. Hypnotic and celestial, this is the ideal post peak cut, perfect for transporting people out of their weary bodies and into a new plane of being. On the flipside's 'Star Time' Moss explores similar ideas of melody and tone, but forces them through the other side of the wormhole, burying the signal beneath a wash of white noise. Deep, cerebral and spiritual, this could be only one man!

Hardway Bros (otherwise known as Sean Johnston of A Love From Outer Space) returns to Throne of Blood with their second EP. After successfully exploring Belgian New Beat influences on last years “A/B Music”/“Shorty” release, Sean continues to explore the darker side of vintage electronic tropes with the Sleaze EP. The EP’s opener “Legato” operates on the interface between electronic body music and early techno, invoking Chris & Cosey, nights at the Dorian Gray, Suicide and Belgian 24 hour Discotheques. Remixer Kasper Bjørke, riding a killer bass line, pushes things deep into late night warehouse rave territory. On the flipside, “Thoughts On Modern Living” comes over like a deranged early Murk production and is fashioned for late night basement jams. Closing out the EP is “Sleaze” a cover of a 1983 Marc (Almond) and The Mambas B-side and a collaboration featuring Horton Jupiter (They Came From The Stars I Saw Them / DJ Mystic Rock / Puwaba) on vocal duties and Mat Flint (Death In Vegas / Revolver / Deep Cut) providing guitar textures.

'More Jammys From the Roots' puts a spotlight mid to late eighties Jammy’s productions of some of reggae's finest rhythms both vintage ('Stalag', 'Real Rock' 'African Beat', 'Satta') and up-to-the-time ('32 Chip', 'Run Down The World'). Featured vocalists include Junior Murvin, Dennis Brown, Horace Andy, Johnny Osbourne and Wailing Souls. Multiple tracks in the collection are available here for the first time on CD. Reggae fans will be delighted to find these sought after recordings available again. 'More Jammy’s From The Roots' will be eagerly snapped up by the growing reggae audience increasingly finding the mid-eighties ‘digital revolution’ to be another ‘golden age’ in reggae.

Available as 2-CD set with 32 tracks (including 15 of them first time available on CD) including booklet with extensive liner notes, or 20 track double vinyl.


Nagan / Vatula

For their sixth release the Highlife crew introduce a frequent guest and perennial party starter from their regular shin digs to make his first appearance on vinyl. Cain's been making waves behind the decks for some time now and his transition into production has sparked similar excitement. From the moment the crew dropped lead track "Nagan" on their Rinse radio show, everyone and their nan's been after it, longing to get another taste of those infectious vocals. The label describe it as Daphni via Delhi, which isn't a bad shout at all considering the thickly undulating synth bassline, solid beat and diasporic vocal melody, in this instance cut up from a little Bhangra. "Vatula" gets spiritual on the flip as the producer concocts a deep house groove flecked with melancholic pads (think a midnight collaboration between Yoruba and Detroit) and tops the track with a tribal vocal. If you dug on the excellent Esnard Boisdnur rework on Sofrito a while back, then you'll be all over this. Time to get global!

Back in stock Cover of BLNDTRIPP.2 by Various Artists.
The now buy-on-sight Blind Jacks take us on another Tripp. A journey of dreams from Talaiassa to Cadibonna via Kumotori and Moel Penderyn. Secret sounds designed for mind adventure. Gobi supplies a retro-tinged Chicago-inspired joint on "White Dwarf". Lock Eyes gives us tantalizing frequencies and a Vakula-like attention to detail in the synthesis department, gloriously cruising through the glistening ocean on a sonic speedboat. Tominori Hosoya's "Saki" is unfathomably deep but gentle and pulsating with it; when that bassline drops you know the floor / terrace / planet's gonna erupt with joy. Finally Subjecktive allows us to lie back and enjoy the radiance as "Point Of View"'s ultraviolet rays wash over us with a beautiful glow - an instant shot of Vitamin D to the soul. Vinyl purchase allows you access to secret digital tracks from each artist also. Aquatic ocean transparent vinyl.


Ltd 12" Info: Vinyl purchase allows you access to secret digital tracks from each artist also. Aquatic ocean transparent vinyl.

Back in stock Cover of TRIPP.3 by Various Artists.
Blind Jacks take us on another Tripp... A journey or dreams from Dandenong to Lacanau, Xarraca and Lendelede. Secret sounds designed for mind adventure. Blind Jack's Journey is the next stage in the evolution of sound from the same crew that brought you Crow Castle Cuts and Dream House. Born out of the Welsh countryside and a pure free party spirit, but fast becoming the most unique and exciting sounds to come from the UK underground. Dreamy, electrified textures with a coastal, almost Balearic slant before firing us deep inside the wormhole with twanging synthlines, rubber band bass and the most celestial sonics I've heard since Red Planet! Releases sell out fast and fetch big bucks on the 'cogs - you know why? Cos they're yet to release a single bad track! To quote one Mr. Randy Marsh - 'all hitter, no shitter'. Essential.
Vinyl purchase allows you access to Secret digital tracks from each artist also. Apply within.


Ltd 12" Info: Hand stamped first quenching strawberry milkshake vinyl

Truly classic, timeless songs, americana guitars (think Mazzy Star or maybe even Lambchop), and echoed vocals mixed with a very English sound. Imagine the soundtrack to Blue Velvet, recorded in Sheffield! Absolutely brilliant!

Eleven gorgeous, late night, storytelling songs by the erstwhile Pulp and Longpigs guitarist. Hawley croons lovelorn words which evoke the late 50s in their charm and sweetness. Musically it's pretty and melodic, acoustic guitar ballads, lushly fleshed out with lapsteel, vibes, Mellotron and shimmery, echoey electric (guitar). Warm, poetic and inviting, this is a beautiful record and a balm for aching hearts everywhere!

Originally released in 2003, this was his second album, or third if you include his self titled mini-LP too. Although it follows a similar late night, love lorn style as his previous releases, it's musically and atmospherically a much bigger sound and hinted at what was to come with it's stunning follow-up Coles Corner. 

Debut full length album from this singer-songwriter from Sheffield. Gorgeous, heartfelt, classic songs, with 1950s style production. Absolutely stunning!

The Charlatans

Talking In Tones / Talking In Tones - Grumbling Fur Tonal Nagual Version


    Ltd 7" Info: 7” Ltd to 500 copies for the world.

    MONO's 2014 musical offering is a departure from all that's gone before. It is the sound of a band heading in different directions, and coming together all at once. It is the sound of a band exploring their dark side and opening up to the light simultaneously.

    Since the dawn of MONO - where Under The Pipal Tree laid out their intentions in frenetic psychedelia - , right the way through to 2012’s For My Parents, their blissful path of musical meanderings grew ever more lavish. MONO evolved into an orchestral rock band and performed in prestigious venues in New York, London and Tokyo, with renowned orchestras by their sides. Following a wave of creative peaks, MONO regrouped and planned where to go next.

    This departure comes in the form of two albums; The Last Dawn and Rays of Darkness. Together but different. Side by side but opposites.

    The twin albums were recorded concurrently, yet conceptually and creatively, they are worlds apart. They are two sides to a story, but they remain hand in hand. Themes that have permeated MONO’s previous output are revisited through the conjoined albums: hope and hopelessness, love and loss, immense joy and unspeakable pain. Whilst one hand soothes, the other wreaks havoc.

    The "light" side of this chapter in the MONO story is THE LAST DAWN. The pared down tracks take inspiration from influences as diverse as minimalist film scores and vintage shoegaze. Noticeably more stripped back than their previous releases, the album clocks in at under forty minutes; the succinct offering proffers the hope, love and joy in a neatly wrapped package.

    When asked why MONO were releasing two album instead of, perhaps, one longer one, Taka simply says "There were black and white sides inside of me, like darkness and hope. It could not fit on one album."

    The Last Dawn and Rays of Darkness were recorded in May 2014, in Pennsylvania, USA, produced by MONO and engineered by Fred Weaver.

    MONO's 2014 musical offering is a departure from all that's gone before. It is the sound of a band heading in different directions, and coming together all at once. It is the sound of a band exploring their dark side and opening up to the light simultaneously.

    Since the dawn of MONO - where Under The Pipal Tree laid out their intentions in frenetic psychedelia - , right the way through to 2012’s For My Parents, their blissful path of musical meanderings grew ever more lavish. MONO evolved into an orchestral rock band and performed in prestigious venues in New York, London and Tokyo, with renowned orchestras by their sides. Following a wave of creative peaks, MONO regrouped and planned where to go next.

    This departure comes in the form of two albums; The Last Dawn and Rays of Darkness. Together but different. Side by side but opposites.

    The twin albums were recorded concurrently, yet conceptually and creatively, they are worlds apart. They are two sides to a story, but they remain hand in hand. Themes that have permeated MONO’s previous output are revisited through the conjoined albums: hope and hopelessness, love and loss, immense joy and unspeakable pain. Whilst one hand soothes, the other wreaks havoc.

    RAYS OF DARKNESS is the more ominous and brooding beast. Notable for the absence of MONO’s near-trademark orchestral instruments, this album leans heavily on the aggression of blistering riffs, jarring angles, and a doom-layered undertone.

    Another dynamic is added by the involvement of post-hardcore pioneer, Tetsu Fukagawa of Envy; Tetsu provides vocals, for the first time ever on a MONO recording. The crescendos here seem all the more threatening, and the diminuendos feel that much more bleak.

    When asked why MONO were releasing two album instead of, perhaps, one longer one, Taka simply says "There were black and white sides inside of me, like darkness and hope. It could not fit on one album."

    The Last Dawn and Rays of Darkness were recorded in May 2014, in Pennsylvania, USA, produced by MONO and engineered by Fred Weaver.

