2Pac & Dr Dre / Ronnie Hudson & The Street People

California Love / West Coast Poplock

I love a good 5 Borough Breaks 7", and this sucka is one of the best. On the A-side we have the all time anthem of West Coast hip hop, Death Row banger "California Love" by 2Pac and Dr Dre. Packing maximum bounce to the ounce, Dre's bomb beat incorporates elements of Kleer's "Intimate Connection", Zapp's "Dance Floor" and most importantly Ronnie Hudson's "West Coast Pop Lock". Boasting a video based on Mad Max, Roger Troutman in talkbox overload and arguably the best verse of either rapper's career, this is dancefloor dynamite, no argument. Over on the flip we get the old school, OG, Compton cook out in the late 80s funk masterpiece "West Coast Pop Lock" from Ronnie Hudson. Bubbling synth bass, wacka guitar and loads of attitude make this a must for any drunk uncle at an LA BBQ. Mega!


Patrick says: "...Out on bail, fresh outta jail California dreamin', soon as I step on the scene I'm hearing hoochies screamin'..." - I rest my case!

Acid Mothers Temple & The Melting Paraiso UFO

Hallelujah Mystic Garden Part 1

    Halleluja Mystic Garden contains two long sides of blissed out, super tight AMT jams that somehow stretch into the future while staying strongly rooted in the group's celebrated psychedelic history. Hallelujah!, another essential AMT classic including vocals from Cotton Casino! A. Cometary Orbital Drive 2299 B. Third Eye From The Black Sun & Shadow Moon Cotton Casino : voice, astral mama

    Kawabata Makoto : guitar, fretless bass, bouzouki, organ, rhythm machine, electronics, tapes, speed guru Higashi Hiroshi : synthesizer, noodle king Mitsuko☆Tabata : guitar, guitar-synthesizer, voice, kisses & hugs Satoshima Nani : drums, another dimension

    S/T "Wolf" : bass, tapes, space & time recorded at Acid Mothers Temple, Jun. 2016 - Mar. 2017 produced and mixed by Kawabata Makoto.

    More off-kilter magic from the MM Discos camp this week as the ectoplasmic edit imprint enlist Swedish digger par excellence, Mr Albion Venables, to hit us with four cuts of unknown origin. The set blasts into the stratosphere right from the get-go, hitting maximum thrust thanks to the power chords, overdriven funk and disco 4/4 of space disco opener "He Looks Like A Rainbow". Chuck in a breathy female vocal, plenty of proggy synth work and some slightly cheesy brass and we're in mirrorball heaven. The tempo drops off and the funk picks up for the freakbeat Francais of the A2, a squiggly, jiggly little off kilter dancer by the name of "J'aime BB". I'm gonna go out on a limb and suggest this one hails from the French Caribbean, though it's bouncy groove, sparkling synths and cocktail hour sway should delight disciples of the White Isle. Albion goes full prog on the B-side with the symphonic, synthetic grandeur of "Universelle", another intergalactic romper that sounds like it could have soundtracked a live action TV movie of He-Man. Play it loud enough and you'll probably teleport to Castle Grayskull. Last but not least comes my current favourite, the strange, psychedelic and Balearic tinged chanson noir of "Discocoloco", a tricolore tonker with plenty of authentic vinyl scuzz.


    Patrick says: If you like your disco strange and spacey, you'll struggle to do better than this cosmic curio from Swedish digger Albion. Balearic tinged zouk and a quirky French number go head to head with two progged out cosmic blasters.

    One of Detroits true talents today, Amp Fiddler joins forces with Grammy Winner Louie Vega hitting you with some funk deep house on Vega Records.
    Amp Fiddler is the quintessential singer / musician who has played in the seminal band Parliament with George Clinton, and has had his own band for years now. Louie has always wanted to work with Amp since first meeting him at the Montreaux Jazz Festival when Amp and his band and Elements Of Life were on the same bill on the Worldwide stage.
    Finally coming together, Amp reaches out to Louie for a remix and the result is a beautiful soulful song written and produced by Amp Fiddler. The remixes by Louie Vega combining deep house sounds with the funk synths played by Axel Tosca.
    There’s one version where Amp did more lead vocal overdubs and adlibs, as well a funktified synth solo version which gets immediate response when played.
    The four versions on 12” vinyl lend itself to different moods and are sure to bring you a dancefloor or house party on fire!

    Strut continue their essential work with the “Godfather OfEthio Jazz”, MulatuAstatke, with the first official reissues of his early classics ‘Afro Latin Soul’ Volumes 1 and 2 from 1966, recorded as The Ethiopian Quintet.

    Arriving after Astatke’s life-changing years studying at Berklee College in Boston, the albums were the first experiments in his pioneering sound, fusing Ethiopian cultural music with Afro Latin and jazz forms. “I have always felt a deep connection between Latin and African music,” he explains. “I travelled to Cuba and listened to their musicians; the tempo, rhythm and feeling was very similar to different African forms. In the mid-‘60s, I formed a band called The Ethiopian Quintet in New York comprising Ethiopian, Latin and Afro-American musicians - the band included trumpeter and pianist Rudy Houston who later played with Yambu and Felix Torres who played with La Sonora Poncena.”

    Supported by Worthy Records’ Gil Snapper who offered to record the quintet, Astatke began to experiment during two separate sessions: “We created a different feel and different arrangements. On the first recording, I played an adaptation of an ancient Ethiopian warrior song, ‘I FaramGami I Faram’ - the lyrics were translated so that the singer could sing it in Spanish. Some compositions were important steps for me: ‘MascaramSetaba’ (‘Summer Is Coming’) ‘Shagu’ and ‘Almaz’. With the second album, a personal favourite is ‘Girl From Addis Ababa’ which worked very nicely as a fusion of Ethiopian modes and R&B rhythms.”

    Astatke would start to perfect his Ethio jazz sound on his later album for Worthy in 1972, ‘Mulatu Of Ethiopia’ (STRUT129) but the two volumes of ‘Afro Latin Soul’ stand as important recordings documenting his early career. “It was a very interesting time to be in New York during the mid-‘60s. I was there at the same time as Hugh Masekela, Miriam Makeba and FelaKuti and we each tried to play our part in putting Africa on the map of contemporary jazz.”

    ‘Afro Latin Soul’ Volumes 1 and 2 come in their full original artwork and are painstakingly remastered by The Carvery. All formats feature personal liner notes by MulatuAstatke.


    Patrick says: Slinky and seductive, Mulatu Astatke's uniquely Ethiopian take on jazz splits the differential between exotica and Afro-Latin perfectly. It's a total classic that I come back to time after time.

    Strut continue their essential work with the “Godfather Of Ethio Jazz”, Mulatu Astatke, with the first official reissues of his early classics ‘Afro Latin Soul’ Volumes 1 and 2 from 1966, recorded as The Ethiopian Quintet.

    Arriving after Astatke’s life-changing years studying at Berklee College in Boston, the albums were the first experiments in his pioneering sound, fusing Ethiopian cultural music with Afro Latin and jazz forms. “I have always felt a deep connection between Latin and African music,” he explains. “I travelled to Cuba and listened to their musicians; the tempo, rhythm and feeling was very similar to different African forms. In the mid-‘60s, I formed a band called The Ethiopian Quintet in New York comprising Ethiopian, Latin and Afro-American musicians - the band included trumpeter and pianist Rudy Houston who later played with Yambu and Felix Torres who played with La Sonora Poncena.”

    Supported by Worthy Records’ Gil Snapper who offered to record the quintet, Astatke began to experiment during two separate sessions: “We created a different feel and different arrangements. On the first recording, I played an adaptation of an ancient Ethiopian warrior song, ‘I FaramGami I Faram’ - the lyrics were translated so that the singer could sing it in Spanish. Some compositions were important steps for me: ‘MascaramSetaba’ (‘Summer Is Coming’) ‘Shagu’ and ‘Almaz’. With the second album, a personal favourite is ‘Girl From Addis Ababa’ which worked very nicely as a fusion of Ethiopian modes and R&B rhythms.”

    Astatke would start to perfect his Ethio jazz sound on his later album for Worthy in 1972, ‘Mulatu Of Ethiopia’ (STRUT129) but the two volumes of ‘Afro Latin Soul’ stand as important recordings documenting his early career. “It was a very interesting time to be in New York during the mid-‘60s. I was there at the same time as Hugh Masekela, Miriam Makeba and FelaKuti and we each tried to play our part in putting Africa on the map of contemporary jazz.”

    ‘Afro Latin Soul’ Volumes 1 and 2 come in their full original artwork and are painstakingly remastered by The Carvery. All formats feature personal liner notes by MulatuAstatke.


    Patrick says: Mulatu Astatke's second set of snake hipped jazz workouts upped the intensity a little, flirting with swing, bop and ragtime for a more uptempo mood.

    Strut continue their essential work with the “Godfather Of Ethio Jazz”, Mulatu Astatke, with the first official reissues of his early classics ‘Afro Latin Soul’ Volumes 1 and 2 from 1966, recorded as The Ethiopian Quintet.

    Arriving after Astatke’s life-changing years studying at Berklee College in Boston, the albums were the first experiments in his pioneering sound, fusing Ethiopian cultural music with Afro Latin and jazz forms. “I have always felt a deep connection between Latin and African music,” he explains. “I travelled to Cuba and listened to their musicians; the tempo, rhythm and feeling was very similar to different African forms. In the mid-‘60s, I formed a band called The Ethiopian Quintet in New York comprising Ethiopian, Latin and Afro-American musicians - the band included trumpeter and pianist Rudy Houston who later played with Yambu and Felix Torres who played with La Sonora Poncena.”

