Back in stock Cover of Colony001 by Various Artists.
Well isn't this a treat for all the senses?! Max Mulder, Felix T and Phil Madeiski launch their new Wide Open Space imprint from their twin bases in Berlin  & Vienna with the sublime Colony 001. The hot wax looks like liquorice, tastes like treacle and smells as heavenly as any fresh resin should; and when you slip this beauty on a turntable you'll agree it feels fucking fantastic! So all that leaves is the audile sensations to account for, and these guys do not dissappoint. As you'd expect from a record that comes with a Dune style insert, space is the place my friend, and each of our intrepid astronauts deliver big on this EP. First up, Max Mulder enters the fray with all the sci fi credentials his surname boasts on the massive "Outer Rim I". The producer sets the scene with a rumbling bassline purpose built for the big rigs of the world, accented with all the clangs and bangs of a Levon Vincent B-side. From there we take off into dubwise techno orbit courtesy of the most expansive pads you're likely to hear this side of Venus, and an array of sprawling sequences. Felix T takes the reins and punches in coordinates for the funky sectors of our galaxy usually marshalled by the Space Dimension Controller. The slinky and sassy "Moonshine", combines the boogie leanings of the Belfast man, with a little hint of Mr Fingers, and finds itself drifting free in a galaxy all of its own. Space age and funky, this sexy number would leave you broke and stranded in space in the blink of an eye. After kicking the B-side into action with the mindbending interlude "Transmission", Felix hands the controls back to Mr Mulder, who takes us deep into the growling, humming pressure field of deep space with "Outer Rim II". Our captain sets the speed with a hissing combo of hi hats and goes deep field mining with a peach of a circular bassline. As we head further towards the centre, the ship starts to groan and feedback, leaving us lost in the dark. Veteran astronauta Phil Madeiski comes to the rescue on the B2, sheperding us back down to earth with the limber technofunk of "Pipe Wrench". Just when you thought you were lost to the darkness, the Italian producer conjures the sun with a sublime steel drum melody to see us safely home. This is the most assured label debut I've heard in a long time, do not sleep on it!

Following a slew of Mood II Swing reissues split across different labels in the past 12 months, King Street Sounds set about doing the job properly with three samplers celebrating the duo's seminal original tracks and dubs. The NYC led the way in the early 90s deep house scene, packing their releases with funk and attitude whilst keeping things truly underground. It's fitting then that "Got To Have It" should open the EP, pairing a funked up bassline with M1 vamps, immersive pads and a skipping rhythm and delivering something for the mind and the body. The B-side opens with the stomping garage groove of "Holding On To Your Love", a slamming house workout which seemlessly transitions from the raw and stripped down opening into a full bodied vocal house bomb complete with a rubbery bassline and echoed stabs. The EP closes in tribal and techy fashion with the tough rhythm and incessent sequence of John Ciafone's dub of Kim Lovelace's "I Luv You More", a post peak redlight anthem if ever I've heard one.

Nate Lacy spent the years since his teens exploring his inner world and his connection with the universe at large. These days, Lacy is focusing his gaze further outward, exploring what he calls “the infinite and the infinitesimal,” while also keeping lyrical watch on the crossroads where our digital future and our pastoral past bump up against each other. Few are the artists who are able to bring such thorny and thoughtful issues to bear in their music, but that is just one of the many reasons that ‘Eons’, the new album from Mimicking Birds, is so very special.

How this comes out through Lacy is in toothsome lyrics that are filled to bursting with imagery, philosophical questions, and deep personal concerns. That he finds ways to tie these concepts together without losing his way or our fascination with them is a testament to his songwriting prowess.

The rest of the band, Aaron Hanson and Adam Trachsel, remain connected, emphasizing fingerpicked acoustic guitars, the sturdy tones of a stand-up bass, and restrained drums, while pushing into the future as well.

‘Eons’ feels as expansive as its title thanks to the help of producer Jeremy Sherrer (The Gossip, 1776), weaving gorgeous electronic textures into the songs - listen for the skittering programmed beat that helps carry ‘Owl Hoots’ forward, or the swells of keyboards that pull closing track ‘Movin’ On’ towards an 80s pop sunrise.

The Faust Studio is situated in a spacious factory building right on the bank of the Danube river. Here, 2670km past of the river’s mouth at the Black Sea, the current seems relatively weak, however past accounts of severe flooding are enough to dispel any doubts of its power. One can spend hours staring out from the studio’s wood-panelled windows at the current, pondering the fact that you never observe the same water twice Jochen Irmler and Jaki Liebzeit met in the town of Scheer last July to prepare for an upcoming concert at the slaughterhouse in Sigmaringen as well as for a subsequent appearance in the Kammerspiele in Munich. However, they quickly decided to stop rehearsing and instead record FLUT - an album that regroups six improvisations between organ and percussion.

FLUT adds another chapter to Irmler’s collaborations, which aim to explore, whenever possible, the hidden potential that lies dormant in the clash between prepared organ and drums. The series includes previously-published collaborations with Gudrun Gut (programmed beats), with FM Einheit’s percussive bass-string playing, and with Christian Wolfarth’s uncategorizable drumming, pushing the limits of harmony and tuning to ever more complex results. A special energy is released through the clash between Irmler, one of Krautrock’s main driving forces ever since his work with Faust, and his sparring partner Jaki Liebezeit, the living legend from Can, whose unrivalled hypnotic drumming has earned him a reputation as one of the most avant-garde percussionists, and as a human drum machine. Says Jochen Irmler: "I started jamming with Jaki as a means to play the organ very differently. On one hand he challenged me, on the other we shared an almost ESP-like non-verbal communication. A new horizon had opened up (before us)."

One hears elements of this statement in the piece "Sempiternity" and in the subsequent "Washing Over Me", where organist and drummer create a synergy greater than its parts; a trio rather than a duo seem to be at work. The effect is partly conjured by Irmler’s touch; his distorted right-hand melodies often sound like electric guitar, while his left hand finds unusual ways to elicit organ-like chord structures. Irmler’s relentless sonic clusters crash spectacularly against Jaki Liebzeit’s drums. Always stoic at their core, Liebzeit’s rhythms are struck with playful outbursts of groove, especially on the cymbals. Here we see a minimalist with an extremely controlled love of collisions at work. Repetition and its minute refinements are transferred with great discipline in a stream of consciousness that both sets the stage and upstages his opponent. "We play without notes. In places where notation systems do not exist, the rhythm holds a much more dominant role in music, for example as is the case in Africa. Here people make music differently than those who think in terms of notes and bars. Musical bars are like prison bars. Playing without notes means that you must play repetitively, and repetition is rhythm. At the same time repetition does not really exist here, because you never (quite) play the same thing (twice)." (Jaki Liebzeit) Through three consecutive days of noon-to-night sessions in July 2013, Irmler and Liebzeit recorded a hypnotic maelstrom of an album. They contemplated the Danube between takes, and felt the sun sink daily over their endless improvisations. Always another stream, never the same river.

Sargent House is excited to re-issue both of Chelsea Wolfe’s first two albums, The Grime and The Glow and Apokalypsis, on CD and LP for the first time.

Chelsea Wolfe's sound is best described with broad strokes: elemental, intense, radiant, ancient yet modern, intimate yet expansive, dark and sparkling. Hues of black metal and deep blues inform her ever-evolving electric folk—a warm force that wraps itself around the listener, encouraging uplift, seeking triumph. Her voice similarly haunts and soothes, with words that illuminate life's darker corners in order to reveal the unlikely truth and beauty hidden within. Originally hailing from Northern California, Wolfe's formative years were spent tinkering in her country musician father's home studio, however, she long lacked the confidence to share her work. Then, in 2009, an overseas excursion as part of a nomadic performance troupe ignited her passion for performing and initiated a renewed interest in writing and recording. After performing in cathedrals, basements and old nuclear plants to whoever would listen, she returned home with a new drive. She began toting around an 8-track and recording as the mood hit, eventually editing her findings into a breathtaking debut album, 2010's The Grime & the Glow. Marrying the gentle intimacy of folk, the atmospheric voodoo of death rock, and the bleak, sullen nihilism of black metal, Wolfe's sound effectively cast a genre all her own: a cavernous rumble, marked by stuttering drums, ethereal synths, and a wash of guitar, all very much in the service of one of the most hypnotic, celestial voices in modern music. Described as both healing and harrowing, enchanting and narcotic, the album established Wolfe as a force on the rise.