    Michael Walsh

    Before When It Was New EP - Inc. October / Maheras Remixes

    Plastic Love welcomes fellow Angeleno Michael Walsh on board for the 2nd release on their budding label. Walsh's debut EP showcases the producer's breadth and depth of all things rave with two distinct tracks aimed squarely at the dancefloor. Before When It Was New's unmistakeable melody act as a call to the dancefloor while a rumbling bassline underneath keeps you locked into a groove. Strobe Light's arpeggiated bassline and snappy disco drums showcase how versatile Walsh can be. Remixes come courtesy of label co-boss Maheras as well as Caravan boss and Aus Music stalwart DJ October.

    The See See

    Once Forever And Again

      Hot on the heels of the recent 'must have' collection of sold out 45s and rarities on the mighty Sundazed label, The See See return with their third studio full length in October via The GPS on vinyl and on CD and download via Dell'Orso.

      Another fantastic collection of bittersweet sunshine psych pop nuggets, layered with the bands' killer ear for a vocal harmony and hooks aplenty. Passing nods to Big Star, Later era Byrds / Burritos and the 'Paisley Underground' sounds of the great Rain Parade and Long Ryders amongst others, the set doesn't disappoint and is sure to build on the acclaim and quick sell out status of all of their previous output.

      Admired by the likes of Sid Griffin, Ric Menck and Norman Blake to name a few, the band have recently collaborated with longterm fans such as Jim Noir and The Coral, from whom Nick Power penned the great “Jenny Said” from the set here.


      Ltd LP Info: White Vinyl LP / Pressing of 750.

      Micah P Hinson And The Red Empire Orchestra

      Micah P Hinson And The Red Empire Orchestra

      Brand new album by the much-loved and critically-acclaimed Texan country-noir wonder Micah P Hinson. Moving on from his startling debut album "Micah P Hinson And The Opera Circuit", this album combines the delicate cracked intimacy of the debut with a new songwriting assurance, delivering heartfelt and melancholic dusty epics. His accompanying Red Empire Orchestra have added a stunning new depth to the music, courtesy of instruments such as cello, violin, viola, upright bass, Hammond organ and more, which combine wonderfully with his husky downbeat vocal delivery. Another understated classic from Mr Hinson.


      Ltd LP Info: Full Time Hobby 10th anniversary repress. Poppy red vinyl. Limited to 300 copies.

      Sophomore record Just Enough Hip To Be Woman is a bold step forward for BRONCHO.

      Though it certainly bears the hallmarks of their previous work — fuzzy, guitar driven rock - the production and energy of the record moves into decidedly sleeker and decidedly more new wave directions (think Cheap Trick meets the Drive soundtrack meets every great song from Fast Times at Ridgemont High meets the greatest after-hours party you’ve never been to).

      Tracks like “Stay Loose,” “NC-17” and “What” are the kind of pop-rock that could have easily been beamed in from the same universe that gave rise to The Cars (or a looser version of The Strokes), while the album's first single, “Class Historian” — with its unstoppable “do do do do” vocal refrain is the kind of song that seems scientifically engineered to stick in your brain forever and is arguably best played loudly over a car stereo with the windows down and your long hair blowing in the breeze.

      Clocking in at just more than 30 minutes, the eleven tracks on the new record are a potent statement of intent: an effortless sounding rock record that dips its toe into a variety of different styles without every succumbing to any of them. It’s a record that sounds like the summer. Or the future.

      Sadly the arrival of the first collaborative release from Kode9 & The Spaceape since their 2011 album "Black Sun" has been overshadowed by the tragic news of The Spaceape's passing after a lengthy battle with a rare form of cancer. That this release sees the MC focus on the emotional, spiritual and psychological effects of living with illness only heightens the pathos and emotional poignancy of the situation. As ever The Spaceape is on another level, dissecting his condition through wry asides and brutal imagery, while Kode9 explores trap rhythms, rumbling drones and stark minimalism to mirror the bleak subject matter. On the A-side "Chasing A Beast" and "Devil Is A Liar" offer a first hand experience of apocalypse, with all the noise and chaos that entails, while the three B-side cuts drift into subdued ambience and honest lyricism. As strong as any of the material either party has released alone or together in the past, this is a fitting epitaph for The Spaceape.

      The Adverts

      Crossing The Red Sea With The Adverts - 2xLP Edition

        Fire Records reissue the 1978 classic debut punk record 'Crossing The Red Sea with the Adverts' on gatefold 2LP. Released after an ever growing live following and the string of successful chart hits, The Advert's debut has cemented its place in punk rock history. Now this 2LP release includes an extra LP, with 12 extra tracks made of up single recordings and live bonus tracks. From the sonic Armageddon which ushers in 'One Chord Wonders' through to the deliriously protracted fade of 'Great British Mistake', 'Crossing The Red Sea' never put a foot wrong. Created at the height of Punk, recorded with all the venom and passion which gave the era such vitality, "Crossing the Red Sea" was at once a statement of intent and a bellow of defiance, a refusal to take anything for granted, even its own brilliance. More than that, though, the album defined and thus became the precious moment in time when the establishment rules of rock fell away, and new ones still had to be carved out. And by those brittle standards, the Adverts weren't simply crossing the Red Sea, they were parting it.

        Cooly G returns with ‘Wait 'Til Night’, an album of sensitive, lo-fi bedroom music, its lyrics sketching dreamy scenarios of seduction, lust and sex. The moody South London house of her debut album 'Playin Me' and her DJ sets has given way to a near-horizontal, sometimes melancholy and highly original take on R&B. The tracks swing effortlessly with no-fuss musical arrangements that are filtered through reggae sound system culture and US R&B in equal amounts, with a slight hint of dark synth-pop wound throughout. The pace has come down from the deep, tribal house she's known for so far, with the only constants that run through the album - her intimate vocals and smokey synths - cross-hatched with her characteristic broken rhythmic sense.

        Opening with title track, Cooly coos about a date, over an infectious synth lead that wouldn't sound out of place on a Depeche Mode song. 'Like A Woman Should' is twilight music, synths rolling out like clouds over pulsing drums, while the vocals whisper invitations. 'Your Sex' is a fantasy with synths and surprisingly stabbing, hooky and distorted rhythm guitar. 'I Like' feels like the opening of an especially dreamy jungle track stretched into a full pop song. 'Dancing' rolls out drums and a mini guitar figure into a gently dizzy waltz, while 'Quick Question' plays out the scenario after the dance. 'Want's' barely-there song structure of drum and occasional bass with a wiry synth lead, is accompaniment to a near-whispered vocal. The pace steps up with the smouldering 'So Deep', with a deep synth bassline and a muscular hip hop beat. '1st Time' is all depth charge bleeps, guitars and piano. 'Freak You' is spacious and guitar driven, with Cooly beaming in directives through a distant voice transmission. The album's final honest, angry and forlorn track, 'The 3 Of Us', comes down hard on an absent parent, a full stop on the romance that the album narrates. It also reveals Cooly G as a skilled rap artist, something she’s kept hidden until now, with double-time flows casting off a missing babyfather. ‘Wait ‘Til Night’ finds Cooly G casting her net wider than her debut album, with songs that are more confident, accessible and stylistically consistent. The album comes laced with Cooly's unique honesty and charm and is sure to win her new fans with her catchy melodies, slow-jammed stories of blighted urban romance, and engaging lack of pretension.

        Melvin Van Peebles, the filmmaker, musician, author behind the landmark movie Sweet Sweetback's Baadasssss Song and the trilogy of 'Brer Soul' albums he released in the 70s has teamed with the UK ensemble Heliocentrics to create an interplanetary space / love odyssey told in twelve chapters.

        Van Peebles makes for the Heliocentrics’ ideal foil: he did graduate work in astronomy in Holland in the 1950s and maintains an avid interest in cosmology. The Heliocentrics, as their name conveys, draw inspiration from both the philosophic leanings of the likes of Stephen Hawkings and interstellar mysteries, like those surrounding the Malian Dogon tribe’s knowledge of the Sirius B star hundreds of years before it was discovered. Their music is as indebted to Sun Ra’s interstellar jazz as it is inspired by psychedelia’s spiritual expanse.

        'The Last Transmission', presented as a vocal album and an expanded instrumental selection on a bonus disc, can be taken as both the band’s interpretation of Van Peebles’ poem and a musical voyage inspired by Van Peebles’ vivid imagery. The band considers it their defining work, the result of more than a decade of playing and recording together.

        In between producer / drummer Malcolm Catto’s thunderous syncopation and producer / bassist Jake Ferguson’s bellowing bass lines, amidst the analog electronics and atmospheric interference naturally accorded by their organic analogue process, Van Peebles’ voice floats in and out, spectral in its tone, complete in its conviction in the unfathomable sense that life’s eruption in the cosmic expanse made, and in love’s ability to transform and transcend death.

        William S Burroughs

        Break Through In Grey Room

          Extraodinary cut-up voices recorded during the mid-60's in hotel rooms in New York, Paris, London... it's impossible not to recognise the writer's voice - the sonority of this voice - a sonority also present in the silence of every text he wrote. an explosion of styles - a blasting of borders - the silence after a gunshot - the overtaking of the fetishized word - from the exploded painting to the cut tape.

          This record starts with a piece of more than 13 minutes, recorded around 1965 with Ian Sommerville somewhere in New York and London - K-9 was in combat with the alien mind-screens, including various monologues, radio short waves and music... tapes, cut and cut and cut up to the limit of sense - emerged new structures of communication... and senses . words gain power when loosing the boundaries of semantics. Including too Joujouka music recorded by WS Burroughs in the hills of Morocco with Ornette Coleman, circa 1973.

          Bing & Ruth

          Tomorrow Was The Golden Age

          'Tomorrow Was the Golden Age' is an album length composition by minimalist ensemble Bing & Ruth. Written and conducted by pianist David Moore, 'TWTGA' is a halcyonic journey to a neverending place, where music waxes, wanes and drifts imperceptibly from silence to grand, glowing sound.