    Supported by Worthy Records’ Gil Snapper who offered to record the quintet, Astatke began to experiment during two separate sessions: “We created a different feel and different arrangements. On the first recording, I played an adaptation of an ancient Ethiopian warrior song, ‘I Faram Gami I Faram’ - the lyrics were translated so that the singer could sing it in Spanish. Some compositions were important steps for me: ‘Mascaram Setaba’ (‘Summer Is Coming’) ‘Shagu’ and ‘Almaz’. With the second album, a personal favourite is ‘Girl From Addis Ababa’ which worked very nicely as a fusion of Ethiopian modes and R&B rhythms.”

    Astatke would start to perfect his Ethio jazz sound on his later album for Worthy in 1972, ‘Mulatu Of Ethiopia’ (STRUT129) but the two volumes of ‘Afro Latin Soul’ stand as important recordings documenting his early career. “It was a very interesting time to be in New York during the mid-‘60s. I was there at the same time as Hugh Masekela, Miriam Makeba and Fela Kuti and we each tried to play our part in putting Africa on the map of contemporary jazz.”

    ‘Afro Latin Soul’ Volumes 1 and 2 come in their full original artwork and are painstakingly remastered by The Carvery. All formats feature personal liner notes by Mulatu Astatke.

    Just in time for summer, RNT drops a 3-tracker of tropical heat from Brazilian outfit Balako. Although relative newcomers, their production prowess has been known to their Rio de Janeiro musical community and beyond for some time, and is on full display here. The A-side showcases their knack for modernizing the canonical Brazilian MPB sound, from the deceptively demonic build of "Batuque", to the acidic-leaning lilt of "Deixa Acontecer". The flip side takes a hard turn left of field with "Honey Honey Honey", a 9 minute opus of Afro-Brazilian disco insanity, primed for those balmy summertime roof parties.


    Matt says: Beguiling, mysterious and enchanted additions to the new disco / nu cosmic camps here. RIYL: Acid Arab, Ptaki, Sputnik or Black Bones.

    Bitter End

    Vibrating James / The House

    Bitter End follow up Piccadilly Record's 12" of the year 2017 with another hot double A-side.

    "Vibrating James" on side A makes a funky foundation from the psilocybin soaked bones of the king of soul, and then liberally layers up some chest caving low end. Utterly irresistible and already the cause of many a 'moment' in the world's finest cathedrals of escape and sure to carry the baton of hedonism through the closing stages of the Summer.

    On the flip we get "The House" which sees jubilant pianos smothered in bass and sugar coated with a reverb heavy vocal. Sure to get bodies sweaty, it encapsulates that intense moment when the floor suddenly fills up and kicks into action, swaying and undulating under the sheer volume of dancers and energy.

    Another winner from this northern star. Recommended. 


    Matt says: 'nuther big un fromt Bitter End - Sheffield's worst kept dance music secret. Seemingly incapable of conjuring up anything but searing hot double A-sides, two very different, highly intoxicating flavours showcased with panache on record six from the camp.

    Black Meteoric Star

    No More White Presidents - Original Soundtrack

      This is the soundtrack to the film "No More White Presidents"
      “Black Meteoric Star - No More White Presidents” is a multi layered abstract film that I, a White, recently out Trans-Woman completed in January of 2017. For the film I developed what I am calling the “flash film” technique. Initially it was a structural device similar to the chance operations used by composers such as John Cage to get out of the practice of creating “slick” edits or “moves” predetermined by overarching institutionalized aesthetic norms. However, as I worked with it I began to discover that the technique, although certainly “experimental”, has more kinship with craft techniques I have practiced such as beading, knitting, weaving and braiding. Although on the surface it could simply be a long form music video for my Black Meteoric Star project it is in fact a complex of evocative and energetic themes gathered around the necessity for abolition and reparations.

      The themes that are “braided” or “beaded” together include a repetitive meditation on death, an assessment of global capitalism as so overburdened by the karma of the triple legacies of slavery, land theft/genocide and imperialism that it can no longer function, an invocation of several of the Orishas prominent in the Regla Lukumi tradition and an exploration of my emerging Trans-Feminine identity. The intention of the film is to open up a territory for exploration and interpretation around our current predicament, allowing the viewer to come to their own conclusions about the specific details and possible solutions, both individually and through discussions with others.


      Cassette Info: Hand numbered limited cassettes in printed cardboard slipcase.


      Under The Strawberry Moon

        Fuzz, fuzz, fuzz, doom, stoner, more fuzz. Welcome to the world of Blacklab. Blacklab describe themselves as ‘the Dark Witch Doom Duo from Osaka Japan’. However, when it comes to witches, they are more the spectral Sadako from ‘The Ring’ than campy ‘Countess Dracula’. Chilling cool with built in overdrive. Yuko and Chia are undoubtedly immersed in the Japanese stoner doom scene, and it’s no surprise that with this first offering, they’ve pulled out a calling card that is as ‘in yer face’ and arresting as anything out there. A full frontal assault of distorted riffs, howls and ghostly vocals, as well as bags of riot girrl attitude and lo-fi bravado. In fact, listening to them brings back that frisson of excitement you got (those who may be old enough to remember) when you heard Mudhoney’s ‘Superfuzz Bigmuff’ for the first time. But grunge they are not, and neither are they ‘occult rock’ as such.

        Being nominally a ‘Doom’ band, expect a bucket load of Sabbath worship for sure, but Blacklab have a vibe and experimental undertow akin more to their countrymen ‘Boris’ and the souped up lo-fi fuzz of Ty Segall or Comets On Fire. Tracks like ‘Black Moon’ ‘Hidden Garden’ ‘Spoon’ ‘Symptom Of The Blacklab’ (which starts like Sabbath … then thrashes somewhere else), twist, burn and boil into the red. ‘His Name Is …’ is a churning chunky throb. ‘Spoon’ and ‘Warm Death’ offer moments of relief and crushing noise. And ‘Big Muff’ is … well … 9 minutes of drum-less fuzz, that will probably do serious damage to your speakers.

        What’s not to love. This first Blacklab release on NHS, is a version of their ‘Under The Strawberry Moon’ album which was released in tiny numbers on CD only in Japan, a pull together of previous tracks and new songs recorded over 2017. But the NHS variant is different. Wayne Adams (Death Pedals, Shitwife, Vodun, Casual Nun) noise guru at Bear Bites Horse Studio, has remixed the tracks to maximum effect, upping the fuzz and weight of the originals, to create Under The Strawberry Moon 2.0. exclusively for NHS. You will not be disappointed. It’s an album full of promise, and we at New Heavy Sounds are super stoked to be working with ‘the Dark Witch Doom Duo from Osaka Japan’. 

        Back in stock Cover of Dubs Unlimited by The Breadwinners.
        The Breadwinners are Alan Redfern and anyone else he happens to work with. Al is a multi-instrumentalist, composer, recording / mixing engineer and producer. Sometimes it seems it would be easier to list the instruments he doesn’t play - the album features him on drums, bass, keyboards, guitar, percussion and harp - that’s harp as in 'harp' not 'mouth harp'. Whilst he plays the majority of the instruments on the album he is also joined by several guest musicians, most notably the sax and flute player known only as 'Stally' who features prominently throughout, weaving his magic with his languid, lyrical style - nothing flash, just pure niceness!

        This vinyl edition of “Dubs Unlimited” is that rare beast, the Triple A: 'All Analogue Album', recorded on analogue multitrack, mixed to quarter inch analogue tape and cut direct to the lathe – not a ProTool in sight!

        This is NOT the same as the CD-R version of the album which has been knocking about for a bit. The CD-R contains early mixes of the tracks, whereas the King Spinna release features brand new mixes with lots of overdubs - brass, flute, harmonica and vocals. The new analogue mixes give the album a warmth and richness, especially in the bottom end, which is lacking on the CD-R version.

        The album has been totally re-sequenced, and professionally mastered by the one and only Kevin Metcalfe at The Soundmasters, London.


        Matt says: Can't believe I've been sleepin' on this for so long... So very authentic, Andy thought it was late '70s Lee Perry! 'Cept it's post millennial, Stockport-based Al Redfern! #OMG

        Apollo Brown & Locksmith

        No Question

        A collaborative eight-track LP from Detroit producer Apollo Brown and Richmond, California MC Locksmith. Previous single "No Question" premiered via Ambrosia For Heads - 'Brown's bright keys and infectious vocal loop pull the best out of Locksmith'. Apollo Brown has released collaborative albums with Planet Asia, Skyzoo (their 2016 album "The Easy Truth" reached #11 on Billboard's 'Heatseekers'), Guilty Simpson, O.C., Ras Kass, Rapper Big Pooh.

        Taking a typically Stones Throw-centric, old school & nostalgic flavour: the beats are thick with vinyl static, boombapin' in that OG way while the lyrics are positive, empowering and again, delivered in that old skool traditional manner. Locksmith tells stories close to his heart and does so in such an honest and direct way you can't help but listen. This is really really strong folks, you'd expect nothing less from Stones Throw I know, but Brown & Locksmith have hit on a deadly combo for "No Question" - tickling the fancy of hip-hop lovers across the board. Recommended! 

        Bill Brown & The Soul Injection

        Time After Time

        Bill Brown and Al Hall jr met around 1971, they were both in south central L.A and shared the same apartment building, also in the same building was Doug Carn and brownstone singer billy Wilson. These studio sessions were don't at Paramount studios Hollywood where Al Hall jr was working for producer Art Smith a&c music. The main distributor for A&C was Accent records. So the Soul Injections very first single "Stay off the moon" was released via Accent, as was Bill Browns "Bip Bam" The group wasn't that pleased with how Accent handle the releases so Bill took it upon himself to set up his own label called Brownstone records. Many musicians were called in for studio sessions these included Doug Carn, organ; Kirk Lightsey, keyboards; Mel Bolton, guitars; Mel Lee, drums; Al Hall jr (trombones), Willaim 'Bill'Henderson strings. The label was met with some confrontation from other Hollywood labels and many of the Brownstone releases were told not to hit the shops by Mafia run labels. Later around 1975 Brownstone released a track by Everyday people feat Alexis "world full of people"....A now cult soul 45 ....But wait, we at Super disco edits have unearthed the original tapes with the very first incarnation of that song and music, different lyric content and sung by Bill Brown. Not just this you get the instrumental on the b side!!