Sargent House is excited to re-issue both of Chelsea Wolfe’s first two albums, The Grime and The Glow and Apokalypsis, on CD and LP for the first time.

Chelsea Wolfe's sound is best described with broad strokes: elemental, intense, radiant, ancient yet modern, intimate yet expansive, dark and sparkling. Hues of black metal and deep blues inform her ever-evolving electric folk—a warm force that wraps itself around the listener, encouraging uplift, seeking triumph. Her voice similarly haunts and soothes, with words that illuminate life's darker corners in order to reveal the unlikely truth and beauty hidden within. Originally hailing from Northern California, Wolfe's formative years were spent tinkering in her country musician father's home studio, however, she long lacked the confidence to share her work. Then, in 2009, an overseas excursion as part of a nomadic performance troupe ignited her passion for performing and initiated a renewed interest in writing and recording. After performing in cathedrals, basements and old nuclear plants to whoever would listen, she returned home with a new drive. She began toting around an 8-track and recording as the mood hit, eventually editing her findings into a breathtaking debut album, 2010's The Grime & the Glow. Marrying the gentle intimacy of folk, the atmospheric voodoo of death rock, and the bleak, sullen nihilism of black metal, Wolfe's sound effectively cast a genre all her own: a cavernous rumble, marked by stuttering drums, ethereal synths, and a wash of guitar, all very much in the service of one of the most hypnotic, celestial voices in modern music. Described as both healing and harrowing, enchanting and narcotic, the album established Wolfe as a force on the rise.

Inspired, Wolfe then relocated to Los Angeles and recorded her second album, 2011's Apokalypsis, which found her in an actual studio with her live band. The songs captured therein maintained the strikingly visceral elements of her debut, further showcase Wolfe’s unique songwriting ability, while adding a serious heaviness of sound that balanced eloquently with her transcendent voice. Its release was subsequently met with critical adoration, and rightly landed on numerous best of 2011 lists.

Arve Henriksen

The Nature Of Connections

Arve Henriksen stumbled across the title of his latest album while reading a book about furniture-making. ‘The author mentioned the complexity of making a chair and all the people involved in the process,’ the Norwegian trumpet player says. ‘The high quality of the different fields and the wide range of professions that, after a long process, turns into a product which can easily be compared to the process of making this album.’ The Nature Of Connections finds Arve working in harness with some of Norway’s most distinguished and dynamic musician-craftsmen, drawn from the fields of folk, improvisation and jazz. Each one brought specialist components and skills honed over many years to Arve’s workshop, where the results were assembled and polished to a high gleam. The Nature Of Connections almost entirely features pieces composed by Arve’s collaborators. Recorded in the sparkling acoustic of Oslo’s legendary Rainbow Studio by Jan Erik Kongshaug, it’s an album with closer ties to Nordic folk and contemporary, minimalist chamber music than any of Arve’s previous releases. The trumpeter had planned to make an album with a string quartet for many years but never quite found the right formula. Finally, a special commissioned tour brought him together with violinists Nils Økland and Gjermund Larsen, cellist Svante Henryson and double bassist Mats Eilertsen, all of whom now appear as the central planks in The Nature Of Connections. Another welcome guest is drummer Audun Kleive, veteran of Norwegian jazz ensembles including Masqualero, JøKleBa!, Generator X, Terje Rypdal and Jon Balke. ‘The brilliant thing about collaboration with others is that your collaborators very often have better ideas than yourself,’ says Arve, typically modest. ‘At the same time some naive and simple ideas from my head are sometimes enough to illustrate that moment and that special feeling of a story. I have gradually started to trust that feeling.’ His instincts are correct, leading to some of the warmest and most organic sounding music of his career. Highlights include the solemn chamber music of ‘Seclusive Song’, and the stately progress of ‘Hymn’ – composed by Arve’s keyboardist partner in the longrunning Norwegian improv ensemble Supersilent, Ståle Storløkken – which paces itself around Henryson’s repetitive, gently churning cello.

Born in Norway and currently living in Sweden, Arve Henriksen is Scandinavia’s most distinctive trumpeter and improvisor. He played in various jazz ensembles in his youth before co-forming Supersilent in 1997, a prolific free music group with Helge Sten (Deathprod) and Ståle Storløkken, which is still ongoing. His trumpet, augmented with effects and electronics, has appeared with David Sylvian, Terje Rypdal, Nils Petter Molvær, Jon Balke, Terje Isungset and Iain Ballamy’s Food. With Supersilent he recently collaborated with former Led Zeppelin bassist John Paul Jones. In September he’ll be participating in an architectural installation/performance as part of Oslo’s Ultima Festival of contemporary music.Since 2001 he has created a series of exquisite solo recordings (on Rune Grammofon and ECM), which combine electronic textures, horns, woodwinds, ethnic instruments, percussion, keyboards and his mournful, yearning singing voice. Henriksen’s music reflects both the stunning beauty of virgin wilderness and the shifting, cosmopolitan environments experienced by the 21st century traveller. The Nature Of Connections is the latest link forged in an ever growing chain.

Personnel Arve Henriksen – trumpet, piccolo trumpet, piano, Nils Økland – violin, Hardanger fiddle, viola d’amore, Svante Henryson – cello, Gjermund Larsen – violin, Hardanger fiddle, Mats Eilertsen – double bass, Audun Kleive – drums Tracks ‘Blå Veg’, ‘Hambopolskavalsen’, ‘Budbringeren’, ‘Seclusive Song’, ‘Hymn’, ‘Aceh’, ‘Keen’, ‘Arco Akropolis’, ‘Salm’

Vince Taylor & The Playboys

Jet Black Machine 1958-1962 - LP+CD Edition

In May 1965, Vince Taylor aka the ‘Black Angel of Rock’ attended a party in London, hosted by Bob Dylan. And like the lyrics to his finest song ‘Brand New Cadillac’, Taylor was never coming back. At least his mind wasn’t. Having garnered considerable success in Paris but not financial equilibrium, Taylor had returned to London to collect some money to bail out his band, The Playboys, who were holed up in a French hotel, unable to pay the bill. Vince had promised a speedy return but got waylaid at Dylan’s soiree, where he tried LSD for the first time. Whilst the Isleworth born Taylor hadn’t exactly stormed the UK charts, his frenzied onstage moves lent him a certain cache. Although Vince’s chain wielding leather clad amalgam of Gene Vincent and Elvis Presley suggested sensual thuggery, Taylor was made of more sensitive material, a peacock with a dandelion quality, known for pulling gigs if he suspected his girlfriend was cheating on him. Listen to Taylor’s debut single ‘Right behind you Baby’ (released in November 1958) which could be construed as the first stalker tune. However, little in Vince’s early repertoire suggests his subsequent lysergic dissipation. Taylor’s oeuvre was polished high-energy bop, exemplified by covers of ‘Long Tall Sally’ & ‘Blue Jean Bop.’ Even ‘Jet Black Machine’ with its hint of smoulder never strays too far from the right hand path. But all that was to change in the course of an evening’s psychedelic revelries, when he spent the majority of The Playboy’s rescue fund on acid. ‘The Black Angel’ returned to Paris wild-eyed and unkempt, where after announcing himself to be ‘Mateus’ the son of Jesus Christ to his band mates, he burned the rest of the money. Vinyl Vince was no stranger to controversy, and had been deemed responsible for sparking a series of riots at his French shows so ardent where his performances. Still, a good night’s sleep before a gig at Le Locomotif appeared to have done the trick and Taylor emerged spruced up, back on an even keel and ready to rock once again. ‘Mateus’ was however merely waiting in the wings. At the show Taylor requested a large jug of water and commenced, in his capacity of the son of the son of God, to baptise the crowd, no doubt saving them from ‘The white hot fire from the fiery furnace’ of ‘Whatcha Gonna Do’ but no one could save Vince. Following a spell in a psychiatric institution he drifted back to London where in now a legendary encounter on Tottenham Court Road, he showed David Bowie a map of alien landing sites and became one of the key components of Ziggy Stardust, the Martian messiah; quite a leap from Taylor’s ‘Move Over Tiger’ to Bowie’s ‘Tigers In Vaseline’ on ‘Hang On To Yourself.’ The Clash would also laud Taylor, hailing him as a rock n’ roll trail-blazer and covering ‘Brand New Cadillac.’ For Vince however, the Stardust days were over. He died in Switzerland in 1991. At the time he was working either as an airport cleaner or mechanic depending on reports, but savour ‘Jet Black Machine’; for this is the corner stone of a compelling if tragic myth.