          Formed in the mid-00s among music student friends at New York City’s New School, Bing & Ruth’s lineup has shifted with the scope of each recording. For 'Tomorrow Was the Golden Age', the group whittled down from the eleven players on their first album, 'City Lake', to seven: two upright bassists, two clarinetists, a cellist and a tape delay tech, all supporting David Moore’s sublime yet resonant piano scores. Moore is responsible for the compelling melodies mediating the overarching ambience of 'TWTGA'. With untethered textures inspired by the indeterminate music of Morton Feldman and later torch bearer Gavin Bryars, 'TWTGA' achieves canon-level quality for instrumental music. Within the piece’s extended passages, Bing & Ruth wander through gradient fields of colour, illuminated by a delicate architecture of slowly developing microtonal harmonies, Steve Reich-ian piano lines and the same analogue tape delay that launched both Brian Eno’s 'Apollo' and the greatest dub reggae engineers into the unknown. Moore employed fundamental contrasts as the conceptual mode for 'TWTGA. Daybreak offered one contrast, with its untraceable hues from dawn to sunrise. Silence and its intrinsic gift of listening offered another. The emergence of 'TWTGA from the two is Bing & Ruth’s epic and ultimate reprisal.

          The album was recorded in Yonkers, New York and mixed in Brooklyn, with Brian Bender and Moore at the controls. Intended to be experienced at both high and low volumes, 'Tomorrow Was the Golden Age' is perfectly calibrated for meditative backdrops, burrowed headphone listening and utter captivation when performed live. Its sonorous palette inspires emotional response across a dynamic field, welcoming a journey to and beyond tomorrow’s promise.

          Haikai No Ku

          Ultra High Dimensionality

            "Fucking Awesome Heavy Psych!” - CVLT Nation
            “A burgeoning psychedelic doom trip of the highest grade.” – SludgeLord
            "One hell of a trip” - Echoes & Dust

            Following last years outstanding debut 'Sick On My Journey' on Burning World Records the three piece stepped into Blank Studios to record their follow up, a 40 minute pilgrimage through 5 mind-altering tracks.

            By now avid fans of doom and psychedelia will be familiar with Mike Vest's (Bong, 11Paranoias, Blown Out) patented hyper fuzz guitar shrieks and damaged feedback. In Haikai No Ku he is joined by Jerome Smith (Female Borstal, Charles Dexter Ward) on bass and Sam Booth (Foot Hair, Bin, Obey) on drums to deliver a burgeoning psychedelic doom trip of the highest grade.

            Opener 'Dead In The Temple' begins the album in the most transcendental fashion. Vest's squawking guitar barks and howls over a lumbering rhythm and an apocalyptic bass line, perfectly introducing the sound and concept of the album. From here on listeners are completely subsumed by the bands' dark cloud of ear splitting, cacophonous symphonies.

            Behold the gargantuan sound of Haikai No Ku – Ultra High Dimensionality. For fans of Bong, Les Rallizes Denude, Mainliner etc.


            Ltd LP Info: 'Ultra High Dimensionality' is pressed on 180g wax with superb artwork and design by Pete Burn, printed on warm grey recycled card sleeve with metallic ink and comes with download code.

            Big Ups

            Rash / Not Today

              Following the release of their debut album in January, Big Ups return with a new two-track 7”. Returning home from their latest European tour in July 2014, Big Ups took an extended nap and somehow woke up in THUMP Studios in Greenpoint, Brooklyn. They decided to try to record a few new songs, and - despite the band's grogginess - they actually finished the recordings. These new songs are coming out on a 7" vinyl record with separate releases in Europe & the USA. The single Rash b/w Not Today will be released via Tough Love Records.

              For those not yet up to speed, Brendan Finn, Joe Galarraga, Amar Lal, and Carlos Salguero Jr. met whilst learning about specifications of Cat 5 cables in New York City. Shortly after, they formed a band. Big Ups – since 2010 – blend punk, post-punk, metal, and indie rock into a salty mash that gets stuck to the roof of your mouth. At their brightest, they have been likened to The Descendents, but at their sludgiest, they call to mind bands like Pissed Jeans and The Jesus Lizard.


              Ltd 7" Info: Coloured vinyl (500 copies).

              Kirlian Camera

              Uno - LP + Flexi Disc Edition

              Includes postcard insert and bonus flexi disc. Dark Entries is proud to release Uno, a collection of early recordings from seminal Italian electronic act Kirlian Camera. Keyboardist / vocalist Angelo Bergamini founded the project in Parma in 1979, initially naming it Suicide Commando, before discovering another project using the same name. By 1980, Bergamini had recruited singer Simona Buja, keyboardist Fabrizio Chiari and bassist Mauro Montacchini. Their demo cassette Dawn attracted the attention of Italian Records, a popular independent label. The following year, Montacchini left the band and was replaced by Giorgio Vecchi, and Kirlian Camera recorded their self-titled debut mini-LP. Uno compiles the four songs from Kirlian Camera on Side A and the six songs from the demo cassette on Side B. Also included is the bonus track “Minitech,” originally released in 1981 on flexi-disc. Kirlian Camera’s clean, minimalist new wave is marked by strong haunting melodies, slow-moving synth washes and stark, dramatic vocals. All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The artwork replicates the original 12” featuring a painting of a royal Italian noble on the front and black and white photos of the band on the back. Each copy includes a two-sided postcard with a never-before-seen photo of Bergamini and Buja taken from an early concert.

              Sleaford Mods


                2 track 12” with etched side , Fizzy is a studio recording and was recorded in the summer of 2012 , 'Urine Mate' (welcome to the club) was recorded live at the German club Skalitzer Berlin August 24th 2013 featuring John Paul who does the introduction to the song . Anton Newcombe met the band online and as a fan of the band wanted to release a single on his label , 'Urine Mate' (welcome to the club) is an exclusive version of this track to this release , Fizzy can be found on the album Austerity Dogs released 2013 on Harbinger Sound.

                Jason says 'Fizzy' was inspired by the many thousands of psychopathic managers and supervisors that terrorise low paid workers throughout the world on a daily basis. I've modelled this song on one cunt in particular but it is by no means an isolated experience. As for 'Urine Mate' (welcome to the club) Jason comments describes in detail Nottingham's Mansfield Road. A haven for the actual results of modern England. Destitute, full of characters and betting shop drug traders.

                Harry Wolfman & Skinny Love

                Celebre EP

                  After taking a short break 'House of Disco Records' are back with a purpose. Not content with the adding to the plethora of 'Disco Edit' labels representing the genre they have opted to walk a more distinct path, determined to lean on originals or clever sampling as opposed to outright re-rubs.

                  In this their twelfth release they recruit previous label-mate Harry Wolfman and compadre Skinny Love to provide three stunning dancefloor ready originals. The duo have certainly delivered on the brief and turned in three diverse and clever takes on what a modern Disco track with a House soul can represent.

                  On remix duties they have recruited a promising young producer 'Kickflip Mike', who has released on Box Aus Holz as Joschka Seibt and paired him with experienced disco merchant 'The Revenge' who is responsible for some of the best remixes we know of, and he doesn't disappoint here with either remix.

                  Sleaford Mods

                  Mr. Jolly Fucker / Tweet Tweet Tweet


                    Sleaford Mods started around 2006 in Nottingham by Jason Williamson. Born out of frustration and by accident, it quickly found its feet as an aggressive attack on all that is contrived and connected to the day-to-day hammer of low paid employment. After a year in the studio and gigs around Nottingham, Jason then took the cause to London for a period and eventually back to Nottingham in 2009 where he met Andrew Fearn, who became nvolved with the production of the 5th album, Wank. He also became the second member. On Wank's release, Jason and Andrew were offered a slot on the bill of The Rammel Club's 3 day festival which introduced Jason to the Noise scene, so to speak, and also to Steve Underwood from the punk label, Harbinger Sound. A year later Harbinger Sound released Sleaford Mods first vinyl album, Austerity Dogs, and it immediately took off with a string of gigs in Europe and major cities in the UK along with side articles in leading music magazines The Wire, Fact and Vice as well as countless fanzines. The second album from Harbinger sound is due to be released later this year and also two 7" releases from Fourth Dimension Records and Kraak's home label are due in the meantime. Tours to promote these are currently underway with more planned. ‘Mr. Jolly Fucker’ b/w ‘Tweet Tweet Tweet’ sees the duo continuing their sometimes raucous yet always edgy melding of mean hip-hop beats, often savage poetic observations (think whizzed-out Mark E, Smith) and snarling punk attitude. A full-on kick to the senses inspired by the Sex Pistols, The Last Poets and ‘60s garage and soul music.

                    Allo Darlin'

                    Bright Eyes

                      The first single to be taken from Allo Darlin’s forthcoming album We Come From the Same Place, "Bright Eyes" is a hugely enjoyable duet between singer Elizabeth Morris and guitarist Paul Rains - his first recorded lead vocal performance. Recording their vocals simultaneously in the live room of the studio, the two were able to play off one another and capture the humour and affection inherent in the song's lyrics. "Bright Eyes" isn't the first duet the band have recorded, early single "Dreaming" featured Monster Bobby of The Pipettes trading lines with Elizabeth, but as she notes, that then poses its own problems when it comes to playing live. "I wanted to write another duet, but the only problem with doing that is that when you play live it's very rare that the person you recorded it with can be there. So I thought it would be great to write a song with Paul singing the other part. I love Paul's singing and I wanted to hear him do it more, so it's quite selfish really!"

                      "We Come From The Same Place" is the third full-length recording from the much loved Anglo-Australian four-piece and is made up of smart, beautiful pop music, with lyrics that resonate with experience and melodies that chime, echo and soar. The album combines the eagerness, urgency and immediacy of their 2010 self-titled debut with the contemplation, sophistication and ambition of their 2012 follow-up "Europe," and yet it goes beyond either both sonically and in the songs. It was written at a time of considerable change for songwriter Elizabeth Morris, a time during which she fell in love, moved to Italy and got married. The truism is that third albums are difficult beasts, but by remaining true to themselves Allo Darlin’ have side-stepped the pitfalls to produce a wonderful record - thoughtful and exciting and exquisitely played – that will please their existing army of fans and newcomers alike.