        Patrick says: Currently putting our waistcoat expert and social media guru Pasta Paul in a right flap, the first Super Disco Edits in what seems like ages is as smooth and groovy a soul cut as you could possibly wish for.


        Verbana - Inc. Noche Espanola / Pete Herbert Remixes

        We've had a World Cup, Wimbledon and a hosepipe ban, all essential ingredients for a spectacular summer, but it's this brand new single from Balearic hero Phil Mison which puts the tin (foil) hat on our San Pellegrino. Operating under his acclaimed Cantoma moniker, the Cafe Del Mar man comes at us with a fiery bit of flamenco guitar, perfectly placed between a polyrhythmic groove and breezy flute. Spanish vocals dub out into the distance, carrying the essence of the White Isle to wherever we may be, it's one world after all. The sunset sorted, Phil turns his attention to the moonlight, manning the controls and lighting up the desk for a bumping Noche Espanola remix. Merging Italian emotion, proto production and an Island offbeat, the Noche Espanola remix is a typically tropical house workout perfect for those saucer eyed sojourns into the beaty end of the Balearic spectrum. On the flipside, Reverso 68 homey Pete Herbert works his magic on "Verbana" twisting the track into a propulsive disco-house heater accented with insistent hats, Latin piano and a pinging synth bass straight outta the nuovo Italo textbook. Shimmering and sizzling, this could cause a riot on a boat party - play with extreme caution. 


        Patrick says: Mison's back with another blink-and-you'll miss it bomb, featuring a remix by long time collaborator Pete Herbert. The titular "Verbana" is a distillation of everything dope and dreamy about the summer season, while the Noche Espanola and Pete Herbert mixes move the mood from the poolside to the party.

        Johnny Cash

        Sings The Songs That Made Him Famous

          The comprehensive remastering and repackaging upgrade of the Man In Black’s legendary Sun catalogue continues with the release of Johnny Cash’s second LP. Released in November 1958, ‘Johnny Cash’s Sings the Songs that Made him Famous’ was a superb collection of many his Sun hits and featured ‘Ballad Of A Teenage Queen’, a No.1 country smash which also crossed over to no. 14 in the pop charts, There You Go’, ‘Train Of Love’, ‘Don’t Make Me Go’ ‘Next In Line’, ‘Home Of The Blues’, ‘The Ways Of A Woman In Love’ and ‘Guess Things Happen That Way’, his biggest national pop hit on Sun. 1958 was one of Johnny Cash’s most prolific years in the Top 100 charts and helped make him the Sun label’s most consistently successful artist.

          Complete with sleeve notes by noted Sun Records authority Adam Komorowski and president of Sun Entertainment Corporation John Singleton, this LP has been remastered from the original Sun master tapes by Nick Robbins at Soundmastering Studios and cut to lacquers at half-speed for unrivalled sound quality by Barry Grint at Alchemy Mastering in London.

          The Johnny Cash reissue series has been personally overseen by Singleton in Nashville and Charly Records founder Jean-Luc Young, continuing the long relationship between the companies begun by Shelby Singleton and Young over 40 years ago.


          Coloured LP Info: Gold coloured vinyl (limited to 1,000 copies)

          Johnny Cash

          With His Hot & Blue Guitar

            Comprehensive remastering and repackaging upgrade of the Man In Black’s legendary Sun catalogue continues with this release of Johnny Cash’s first LP from 1957.

            ‘Johnny Cash With His Hot and Blue Guitar’ was the first-ever Sun album to be released on the label in October 1957. It included one side of Cash’s debut hit single, ‘Cry! Cry! Cry!’, the classic follow-up ‘Folsom Prison Blues’ and the iconic ‘I Walk the Line’ which reached no. 1 in the US country charts and crossed over to the pop charts peaking at no. 17.

            Complete with sleeve notes by noted Sun Records authority Adam Komorowski and president of Sun Entertainment Corporation John Singleton, the LP has been remastered from the original Sun master tapes by Nick Robbins at Soundmastering Studios and cut to lacquers at half-speed for unrivalled sound quality by Barry Grint at Alchemy Mastering in London.

            The reissue series has been personally overseen by Singleton in Nashville and Charly Records founder Jean-Luc Young, continuing the long relationship between the companies begun by Shelby Singleton and Young over 40 years ago.


            Coloured LP Info: Blue vinyl (limited to 1,000 copies)

            Casino Times returns to Omena with a second EP, Recoded. For those of you that could not get enough of 'Decoded', released in 2017, here's four more tracks - all hitters, no shitters. 
            Casino flexes his muscles once again. The man hits the jackpot more often than not showing his versatility and eclecticism, running away from easy pigeonholing. You are greeted with a weapon on "Voices". Proper house tune to heat it all up with playful effects and gracious synths. 
            After making you sweat, we bring things down a notch with "This is My Channel", an electro tune that probably has been heavily influenced by Kraftwerk. The vocal sample is a nice touch. Electro I said, but on the soft warm side of the spectrum. 
            You also get two more downtempo pieces. My favourite is the closing track which is worth the entire vinyl imho. "Display End Sequence" is a calm, deep house number full of dreamy effects and a cosy, soft bassline that does not let go. A beauty in its own right  and my top track in this very very good ep. Casino wins once again. No signs of fading away. 

            STAFF COMMENTS

            Sil says: Casino Times turn at Omena towers. Uncompromising straight to the jugular house tracks that will not leave you indifferent. But also offering an introspective affair take on the house genre. Synth ridden, bubbly and warm. Casino hitting the jackpot again. True form.

            Jenn Champion

            Single Rider

              Fans of Jenn Champion (formerly “S”) have praised her open-hearted lyrics, expertly-deployed melancholia, technical skill, and willingness to forgo conventions, but mostly they’ve praised her for making albums they could cry to. With the release of Cool Choices in 2014, Champion made what many considered the best record of her career, and a lot of people cried to it.
              On Single Rider, Champion brings with her all those skills and vulnerabilities, but it is not a record for wallowing: it is a record for intense eye contact on the dancefloor. “Sometimes you are sad and you just want to dance about it,” said Champion. Side B of Cool Choices presaged Champion’s agit-pop transformation. “Let the Light In” and "Tell Me" signalled her move toward a more electronic sound, but it was the digital single “No One” (2016) that marked the clear delineation.

              “I feel like a door got opened in my mind with electronic and digital music. There was a room I hadn’t explored before and I stepped in,” said Champion. While she’d initially intended to follow Cool Choices with “a rock record - guitar, a lot of pedals, heavy riffs,” plans changed. “I couldn’t pull myself away from the synthesizers and I realized the record I really wanted to make was more of a cross between Drake and Billy Joel than Blue Oyster Cult.” Soon after the release of No One, Champion’s publishers partnered her with Brian Fennell, aka SYML, and the two co-wrote the song “Leave Like That” (featured on SYML’s Hurt For Me EP). The pair hit it off, and with nearly all of Champion’s Single Rider demos completed, the timing was perfect--she was looking for a producer. “I guess you could say I pursued Brian.” Fortunately, Fennell was open to being pursued and the two spent the next five months working on Single Rider. “In the studio with Brian, I was more open than I had ever been.” With Champion’s vision and Fennell’s expertise, the record evolved from synthy roughs to a hi-fi dance album.

              Despite the new direction in her sound, emotion cuts through on Single Rider in the classic Champion style, weaving simultaneously pleading-and-incensed vocals into anthemic pop songs. Champion wants her listeners to see that the rooms are all on fire and she has not given up. Taking a double “fuck you” approach to the world, to the patriarchy, all the things which screw you up and hold you back, she is dancing right on out of the disappointment apocalypse with her middle fingers in the air, and you can follow if you want to.


              Ltd LP Info: Limited coloured vinyl.

              Cong Burn's third record to date and with another sterling selection of artists. Kicking things off is Chekov who, if I'm not mistaken, drops only his fourth joint to date. "Spring" is a hot lil number, teasing us with synthesized mallets and a glitchy, aquatic atmosphere before deploying soft kicks and low subs for a technical proficient exercise in night club dynamics. Popping up in sets from Lena Willikens, Call Super and the Hessle trio, you can see why this producer's already making waves in the underground. Freerotation star Duckett contributes "Lost In Israel"; characterized by complex arpeggios and glassy synth presets it shimmers exotically like a philosopher's stone in the middle of some enchanted rainforest. Lack is fast becoming known for some seriously advanced and ear-pricking sounds, his contribution here being no exception as intricate rhythms are bolstered with volumous synthwork which seems to probe lesser user frequencies for an inquisitive and exploratory glance into wormhole sub-sonics. "Anabiosis" means a temporary state of suspended animation or greatly reduced metabolism and is the perfect title for Haddon's EP closer which does away with a standard linear arrangement and instead wallows in thick pools of synthesis, electronic textures and red-shift refracted sound effects; drizzling the listener in thick plasma. Quality, upfront sounds from this fledging label - check!

              STAFF COMMENTS

              Matt says: Excellent stuff here for those with a penchant for new and techy vibes. Four artists with a solid grasp of sound design and rhythmic foundation.

              Cult Party

              And Then There Was This Sound

                Manchester band Cult Party have announced their first album in two years, And Then There Was This Sound, set for release on 21st July via Manchester's Icecapades Records (Slowcoaches, Joey Fourr, Sprinters, Sex Hands...)