Continuing in the classic reggae tradition of the “one rhythm” LP, where multiple artists bring there own (vocal) flavor to a single instrumental, Dub Club presents the 'Meaning Of Dub' LP, produced by Dub Club LA mailman Tom Chasteen. UK legend Tippa Irie leads off with the title cut, name checking some dub warriors like Jah Shaka and Lee Scratch Perry in the process. Jamaican sound system veterans Trinity, Josey Wales, and Tippa Lee bring some rasta vibes on their respective turns, as the musical track is flipped a little different each time.


Position EP

Ikonika is in straight up banger mode on this EP, possibly her finest release to date. Confident, energetic and tough, these tracks are made from solid tour experience and made for big room dancing. The EP is made with an almost 3D sense of contrast, and a brilliant ability to balance dusty old school sounds and shinier new ones and reshape them into something that sounds really fresh.

‘Position’ kicks things off with rough kicks and snares that sound like they've been created in a foundry, mixed into rolling kicks lifted from a crumbling drum machine and vocals sliced and diced into sharp hallucinatory rhythms. ‘Praxis’ sounds like a track that could have come from her groundbreaking ‘Contact, Want, Love, Have’ debut album, except the straightforward melodies with droning synths and steamy drums over growling bass give the track a confident upgrade. ‘Strawberry Underlay’ builds melody lines over a single basic, repeating riff in quick succession while a series of interchangeable, tight old school drum patterns stop and start underneath in quick succession. It's a brilliant exercise in dynamics and tension. ‘Wakeup Sequence’ sounds like freestyle pop driven into strange Atari game shapes, bubbling arpeggios, rough, funky melodies, ancient drum machines, and distorted guitar synth and weird squeaks.

µ-Ziq's new EP is a thing of joy and hazy childhood memories. The music of the future as it felt in the early eighties, filtered through the rhythmic shapes of more modern dance music innovations. From the twinkling breakbeat 'artcore' of opener 'Taxi Sadness' to the early '80s kids children theme via dubstep of 'Rimmy'. 'PRG' is beatless, full of gentle whispy coiling melodies through a distorted lens. 'Blem' mixes trappy snares and twilight atmosphere with big melodic brushstrokes that remind one of John Foxx. 'Smeester's gentle metallic melodies give way to a menacing hip hop style bass and drums, and chords that drift and decay.Closer 'Tambor' rolls slowly on metallic percussion, a sad melodic figure that repeats into despair, finishing the EP.

Karl Hector & The Malcouns

Unstraight Ahead

German producer and guitarist JJ Whitefield, along with Thomas Myland and Zdenko Curlija, founded Karl Hector and The Malcouns in the early 2000s. Their debut, ‘Sahara Swing’, saw release on Now-Again in 2008. The album swung with influences from across the African diaspora and set the stage for a cult, but influential following. ‘Unstraight Ahead’ finds the band exploring territories even outside of the expansive scope of ‘Sahara Swing’. On this album, the West African sounds of Ghana and Mali meet the East African sounds of Mulatu Astatke’s Ethiopian jazz and are tied together with the groove heavy experimentalism of The Malcouns’ 70s Krautrock godfathers: Can, of course, but also more obscure and equally adventurous groups like Agitation Free, Ibliss and Tomorrow’s Gift. “We look to Middle Eastern funk and psychedelic fusions, and to various ethnic records for sound and phrasing,” Whitefield states. “We’re trying to combine the global experimentalism of Krautrock with the backbeat of funk.” This explains how songs in uneven meters - 5/4, 7/8 - always sound so accessible and natural on 'Unstraight Ahead'. It’s mainly an instrumental affair, but guest artists appear throughout, from across the African diaspora to those from the worldly Krautrock forebears of their German fatherland: it’s Marja, daughter of Embryo founder Christian Burchard, whose vocals open the album. It’s an album out of time, one that couldn’t have been made in the era its aural aesthetics reference, as its scope is so broad. But it’s an album focused by funk - and an ambition to expand funk’s reaches. The Malcouns - including Poets of Rhythm songwriter and vocalist Bo Baral - created their own instruments to fashion an album that stands alongside the great albums of its progenitors but charges ‘Unstraight Ahead’ into a curious musical future.

Chuck Berry

Rockin' At The Hops - LP+CD Edition

Chuck Berry’s fourth album lavishly presented with artwork by renowned rock & roll designer Sophie Lo and liner notes by author Max Decharne. This was the album that caught Keith Richards eye when it was in the possession of one Mick Jagger on Dartford station back in 1961! Remastered for today's optimum sound and pressed on red vinyl.

Detroit techno veterans Octave One flipped the script back in 2000 with the massive, seminal smash "Black Water" and now it's back, remastered and repressed in the original 430 West artwork. The bass heavy, rapid fire groove is laced with loose and limber machine funk from start to finish, as those classically Detroit strings duet with the jazzy riffs. On the A2 "Black Waters" strips that shit back and dubs it out for proper warehouse destruction. Flip the disc for a slice of history with the original, instrumental version of "Untold". The flawless combination of rippling sequences, buoyant bass and shimmering hats propelled this one into every set that mattered back in the day, matching and surpassing Rolando's "Knights Of The Jaguar" from the year before. If you don't own this record, then your time has come.

Split Decision Band

Watchin' Out / Dazed

Holy Grail deep disco from Des Moines, Iowa. This 45 has remained at the top of rare disco, modern soul and deep funk collectors for years, never dipping below the $1000 mark.

On side A we have 'Watchin' Out', a slice of solid driving funky disco with a proper live band backing the soul-funk vocalist. Over on the flip we dip down low with a slice of stoner funk-rock track worthy of Funkadelic. Both sides feature killer backing tracks with the band (rock-solid drums, fluid space bass, wucka wucka rhythm guitar, red hot brass etc) on fire.

Look out for an unreleased LP soon on Eothen Alapatt's Nowagain Records later in the year.


These Are The Good Times / UI Remember

In the space of only a handful of releases Athens Of The North has pushed its way right to the top of the funk, soul and disco reissue tree. The Edinburgh label, run by renowned digger and DJ Fryer reaches its fourth release with a couple of breezy grooves from Popsicles, which bob along dressed sharp in smooth soulful cool. But that's enough from me, let's leave it to the man himself to give us the rundown...