                      FORMAT INFORMATION

                      Ltd 7" Info: Limited edition of 500 copies.

                      Natan H

                      Glen Park EP

                        LA resident Natan H returns to ManMakeMusic with the Glen Park EP. 3 slabs of rounded, undulating deep house that will be warming up sunrise & daytime dancefloors across both sides of the pond.

                        Lola Colt

                        Away From The Water - Bonus Disc Edition

                        'Away From The Water' is the highly anticipated debut album from London six piece Lola Colt. Produced by Bad Seed Jim Sclavunos, the album has been intricately crafted by the songwriting partnership of vocalist Gun Overbye and lead guitarist Matt Loft through a cinematic writing style born of a mutual love of vintage film and visual soundscapes.

                        Hailed as one of London's most exciting and captivating live bands by fans and critics alike, this six-piece have been taking audiences by storm. Their shows have been described as "a spellbinding and dramatic experience with both sonic and visual intensity" and they make certain every show feels like a special event.

                        Crystallising their breathtaking live experience into physical form has been an intense and challenging experience as Matt explains "Our music is pure escapism and the thought of recording it felt strangely like trying to put up walls around a dream. What we strived to create is a timeless record that takes the listener on a journey to a different place with each listen".

                        FORMAT INFORMATION

                        CD Info: Includes 4 track bonus disc while stocks last.

                        Ltd LP Info: Limited edition silkscreen gatefold coloured vinyl. Includes 4 track bonus disc while stocks last.


                        Wolf EP 26

                          Soul has always been a constant in WOLF's musical adventures, and here they release an EP that is positively drenched in it.

                          WOLFEP026 has been crafted by WOLF favourite, Ishmael. A multi-instrumentalist who has featured on the label in the past but is now stepping up for his first full EP.

                          Fans of WOLFEP017 will be familiar with his debut single 'Want You' that received praise from the likes of Jimpster, Lovebirds & Ben Westbeech.

                          This release is his full debut EP, and is a taster of what you can expect from this exciting new addition to the pack.

                          Earl Zinger & Ashley Beedle

                          Ghostdancers - Inc. Will LV Remix

                          Esteemed conductor of the Black Science Orchestra, DJ supreme, top selector and all round legend Ashley Beedle delivers the third release on his warmly received and fast rising new house imprint Back To The World teaming up with Electronica artist Earl Zinger. Earl Zinger for those with a longer memory may better know him from his days fronting Galliano, or his spoken word epic 'Escape from Ibiza'.

                          This track is in a similar vein and 'Ghostdancers' is a heartfelt love letter to japes and scrapes from days gone by, a proper Boys Own eye-witness account from two voices who were most definitely there.

                          This reminisce is however served up over a great modern dance floor backing to bring it bang up to date, an almighty collaboration that has the full support of Giles Peterson and a wide range of jocks, featuring as it does the block party remixes by Bones who supplies vocal & instrumental re works plus A WILL LV Remix... No serious collection should be without this track, an authentic documentary on wax.

                          Mark Henning

                          Titan EP

                          Mark Henning returns to Soma with yet more jacked up machine funk in Titan. Mark has firmly established him self within the Soma mainstays and continues to further his sound on the label. This latest EP sees him take to the street with two energetic drum workouts laden with his unique flavour.

                          Title track Titan is very typical Henning, keeping the ingredients simple yet effect and created live. A solid groove from his trusty 909 that just oozes dance floor compatibility hooked up with a quirky synth stab, weird vocals and a eerie organ-like riff all rounded off with a fantastic arrangement makes for one seriously infectious track

                          Roots gives of a real ghetto-tech feel, as once again a 909 groove is enough to get things going while squelchy synth hits bounce of rimshots working up to a subtle rolling bass line. Mark’s skill in the arrangement process take hold as he allows the tracks to develop into a full drum workout with mutes here and there and the simple addition of more stuttering percussion help to pick up the pace.

                          Henning as the enviable talent of being able to create dance floor burners with the simplest of elements, a task he delivers of with blinding result on this EP.

                          Back in stock Cover of Supafrico 7: The Sound Of Funky Africa by Various Artists.
                          Supafrico return with more wonderful lost gems from the Afro-funk vaults. First up we get the full 10 minute version of the awesome ‘Disco Stomp’ by The Star Beams, an incredibly groovy and infectious Afro disco monster taken from the über-rare 1976 ‘Disco Specials’ EP on the tiny JRS Pride label. The flipside features the killer afro boogie sound of ‘Galaxy’, one of legendary Nigerian producer Jake Sollo’s finest moments with phat pumping bass provided by Randy Taylor and great vocal performances from the Galaxy girls. Last up is the superb afro party jam ‘The Disco Kid’, an impossible to find rarity from 1975 recorded by Hugh Masekela under his onetime moniker ‘The Disco Kid’.

                          Rough & raw jams from the formidable duo of John Swing & EMG. Both take a side each this time round. Heavy & essential. EMG kicks things off with "Good Inside". Utilizing those monstrously fat kick drums from previous productions, and layering up rip roaring hi-hats and tearing snares, the drum palette along could slay a dinosaur! Not to mention the perfectly toned, rolling bassline of which there is no let up, and finally the beautifully mixed, swirling piano chords which come hurtling into the track before it hits the halfway stage. Add to this infectious disco snippets and a Ron Hardy-esque, PCP-hazed production aesthetic and you've got yourself one side of dancefloor dynamite pop pickers! John Swing takes the controls for the t'other side, again sticking to that tried and tested formula of jacking, upfront drums, catchy loops and a nice warm tape saturated feel to the recording. Energetic, powerful and sure to be at the front of most house DJ's battlepack when out in combat. Massive!

                          Leonard Bernstein & Stephen Sondheim

                          West Side Story - Red Vinyl Edition

                          West Side Story is the soundtrack to the 1961 film by the same name. All music is composed by Leonard Bernstein and lyrics written by Stephen Sondheim. When released, the soundtrack spent 54 weeks at No. 1 on Billboard's album charts, giving it the longest run at No. 1 of any album in history. Perhaps Michael Jackson's Thriller comes close, on the grounds that West Side Story was listed on a chart for stereo albums only at a time when many albums were recorded in mono.

                          In 1962, it won a Grammy award for “Best Sound Track Album – Original Cast” and Johnny Richards orchestrations of the movie score (on Kenton's West Side Story) also winning a Grammy in 1962 for “Best Large Ensemble Jazz Album” further bolstering the popularity of the movie and soundtrack. In the United States, it was the best-selling album of the 1960s, certifying three times Platinum in over two decades.

                          This At The Movies edition contains 4 previously unreleased tracks. The 2LP package is presented in a gatefold sleeve, housed in a sturdy PVC collector's bag.

                          Adelaide producer Mic Mills releases his long awaited debut EP on Untzz, a label he has contributed to since day one. "Tasty Little Fruit" and its accompanying dub version stomp around tastefully distorted analogue drums, well picked samples and a delectable modular bassline to boot. Mixed beautifully, we get nice Rhodes elements, gentle, airy flute / pipe melodies and of course, that totally electrified bassline. The loose, funky drum palette reminds me of classic Floating Points while the intricate synth work and instrumentation display an almost Carl Craig level of musicality. Flip for "(She Ain't) Da Wun 4 U" (spot the Omar S influenced title). This is really quite special. Combining a slow, sludgy motorcity-inspired groove alongside melacholic, droning organs and complete with excellent lowpass filter usage this set to be a classic of the genre. "Then Again (Maybe She Is)" doesn't let up on quality as skitting hats deliver a radiant mix of warm pads, bumpety beats and firing snares. Technicoloured arpeggios are slowly introduced to the mix as the beat keeps on rolling and a rubbery, thick bassline is brought to the fore. Exceptional stuff, highly recommended.

                          Four Walls & Funky Jaws

                          Another Night In Grodno EP

                          As the song goes, the boys are back in town! The town in question being Grodno, and the boys being the Belarusian dream team of Four Walls & Funkyjaws, who pick up right where they left off on their storming label debut. More than equipped to handle the heat in the kitchen, the up and coming duo keep the recipe the same, serving four deep underground house joints crafted with love and precise execution. Opening track "10 PM" mines that divine MAW seam of live fretless bass driven jazz house topped with smooth ivory tinkling. Perfect for a warm up or warm down this one's gonna get you loose and limber well before the Wood, Brass and Steel aping breakdown. Naturally "12 AM" follows on, propelling us into the midst of a packed dancefloor with a rolling bass groove and disco strings reminiscent of a Joey Negro Ze Records classic. Sounds good don't it?! On the flip we're transported into the post peak haze of love dancing under a golden glow thanks to the warm and breezy "2 AM". The Masters At Work vibes continue here with an intricate piano solo and shuffling rhythm that makes seductive eyes at you across the room. "4AM" finishes things off in rough and ready after hours fashion, as Four Walls & Funkyjaws hit us with a slick hit of break backed dancefloor funk with plenty of attitude, pop and swagger. Mighty moog riffage and sassy vocal samples turn up the heat on this block party boiler till this motha starts blowing like a steam kettle. Too legit to quit, the Belarusian house duo give you exactly what you came here for.