                They've also shared 'I Got The Blues This Morning', a gorgeous folk effort which displays bandleader Leo Robinson's poignant vocals through his confessional storytelling

                Beginning life as the bedroom project of multi-disciplinary artist Leo Robinson - a specialist in the kind of hushed, evocative recordings which bring to mind the intimacy of well-loved acts like The Microphones and Thanksgiving - Cult Party has quickly blossomed into one of the most respected bands working out of Manchester.

                Recorded last year with a close-knit group of friends, including Moshi Moshi Records' signee Kiran Leonard, And Then There Was this Sound follows on from Leo's last full-length effort, the long sold out, Eternal Love & The Death of Everything. The new album was composed and recorded at the same time as Leo, who also works as a visual artist, was busy readying artwork for his debut solo show at the Tiwani Gallery.

                With his creativity at a peak, and ideas humming around his head, Leo and his band have produced a rich follow-up album with its eyes very much to the sky. Brimming with energy, inventiveness and positivity, it's a master-class in taut songwriting and economical arrangement.

                Buoyed by the assistance of some of the best musicians in Manchester, Leo's guitar playing delivers a transcendental, meditative quality, adding weight to a suite of beautifully arranged and generously orchestrated songs. Alongside a minimal set-up of guitar, vocals, organ, cello, violin and percussion, Leo's baritone croon intones a sequence of emotionally expressive lyrics, veering from free-associative poetry to intimate confessionals. All of this adds up to a wonderfully warm record that spans four tracks and over forty minutes of music, inviting you into the world of its creator.

                STAFF COMMENTS

                Barry says: Yeah! Icecapades return with another killer outing, this time from folk aficionado and hugely talented songwriter, Cult Party. Think The Microphones / Mount Eerie (early Noah And The Whale vox) with a bit of the dark looping guitar of Alexander tucker etc. Beautiful, and totally essential as always.

                As featured in Fact magazine’s 'The greatest techno albums you’ve never heard', and originally released way back in 1994, "The Silicon Dawn" was one of the first full lengths released on Peacefrog during a period which turned out to be remarkably fruitful for techno. Tracks such as "Parallel" and "Population 2" kissed the same patch of sky as Black Dog or “Icon” -era Derek May but Dan’s unique ability to mix melodies and harmonic layers around complex percussion proved to be a compelling innovation from the techno norm. Richly harmonic, expressionist techno in the grandest Detroit style from Dan Curtin. Repressed with love from Peacefrog and sounding as good as ever.... top stuff!

                Following the recent release of the "Exist" EP, Cuts - composer and filmmaker Anthony Tombling Jr - releases "Dream Voyager", with remixes from shoegaze legends Slowdive and Village Green labelmate Ben Chatwin.

                The original’s electric hum, pounding drums and indistinct vocals are reassembled by shoegaze heavyweights Slowdive and Village Green labelmate Ben Chatwin. The former remould the tune inline with their image by adding a pulsating heartbeat and swathes of atmospheric guitar while on the flip Chatwin transforms the tune almost beyond recognition, into a rumbling monster decked with cascading analogue synths and distorted percussion.

                Ron Modell inaugurated Ario's Astral Industries label with "Lanterns" back in 2014. That album has since become an epic, highly sought after collectable; both of the esteemed producer's catalogue, the well respected label's output and as a pivotal addition to the global dub-techno archive.

                Returning to the label for the first time since then, "Immersions", as is often the formula for Rod, consists of two, side-long pieces which traverse into hypnogogic multi-verses and wide-spectrum dream states.

                Opening with glistening ambient textures, "Immersion I" grows into an 18-minute piece of deep, rolling dub techno. On the other side "Immersion II" paints pristine soundscapes of soft, lapping waves, underpinned by submerged pulsations that rise to the surface to continue its deep space explorations. Two highly refined and inspiring tracks that sit on the apogee of this sound and are sure to become as treasured as the previous epic longplayer for the label... Don't sleep. 

                STAFF COMMENTS

                Matt says: Big Roddie M - back on Astral Industries... you know what that means folks! (he saves his choice cuts for this stable...). Side-long, propulsive hypnogogia by one of the greats. You know what to do!

                Dillinger, Trinity, Wayne Wade, Al Campbell, Junior Tamlin

                Five Man Army / Send Another Moses / Five Man Dubb

                Reissue of the classic 12” single “Five Man Army”, written and produced by Lester Bullock aka. Dillinger and featuring Dillinger, Trinity, Wayne Wade, Al Campbell & Junior Tamlin. Copies of the original 1982 Oak Sound release are much sought after and change hands for considerable sums. This is a BIG record in the reggae community! It’s also more widely known as it was sampled by Massive Attack on their 1991 debut album “Blue Lines” with the eponymous "Five Man Army". Highly recommended!


                Twelve Divisions Of The Day

                  Blending wiry, dark post-punk with unpredictable art-rock, Drahla have established themselves as a formidable and distinctive band across their two sold out 7” singles and the 2017 Third Article EP. Formed in late 2015, Drahla quickly found their identity in Yorkshire’s fertile music scene with their minimal yet robust bass-heavy sound.

                  Their reputation as a fervent live act is ever-growing, with the band being asked to share stages with the likes of Parquet Courts, METZ, Ought, Buzzcocks, Hookworms, The Cribs and more. Their Third Article EP, produced by Hookworms’ MJ, was released at the end of 2017 on the band’s own Blank Ad label followed by their first European tour supporting Metz. Third Article finds the band at their most captivating, with track ‘Silk Spirit’ exhibiting Luciel’s mesmerizing spoken drawl, paired with the steady unrelenting wall of sound from Rob Riggs on bass, and Mike Ainsley on drums. After watching the band’s self-made video for ‘Silk Spirit’, Mike Sniper, founder of Brooklyn independent label Captured Tracks, was immediately hooked. The band signed to Captured Tracks shortly after.

                  Now, having just completed a tour supporting Ought, the band are releasing their commanding new 7-inch single ‘Twelve Divisions of the Day’, featuring a B-side remix that strikes with as much fervor as the original but leaves a different bite mark. As they commence a slew of May and June shows, including an invitation to play Robert Smith’s Meltdown Festival, the band are poised to take their mark as one of the most visceral and exciting new bands on the scene.

                  E. Myers

                  I Am Alive / Dreamland

                  E. Myers returns just in time for the summer, with two heaters of contrasting styles. "I Am Alive" is a a fiery dance ritual, cooked up from gated drums, big bass swell and digital perc. Synth-strings and fluorescent pad presets add the required juices and Myers stands back and lets the machines do the talking!

                  "Dreamland" keeps its poker face on throughout its entire 9 minutes. Threatening to break out through a teetering hook, but staying cool with its restrained bump, it's equally at home in basements as it is on beaches, teasing out all manner of endorphins from our drug soaked recesses. 

                  STAFF COMMENTS

                  Matt says: Expertly programmed box jams here from rising talent E Myers. With a nod to both the dark analogue synths of Europe and the jarring mechanical rhythms of Detroit.

                  Eli Escobar

                  Nightshade Edits Vol. 2

                  Two brand new, dancefloor tested reworks by label boss and Classic Music Company recording artist Eli Escobar. Aretha Franklin meets Bobby Kondors across this double header, with the songstress singing sweet nothings over an electronic drum beat and soulful pianos on side A while side B sees deep house classic "Poem" bolstered with big gospel vocals.

                  STAFF COMMENTS

                  David says: Hearing "Africa" again has given me nothing but goosebumps! Even over this new groove it still does endless damage for the slower and smoochier dancefloor moments...

                  Ernie K-Doe

                  A Certain Girl / Here Comes The Girls

                  Ernie K-Doe, born Ernest Kador Jr, in New Orleans, 1933, will be forever remembered for his Billboard #1 hit single "Mother-in-Law", which knocked Del Shannon’s "Runaway" off the top spot in May 1961. Our featured side, "A Certain Girl", remastered here from the original tape for the first time, followed later that year. It has been covered several times, most notably by The Yardbirds in 1964 for their debut single. UK Mod group First Gear, featuring Jimmy Page, also had a go in ‘64.

                  "Here Come The Girls" is another Toussaint song taken from K-Doe’s eponymous album recorded for Janus Records a decade late in 1972. It failed to gain any attention at the time but charted in the UK in December 2007 when it was adopted by ‘Boots’ for their Christmas TV campaign. UK R&B band, the Sugababes, covered the song the following year taking it to #3 on the official UK pop charts. K-Doe reinvented himself as an eccentric radio celebrity in the 80s and 90s billing himself as the 'Emperor Of The Universe' with the catch phrase 'Burn, K-Doe, Burn'!

                  FORMAT INFORMATION

                  7" Info: Indies exclusive

                  If this were The Second Summer Of Love, then Flamingo Flame would be chart-bound. Readying themselves for an appearance on TOTP. Since 'Simmer' is Pop. With a hankering for the hey-day of the Indie-Dance crossover. Its breathless choir-boy vocal floating Erasure`s Andy Bell high, but descending, up on Frazier Chorus` Cloud Eight. Echoing the Tyrell Corporation`s introspective, blue-eyed, 6AM, post-rave, Soul. A Rickenbacker jangles a la Johnny Marr. Synths rise in warm emotive swells. The song`s sparse core of bass and percussion summoning the sensuality of Frankie Knuckles` seminal sort-out of Electribe 101.
                  The T-Kutt Dub stays true to the Original`s sound palette, but takes a cue from its lyrical theme. Introducing some calm. Whispering reassurance to hot heads.
                  “It`s always easier in the morning."

                  “Tiger, get some sleep."

                  Turning Simmer into a sunset, sunrise, end-of-the-night epic. Toughening up two thirds in. To get those Balearic Militants marching.

                  Then the Warehouse Preservation Society Remix darkens the tone. Gating sequences, and pushing live fills to the fore. Spiking the Pop. Slipping it a mickey. Transforming it into the kind of Go-Go-Not-Go-Go that would have graced an Andrew Weatherall set, circa 1990. Sleazy and sexed-up. Its B-line a tranquillised, arpeggiated sibling of Morroder`s I Feel love. Slo-Mo-Robo-Kinky-Disco with an AC/DC acidic undertow. The track`s poncho swapped for leather strides. Its Converse All-Stars for biker boots.