"This killer 80s Soul 45 only popped up on ebay for the first time in 2012 was promptly tucked into a collection for just under a grand. Having missed a couple more copies I went in search of the band but nothing came up. Then whilst chating to a friend from Austin he mentioned he had tracked the band and had the licence and here we are. Popsicles sits great alongside some Prince, Haywoode or Debra Hurd. Credit goes to Jukka at Timmion Cutting Laboratory for fitting these longer tracks on to 45 and making them sound so strong." - Fryer, Athens Of The North


You Can Win / Let's Go

I challenge you not to move, groove and generally speaking lose your shit when those horns hit! Undisputedly one of the best, across the board crowd and DJ pleasing rare disco 45s ever cut to vinyl, this 7" from Bill Williams and his crew plays host to two sides of AAA grade party smashers. A-side cut "You Can Win" bounds out of the crossroads of "Move On Up", "Never Gonna Leave You" and "There's Something Better" grabs you by the hand and gets you dancing with the widest smile on your face! As far as feel good goes, it doesn't get any better than this, and without even a whiff of cheese. Flip the disc for the deep and soulful shuffle of "Let's Go", a midnight mover with plenty of funk in the trunk. Lowslung bass, rippling percussion, bursting brass and soul brother vocals combine perfectly for a bonafide unclassic! Cut as loud and deep as the tapes would allow, this fully licenced 45 won't be around long, so don't hang about, they ain't gonna be no repress.


Surf Dude

Not content with rocking the party on Omena and Puss, Stockholm's pre-eminent house head HNNY launches his new imprint, Yummy, with this transparent one track vinyl aimed directly at your local dancefloor! "Surf Dude" is the kind of easy going, sun-kissed house bomb that's been missing from your life since the days of Modjo, Stardust and perennial guilty pleasure "Groovejet". Working with a flanged guitar sample that could very easily have washed in with the surf, HNNY crafts a perfect filter house bomb that'll have 'em smiling at sunset all over the globe. Get stuck in, it is Yummy after all.


12" Info: Clear vinyl pressing.

Oto Gelb

When You're Hot - Inc. Daniel Wang Remix

That magical dancer Daniel Wang reboots his Oto Gelb series with this scorching three tracker of real disco delight. Once again we have our Danny doing his thang, alongside the debut of the mysterious Eugene Tambourine (possibly also Mr Wang), who takes the reins on the A1 and B2. Now, don't confuse these workouts with your regular common-or-garden disco edits, thin with the overcompressed sheen of an Ableton abused CPU, these are real- deal, old school disco edits packed thick with the depth and warmth you want on your turntable. Eugene gets right into it on the A-side, gently massaging Janice McClain's "Larry List" essential "Smack Dab In The Middle" into a looped up groove thang perfect for getting shoulders rolling out on the floor. The expertly selected loops go easy on the cheese and leave us free to savour more of that meaty beaty filling. On the flip, Danny takes us for a wild night of red hot hedonism at a little mirrored ballroom he knows. With the floor packed and jacked Danny reaches into his top pocket and pulls out his latest brand of club friendly 'room odouriser' "Love Comet", filling the room with the heady scent. Within seconds we're off and away to the camp brilliance of a cruiseship near you. Last but not least Eugene returns with the percussive, dubby and outrageously tropical "Unafraid", a neat extension of the Disconet mix of Culture Club's "I'm Afraid Of Me", which drops Boy George's dulcet tones in favour of echo, delay, reverb and rattle. Danny's done it again, with or without the help of his friends!

The latest addition to the Italo / disco reissue scene, Kasset, open their account in fine form with this beautifully remastered pressing of the rare as hen's teeth "Stress". Originally released in 79 on the cusp of the Belgian new wave explosion, this cosmic disco bomb from Andre Brasseur and the mysterious Leslie takes you on a journey to the other side of the galaxy with its ethereal vocals and stargazing synths. Driven along by a pulsing bassline and tumbling percussion, "Stress" manages to soar high through the atmosphere without getting lost in space. Despite the release finding its way into a black hole back in the day, it's since become a total unclassic, with the occasional copy going on Discogs for £150. Easily as good as classics from Cerrone and Space, this reissue will hopefully earn the track the credit it deserves.

The man who put the beat into afro-beat is back! Part of the Tony Allen reissue series on Kindred Spirits, featuring remastered versions and original restored artwork. A must for afro-beat fans around the globe.

Without question, one of the highpoints of his post-Fela catalogue was the in 1999 released record, 'Black Voices', which crosses over so many musical boundaries that it is impossible to name them all. A group effort in every sense of the word, Tony Allen found himself surrounded with some of the most innovative, talented, and energetic musicians on the planet, and the sounds and moods they created as a group represent the pinnacle of what can happen when such talent is properly focused. Each of the tracks on 'Black Voices' explodes with positive energy and irresistible grooves, yet there are also social criticisms and observations running underneath the stunning musical arrangements.

If "Movin' On" is Witch's "Rumours" then "Kuomboka" is their "Tusk". A remarkable follow-up to a timeless album that shows the band taking greater risks in songwriting and playfully experimenting with production techniques. This album is Witch's stunning swansong before the fast-changing music industry and political environment in Zambia took its toll on the group. Although once again inspired by American FM radio, from soft rock ballads to boogie, this album sees the group embrace their Zambian roots to a greater degree, resulting in fluid rhythms and sweet melodies. This time around Patrick Mwondela pushes his synth work and electronic production to a whole other level, especially on the bombastic "Erotic Delight" and low slung "More Sweat Than Sweet". "Kuomboka" is the unforgettable last voyage of this legendary band.

Japanese production genius Altz calls in his good buddies the Idjut Boys to grace his Altzmusica label with one of their deep and dubby Balearic-friendly disco creations. "World 1st Day" is an edit and dub treatment of (Third Idjut) Andy Hopkins tight guitar and bass work. As thick and muddy as it is dubby, the track is packed with lashings of psychedelic echo and delay, positive energy and healing vibrations. Tight ever since the Idjuts remixed "Yello" and "Tune In" back in 2005, it makes perfect sense for Altz to return the favour here on his B-side remix. The Japanese producer adds a tougher beat and turns the groove factor up for a rapturous dancefloor response.

With his first two singles for Phantasy, “Mouth” and “Giudecca”, Ghost Culture emerged from the shadows with a beautifully elusive sound - winning plaudits from the likes of Pitchfork, The Guardian and more, they marked out London's Ghost Culture as one to watch, a hype most definitely consolidated with new single “Arms.”

“Arms” is its own breed of electronic songwriting: a low, malevolent thrum emanating from serpentine grooves and whispered vocals, it's a record that moves entirely at its own pace, creating an atmosphere heavy with tension and mystery. The flipside “Understand” is born from a dusty corner of the nightclub, relentlessly growing in intensity throughout, it surrounds the dancefloor in a beautiful techno sprawl. This single, along with the forthcoming debut album released later this autumn, was co-produced and mixed with Erol Alkan between studios in two quiet corners of the city. Ghost Culture's time is here.

Karen Novotny X

3 Minutes Over Brussels

    The second of Augusts‘ trio of new Deep Distance releases is most definitely a gift from the gods to yr record collecting fraternity. A playable picture postcard from East London’s favourite shady, mysterious synth heads’ KAREN NOVOTNY X.

    Arriving a couple of years ago completely outta’ the blue with their previously discarded synth experiments recorded in East London between 1978 and ’79 (with debts of gratitude to Chris Carter and Suicide amongst others), the vinyl only collection sold out it’s run of 500 in the blink of an eye on Deep Distance’ parent label The Great Pop Supplement.

    Airing here also for a first time is the wonderful “3 Minutes over Brussels”. A killer instrumental piece displayed to the world via a playable picture postcard featuring more of KN X’s acclaimed collage work in a sealed stickered pack with insert in a pressing of 500.

    Sadly, given the nature of the format, the full audio experience is somewhat flawed but fans of the band are thankfully pointed to the bands’ bandcamp page to fully appreciate the piece.

    Unsurprisingly given the shadowy nature of the groop, the band actually embrace the ultra lo-fi aspect and quirkiness of it’s playback quality which I guess should come as no surprise to fans….