                          FORMAT INFORMATION

                          12" Info: Limited 'beer coloured' vinyl pressing

                          Back in stock Cover of Dream House Volume 1.4 by Various Artists.
                          In 1810 Blind Jack (John Metcalf) sadly passed away at home in Spofforth, North Yorkshire. And so concludes the second series of records by the Blind Jack's Journey / Crow Castle Cuts crew. Heko's "Mercury Seven" fires up the arpeggiators to get us underway; the mid-tempo rolling drug-chug complimented wonderfully by intricate drum work and tantalizing synth flourishes. Lock Eyes follow with "Living In A Cup", a dreamy deep house excursion, suspended by droning synth lines and peppered by clever analogue nuances and percussion fragments. Marius Varied opens the B-side with coastal atmospheres and a bright-eyed, Balearic-house bounce. Super chilled and laid back, but with a catchy 4/4 hook and bassline. Tailor made to soundtrack your next sojourn up the Coatian coastline. Gnork's "The Unofficial Chords Of Planet EE" close the set. An uptempo, feel-good groover (the sunshine element's been present throughout the EP) with a Detroitian sound palette and well executed arrangement. Wonderful stuff. Recommended.

                          Back in stock Cover of Dream House Volume 1.1 by Various Artists.
                          John Metcalf, also known as Blind Jack of Knaresborough (1717 – 1810). As a boy, John Metcalf became ill with smallpox, so bad it eventually made him blind. In the period 1765 to 1792 Blind Jack built almost 300km of Turnpike Road, in the north of England. The records on Blind Jacks Journey will be dedicated to select events during this time. Jimini "Dream 1.1" kicks off this epic journey in tasteful style. A new-boogie synth jam of the blissed-out degree, this could be a lost Future Times or LIES jam, but it’s been knocked out this side of the pond. Lush conga hits and super dreamy synths are sure to elevate you amongst the higher rings of the pyramid on this one. St. Savor's "Savors Dream" is next. With the same degree of looseness and dreaminess as the first track but with a tough synthline and heavy 4/4 kick that takes it more into nightclub territory. This music really swings though, and has a wonderfully organic breath to it. On the flip Plas Vegas steps up the BPMs and experimentalism on "Dream Planet". An effect-laden drum track introduces the track before big Linn Drum tom hits accompany a seductive pad sequence, keyboard flourishes and twangy electronics. Flyypost closes the first part of this amazing tale with "Under The Bed". Is this San Soda working as a secret alter ego again?! I have absolutely NO info to base this on (I promise) but his use of sexy female vocal, super lush production and head-turning arrangement and sound palette, to me, make this a right giveaway. I might be wrong, but I don't think I am, reveal yourself San! Anyway, it's the perfect way to end this beautiful record, introspective and melancholic but with an inner warmth and beauty that you just need to peel back the layers to enjoy. Recommended.

                          STAFF COMMENTS

                          Matt says: New label from an already established shop favourite who currently wishes to remain anonymous. Luv*Jam might be involved though.

                          FORMAT INFORMATION

                          Ltd 12" Info: Limited coloured vinyl with possibly some special treats courtesy of a familiar yet mystery label... Follow the Crow for clues!

                          Back in stock Cover of Machine EP by Le Macchine.
                          Crow Castle Cuts resurrect their Raw black label imprint, supplying illicit hardware jams direct to the club. Le Macchine are a group of hardware enthusiasts from Milan. On "Machine" they showcase a deep, throbbing deep house cut. Extended sections loop repeatedly, capturing the listener in its trance while tantalizing synth sections burst through the mix. Beautifully put together and executed, the track should suck people in right away, and leave them gasping for breath at the end. "House Zomba" is even more looped up and frenetic, sounding a little like Soundstream in places. Proper rampant body music this one, certain to get the whole floor gyrating in unison. On the flip and we get three experiments. "Tape 1" is a dark, pulsating number, riding a bit of a cold wave influence and keeping things very sparse and atmospheric. "Tape 5" has lots of organic percussion and is one of those ethereal, rainforest house tracks that I so favour. A proper head turner. Finally "Tape 11" pairs sizzling lead lines with articulate drum programming and a slo-mo groove to create a seductive, eyes-down smoocher which ticks all the right boxes. Most recommended!

                          The History Of Apple Pie

                          Out Of View

                          ‘Out Of View’, recorded in London over the last few months, was self produced by guitarist Jerome Watson, mixed by Charles ‘Chicky’ Reeves and engineered by Joshua Third of The Horrors, who also adds his unique guitar sound to the albums closer ‘Before You Reach The End’. Released on Limited vinyl and CD the new album features 10 tracks including their critically acclaimed and sold out singles ‘Do It Wrong’, ‘Mallory’ and last years debut ‘You’re So Cool’.

                          ‘Out Of View’ sees the band take expansive and very exciting leaps with the new recordings. The infectious fuzzy pop sound of those early singles has been crafted and developed and they have taken the guitar aesthetic of their heroes - Sonic Youth, Radiohead and Blur, into new and glorious terrorties. Expect more tales of medicated teenage heartache and the psychedelic rain of slacker-genius guitar chops from Jerome’s home made pedal board, but the band have really come of age and the result is a truly memorable and exhilarating guitar pop album.

                          London based and formed just over eighteen months ago, The History Of Apple Pie line up is centered around the songwriting partnership of Stephanie Min (Vocals) and Jerome Watson (Guitar) together with Kelly Owens (Bass), James Thomas (Drums) and Aslam Ghauri (Guitar). A truly great and exciting live band, they quickly built up an ever growing fanbase of critics, punters and fellow musicians alike.

                          They’ve already played over seventy shows both here and in Europe including numerous festival spots, a sold-out show for HMV’s Next Big Thing, ‘The Roundhouse Rising’, main support for both The Drums and Male Bonding and being hand picked by Graham Coxon to support him at his recent London show. As well as the aforementioned three sold out singles, they also recently released a split 12” with the similarly inclined talents of Gross Magic, Novella and Echo Lake.

                          Real Lies

                          North Circular / Dab Housing

                          London three piece Real Lies build on the success of last year's "Sweet Exile" single with this massive double A-side on Marathon Artists which perfectly showcases the band's versatility. The driving house rhythms of "North Circular" suggest the band have learned a thing or two from the remix experience (Pariah and Bey LF went in hard on their last single), providing a tough and insistent basis for the swooning emotional pop of the spoken vocals and euphoric piano chords. This is "Weak Become Heroes" for a new generation of sophisticated and urbane youths freed from genre constraints. On the flip, "Dab Housing" is a simmering hit of dubby dream pop with plenty of Jamaican flava adding spice to the yearning indie vocals. Watch this space. 

                          My favourite purveyors of that classic 'terrace house' sound return on the delectable Contemporary Scarecrow. The Iberian producers have been rolling out hit after hit, all in a very unique, easy to spot style. These are rolling, big room tunes that instantly get the floor shakin' and wigglin'. This particular offering ranks as one of their finest moments in my opinion, and so good it receives not one but four (4!) outings on this essential 12". First up is the vocal mix of "Stretcher", which deploys a spine-tingling, never-ending breakdown with those double kick drum drops which get the floor salivating at the bit (you think the kicks dropped, but then it REALLY drops!). Both vocal mix and 'Stretchapella' feature this fucked up spoken word vocal section which'll play hell with people's minds when blasted out of some 10 foot Funktion1's on Playa d'en Bossa on a Sunday morning.... The instrumental does away with any lysergic vocal meanderings and just goes straight for the jugular with its gorgeous rolling grooves and clever melodic snippets. Hard to describe but so, so easy to enjoy! This is the kinda track Groove Armada would make their own in one of their classic terrace-tinged sets; big extended breaks with even bigger drops! You know you need this! Finally, the 'dub' version really tweaks with the OG, doing away with much of the melodic elements and instead keeping things dark, sexy and sultry, perfectly balancing the arrangement between heads-down, bass-led grooving and more cerebral, floaty sections without a kick drum. Massive record!

                          Kerri Chandler has always taken his music to the next level, he's always been original and pushed the limits throughout his illustrious twenty plus year career, thus giving him the title of a bonafide "House legend". Digging through the vaults of King Street you will see Kerri's name pop up time and time again and this, the first of two samplers, is designed to celebrate the man and some of his classic contributions to the label.

                          Featured on sampler number one we have Chandler productions and remixes across the board, featured tracks include the raw Gospel House of Bassmental Feat. Charles McDougalds "It's The Music (King Street Club)" and "Just Wanna Be With U (King Street Mentality Club)" and the storming "King St Tracking Ya" dub of Nuphonic and Charvoni's "I Wanna Be Your Lover", all solid dance-floor smashers, all with that special Kerri Chandler bounce, all essential!

                          All cuts featured on this sampler have all been carefully selected, re-mastered and re-pressed in conjunction with King Street Sounds.

                          Juju & Jordash

                          Clean Cut Album Sampler

                          Dutch duo Juju & Jordash live up to their reputation for being predictably unpredictable, dropping a single sided album sampler out the blue, with no mention of the new album or a track title. Thankfully, as ever with the boys, you can count on the quality to be sky high whatever ramshackle noise they're sinking their teeth into. This time round the platter provides a warm synthetic pulse on top of a bubbling bassline, both of which undulate nicely through the fug of tape saturation until finally unleashing the panpipe/jug band duet that we've all been waiting for. Melding the organic and synthetic like an environmentally conscious, dancefloor destroying Monsanto, J&J step up to the plate and smash it out the park once again.

                          There are few names in house music today which need less of an introduction than Masters At Work. The duo of Louie Vega and Kenny 'Dope' Gonzalez have forged a reputation for genre-eschewing DJ sets and flawless house production during careers which have spanned decades and seen hundreds of releases and remixes. Their influence and reach changed house forever. Taking the song-writing ability of Vega and fusing it with Gonzalez's encyclopaedic knowledge of breaks and hip-hop, the pair created a smooth-yet-underground sound that is still being copied and referenced by producers today.

                          Now, for only the second time in their 25 year partnership, they've put together a “Best Of” collection for Defected Records.