                  Lee Forster and Oli Warriner continue to purvey their wares through their newly established imprint, having previously run celebrated Northeast parties Dada and Last Waltz.

                  Opening track "In The B" kicks off proceedings in no uncertain fashion. It's 100% wall shaker material, the type of head first house music best paired with strobe lights and towering speaker stacks. It mesmerizes with its low-slung, undulating bassline and Detroit rhythms before giving way to some riotous old school Essex stabs and sharp claps. No messing, this is a certified 3AM red light burner!

                  Track 2 "Chocolate Biscuit" glides in on a buzzing sawtooth wave, simple drums supplying its momentum before arpeggiated synthlines and rumbling floor toms begin to imbue a future-Italo shudder to proceedings, in much the same vein as Roy Comanchero

                  "Jenny's Hall" is up next to supply some serotonin-releasing delights: a tantalizing and totally holiday house lead line raising hands and spirits aloft as ADSR envelop sweeps smoothly drip feed all the ecstasy releasing endorphins you require - Todd Terje eat your heart out!

                  Ian Blevins takes on remix duties and the Berlin-based producer offers up a sleek, electro tinged number that fizzes, snaps and gurles in all the right places before a spine-tingling pad wash sweeps us off our feet and into the heavens. Two records in an Forriner are proving to be one hell of a force on the global dancefloors - most recommended!

                  G Markus

                  G-Edits #4

                  The long-awaited Volume 4 in the G-Edits series from G. Markus, here to spill drink, induce table dancing and overall rambunctiousness to your all night tropical dance party!

                  "Eternal" sees one of those CLASSIC disco chord progressions garnished beautifully with electric guitar solo and big bolshy brass for the kinda of disco-ball spiraling madness that used to characterize El Diablo's parties at MCR's Deaf Institute.

                  "Partee" concludes with another number that'll easily find home any number of Manchester's celebrated knees ups. With a smattering of French touch filter use, catchy vox and a hook that'd make Roule jealous, the track gives new house stables like Shir Khan and Me Me Me and Mister Saturday Nite a run for their money... check!

                  Michael Giacchino

                  Jurassic World: Fallen Kingdom

                  Giacchino's score - which returns more to his penned Jurassic World score than the John Williams' cues that bridged the gap in the last film - is evocative of classic Universal horror and haunted house movie scores, breaking from the pack of previous Jurassic scores. Much like the film itself, Giacchino creates a fun, fresh take on the music of the "Man creates Dinosaurs... Dinosaurs eat Man" series.

                  FORMAT INFORMATION

                  2xLP Info: Black vinyl feat. original new artwork by JC Richard

                  In 1968, Vince made a label switch from his long-time home, Fantasy Records, to his new label, Warner Bros. Records. For his inaugural album, he decided to re-interpret his Peanuts classics on Oh, Good Grief! In addition to the instantly recognizable Guaraldi sound of piano, bass, and drums, this time he added electric guitar and electric harpsichord to the mix. The record was a smash hit.

                  Now, for its 50th anniversary, Omnivore Recordings is proud to present the album the way the world first heard it as stated on the original album’s back cover, “on shiny black vinyl.” Well, actually, this special pressing is “on shiny red vinyl!” Mastered by Kevin Gray and pressed at RTI, this timeless album has never sounded better.

                  With songs like “Linus And Lucy,” the special was a hit and for over five decades not a holiday season goes by without an airing of the television classic. So potent and successful was the Peanuts/Guaraldi combination that Guaraldi went on to score a total of 15 Peanuts television specials and the first feature film.

                  Petre Inspirescu


                  New outing from Petre Inspirescu on Mule Musiq, his first since the 2017 full-length outing, 'Vîntul Prin Salcii'. Definitely taking cues from the godfather of wonky, "Murgulll" and "Cumva" have Villalobos written all over them - those cushion soft drums, ghost perc artifacts and a subby wobble; all drawn out over a long, adynamic arrangement. I've you've ever spent your weekend chasing the Chilean demigod up and down the river Spree off yer head on a combo on cheap whizz and strong K then this is going to be direkt auf deiner Straße!!

                  STAFF COMMENTS

                  Matt says: Big release for the up-all-nite brigade. 48 hour weekends taken care of here - RIYL: Villalobos, Sylphe, Perlon, Plus8 etc etc.

                  Warehouse find of this classic lover's rock / dancehall crossover album from Jamaican legend Gregory Isaacs. Moving between traditional sounds, and newer, digitized riddims, as always Isaacs' impassioned delivery is impossible to imitate and instantly recognizable!

                  Mainly produced by Rude Productions' in-house man, Emmanuel Davis plus a coupla guest appearances by Lewis Murtagh on the dials, this is a refreshingly complex collection of tracks that skirt effortlessly between UK lovers, JA dancehall and with a sympathetic, rootsical vibe throughout.

                  Big inna de yard!

                  Over the course of the last decade, Black Pepper label boss Jose Manuel has proved to be one of electronic music's finest contemporary alchemists, conjuring percussive, intoxicating and otherworldly musical treats for such labels as Tusk Wax, Kinfolk, Kill The DJ, Optimo Trax and Music For Dreams.
                  The genius of Manuel's productions lies in the Italian's ability to conjure cracking cosmic compositions out of a diverse range of global rhythms, instruments and influences. Rarely has this been more evident than on his debut release for NuNorthernSoul, a four-track serving of dancefloor mysticism that puts mind-altering rhythms and saucer-eyed instrumentation front and centre.
                  Track, for example, the light and dreamy wrapped sumptuous Balearic synthesizer chords and melodies around gentle hand percussion and drifting Zambian vocals on the sublime 'Journey in Lusaka' followed by the feverish, trance-inducing African rhythms, delay-laden chants, psychedelic acid lines and jangling Jew's Harp motifs of intense opener 'Journey in Lusanda', a ritualistic Afro-Cosmic onslaught ripe for peak-time plays. If the EP opener is all about being flat on your back and staring skywards, the follow up is all about druggy, heads down sweatiness!
                  Manuel's deep love of Indian music is explored on 'Journey in Mumbai', where exotic sitar lines, fluttering clarinets and echoing, densely layered female vocals rise above a thick, tabla-fired groove. It's naturally hugely evocative and atmospheric - a fine dose of emotion-rich spirituality capable of inducing hallucinations in the straightest of listeners.
                  To complete the EP, our hero travels even further east for 'Journey in Osaka', a fittingly percussive exploration of Japanese music's past and present that also includes audible nods towards the poly-rhythmic drums of West Africa. It's a superb combination of traditional instrumentation, 21st century electronics, heavyweight rhythms and mood-enhancing melodic flourishes.
                  Like the rest of the Journeys In...EP, it's both hugely alluring and impeccably produced.

                  STAFF COMMENTS

                  Patrick says: I've been a big fan of the mighty Jose Manuel for a long while now, and this four track debut for NuNorthern Soul sees the Italian continue his exploration of exotic electronics and outernational Balearic beat. There's plenty to enjoy here, but it's the acid tinged trance-dance of "Journey In Luanda" that's doing the most for me.

                  New EP of hypnotic lo-fi hip hop tracks from LA beatmaker Knxwledge, including "Relapse" featuring up and coming rapper Traffic as well as five instrumental tracks.

                  Knxwledge is a producer with over 90 productions and counting to his name.

                  Most notably, Knx partnered with Anderson .Paak for the duo NxWorries, releasing their first album "Yes Lawd!" in 2017.

                  Knxwledge has also produced beats for rappers, including Kendrick Lamar (‘Momma’, from the Grammy Award-winning album ‘To Pimp A Butterfly’), Earl Sweatshirt and Joey Bada$$.

                  For fans of J Dilla, Flying Lotus, Anderson .Paak.

                  Language Of Prairie Dogs

                  The Water Boatman

                    Dean Anthony Sobers (singer, guitarist) and Matthew Alexander Kaufman (bass player) have been making music together since the late 1990s. The Water Boatman is a concept album - a collection of 12 songs inspired by the myth of the Tower of Babel. Lyrically, the album explores themes of intergenerational conflict and miscommunication. Sonically, it has a brash, accessible, no filler, eighties pop sound - inspired in particular by Kate Bush, Peter Gabriel, Fleetwood Mac, Terence Trent D'Arby, The Waterboys… the list goes on.

                    Australia's Balearic mystic is outback, ready to take us on another sunset stroll through the bush on his own General Purpose imprint. Originally written between 2014 and 2015, these discarded, lost ideas persisted enough to require further investigation. Taking a pause between his dub explorations, "Initials" is an electronic experimentation in forward-thinking Balearic music. "TFTC" opens the set in vintage Leise fashion, freewheeling through New Age melodies, woozy pads and nuanced percussion while a host of otherworldy idents shimmer in the distance. Birdsong and whirlytube introduce the madcapped and metallic rhythms of "MITD" on the B1, a fresh twist on the fourth world vibe built out of the skeleton of '92 ambient house releases. Finally, "STTS" gives us subtle percs, echo drenched sound design and robotic rainforest idents, all filtered into a haunting and atmospheric vision of Balearic dub-techno.

                    STAFF COMMENTS

                    Patrick says: Lysergic, cryptic and kind of mystical, Len's music is like a Monday morning conversation with our own Matt Ward - and I'm more than glad the Aussie producer is back. Where recent releases have crashed and womped through dubspace, "Initials" sees Len return to the outback esoterics of old, offering up a trio of Balearic dancefloor hits tinged with his otherworldly oddness. Killer!


                    1/1: Original Soundtrack To The Film

                    Liars announce the release of their first original soundtrack - ‘1/1’.