    Looks utterly gorgeous and will no doubt fly, but from a label’s point of view, do check out the bandcamp link- the track really is killer and amongst the best things they’ve done but the sound quality on the card itself isn‘t the best….

    Hinterhof / Play For Today

    Split 45

      This one’s a rare excursion into 7” territory for Deep Distance following a bunch of sold out 12s and full lengths from the likes of Umberto, NWW’s Colin Potter and Tim Gane’s new ‘Cavern of Anti-Matter’ project. A split 45, airing debuts from Berlin’s HINTERHOF and the shadowy world of Camberwell based synth dabblers PLAY FOR TODAY.

      Hinterhof don the white Lab coats for the icy sci-fi pop blast of “Molecular Love with a Molecular Sound”. All bubbling moogs and buzzing electronics topped with the cool vocals of Lollie Barr.

      If the reverse might be described as a kind of uptempo space age pop, Play for Today brings things down a few shades with the colder, more industrial synth tone and drone of “Golden Kids (What’s Going On?)”. Think darker Fad Gadget, early Cabs- a more angular, darker piece more in keeping with an early Mute 45 than it’s double A side here- yet it’s that dark and light aspect that makes the single such a winner.

      As ever with Deep Distance it arrives handsomely packaged, orange wax in cool company bags and inserts. A pressing of 500 expected to sell out pretty quickly….


      Ltd 7" Info: Orange vinyl pressing of 500 copies only.

      Leeds underground don Ford Foster inaugurates the fresh Just Left White imprint with four straight up bangers for those in the know. Picking up exactly where he left off on his releases for Opal Tapes and Bad Mums Club, the sect resident gets straight down to business and unleashes a tightly wound acid techno assault on the appropriately named "Hammer Curl". Powered by the twin influences of classic UK techno (check the resonance) and booty shaking ghetto house (check those drums g!) the intense opener makes the perfect introduction for the twisted tension of "Crows", which utilises a bleepy detuned organ riff to create full scale dancefloor panic. Foster introduces a touch of grit and spit to his extra strength product with the hissing and scuffed brutality of B-side opener "Steady Creep". The dark and moody post peaker builds and builds with those traintrack hats and falling synthlines, teasing you with the promise of a rapturous climax before simply dissipating into a cloud of steam. Foster closes the set with the relentless minimalism of "Running Round", pairing a circular bassline with a Twilight Zone bell that'll have you nodding way into the next day. More fire from the man described as the U.K.s answer to Delroy Edwards.

      Leisure Birds


        Third up for Augusts’ trio of new Deep Distance releases is the incredible new full length from Minneapolis based Leisure Birds, the mighty “Tetrahedron”. A shared release whereby Moon Glymph and Totally Gross National Product handle to rest of the world but where Deep Distance proudly helps out for the UK. The band sent the LP to the label here and we were so blown away by it that even at the 11th hour, we wanted to help out. The result is a micro edition of 100 copies for the UK so to move fast is most definitely advised. Here’s some press bumph:-

        “While much of modern psych seems to be stalled in a bygone era, Minneapolis-based Leisure Birds look squarely at the future. Their synth-driven grooves may evoke hazy memories of Krautrock and 1970s experimentation, but their aesthetic shies from the predictable shuffle that consumes current Psychedelic music. Leisure Birds strip away the trappings that made an old genre tired.

        As Weed Temple writes: “Leisure Birds brings back the hope in the existence and future of psychedelic rock.”

        Following the releases of LPs Copper Scroll (Totally Gross National Product, 2010) and Globemaster (Moon Glyph, 2012), Leisure Birds continue their outward trajectory with the release of their third LP, Tetrahedron, a co-release by Moon Glyph, Totally Gross National Product and Deep Distance in the UK. Using simple melody, hypnotic rhythm and highly constructed analog synthesis, Tetrahedron constructs a world on the edge of fiction and reality”.

        “too gorgeous of a sci-fi wonderfuck for you to be reading words about.” Decoder Magazine.

        “What psychedelic music will sound like in ten years” Bong Magazine France

        This truly is a wonderful album and although we here at DD can offer only a small amount of the pressing, we do urge you to move fast. 100 copies in gatefold sleeves, with the 100 copy Deep Distance edition featuring cover mounted sticker, hand numbered inserts and download code wrapped up in a cool gatefold sleeve. Get on it!

        The faceless PDL aka Perth Drug Legend emerges from the Clouds with a dark and murky 12" that's sure to rattle your bass bins and shake a few screws loose. Limited info all round as the mysterious producer opts for the obtuse by way of track titles, but what's crystal clear is this kid means business. "A" sets its stall out early with a pounding basement 4/4, before flipping and twisting into a swinging rattle of hissy hats, vocal chops and junglist backspins. Ruthlessly rhythmic, this one's not for your granny. "B" follows on naturally, bringing along its own particular strain of queasy, drugged out tribal techno. The track rolls along nice and steady packed with a ton of bass weight and more than a hint of wall crumbling menace. "C" shuts that shit down in deep and dope style as the Perth Drug Legend chalks out the kind of ricocheting bassline that helps the K-Hole masses remember their legs again. PDL lets this one rumble on with hypnotic meter before inducing true paranoia via a tripped out choral breakdown.


        12" Info: Limited 300 hand-stamped and numbered.

        Stephen Brown

        Micron / Swing Left

        Stephen Brown returns on his own imprint with two classy techno cuts, with massive support from big stadium smashers like Norman Nodge, Surgeon and Laurent Garnier, you know he means business! "Micron" is aggressive and tense, harsh hats and claps grating the cerebrum as dark, melancholic leads weave mystically between the gaps. Great for taking things down darker, tougher territories late on into the session. "Swing Left" has more serotonin-releasing elements, in particular the elastic band bassline and glistening techy stabs that sweep through the track. A proper swinger, impossible not to groove to, the sound palette screams of high end audio gear, full lighting rigs and a hi-tech aesthetic. Great stuff.

        Harry Agius has been making waves as Midland since 2010, releasing a series of increasingly impressive 12”s as a solo artist but also collaborating with the likes of Ramadanman (Pearson Sound), Breach and Pariah on labels such as Aus Music, Naked Naked, Works The Long Nights and his own Graded imprint. He is also a prolific remixer who has lent his talents to artists such as Lone, Guy Gerber, Julio Bashmore, Dusky and more. Here he returns to one of his original base camps, Phonica's White Label series for an excursion into deftly executed dancefloor technologies. "Before We Leave" pairs long, serene string sections with thunderous kick drum drops and big, reverb-soaked percussion. The string sections constantly invite the listener inwards, promoting introspection and exploration before the big, wall-shaking drum elements enforce strict exuberance and dancing on the floor. Clever but highly infectious and most importantly, FUN! Running Back’s Gerd Janson wisely decides to stick to the original track’s feel, letting the strings weave their magic, yet also brings the bassline and drums to the forefront. Delicately but expertly done. Midland rounds out the 12” with his barebones drums and percussion-only "Bonus Beats" version, perfect DJ tool material. We wish more records had these!

        Back in stock Cover of The Stitch Up by Unknown.


        The Stitch Up

        Massive secret weapon packing stadium destroying potential on this one-sided 12" which has got us all scratching our heads to its proprietor. "The Stitch Up" has a rolling, acidic bassline looping over and over as lysergic, metallic effects career through the thick mix with ease, splitting craniums in two as they do so. Building to a soaring, piercing, almighty climax before dropping back into its infectious rolling grooves. A headturner from the higher echelons, grab this unsanctioned piece of club firepower before it receives trade restrictions and cease and destroy orders imposed on it.
        DJ support: DVS1, Surgeon, Four Tet, Pariah, Darko Esser/Tripeo, Pangaea, Perc, Call Super, A Made Up Sound, Untold, Errorsmith, Anthony Naples, Cosmin TRG + more.


        Matt says: Stadium-destroying, cranium-splitted artilery that's surely gonna be the subject of a UN weapons embargo at some point. Black market firepower - most recommended.