                          The timing couldn't be more apt as we're in another era dominated by deep house, a genre MAW were at the forefront of when it first emerged in the mid-90s. But to tie them to one sound would be far too simplistic. Masters At Work have always operated according to their own rules and their own sound. Whether it's the sampling techniques of hip-hop, the swing of Latin styles or the soulful euphoria of house – they've always added their own special ingredients, which is what makes Masters At Work genuine dance music legends

                          Some classic Kelli Hand biznizz here, beaming forward from 1993 on the producer's Acacia imprint, remastered, repressed and rereleased to fuck shit up for a new generation. The queen bee rocks the A-side with the slamming Detroit Techno bomb "Everybody" / "You Give Me", a heavy duty looping monster of a track punctuated by immediate vocal stabs. This is rough and tough Detroit business, an excellent DJ tool that keeps the funk strong throughout. Over on the flip we have the legendary Claude Young who turns in two mixes of the futuristic sounding "You Give Me". Stripped back and funky with tight, choppy drum programming and clipped vocal samples weaving in and out of the mix, this one is another sure fire weapon in both dub and the instrumental forms. This 12" has long been sought after and has changed hands for £50 and upwards online; all in all an essential addition to any self respecting Detroit fanatics record collection and an indispensable record to have in any DJ bag.

                          Luca C & Brigante


                          Luca C & Brigante finally reissue their enchanting edit from 2010's vintage year. Originally pressed in small numbers and soon after unavailable to all but a few discerning gentlemen, it's now available to anyone with exquisite taste and style. We can only hope this is the label's resurrection and that the catalogue number hints to a stream of intimately curated releases of cross genre material – psychedelic beach pop, retro future Balearica, analogue gypsy jazz or maybe something from Slovakia. If you haven't been sipping juice to this slo-mo marvel before, carpe diem. "Lucio" is a marvelous halfway house between an edit and a 'cosmic remix' of Italian maestro Lucio Battisti's "Amarsi Un Po", which floats out the speakers as an effortlessly beguiling sonic vignette of transcendental beauty, guaranteed to enchant the wariest of listeners. Bliss!

                          This legendary 1994 double-pack on Eightball has long been an object of desire for proper house heads and vinyl junkies worldwide. We should count our lucky stars then that 2014 is the year that it gets its first full reissue! Featuring deep house classics "Making A Living" (as heard on Phil Mison's awesome 'Originals' comp), "Young And Free", "All In The Same Family" alongside a host of dancefloor weapons, "The African Dream" embodies the true spirit of classic club music at a time when disco and house collided in the melting pot of NYC. An absolutely essential release from a classic era of New York dance music that captures the deepness, rawness and soulful edge of the people who made it. Timeless house sounds for the true connoisseur made available once again. It's a beautiful thing baby!

                          James 'Jack Rabbit' Martin

                          There Are Dreams And There Is Acid

                          Still Music maestro Jerome Derradji hits us with a little teaser from his latest compilation "Kstarke Records - The House That Jackmaster Hater Built." This time round the name of the game is rare, lost and previously unreleased Chicago juggernauts from the underground realm of Jackmaster Hater, aka Kevin Starke. What better way to get started than with the track considered by the experts as the sickiest acid track ever, "Only Wanted To Be" by James "Jack Rabbit Martin". This sampler includes the utrageously rare and previouly unreleased version of that cut, a heavyweight, driving and borderline progressive acid anthem with the creepiest vocal you've ever heard. On the flip, "Rabbit Trax" pulls the rug from under us and lets us fall deep into the acid wormhole (or should that be rabbit hole?) with only 303 lines and flanged hats for company. Heavy shit.

                          Gregor Curten & Anselm Rogmans


                            Wah Wah Records proudly presents a luxury vinyl reissue of this rare 1974 private pressing. Cool long electronic experiments splitted in two tracks, one on each side. Recorded in one take and offering an astounding combination of synth drones, wordless vocals, ambiental electric organ and ethereal guitar arpeggios.

                            An outstanding work that moves away of the more classical kraut cosmische sounds to walk darker paths, yet retaining some early Kluster reminiscences.

                            The Wah Wah reissue comes to life thanks to the cooperation of Gregor Cürten himself, this new LP and the 2012 CD release on Entr'acte are the only legit reissues of this great lost piece of kraut music history. Don't be fooled by imitations!

                            Limited to only 500 copies. Remastered sound and featuring an insert with liner notes.

                            Mark Jenkins

                            Analog Archives

                              A leading figure in the UK’s electronic music scene, Mark Jenkins has played with White Noise, Arthur Brown and members of Can, Gong, Van Der Graaf Generator and Tangerine Dream. He is the author of the acclaimed books Analog Synthesizers and iPad Music (Jenkins became the first musician in the world to release a CD created entirely on the Apple iPad).

                              Analog Archives is a collection of recordings from the early to mid eighties. Armed with his Moog Sonic Six, Sequential Prophet 600, EDP Wasp & Spider and other legendary electronic weapons Mark Jenkins delivers envolving electronic textures that could be filed along those of artists like Klaus Schulze or Ash Ra Tempel.

                              These recordings are issued in vinyl format for the first time ever, in a limited edition of 500 copies only.

                              Emotional Rescue is proud to present the first ever collection of works from Spanish song writer Javier Bergia. As a member of Finas Africae his name is finally coming to prominence. Now with this selection of his music from 1985 to today, the depths of his acoustic, folk and Balearic writing can be heard. Born in Madrid in 1958 to a family steeped in both classical and Spanish traditional music, Javier's unique mastery of guitar, percussion, voice, poetry and composition is drawn from both this grounding and upon his lifelong musical inquisitiveness. Since 1980 he has been an integral part of the ancient music group Atrium Musicae. In 1984 he founded, with Juan Alberto Arteche and Luis Delgado, the groundbreaking group Finis Africae as a sonic investigation into a fusion of diverse ethnic musical forms incorporating both indigenous instruments and electronic elements.

                              As a solo artist, his career blossomed when, in 1985, he recorded his first LP, the acclaimed 'Recoletos' and he has since recorded 13 solo albums. With Luis Delgado he recorded the now classic album 'La Fl or De Piedra' under the name Ishinohana and regularly appears with singer Ismael Serrano. Javier has composed music for and collaborated on many documentaries, films and advertisements as well as collaborating on protects with a myriad o f artists including Maria del Mar Bonet, Joaquin Diaz, Vainica Doble, Marina Heredia, Pablo Guerreo, Antonio Vega and Cafe del Mar. Today he participates in the Sephardic music groups Halilem and 'Alquibla', as well as diverse alternative chamber music groups. Javier works around the world as composer, arranger and producer and he appears daily with Manolo HH on Radio Nacional de Espana.

                              FORMAT INFORMATION

                              CD Info: CD includes 5 bonus tracks

                              Jack Cooper (Mazes) & James Hoare (Veronica Falls) are Ultimate Painting. The two formed a fast friendship when Jack’s band Mazes were on tour supporting James’ band Veronica Falls, sharing similar tastes in music, art & films. It wasn’t until after returning home that a musical synergy was formed. After numerous demos were exchanged, a few casual jam sessions turned into something more; a partnership. Christening themselves after a piece of art by the Southern Colorado desert community (and fanciful geodesic dome-builders) “Drop City ”, the lads set to work recording their debut proper.

                              “Ultimate Painting”s ten songs are the fruits of that labor; a collaboration in the truest sense, with each member compsing five songs each creating a seamless journey that is both pastoral & cosmopolitan. Starting off with the breezy “Ultimate Painting”, the tone is set; a woozy & deliberate tune whose simple melody is complimented by two intertwining guitar lines that ride off into the sunset. The album catches fire after that, from the melodically mellow “Can’t You See?” & the yearing, gothic romance of “Riverside” to the bouyant “Rolling In The Deep End” & “Jane” whose sunny melodies belie the workings of the classic “Femme Fatale” who will “bring destruction to you...” “Ten Street ” is the centerpiece of the record, a shuffling head-bopper with hook after hook that ends in two blazing, interlocking guitar solos. The album closes on with “ Winter In Your Heart ”, a song about embracing new paths that life presents - awash in a fog of fond melancholy for chapters past. Ultimate Painting is a new chapter for both of these fellas & the future looks ver y exciting.

                              RIYL: Mazes, Veronica Falls, Velvet Underground, Feelies, Parquet Courts, Television

                              FORMAT INFORMATION

                              LP Info: Pressed on black vinyl, includes a printed inner sleeve & includes a download code.

                              Bulbous Creation

                              You Won't Remember Dying

                              In 1971, Bulbous Creation poured what little personal surplus they had into a full day of recording at Cavern Studios, tracking enough material for a full length album. The band wouldn't stay together long enough to save up for a custom pressing on Rock. Singer/guitarist Paul Parkinson was deeply individualistic, and left to perform his songs as he thought they should be, as a solo act. He preferred coffee shops to concert halls, and would stick to his craft another 20 years before hanging it up. Drummer Horstmann followed suit. Jim "Bugs" Wine and guitarist Alan Lewis soldiered on, shortening their name to the more sensible Creation and adding vocalist Wayne Austin, dynamic drummer Tommy Ward, and guitarist Roger Sewell. The Bulbous Creation LP was nearly doomed to oblivion, but for the efforts of Rich Haupt, who issued an unauthorized eight song LP in 1995 on his Rockadelic imprint. Lewis died in 1998 of esophageal cancer. When Paul Parkinson died of leukemia in 2001, a lone copy turned up amongst his possessions, with piece of mind that someone, somewhere, was listening.

                              The Rebel

                              K Rot

                                Second Monofonus release from Ben Wallers. This LP was recorded in March 2014. We flew him over to Austin to play a couple shows during SXSW and while he was here he recorded this LP. It’s quite a bit more straight forward than some of his more recent works.

                                FORMAT INFORMATION

                                LP Info: Comes with a download card.

                                Spray Paint

                                Clean Blood, Regular Acid

                                  Third LP from this Austin bad vibe art punk band. “brimming with oddly tuned guitars and shouted vocals, but there’s a sweetness to balance out the sour flavors.” – Stereogum.

                                  “noise-inflected yet melodic post-punk” – Noisey.