                    ‘1/1’ is the soundtrack to Jeremy Phillips’ directorial debut, due to be released in July 2018. Starring Lindsey Shaw (‘Pretty Little Liars’), Judd Nelson (‘Breakfast Club’, ‘St Elmo’s Fire’) and Dendrie Taylor (‘Star Trek Generations’, ‘Twins’), the film submerges the viewer into the mind of Lissa, a 20-year-old girl in rural Pennsylvania and her struggles with sex, drugs, love and loss. Liars have created an electronic soundtrack that reflects the film’s use of mixed media abstractions and multi-film formats, which undoubtedly stands up as an album in its own right.

                    STAFF COMMENTS

                    Barry says: Liars form a strong and driven backing to Philips's first outing with their nuanced and textured touch, with clicking, syncopated percussion, shimmering ambience and haunting shards of reversed guitars and tenderly plucked acoustics. Every bit the standalone piece, and perfectly fitted to the film as well. Great stuff.

                    Harlem's legendary Disco label Queen Constance has long been a cult favourite among fans of underground dance music for decades.
                    One of many labels operating under the equally legendary P&P family of imprints Queen Constance was operated by one Peter Brown, a truly colossal figure in NYC's music scene, it's catalogue still fascinates music lovers to this day. Covering a wide range of styles including Gospel, early Rap and Disco the label's output continually finds it way into the playlists of respected DJ's and selectors across the globe. Licky & The Dream Lovers' massive afro-disco groove 'African Rock' is the next in a fully licensed series of Queen Constance rarities to be repressed.
                    Licky seems to be yet another studio group put together by Peter Brown in order to explore different sounds and styles. This raucous piece of uptempo, blazing Disco really does the business in the dance, a truly immense club record, which is not surprising considering Brown is at the helm. Ridiculous Funk on this one. Across 2 sides we are treated to 2 slightly different versions of the cut, both equally as good, you could literally put the needle on the record, let it spin and watch it do damage. This one is an essential, a truly sought after record that commands extremely high prices on the used market when it shows up, but rarity aside, it is an absolute bomb and deserves to be in any self-respecting disco jocks bag of tricks.


                    Volume One

                    Night Theatre is a new label from Linkwood dedicated to serving dancers and deejays alike. It's been quite some time since we've seen this stalwart of 'second wave' UK deep house put his name to something, and what a break from the hiatus!

                    "A" treads a line similar to Vakula's Leleka excursions: dreamy, thick with synth haze and powered by the vintage rhythms of house music. A fluffy bassline seals the deal for complete immersion as a gentle cerebral perc line tickles any remaining and unattended erogenous regions.

                    "B" sees a barrage of tribal drums converge on shamanic wails and rainforest chatter; conjuring up a fiery slice of dancefloor voodoo that's so on point you could sharpen a pencil with it.

                    Two completely absorbing pieces for the right now and beyond; and a fantastic return from this UK legend. Totally recommended. 

                    STAFF COMMENTS

                    Matt says: Linkwood's back and he's ready to dance. It's hard to ignore side B's wigged out attack of tribal percussion, especially with carnival season just round the corner!

                    Luca C & Brigante

                    Nastro Rosa

                    After topping the Balearic ID list with the sunset wonder of their first collaboration, "Lucio", Luca C & Brigante are back together with another tribute to the long lost Italian. This time round the duo cherry pick a blue eyed belter off Battisti's 1980 LP "Una Giornata Uggiosa", adding a little percussive thump, frequency adjustment and subtle fx use to bring out every last bit of drama from Lucio's excellent love song. Heart expanding, chest swelling and perfect for sunsets.

                    STAFF COMMENTS

                    Patrick says: Luca C & Brigante in top edit form here, applying a little sunset twist to the utterly emotive "Con Il Nastro Rosa" from Italian hero Lucio Battisti. If you dug on Psychemagik's Fleetwood Mac edits, but you've got a hankering for Aperol, this will completely floor you at cocktail hour.

                    Features the track ‘PNO' released to coincide with Piano Day 2018 (it made Nils Frahm’s official playlist).

                    3PE is the first in a series of releases by Portland, OR, based Luke Wyland under his new LWW moniker. In contrast to his previous work as AU, these are spontaneous explorations in repetition, alternate tuning systems and, for the most part, tempered minimalism.

                    After the spiritual rush of ‘CTP’, there are never more than two or three sounds interacting. Unadorned single takes unfold organically to explore the textural and rhythmic possibilities within those limitations.

                    Each piece has a distinct palette; from the rolling triumphant piano polyrhythms of ‘PNO’ (included on Nils Frahm’s official Piano Day 2018 playlist) to the unsettling oblique synthesiser angles on ‘DTE’ – Wyland stretches the boundaries of cadence and melody before snpping it all back into line. A direct link can be drawn from the tuned percussion work of ‘PRC’ to AU’s contribution to the influential Tradi-Mods vs. Rockers compilation series, which features the likes of Deerhoof and Juana Molina’s takes on the ‘Congotronics’ music of Kinshasa.

                    Many of these recordings date back to the period shortly after AU’s final release Both Lights. The bubbling energy remains, while Wyland’s musical dexterity is all the more startling in these stripped down, unrestricted forms. “There’s a certain fleeting magic to capturing unselfconscious improvisations to tape,” Wyland explains. “A quality that is often lost when tracking an album you intend to release to the public.” Opening epic ‘CTP’ serves to bridge the gap between AU and LWW – “the first track is the only improvisation that I’ve dissected and evolved into a more maximalist composition. The rest of these songs are simple one take snapshots into my process of research - essentially conversations with myself.”

                    Official Mr Bongo reissue of the ultra-rare Nigerian disco-boogie, ‘Viva Disco’, album from 1980. Originally released on the Afrodisia label, this one is unknown to even the most knowledgable collectors out there.

                    Tunde Mabadu recorded two albums in the 70’s - ‘Viva Disco’ and ‘Bisu’ as Tunde Mabadu & His Sunrise. Perfect examples of golden-era Nigerian disco & boogie that still hold their own today.

                    Maps & Atlases

                    Lightlessness Is Nothing New

                      Maps and Atlases Lightlessness Is Nothing New, their first since 2012s critically acclaimed Beware & Be Grateful, serves to foreshadow an emotionally and musically dynamic collection of songs that contemplates the jolt of loss and the strain of longing to music that, against our better judgment, makes us want to dance.

                      FORMAT INFORMATION

                      LP includes MP3 Download Code.

                      “L’ombre des oiseaux caressait sa peau, elle bronzait au lait de coco…”

                      Come summer, it’s time to get a tan, a caipirinha in your hand. To complement these delectable moments, Attic Salt Discs hit us with an official reissue of the modern classic that is “Lait De Coco” by Maya. I first heard this digger's delight at a Les Yeux Orange afterparty in Paris. It was about 7am and daylight had just begun to creep through the venetian blinds, and even though I was doing my best to quietly die in darkened bedroom, the warm sax, mellow groove and sound of 50 Parisians singing along prompted a Lazarus-style recovery. It's a classic spin for Growing Bin chief Basso as well, and has since gone down in history thanks to a cheeky Good Plus edit. Now remastered and pressed on a 10″, it comes with the original artwork and a postcard, because souvenirs and sweet words to your loved ones are everything.

                      STAFF COMMENTS

                      Patrick says: My favourite Balearic smoocher-Francais, as edited by my good friends at Good Plus, lands in officially repressed form, and on a 10" no less. Smooth sax, silken vocals and that cover photo! #uberBalearic

                      The word legendary gets bandied around with increasing frequency, but in house music circles that aren't many more worthy of that particular epithet than Larry Heard. The man's forays onto vinyl are ever more occasional since his well-documented withdrawals from the scene, so when an Alleviated 12" comes along it's a big deal in our book. "You Rock Me" conveys all the classic Heard sounds with its gentle tempo, careful textures and understated, old school vocals from Mr Chris. "The Sun Can't Compare" is instantly different, drawing on Mr Fingers acid for a faster and wholly electronic backing with those ageless drum sounds. Originally released back in October 2006, this 12" is one of the most requested records we've had in eons - back again for 2018 they don't get much more timeless than this.

                      Following a self-titled EP last year, Dario Rojo Guerra aka Natureboy Flako releases his second album "Theme For A Dream" on Five Easy Pieces. Exploring the boundaries of music, science and spirituality through a prism of colourfully synthesised-sound, heart-pounding rhythm and cinematic soundtracks; the core essense of "Theme For A Dream" is the exploration of the human inner space, the balance of musical energies and music’s healing capabilities.

                      "Theme For A Dream" is a more electronic sounding record than his debut. Guerra makes extensive use of old and new analogue equipment such as the Juno 106, Korg's MS-20, ARP Odyssey or Roland’s SH-2000 synthesisers, alongside recordings of vocals, guitars and other instruments. This serves to create a dynamic and eclectic sound spectrum, all unique to his musical handwriting.

                      "Theme For A Dream" will be accompanied by an experimental and interactive website that allows users to preview music while being an immersive, unique multi-sensual 4D experience of its own. Snippets of the music from "Theme For A Dream" become audio visual poetry and an immersive exploration of state of the art technology and oneself.

                      'I don’t think technology necessarily means not being natural. Technology can be very much in balance with nature, since it is mostly just trying to imitate or trying to understand something from within nature.' 

                      Second self-recorded album from this Chicago punk quartet. Chicago punk band Negative Scanner return to the fray with their second long-player, the cheekily titled Nose Picker. Once again recorded by the band themselves in their Chicago practice space, Nose Picker opens with a question; “Is there anybody there?”, which acts as both a legitimate query as well as a rallying cry. Negative Scanner make it clear that they want your attention, as opening tune “T.V.”s stutter step guitar riff leans into an lean and mean, 4-on-the-floor churn. The rest of the album follows suit, either with raging punk snarl (”History Lesson”, “First Blood”, “Let it Die”), or angular, emotive jagged guitar riffage (”A Cross”, “10 Million Kids”, “The Only One”), punctuated by vocalist/guitarist Rebecca Valeriano- Flores’ voice, teetering between a full throated roar and a plaintive monotone.