        Omar S returns after a slew of heavy-hitting double packs. 3 bangers in his inimitable style, Omar S lets the music do the talking on this hot new FXHE release. Side A is taken up by "Annoying Mumbling Alkaholik" - a rawkus hardware groove; tough, heavy hitting drums powering a low slung bassline and the odd 808 cowbell for good measure before tantalizing lead lines and velvety pads converge on the track. Nice and long this one, primed for slowly releasing energy into a tepid dancefloor. "Serving Cavi On 18 And Garfield" is next, a fluttering celestial jam from the higher galaxies. Beautiful electric piano riffs ascending and descending wildly as thick bass drones and wispy percussion occupy the mix; both unique and wonderful! "This Muthauk'ka" closes proceedings with a lo-fi acidic assault on the senses. Machine-fire 303s and a dusty kick-snare-tom pattern growing in intensity from the off and evolving into quite the beast through its course. By the end of the track you’ll be spiraling into the speaker stacks with your eyes closed make no mistake! Excellent stuff from our man Alex Smith - move quick!

        Back in stock Cover of Heartache No. 9 / You & I by Delegation.
        Following the RSD release of Donna McGhee's "Make It Last Forever" (Classic!!!), Groove Line Records turns its attention towards the first in a series of 12” audiophile reissues from the disco underground. What better way to start the party than with this absolutely essential disco unclassic from Delegation (one of my all time personal faves - Patrick). Opening with a fluid, bottom-end groove powered by crisp drums and a propulsive bassline, "Heartache No. 9" has your feet firmly on the dance floor from the get go. The introduction of the sharp interplay between funky horn runs and Chic-esque guitars hits you with a little sugar and spice, before the stunning orchestration and Ricky Bailey's passionate vocals bind all the elements together to make this a bona-fide club classic. The flip side is the equally infectious "You And I", also pulled from 1980 LP "Eau De Vie", which shows off all the same traits as Heartache No. 9, but places the emphasis instead on the strong vocal harmonies and a mellow mood. Fully licensed, remastered from the original tapes and pressed on 180g vinyl, Groove Line Records cut no corners when making sure that every release is of the highest calibre. So don't mess around, and make sure you take this chance to grab two essential underground disco anthems as they should be heard.


        Matt says: Pressed beautifully, this stone cold classic from Groove Line is an official reissue and one that's slipped through many a net. Coming to your local discotheque this Summer!

        Patrick says: One of my top five disco records ever (in at 4, fact fans) Delegation's criminally overlooked "Heartache No. 9" gets a pristine licensed audiophile reissue on Groove Line. A fluid bassline, Chic-esque guitars and swooning orchestration provide the perfect backing for the sharp and funky vocals, and this new pressing sounds miles better than the original. Must Have!


        Ltd 12" Info: Official 180g Vinyl reissue

        As an artist, actor and musician, Goldie’s talents are vast and his music career undisputed. Having sold more than 3 million records worldwide to date, he is often cited as an in fluential contributor to the field of drum and bass. 20 years ago he spawned the successful drum and bass label, Metalheadz and created the far-famed Metalheadz Sunday Sessions club night, which achieved legendary status at London’s Blue Note club. Since then he has stretched his wings working on a range of projects including acting and writing music for an orchestra.

        For his addition to Ministry Of Sound driverse 'Masterpiece' series, Goldie divides his choices into 3 discs titled 'The Alpha' (a collection of influences and favourites from soul, reggae and boogie, including Maze, Soul II Soul, Teena Marie, Serious Intention, Junior Murvin etc), 'Journeyman' (the music that inspired him when he first started going out of the D&B scene; Top Buzz, Zero B, Nookie, A Guy Called Gerald etc) and 'Headzville', a showcase of some of the crème de la crème of producers signed to Goldie’s own label Metalheadz, including dBridge, Commix, Jubei and more.

        As an added way of saying thank you to all his fans, a selection of tracks are available on a triple vinyl LP, handpicked by Goldie.

        Sankeys Music is a brand new and exciting label project set up by the seminal Manchester club. The label is to be headed up by Darius Syrossian, the club’s current resident DJ and an already much esteemed DJ and producer in his own rite, and kicks off with a very special double CD mix to celebrate 20 years of Sankeys being on top of its game at the sharp end of club land.

        The club is going stronger than ever at the moment not only in Manchester, but also in Ibiza with residencies like Tribal Sessions, Cuff and ViVA, as well as in New York, which is the newest Sankeys outpost.

        Disc 1 of the 'Sankeys 20th Anniversary Album', recorded live in Manchester with crowd noise included, is all exclusive and unreleased productions and remixes by Darius, many of which will be released on the Sankeys record label (with carefully curated remixes) after the summer, and Disc 2 is a selection of Sankeys classics from over the years.

        This is a suitably gigantic and wholly on point release for a club like Sankeys to release as their debut offering on the new label, but also to showcase just what the club is about, and has been about, for two whole decades now. The UK landscape would not be the same without it, nor would the house landscape be the same without the work of Darius himself.

        Open your curtains and let the sunshine in! African Music Corporation offer us a sneaky peak ahead of their forthcoming compilation of late 70s/early 80s South African 7"s with this smooth and downright funky double header. Up on the A-side is the organ driven summertime funk of "Kiss Me Baby" by the Potch Birds, a track alive with rhythmic drive and melodic shimmer. On the flip The VIPs drop the pace a little for the sweltering funk brilliance of "Mambo Mambo", a sweet sizzler worthy of Steely Dan at their most "Peg"; Simply gorgeous.

        Following a string of well received releases on a who's who of underground labels including Still Music, 50 Weapons, Musique Large and MCDE, France's legendary Laurent Garnier drops a couple of stunning techno cuts on UK imprint Hypercolour. "ENCHANTé" opens the set in emotive fashion, washing its soaring, pitch bent strings, rasping keys and filtered vocals in deep melancholy whilst a swinging drum pattern keeps things nice and tight. A big tune from Garnier here, sitting very snuggly with his classic, "The Man with the Red Face". On the flip, "Confused" goes straight for the jugular; a pumping techno workout with scattering and inter-galactic bleep-work, thunderous effects, and with a heady nod to the sounds of Detroit's minimalists Robert Hood and Jeff Mills. Battering 909 snares are offset with the warm and harmonic choir pads, a killer slice of techno from one of the scene's most switched on and in tune godfathers!

        Almost 5 years after his previous album ‘Horror Disco’ Bottin is back with a stunning new full length opus. Entitled ‘Punica Fides’ the album was made during sessions in Venice, Rome, Berlin and Ibiza. This new album, his third in a career that dates back more than a decade, was made using a ton of synthesisers, guitars, FX machines and with the help of some standout vocal collaborators.

        According to the artist, “Punica Fides is a Roman expression that means "treachery". The concept behind the album (made clear in the song titles) is manipulation, falsehood, seduction, propaganda but also parody and satire. The album is not as soundtrack and nostalgic as 'Horror Disco' was, I think this is a musically diverse album which ranges from synth-house, dark electronica, neo-new-wave dystopian landscapes, space disco and Italo disco. I suppose it's more of a dance record, which reflect the past 5-6 year touring the world as a DJ, as well as the will of creating my own musical bubble.”

        The album opens in spiky fashion with the raw drums and serrated synths of ‘Lies’ coming over like a shimmering deep disco jam. Many styles are explored from there on in with ‘Flow Of Persuasion’ being a fast paced, melodically rich house cut that is stuff with analogue lines and oozes psychedelic charm.

        Next up is the fantastic ‘Poison’ with Steve Strange (lead singer of Visage and co-founder of the Blitz Club which set the New Romantic template for the music and style of the 80s) which cuts a fine form with its squelchy synthesized basslines, pop leaning vocals and brightly coloured keys. Mid way through the album comes the frazzled synths and steel drum charm of ‘Lust for Deception’, a raucous and ravey disco cut of sheer pleasure.