                                  “…the trio’s frantic rants glisten with sweat generated by decades of post-punk workouts. That sweat also pushes them beyond mimicry. The exhilarating execution of their taut-yet-rubbery songs puts Spray Paint’s music squarely in the present tense.” – Pitchfork.

                                  John Zorn

                                  The Testament Of Solomon

                                  For their fourth release, Zorn’s most intimate and spiritual 21st century ensemble returns with a melodic and open book of music reminiscent of the Masada music. Drawing inspiration from the Biblical Song of Solomon and originally intended as a companion piece to Zorn’s vocal masterpiece Shir Hashirim, the music is regal, sensual and romantic—a magical blend of classical, jazz and folk music. There has never been a group like the Gnostic Trio, and The Testament of Solomon is a unique CD in their catalog, filled with strong solos, telepathic interplay and a charming lyricism.

                                  Factory Benelux presents deluxe double vinyl and CD editions of Sextet, the ethereal yet rhythmic second album by Manchester postpunk funk group A Certain Ratio, originally released by Factory Records in January 1982.

                                  Self-produced at Revolution Studio, Sextet saw the original Ratio quintet of Donald Johnson, Jeremy Kerr, Martin Moscrop, Simon Topping and Peter Terrell joined by co-vocalist Martha ‘Tili’ Tilson. Written and recorded following a transformative sojourn in New York in late 1980, the album reflects Latin, samba and even jazz influences (eg Skipscada; Day One), while still retaining Ratio’s signature brittle funk textures, heard in full effect on Lucinda, Gum and trancelike floor filler Knife Slits Water. .

                                  “It all came together for us on Sextet really,” confirms bassist (and latterly vocalist) Jez Kerr. “We were all working together - more involved in the recording, and what went down onto tape. It's definitely got something that the other albums haven’t.”

                                  Newly remastered, the bonus tracks on both the CD and vinyl formats include non-album single Waterline as well as dub plate Abracadubra (released as Sir Horatio), and the band’s three song John Peel session from June 1981.

                                  The double CD version also includes a further Peel session from November 1982, featuring two songs never before released on record: Piu Lento, and Who’s To Say. Also included on the CD are both extended 12” mixes of Knife Slits Water, together with an early demo version of percussive marathon Si Firmir O Grido.

                                  Cover painting by Denis King. Design by Ben Kelly.

                                  More craziness from the Wrong Island; Line Idle returning to the demented paradise for an excursion into hunting for Unicorn blood! Or so the sales notes say... "Woodblocks" starts of in suitably strange form - a simple tuned woodblock workout, gloriously organic, magical and slightly ethereal; and surely informed by one of Dresvn's Sued or Acido compositions. "Time And Time Again" glistens and vibrates with the charged electrons and protons which it is filled to the brim with. A proper electrified groover, with bending, twangy synth lines, sharp arps and a steady forward momentum. "When All My Love Is Too Much To Bear" is one of those druggy exercises in discordance paired with a tongue-in-cheek sensibility. Sure to get people thrusting with meaning come 5AM the next morning, this is out of this world, interstellar funk, pairing AFX-style synth fizzles with chiming bell tones and white noise hats. Space voodoo!

                                  Kiasmos (Ólafur Arnalds And Janus Rasmussen)


                                    Ólafur Arnalds and Janus Rasmussen finally release their unique Nordic electronic sounds in album size

                                    After dropping several tracks and performing at select festivals throughout the years, Ólafur Arnalds and Janus Rasmussen dedicated the year 2014 to explore the area in-between Ólafur’s more acoustic, piano-based solo work and Janus’s synth-heavy electro pop, with their collaborative electronic project Kiasmos.

                                    By focusing solely on their self-titled debut album, Ólafur and Janus have been able to combine and further develop their unique sound aesthetics to complete an album driven by their mutual love for electronic music. Made in Ólafur’s newly build studio in Reykjavík, Iceland, a majority of the album was recorded using acoustic instruments next to a variety of synthesisers, drum machines and tape delays. It features a live drummer, string quartet and Ólafur performing on the grand piano, producing an ambient, textured sound, which makes it a perfect home listen and equally danceable record. If you listen closely, you can spot them record the thumb piano, finger snapping and even the sound of the metal grinder of a lighter slowly to replace the usual electronic hi-hat sounds, giving the album a far more intimate and unique atmosphere.

                                    “We decided to start almost completely over with this record, so most of the material is written this year with the idea of making a record that can stand as one piece rather than a collection of songs. I am very excited to get a proper record out exploring a different territory than I am used to. I touch a lot on electronic genres in my own music but never have the opportunity to go full out electronic like we do here.” – Ólafur Arnalds

                                    “The Kiasmos project has been around since 2007, but because of all our other projects we never really got the time to sit down and write all the tracks we always wanted to. So when we early this year finally found the time to sit down and make a full length album there was so much we wanted to try out. The result surprised us a bit, it's deeper and more emotional than we imagined it to be, but that's the beauty of being able to make an album.” – Janus Rasmussen

                                    Long-term Erased Tapes graphics collaborator Torsten Posselt at Feld Studios in Berlin created the cover artwork. Feld Studios was a natural choice for Kiasmos, seeing he also designed the cover for their Thrown EP, released previously.

                                    Kiasmos is made up of Icelandic BAFTA-winning composer Ólafur Arnalds, known for his unique blend of minimal piano and string compositions with electronic sounds, and Janus Rasmussen from the Faroe Islands, known as the mastermind of the electro-pop outfit Bloodgroup. Based in Reykjavík, Arnalds used to work as a sound engineer, often for Rasmussen's other projects, where the two musicians discovered their common love for minimal, experimental music. They eventually became best friends, often hanging out in their studio, exploring electronic sounds.

                                    Art Of Tones / Thatmanmonkz

                                    So Worried / Got To Get To

                                    Thatmanmonkz is enjoying a fine run of form thanks to a string of heavy duty releases for Delusions Of Grandeur, Kolour Ltd and his own Shadeleaf label. For the fifth release on the bubbling imprint, Sheffield's finest is joined by French house loyalty, with Art Of Tones taking care of business on the A-side. "So Worried' marries a spoken word vocal with a clipped organ lead for a bumpin' house workout reminiscent of fellow Frenchman St. Germain's finest work. If you like to keep your mixes tight and quick, then the slick and sleek re-edit will do nicely. Monkz handles the flip with the kind of rough and ready sample-house jam the label has championed since day one. "Got To Get To" strings together a handful of live instrumentation and melodies in that MPC bashing style we're used to hearing the Motor City jocks rocking. A thick mix and bubbling bassline provide all the grit you could ask for while a sharp clap will keep the necks snapping. On the dub mix, Monkz strips that shit back and houses the ingredients up for a buttery groover packed with soul. 

                                    Back in stock Cover of More Spell On You / I Love You More by Eddie Johns / George Duke.

                                    Eddie Johns / George Duke

                                    More Spell On You / I Love You More

                                    Two originals sampled by Daft Punk back to back on 45. Eddie Johns' percussive Latino disco-funk anthem "More Spell On You" provided the inspiration for "One More Time", while "Digital Love" borrowed from the soft-pop boogie of George Duke's "I Love You More". Essential party-starting classics for your 45s box.

                                    Invisible Menders

                                    Porn Wax Eight EP

                                    Everyone's favourite adult imprint offer something bold, new and exciting with their latest hot pink 10", thanks to the debut of the Invisible Menders. I'm gonna come clean and admit that I know absolutely nothing about these blighters, but from the beefy post-punk drums and sprawling synths of "Affected", I'm willing to bet they took their name from a Faust track. The A-side cut stomps out the tracks and explores the post Weatherall wormhole in a blast of Tangerine Dream sequences and baggy backbeat, simultaneously referencing Germany 1978 and Manchester 1989. Those looking for a more recent comparison could do worse than Death In Vegas' "Satan's Circus". On the flip, "To Be Discontinued" opens with an eerie sense of disquiet thanks to some mournful pads and a jagged sequence. As the track progresses we're dragged further into the abyss by a swirling tangle of synthlines until those techy flavours are replaced by the spacey melodies of a classic Bobby O production, albeit played at the wrong speed. An impressive debut from the Menders then, who offer a new take on the ALFOS blueprint. 

                                    FORMAT INFORMATION

                                    10" Info: Limited pink vinyl pressing.

                                    West End hit us with another winning reissue in the form of this stunning piece of NYC proto-house / electronic disco from vocalist Shirley Lites, mixed by the legendary studio team of Nick Martinelli & David Todd. Originally released in 1983 "Heat You Up..." is a slamming, heady mixture of drum machines, synths, dub FX & Lites' powerful, soulful vocals. This enduring classic was a regular for all the legendary jocks and worked the dancefloors of the Paradise Garage, The Zanzibar, The Muzic Box and many, many others into a complete frenzy. This bonafide dance classic is now here again, remastered and re-pressed in conjunction with West End Records, ready to cause a sensation for a new generation.

                                    Love Club was an obscure one off project fronted by Jay "Mixin" Dixon, a DJ with a long history at NYCs Kiss FM where he played deep house and garage on the station's legendary master-mix show in the early 90's. The record also features a mystery, uncredited female vocalist and expert assistance by some top shelf studio personnel manning the boards. Originally released on the mighty West End Records in August 1983, "Hot Summer Nights" is a real under the radar gem which bears all the hallmark sounds the label was known for at the time: slick, synth heavy, futuristic sounding production and sultry vocals extolling the virtues of eyes meeting across the dance-floor of a unknown discotech on a sticky summer night. This sweet slice of electronic disco bliss even features a rapped verse from Dixon himself towards the end of the track, for essential street soul crossover. Flip the disc for the obligatory instrumental mix / dub which extends and expands the spacious, stripped back groove, blasting all and sundry out into the cosmos. Yet another gem from the vast West End catalogue re-mastered, re-pressed and re-released in conjunction with the label, featuring the original label artwork from 1983. A treat for all serious disco / boogie fans.