                      Her lyrics are insular, spitting accusatory and inquisitory barbs inward, talking to anyone who listen. Is there anybody there? Despite the darkness on the surface, Nose Picker has an unmistakable air of whimsy, and a sense of humor, punctuated by the very literal album cover, and by the sound of a toilet flushing at the album‘s closing. The past two years have seen the band step out of the Midwest DIY spaces and basement shows and tour the USA and Europe, support UK band Sleaford Mods on select dates in the UK and the USA and standing toe-to-toe with the underground’s finest acts, including Sheer Mag, Protomartyr and more. 

                      STAFF COMMENTS

                      Barry says: Hi-octane punk and roll, snarling vox, screaming guitars and fuzzed-out overdrive mix brilliantly into a dynamic, exciting force to be reckoned with. Negative scanner have hit the nail on the head with this one, just what you need to brighten up these hazy summer days.

                      FORMAT INFORMATION

                      Indies Exclusive LP Info: Snot Green Coloured Vinyl.

                      Oneohtrix Point Never

                      We'll Take It

                      Oneohtrix Point Never (aka OPN / Daniel Lopatin) returns hot on the heels of his latest album ‘Age Of’ with a four track EP featuring album single ‘We’ll Take It’ and three new OPN songs.

                      An album favourite, ‘We’ll Take It’ is given new context here as the lead track and video.

                      A dark, facetious song that fuses industrial sounds, ecstatic and reckless synths, and something OPN described as “sideways ragtime” piano played by James Blake.

                      An edited version of ‘Trance 1’ has been heard as part of ‘A Message From Earth’, a celebration of the 40th anniversary of the Golden Records sent on both Voyager Spacecrafts with sounds and images selected to portray the diversity of life and culture on our planet.

                      Two additional unreleased tracks round out the first in a series of companion releases to ‘Age Of’.

                      Includes download card.

                      STAFF COMMENTS

                      Barry says: Never one to shy away from innovative synthesis techniques, outsider composition and hypnotic ambience, the great Daniel Lopatin presents a trio of unheard gems on top of the astoundingly superb 'We'll Take It'. Brilliantly evocative, haunting and perfectly balanced. Another OPN stormer.

                      The sophomore follow-up to the wildly successful "Bizarre Ride II The Pharcyde", "Labcabincalifornia" showcases the production talents of a then virtually unknown J Dilla. The first single from the album, the Dilla-produced "Drop" was a hit and the accompanying music video, performed backwards and replayed backwards by director Spike Jonze, reinforced the group’s wildly creative reputation. The album would go on to produce two more successful singles: "Runnin", which peaked at #55 and "She Said". This reissue features vinyl cut under the supervision of Dave Cooley (J Dilla, Madlib) at Elysian Masters.

                      STAFF COMMENTS

                      Matt says: Inspiring a generation on 'cool', The Pharcyde was the stuff of mixtape folklore amongst music fans across the board in the pre-Internet days. 25 years and the world's changed somewhat, but the message and delivery presented here still rings true.

                      Piccadilly Records

                      Logo T-Shirt - Summer 18: Navy / Silver

                        New for Summer 2018, this shirt features a silver print on a navy Gildan Softstyle Rinspun t-shirt.

                        FORMAT INFORMATION

                        S Info: To fit chest 28"/30".

                        M Info: To fit chest 32"/34".

                        L Info: To fit chest 36"/38".

                        XL Info: To fit chest 40""/42".

                        As with their previous albums, Across the Meridian mixes instrumentals and songs, weaving a gleeful path through the musical territory of film scores, 30s jazz, sun-drenched pop, electronica, and post-punk experimentation. Haunting and wistful vocals are set to a variety of soundscapes, sometimes appearing as a snatched fragment of the subconscious and dreamlike, at others crafting a story of longing or regret, drawing the listener into Pram’s uncanny world through the mirror. Newcomers to Pram will find a richly detailed collage of influences ranging from exotica, Krautrock and the forgotten film soundtracks that went on to inspire contemporaries Stereolab & Broadcast.

                        The band convened at the remote Foel studios in Wales to improvise on ideas and record some bases for tracks, before finishing them in their studio in Birmingham. Pram have a working process that has developed over many years and reflects shifts in band personnel and technological advancements. Across The Meridian is a testament to the band embracing these new approaches without losing any of their original allure.

                        STAFF COMMENTS

                        Barry says: Haunting, dusty melodies and slowly pulled strings mix with echoed vocals, simmering horns and clicking electronic percussion in this multi-faceted and smooth juxtaposition of post-rock, electronic and psychedelic instrumentation. Perfectly balanced and fully immersive.

                        FORMAT INFORMATION

                        Coloured LP Info: Indies Only silver vinyl.

                        Coloured LP includes MP3 Download Code.

                        Croatian producer Ilija Rudman returns to Classic with his funk-drenched ‘Lovers Change Minds’. Well-known for his distinctive analogue-disco sound, the record’s delivery on 12” vinyl comes as a perfect pairing. He remains reverent to his well-rounded retro style with heavily filtered soft vocals complimented by a deep 70s-centric bassline. Hot Toddy’s bass-focused mixes come laden with electric guitar riffs and synth flares for an even slicker groove on Ilija’s smoothly minimalist masterpiece.

                        STAFF COMMENTS

                        Sil says: Smooth operator Ilja Rudman grace us with a funky slow burner with soft vocals and infectious bassline. Hot Toddy turns things a bit more electronic but keeping the original funky patina well alive. Released under the legendary Classic Music Company record label. Ace!

                        Eureka!'s first release for 2k18 comes from Parisian sample king S3A, who shows off his perfect definition between underground quality emotional house music and dancefloor efficiency. A mixed bag for mixing, "Mountain Charr" give us 3 tracks in 3 completely different styles. "Doop Doop" does its thing in typical S3A style, bounding through characteristic vocal cut up by adding powerful horn section and melodic piano loop. On the B1, "Emotional M1" is a warm and cosy groove track with wonderful depth that is playable regardless of time or place; from lounge to dancefloor. To complete the package we have "Denials", a more downtempo offering, but its melody is fascinating, warm and sensual. This EP definitely brings you his predominant sense of sampling.

                        STAFF COMMENTS

                        Sil says: Great 12" just landed here with loads of good feeling vocal and sample-ridden house. Perfect summer terrace tracks that are both dancefloor-friendly and great for the living room. My favourite, however, is the more downtempo track at the end...smooth and with a certain 90s cut and paste flair.

                        The sophomore follow-up to the wildly successful Sacred Grove is an artist collective based out of Malmö Sweden.

                        City-2 St. Giga is a Japanese import label (hence the high price - sorry! - ed) which seem to be making space aligned electronix and gently propulsive dream house their forte.

                        This is their second record and contains four completely blissed-out loops somewhere between Deepchord, AFX and Chain Reaction. Two tracks are light, two are much heavier, and seem to break through a 3AM fog cloud into a spiral of white light and ascension.

                        Super limited copies and really quite good - so move quick if you want in. 

                        Third is the stunning third album by Nathan Salsburg, one of his generation’s most gifted and idiosyncratic acoustic guitarists. It’s been five years since his last solo record (Hard for to Win and Can’t Be Won, 2013) — but not because he hasn’t been playing guitar. In the intervening years he’s backed up Joan Shelley on three releases and several hundred live dates; put out a collection of guitar duets with multi-instrumentalist James Elkington; teamed up with fellow Louisvillian and neighbor Bonnie “Prince” Billy on an EP; and contributed playing to records by The Weather Station, Wooden Wand, Watter (what’s with the Ws?), Jake Fussell, and Red River Dialect. Meantime he’s also managed to keep his head above water at his day job as curator of the Alan Lomax Archive.

                        The original pieces on Third, his first strictly solo guitar record—no singing, no guests—were composed in fragments of down-time, with little expectation that they would ever come to comprise a collection: Impossible Air, was written in a converted cow-shed outside of Eeklo, Belgium; Sketch from Life, while watching college basketball on TV. Exilic Excursions resisted completion for nearly four years. The songs, as others have before them, distill a love of old-time dance music and rural ragtime; the melody-centric compositions of American guitarists Peter Lang and William Ackerman; and the work of Scottish and English folk-revivalists like Dick Gaughan, Dolly Collins, and especially Nic Jones, whose monumental arrangement of the pipe tune Planxty Davis has been adapted here in turn. And they all display a notable increase in confidence and ease, as Salsburg has quietly, persistently established a style marked by a depth and a complexity that are utterly his own. 

                        STAFF COMMENTS

                        Barry says: Beautiful, rhythmic guitar plucking forms a solid basis to Salsburg's sense of progression and pace, with lively hammer-on / pull-off trills lending a momentum to the traditional beauty and stripped-back simplicity of the acoustic guitar. Thoroughly beautiful.

                        FORMAT INFORMATION

                        LP includes MP3 Download Code.

                        Now available for the first time on vinyl, One Way Static Records presents the THIRD volume in our new archival series ‘La Vie Electronique’. This volume (1.2) focuses on the years 1970-1972 and is spread over two glorious LP’s containing +77 minutes of Klaus Shulze rarities. This deluxe vinyl set also comes with an insert containing extensive liner notes. Available as a limited classic black vinyl retail edition (700 copies) with obi strip.

                        Klaus Schulze is a German electronic music pioneer, composer and musician that needs very little introduction. In the late sixties & early seventies he was a member of several iconic bands such as ‘Tangerine Dream’, ‘The Cosmic Jokers’ & ‘Ash Ra Tempel’ before launching a solo career consisting of more than 60 albums released across five decades. Collaborations were numerous and highlights include working with Steve Winwood, Brian Eno & Alphaville… just to name a few.