        ‘All For One’ is another dazzling jam shot through with laser synths, arpeggiated lines and robotic vocals that sound like Kraftwerk on acid. Every new track seems even more fun and colourful that the last and the album as a whole leaves you feeling hugely energised, happy and very much alive. The closer is a reprise of ‘Lies’ with vocals from Lavinia Claws that comes straight from some intergalactic disco party it’s so spangled and sugary.

        Fans of Todd Terje, Pachanga Boys and all Bottin’s previous work will no doubt fall madly in love with this beautifully crafted and sensuously shiny electronic album.

        Devonté Hynes

        Palo Alto: Original Motion Picture Score

        Devonté Hynes, aka Blood Orange, has created his first original score for the feature length film ‘Palo Alto’ from writer-director Gia Coppola. Based on several linked stories by James Franco, ‘Palo Alto’ is a teenage romance for the ages, made indelible through its ensemble cast (James Franco, Emma Roberts, Jack Kilmer, Nat Wolff, Zoe Levin).

        Hynes wrote and performed the entire score along with guest vocals by Samantha Urbani and additional instrumentation by Jason Arce. Not to be confused with 'Palo Alto (Music From The Motion Picture)', which Hynes' title theme, along with other artists' music.


        Ltd LP Info: Indies only mauve vinyl pressing.

        After emerging in 2011 via a rapid-fire series of groundbreaking EPs, Brooklyn-based producer Ital (Daniel Martin-McCormick) surprised followers by releasing his debut album “Hive Mind” on Planet Mu in February 2012. The record immediately struck a chord with both critics and fans for its fascinating use of house rhythms to bolster fractured, alien landscapes with a surprisingly tender emotional power. Seemingly unconcerned with dance music orthodoxy and informed by years in the noise-punk underground, his compositions came out of left field, constructed on primitive software with bizarre, culture jamming samples. Dance music in New York was re-emerging after a period of stagnation, and Ital was among the first of a younger wave of producers to invigorate it with a dose of visceral vitality. Since then, he's remained at the forefront with a remarkable EP for esteemed label Workshop, a collaboration with Hieroglyphic Being and a pair of excellent EPs on his own Lovers Rock imprint. Now Ital has returned to Planet Mu for “Endgame“, his most singular and hypnotic work to date.

        Vertigo-inducing, nuanced and highly evocative, “Endgame” is a delirious pleasure to dive into. The album’s textures often explore inviting spaces, only to bring the listener “somewhere uncomfortable, perceiving constant chaos and collapse in the periphery of your vision,” as Daniel describes. This is especially evident on the haunting title track, its dizzying reverb lingering while the bottom drops out, leaving the listener suddenly on the edge of a cliff they weren't even aware of, and the glacial shift in “Beacon” from warm, bubbling chords to disconcerting stillness. Meanwhile, throttling techno tracks like "Whispers In The Dark" & "White II" burst with undeniably seductive dancefloor energy, each jagged edge and oozing melody uniquely formed.One of his goals from the start was “to keep things liquid. The music had to come from that natural, unforced space.“ Inspired by recent excursions into psychedelics, “apocalyptic“ strains of minimalist composition, and his sense of “eerily ubiquitous post-globalization culture-leveling,“ “Endgame“ is a techno album that teems with ideas. Recorded with a select arsenal of hardware, mixed with M Geddes Gengras at his LA studio and mastered by acclaimed engineer Rashad Becker, the final result is a shimmering blend of his swirling, effects-laden live sets with a deeper, more penetrating emotional and melodic clarity. “Endgame“ sees Ital unlocking his own sound and pushing himself to new depths sonically and technically, a figurehead for a strong international community as well as a truly visionary artist in his own right

        DJ QU

        Party People Clap EP - Inc. Levon Vincent / Anthony Parasole & Fred P / Jus-Ed Remixes

        Deconstruct Music follow up their two, now highly sought-after, initial releases with this remix double pack of DJ QU's "Party People Clap". Latching onto the subtle sonic variations that occur on the humble handclap, DJ QU has produced a track of robotic textures and suave vocal hooks underpinned by melodies and grooves created purely by hand claps. Levon Vincent offers up the first remix - laying his trademark 'on the 1' 4/4 drums down over the vocal hook and manipulating the clap sounds into some squelchy, Green Velvet-esque wigged-out groove. Very weird, but certain to get kids scratching their heads proclaiming 'What the fuck is this?!' Anthony Parasole and Fred P take the track into Joey Beltram "Energy Flash" territory - just listen to that bassline; 1993 here we come! Final remix duties come from Jus-Ed who, in my opinion, transforms the track into something more epic and beautiful than any over the other versions. An emotive high string and warm pad combo give the groove a proper late night / early morning sheen with instrumentation familiar to some of Larry Heard's mini-epics. Gorgeous. Early Deconstruct releases now fetch serious money... go figure!


        Matt says: Freshly re-pressed for 2014; one of Dj Qu's finest moments and part of those first three Deconstruct records that set the new benchmark for deep house records.


        2x12" Info: Ultra-limited hand-stamped white label. *REPRESS*

        Ample Play Records release a heavy duty collection of Richard Norris’ recent Time And Space Machine remixes. A man of many guises, he has operated as a duo - as The Grid with Dave Ball, as Beyond The Wizard's Sleeve with Erol Alkan - but when it's time for some solo sonic action, he records and remixes as The Time And Space Machine.

        We find him at it here: 'The Way Out Sound From In', reworking the most cosmic beat combos around into hitherto unheard psychedelic shapes. Warpaint, Jagwar Ma, Temples, Psychemagik, The Sufis and more fall into the Time And Space Machine and come out the other side with wider grins and shinier eyes. Ploughing a similar dancefloor furrow to Andrew Weatherall and Timothy J Fairplay's A Love From Outer Space sound, Norris revives the late 80s / early 90s tripped-out, cosmic, Balearic-friendly, baggy house sound, which combines well with the psychedelic sounds of the original bands / artists here.  It's The Way Out Sound From In....all aboard.

        Desmadrados Soldados De Ventura

        Dieter Dierks Jerks

          Live In Manchester. Recorded by Phil Todd. LTD TO 100 COPIES ONLY. includes beautiful silk screened artwork by Alex Humphreys.

          "Of course, guitars have long been middle-brow targets for commentators as somehow signifying everything that was cock-bound and self-aggrandising and technically impudent about rock music. But when it's played like this, with a blurring of technique that allows a bunch of northern punks access to the combined freak potential of more than a half century of electric six-string excess, it's a reminder of the electric guitar's uncanny ability to respond not just to where it's been, but to where it's at." David Keenan, The Wire.

          "I can't remember the last time I felt myself overcome by so many conflicting emotions - awe, excitement, envy, exasperation - and yet it all coalesced into a contented, feverish fervour. I cannot tell you how great a feeling that is - a near robotic state, the only movements being to get up and change the record... So if you are into your overtly intricate, caterwauling, explosive, experimental improvisational psych rock jams, this album is your ticket to Valhalla." Sonic Masala.

          Brian Reitzell

          Watch_Dogs Original Game Soundtrack

          Following on from the phenomenal success of their Record Store Day 2014 release of FAR CRY 3: BLOOD DRAGON’s Original Game Soundtrack, Invada Records are proud to partner with Ubisoft Music and dive once again into the world of video game soundtracks with the release of Brian Reitzell's musical score to the highly-anticipated open-world adventure game WATCH_DOGS. With people around the world taking the day off work on the game's release, to play what is sure to be contender for 2014's most popular gaming title, this is a huge accomplishment for Invada to land this album and a chance to introduce their high production values and love of vinyl to a far wider audience.

          Full of infectious beats and atmospheric, retro-futuristic synths, the score is a further achievement from composer Reitzell, who has previously written music for the highly-rated U.S drama series HANNIBAL as well as working on multiple scores with acclaimed director Sofia Coppola, the latter of which has featured collaborations with French band AIR and Kevin Shields of famed alt-rock band MY BLOODY VALENTINE.