                                    Historically, Switzerland's main exports have been cheese, army knives and watches. As of this moment however, it seems we need to add essential vinyl magic to that list, thanks to the continuing brilliance of Alma Negra. Taking their name from a peak in the Cordillera de la Ramada range of the Andes Mountains, the collective, made up of Miajica (of Highlife fame), Dario Rohrbach and Dersu Figueria trade in a sound as far away from their stately and pastoral surrounds as it's possible to be. They are passionate diggers who specialise in diaspora and made their debut last year on the infamous Sofrito label with heavy edits from the islands of Cabo Verde.

                                    For their first release on Basic Fingers, the trio focus on rhythm and groove, making their intentions clear from the off with the heavily percussive and minimally melodic "Mao Negra". On the flip, "Messa" is an explosion of sound and colour as the celebratory and sacred sounds of a tribal rite are reworked into a peak time smash. African chants, spoken vocals, a hypnotic bassline and a tonking kick turn this into a club ready weapon of the highest order. EP closer "Tribal Echoes" returns to the minimalism of the A-side, providing a percussive tool that'll suit the spiritual and psychedelic jocks alike. A unique and wonderful addition to any record box.

                                    Red Laser Records drop four tracks from Mancunian fucked up disco band Silverclub. Thick analogue percussive vibrancy has a scrap with a sophisticated discoid lyricism resulting in shaky legs, adrenaline overdosed heightened senses and a fuck yeah fist in the air for every track on this EP.

                                    The EP starts of with 'Back To the Start', a sampled piano fuelled beauty that weaves you through another disco dream world. It brews and bubbles subtly enough to capture the imagination and transport you to a thoughtful sound pallet. Music that paints pictures as you listen only for you to awake and realise your foot is tapping like Keith Moon on a kick drum. Beautiful work.

                                    In remix mode Ste Spandex gets busy jamming up his tape machine in the studio and crunching out an absolute warehouse banger with this massive remix. A totally spiritual hardware shower to assist you in ridding you of your tiredness as dawn breaks outside the club. 'Gravity' is a perfectly crafted dope wave disco from the Manchester five piece that's built to suit any kind of dance floor. The production is perfect. Every instrument is crystal clear and spreads lush and wide like a junkie with a needle in his arm . The dark chugging vocals build and soar in total harmony with the bubbling disco not disco soundscape. A total masterpiece.

                                    'Trouble' has more percussive and acidic synth disco feel with a great lo-fi intro then the beautiful vocal bursts through to balance the sharp with silky soft perfectly. The track is choc-full of soulful boogie licks and sprinkles of pop sensibility. By the 3 minute mark I'm jumping about the house in my underpants like some high school twat from an 80's John Hughes film. Mega jam 

                                    The III Rivers juggernaut sallies forth once again, with Voiceless back in the cockpit leading the charge. "Second Nature" sets a dark and ominous tone as Voiceless conjures the sounds and moods that reflect the tense drama of the label's affiliated club night, Bohemian Grove. Big laser beam synths dart through a thick pitch black haze while a factory line percussion section hammers on. As the fug melts away into the aether, an insistent piano line enters and sucks us deep into the centre of the dancefloor, transfixed til dawn. Always keen to keep a foot in the sonic warfare division, Voiceless deploys three locked grooves loaded and ready for battle; funky, electrified technoid wobblers that should fight off most opposition with ease. Flip the disc and "Opt-out" opens with controlled urgency as a barrage of kick drums sets the train in motion. Voiceless layers up rich, untreated piano chords against the backdrop of dark industrial chaos; percussion artefacts career around the mix and various elements are put through an aural meat grinder before the familiar and welcoming piano motif returns like a long lost friend; guiding us through the smoke hand-in-hand. A beautiful juxtaposition of soulful melancholy and cold, glacial machines. Final track "Charivari" really hits the accelerator as a tough and mechanical rhythm jolts against blurred, radioactive pads and searing string lines before collapsing into a fractal breakdown introducing mystical, weaving high end leads. An eyes-down fist pumper of the highest order and one that commands excessive smoke & strobe light abuse late, late into the session. One to close off one of their infamous soirees in style, hoards of mutant dancers leaving the industrial backdrop of the club's venue and crossing paths with the early morning dog walkers and Sunday strollers. Four releases in and we've lost none of the quality control, unique drive and free minded 'true spirit' (to quote Tresor's legendary catchphrase). The label goes from the strength to strength and with it, brings a whole new generation of techno shamans under their wing.

                                    Various Artists

                                    Acid Tracks

                                    Chicago's Trax Records has gone down in history as being one of, if not the most important House labels. With a roster that includes luminaries such as Adonis, Armando and many, many more this accolade is more than justified. "Acid Tracks" is a loose guide to some of the afore mentioned peoples' music, but it is also a snapshot of the rough, lo-fi, almost bedroom quality of some of the sounds from this new wave of producers emanating from the city in the mid to late 80's. It is these sounds that captured the imaginations of people all over the world at the time and continue to inspire and influence countless contemporary producers today. This collection features classic acid cuts "Got The Bug" (Phuture Pfantasy Club) and "Downfall" (Armando) alongside funked up jackers "House This House" (Mr Lee) and "Get The Hole" (Lidell Townsell) on the first disc, while the second features a quartet of raw acid rockers from Jack Frost. "Acid Tracks" is the perfect addition to the seasoned Chicago lovers collection or it is the perfect starting point for those who have just discovered the windy city's own unique brand of jacking electronic grooves. 

                                    FORMAT INFORMATION

                                    2x12" Info: Comes in Trax red printed disco bag.

                                    It's late, too late. Still you can't help hitting redial. Three rings... four. Should you hang up? "The Call"... We all know what it means. Will you answer?

                                    After making us wait two years before delivering Parkwest number 3, label head Mark Seven keeps 'em coming in quick succession with this thumping ode to booty calls. We've all been there and done that, but it's never sounded this good before. On the A-side, the original mix of "The Call" is an overproof shot of legit house music, packing muscular percussion and a rubbery bassline. Rather than those usual proto-house flavours we've come to expect, Mark delivers a devasting early nineties sound backed by a techy sequence and some hushed erotic vocals. This is audio viagra for the flatlining dancefloor. The "(3AM) Mix" on the flip gets nasty in a different way, pinging the sleazy vocal samples through all the outboard fx for a chemically enhanced session. This one can go for hours! 

                                    Eddie C

                                    Farmer God / The Touch

                                    Heeeeere's Eddie! The Canadian edit maestro swings his leg over his steel horse for another foray into the swinging saloon on the wrong side of town. After the recent split release with Noodleman, Eddie cuts the wagon loose and rides out alone again with another extra fine duo of dubbed out edits. "Farmer God" sees a high plains drifter out of his gourd on powerful peyote, strumming away and riding into the sunset as the steady groove rolls on, topped by exotic guitar solos and smooth woodwind. Sultry and breezy, this little number's gonna tease and please Balearic folks from the dustbowl to the rice paddies.On the flip "The Touch" gives a taste of the classic Eddie C style as a beautiful mid-tempo jam is expertly extended, with only the juiciest parts added to the blender. The producer weaves lyrical guitar, funky piano and a strolling bassline around a trademark mid tempo rhythm, taking us straight to the floor.

                                    Ernest Ranglin

                                    Mr. Ernie Ranglin With Soul

                                    A very rare Rocksteady album by the Jamaican guitar virtuoso, Ernest Ranglin. Unlike all the other musicians in those days, Ranglin was not allowed to go between studios to record and release music as he wished because he was an exclusive employee of the Federal records. Thus it's really hard to find a Rocksteady record with his name on it. Although whenever he found a spare time, he would go to Duke Reid's studio and play the guitar and bass as a sideman, often playing sessions with Lynn Taitt. According to Ranglin himself, "I felt really comfortable being at Duke Reid's studio", though sadly there have not been a single release of his solo guitar tune which was recorded there.

                                    So here comes the album, it's the rare Rocksteady instrumentals by the man himself. Some of the main features would be "Summertime", "Flamingo" and "Hold Me Tight", the wickedest selection of the moist Rocksteady that will certainly catch your heart. Other than that, there are the uptempo "Sling Shot", the relatively arranged towards pop direction "Don't Sleep In the Subway" and some ballads to represent the Federal's widely ranged style that won't go off after a long time, exactly how this one of the biggest leading labels in Jamaica had thought of. This may not make Rude Boys in downtown growl, although it will clearly last eternally as Ranglin's 60s best album to the future generations.

                                    Ernest Ranglin

                                    Mod Mod Ranglin

                                    'Mod Mod Ranglin' is a fusion of ska and Caribbean instrumentals by Ernest Ranglin recorded in 1966 while ska was changing towards Rocksteady. Although Ernest Ranglin recorded 8 solo albums at Federal Records, 'Mod Mod Ranglin' was the only album with ska instrumentals, interestingly. The album consists of classic ska, mento and Carribean songs of all times. From the start to the end, Ernie's guitar playing flutters like Caribbean breeze. The instrumental song entitled 'Felicia' is a perfect number for all ska lovers.

                                    Gladstone Anderson, Lynn Taitt & The Jets

                                    Glad Sounds

                                    Trinidad born legendary guitarist, Lynn Taitt, who brought the first wave of Rocksteady to the Island, and Gladdy Anderson who is well known as a Skatalites' pianist, got together to record this Rocksteady instrumental album 'Glad Sounds' at Federal Studio in 1968. Released from the Merritone label, which was managed under Federal, the album depicts the heyday and best sound of Rocksteady as well as the label itself. This album is for the first time reissued by Dub Store Records. The album tracks consist mainly of cover versions of popular tracks, which were produced by Coxsone Dodd, Bunny Lee and Sonia Pottinger. Lynn Taitt and Gladstone Anderson added gentle flavors to their versions by their distinctive instrumental plays. Federal's recording facility made possible to maintain this sound quality. This is certainly another classic album to add to your collection!

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