          WATCH_DOGS presents a dark and dangerous journey through an alternate version of Chicago, where ultra-hacker Aiden Pearce seeks to redeem himself after causing the death of his niece. Using the concepts of artificial intelligence and information warfare, the game brings technological relevance to a Grand Theft Auto-style open world in the tradition of the revered science fiction of William Gibson and Philip K. Dick.

          To represent the varied challenges of the game, Reitzell brings an eclectic feel to the score, with thumping beats and off-kilter melodies of the club scene juxtaposed with the more ethereal and atmospheric synth and guitar, evoking the music of Vangelis and Brian Eno - ideal for a post-noir cyberpunk game. There's also an introspective and emotional feel to the score as required by the game's story, which is reflected in the album's sequencing, providing a well-rounded narrative-driven musical experience.


          LP Info: Limited Blue splatter coloured vinyl.


          Satisfy - Inc. Brassica / John Talabot Remixes

          Feel My Bicep Records are back with their third release, and this time the boys are handing the reins over to a couple of club contemporaries, who take the breakbeat fuelled smash "Satisfy" and remix it to within an inch of its life. First up, Nu EBM hero and former Dissident mainstay Brassica takes "Satisfy" for a midnight drive through an abandoned city, burying the spritely percussion of the original deep in the mix and pushing a menacing bassline to the fore. On the flip, Spain's foremost authority on synthetic house chug, John Talabot transforms the Belfast boys' tops off pumper into a deep and atmospheric analogue house builder. The resulting hypnotic groove glides out the speakers like an unholy marriage between John Carpenter and Border Community and sounds damn fine for it!

          With a discography of releases dating back to 1991, New York native Henry Maldonado credits his home city as inspiration and motivation for his art. As part of the House 2 House trio on Strictly Rhythm, Maldonado and crew would fire out a relentless assault of New York style sampled and deep house tracks coveted by New York mainstays Little Louie Vega, Kenny Dope Gonzalez, Tony Humphries, Roger Sanchez, Timmy Regisford to name but a few. Today Henry produces and DJs as Son Of Sound and continues to push the limits of the underground by taking his knowledge of the past, combining it with a deep love for the city he grew up in and a penchant for quality underground club culture. Henry's debut on Local Talk is nothing less than a proper power package. "Violent Mood Things" start things in a superb way with a catchy beat, before a clever string sample and several layers of synths lift the track to new heights. Robert Arnold aka Cuthead has impressed us with his releases on Uncanny Valley and Kunst:stoff Breakz and delivers a remix that has all the Cuthead trademarks. Stammering drumming, impeccable bass programming and dreamy samples. Flip over for True Indeed . How does it sound? Let's just say this : It's the perfect example that all you need is a beat, a few chords and a bass line to make a track that won't leave your head for quite a while. Not forgetting that spoken vocal for that little extra house magic. Lovers of house music take notice. .

          Simple Symmetry

          King Solomon's Mines - Inc. Soft Rocks / Brennan Green Remixes

          After a sell out debut record from Lipelis and Tars 3000, Moscow's Low Budget Family returns with an exotic, esoteric proto-house killer from Simple Symmetry, which comes backed by remixes from none other than Soft Rocks and Brennan Green. "King Solomon's Mines" is a deceptively simple workout that reminds me of mid 80s Boyd Jarvis jams, but shot through with 21st century twists and turns which amplify those tough drum machines, anthemic afro elements, chants and marimba riffing. Add a dynamic arrangement and you have a dancefloor dynamite! Soft Rocks set up a classic Euro flavoured Afro-trance workout, utilising the parts against an acidic, electronic and unrelenting backdrop, building to a sweaty, strobe-lit finale. Brennan Green may be less than prolific these days, but he's dependable as ever here. Working up a synth-soaked, Prelude style dub, whose classic elements will work the floor from here to Zanzibar...

          Tracking down el Frijolero (nee Michael Brown) for an interview to mark the release of this record proved harder than initially anticipated. Despite enjoying world-wide success throughout the late 90's and early 2000s - as well as a whole slew of critically acclaimed releases the US born producer has faded into relative obscurity after joining a religious cult in the secluded countryside of North Rhine-Westphalia, Germany.

          His last confirmed sighting was from a friend six years ago, who told us that Brown had left the cult after filing for insolvency. These previously unreleased remixes were found in a box of possessions in a friend's basement.

          They encapsulate the unrivaled talent and technical mastery of a man whose musical career and financial euphoria came to an abrupt end.

          People Must Jam just keep on bringing the heat! New Zealand's finest export, (apart from Lamb of course) Inkswel makes his debut on the label with a five track set of rough and ready workouts. "Graffiti House" reflects the echoes of thirty odd years of Black US dance music held up with raw drum machine scaffolding. From smoked-out B-boy jams to lo-fi sample joints, all three tracks are loose and alive on the floor, ready to hold shit down. The title track is a low slung house groove decorated in spin backs and street chatter, while "Hold On" and "Linoleum Magnets" are the kind of boogie inspired house cuts Inskwel's made his own. On the flip Russia's beatdown master Lay Far stirs up some sonic trouble with a bottom-heavy rewire of the title track that'll have you winding like a snake, while Ugly Drums yam acid and get super deep with a mix that's heavy on immersive mood and vibe.

          This snazzy vinyl on the newly formed Magic Jams is only their debut, but Snacks are already killing it. These guys are going to be big! Imagine Bernard 'Pretty' Purdie, Dizzy Gillespie and Blaze got stuck in a studio and you get an idea what this Berlin based live duo sounds like. In complex arrangements they create funky state-of-the-art House music, in a class all its own. Title track 'Purdie' takes off with funky horns, percussion and live drums and evolves into a heavy hitting club-killer. The catchy vocal hook and mesmerising groove turns every dancefloor just upside down. In demand, and utterly individual Panorama bar resident DJ Prosumer's rough and rhythm based interpretation of 'Purdie' follows, which twists the cut-up slap bass and beats into a mad dancefloor stomper. Further reinforcing their individuality, 'Broken love' brings you a modern and fresh interpretation of the classic New York 90's deep house sound, full of character.

          Tropical steel drum break included! Snacks' Magic Jams Version of Arsy's track 'Plateau' surprises with crazy vocals and swinging brass loops, perfectly made for maximum dancefloor hysteria. Watch out for Snacks stunning live performances too: These guys bring back a smile and sense of playfulness seen much too little in today's clubs. The Vinyl version comes along with a fantastic artwork by California's own Steven Harrison. 

          The wonderful Black Ops sub label from the Sleazy Beats crew continues...

          For the sixth instalment of their highly collectable Black Ops series, the Sleazy Beats chaps welcome Andy Hart back to the fold. While Andy is certainly not new to the production game - the man has an impressive string of tracks on esteemed labels like Quintessential, Foto, Box Aus Holz and his own Melbourne Deepcast imprint under his belt - "The Love Technology EP" is in fact his first solo outing on wax!

          He couldn't have delivered a better debut if he tried.

          Title track "Love Technology" is a moody basement chugger that fuses the gentle and the raw effortlessly. Building on a basic groove with clever funk samples and sharp claps, Hart keeps subtly adding new elements and layers to proceedings. Intricate simplicity never sounded so good!

          On the B-side there's "Jasmine", a warm slice of deep house pie with sweet synth lines, classic piano melodies and the kind of rolling drums that made Hart & Graef's collabs so outstanding. Sharing the side is "Aquarius". Take one exceedingly infectious groove from an underground disco classic, add subtle percussion, some kick ass drums, Andy's masterful arrangement and the result is a classy Summer anthem that may just become one of the biggest party starters of 2014.

          As always, this is a limited, vinyl only release. It will not be repressed and will not be released digitally. Not now, not ever.

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