                        Klaus Schulze’s proto moog-synthesizer work is regarded as a milestone in electronic music & during the decades he released landmark albums in genres catalogued as ‘Ambient’, ‘Electronic’, ‘New Age’, ‘Berlin School’, ‘Experimental’, ‘Kosmische Musik’ & ‘Krautrock’. Mr. Schulze had a more organic sound than most electronic artists of the time, often he would throw in decidedly non-electronic sounds such as acoustic guitar and a male operatic voice. Schulze is also known for developing a Minimoog technique that sounds uncannily like an electric guitar, which is quite impressive in concert.

                        On occasions he would also compose film scores such as Body Love 1977), Barracuda (1978), Next of Kin (1982), & Angst (1983). His best known song ‘Freeze’ has been used in films like Manhunter (1986) and more recently in Sofia Coppola’s ‘The Bling Ring’ from 2013.

                        In 2009, producer Klaus D. Mueller and Schulze began releasing La Vie Electronique ("The Electronic Life"), a series of sets that collected rare sought-after early works & unreleased tracks put in chronological sequence. These sets contain some of the best music Klaus ever created and are early 70’s masterworks that will appeal to both fans and collectors.

                        STAFF COMMENTS

                        Barry says: Schulze, as one of the masters in the vast pool of talent that is the world of 70's synths, has an impeccable understanding of tone, texture and melody. Here, we get some of the lesser heard gems of his catalogue, beautifully presented and perfectly sequenced for a long, hypnotic undertaking. Absolute essential.

                        Secret Circuit's 2nd EP for Invisible Inc, the cryptically titled "Out Of Body Interiors".

                        Featuring four exclusive new tracks of the acid drenched, dubbed out, tropical disco variety Mr Ruscha, as always, delivers a sonic palette you won't find on many other imprints: from the turbo-charged homage to early 90s bleep meets indie rave euphoria of "Stomping Ground", through the chugging, motorik groove of "Crazy Ways" which sounds like it's blasting out full volume from a smoke-filled Space Patrol hovercar gone rogue then flipping over to side B and waking up in Mali, Andromeda in a haze of syncopated percussion, other-worldly guitar licks and a billion new synthetically generated sounds that you may strongly suspect you just imagined.....Finally, "The Feather Drop" which brings entirely new meaning to the word deep and which fires technicolour sounds of profoundly immense variety at the synapses at a rate of knots not many other producers can keep up with as all the while the bass holds court and keeps things deep rooted and dub heavy.

                        Secret Circuit (aka Eddie Ruscha V) has had a plethora of releases on an equally expansive plethora of labels under such names as The Parels (Lal Lal Lal), Blasé (ESP Institute), Food Of The Gods/Laughing Light Of Plenty (Whatever We Want), Odd Numbers ('No' Label), Shadow Kids (El Diablo's Social Club) and of course as Secret Circuit (Beats In Space, Emotional Response and Invisible, Inc.)

                        STAFF COMMENTS

                        Matt says: Slow and steady, but powerful and heavy, like tectonic plates swaying under great pressure; just waiting for an eruption... Wrought iron tension doesn't come much more pleasing than this.

                        Ty Segall / Black Time

                        Split LP (Repress)

                          A 180 gram repress of a classic record in Ty's career. Constantly referred to as his best early work. Originally released in 2009, the Ty Segall / Black Time split LP highlights a dichotomy between two vastly different musical climates. Ty Segall plants himself firmly in the California sun with seven unreleased (and reverb-drenched) tracks. Black Time infiltrate their side like a disorienting British fog, stumbling through six songs in a most cacophonous way. This repress offers fans a chance to lay their hands on a highly desirable record, priced much lower than the original, which sells for around 50 USD.

                          Blonde and brunette. Dog and cat. Lemon and onion. Friend and foam. The change has been made! You can scratch your seven-year itch freely now: Ty Segall and White Fence are become one again, regrooving what we once called Hair into what is now Joy.

                          Hair grew out of a simpler time, man! If, as the dyphrenic duo indeed affi rm on Joy, rock in 2018 is dead, don’t come around here looking for no burial. Instead, fi nd Joy caught up in the commencement of on-beyond rock; music made with the old tools, but emitted from a fresh new, single-celled organism. This time, the old “one and one make one” line does not apply. Hair had the quality of emulsion — drops of Segall suspended in Fence; a compound of White dispersed over sheets of Ty. With Joy, Tim and Ty arrive without travelling from the same place, occupy one single headspace, fi nishing the other’s phrases, pulling licks from each other’s places. Singing and thinking and laughing as one. Calling themselves from inside the house. C-c-c-creepy!

                          Both these fellows have been known to trifl e with tropic pasts and reactivate vintage visions within their new music. Not now. Now is the only time this time — Joy is their own sound of today, a shared individuality, prisming all possible stances into an unseamly metastasis that FLOWS for 15 ebbcentric tracks. Plus, since it ends at the beginning, it never has to stop. LOOP that shit!

                          STAFF COMMENTS

                          Barry says: Ty Segall and White Fence bring it back for more of their collaborative journey through foggy psychedelia, simmering rock and roll and lysergic arm-swaying riffage. Yet another superb meeting of minds from these two top talents. Superb.

                          Italian electronic artist and sound composer Lorenzo Senni releases a two track remix 12” for his essential trance-indebted classic ‘XAllegroX’, via Warp.

                          Having founded the respected experimental label Presto!? and crafted some of the most unique dance music of the last decade, Lorenzo’s latest release showcases his sound reworked by Presto!? labelmates and friends; masked Detroit mainstay DJ Stingray and acclaimed German sound experimentalist Hecker.

                          Originally released on Warp in September 2017, ‘XAllegroX / The Shape Of Trance To Come’ saw Lorenzo serve up two of his most distinctive deconstructions and augmentations of ‘90s trance archetypes, championed by Aphex Twin, Dixon, Pete Tong and Pitchfork.

                          With each remixer revered in their own lane, the new 12” sees DJ Stingray (Tresor, Clone, Diagonal Records), turn in an ominous offering built to scald the biggest rooms and the sweatiest basements - stripping back the original with a blown out bassline darkening and disrupting the bright-lit synths that reach endlessly upwards. Whilst Florian Hecker (Editions Mego, PAN, Rephlex) subverts the euphoria by driving it to its inevitable melancholic endpoint, relentless repetition without resolve transfigures the sound into a skeletal remnant of its original state.

                          ‘The Shape Of RemiXXXes To Come’ follows the release of Lorenzo and Francesco Fantini’s original score for Yuri Ancarani’s film ‘The Challenge’ about the lifestyles of the Qatari super-rich, released on Warp in March. The new club-ready edits also arrive in the middle of another busy period for Lorenzo - last month he headlined a sold out London show and he’ll be performing live at Sonar in Barcelona for their 25th anniversary.

                          When you listen to the Shacks' self-titled debut EP, you might imagine that Shannon Wise and Max Shrager are much older than their respective 18 and 20 years. But when Shannon’s whisper-vocals breeze through the speakers, you hear the youthfulness of their sound which then in turn explains the fearlessness of their songwriting. Both vaguely familiar and completely fresh, The Shacks are one of the most interesting NYC bands to surface in a minute. Since the release of their first single, "Strange Boy," which they recorded with El Michels Affair, The Shacks have been compared to 90’s indie icons like Mazzy Star, Jesus and Mary Chain, and Broadcast. As good as those bands are, you wouldn’t find a single one of their records in Max and Shannon’s music collection. All these bands are drinking from the same well, just 20 years apart. Highlights from The Shacks EP include a cover of the Ray Davies-penned "Strange Effect," which Shannon sings as if it were written for her, giving the song an unnerving edge that’s way more interesting than Dave Berry’s tepid original. Also included on the EP is "Orchids," one of Leon Michels and Max Shrager's first co-productions, recorded at the legendary Diamond Mine studios. "Orchids" is a truly original piece of music that showcases The Shacks’ adventurousness in the studio. "Left It With the Moon" is a lo-fi lullaby written by Shannon and recorded to 4 track cassette at Max’s home studio in Princeton, NJ. And "Hands In Your Pockets" features the Frightnrs rhythm section laying down a pitch-perfect rocksteady backing track behind Shannon’s deadpan delivery a la Jane Birkin. 

                          STAFF COMMENTS

                          Barry says: Twanging indie-rock guitars and 70's influenced fuzzy harmonies interwoven with the soothing and silky vocals of Shannon Wise. A bracing and enchanting listen, full of irresistible hooks and undeniable charm.

                          Imagine a peaceful cyberpunk world where flowers are used instead of laserguns, where bamboo towers are high in the sky and your fingerprints digitalized in a papermade card. This is the utopia you’re living in while listening to this record. From the crowded city atmosphere of "Mecanic Chipo" to the suspended garden of "Lady Chipo", your existence is harmonious and serene. As a casual salaryman you dream of the countryside in "Chipo Sleep" but are woken up by the "Chipo Dub" bonzaï alarm clock. "Chipo Sounds" reflect the reveries of everyday life, which are at the end, not cheap at all!

                          STAFF COMMENTS

                          Patrick says: Parisian synth freak and musical sponge Shelter hits the shelves with a four tracker way beyond his tender years. Serene, delicate and dreamy, these four synth suites call to mind the chiming melodies of Yasuaki Shimizu or Jean-Michel Jarre's "Concerts En Chine".

                          An underwater adventure by young Parisian Shelter. Where previous releases have seen the synth-obsessed Frenchman take his inspiration from Caribbean rhythms or Balearic attitudes, this marine missive sees Shelter turn to the lavish world of the library, creating his alternate score to Jean Faurez’ 1960 documentary short.

                          More submersible than snorkel, our journey begins in the very dark of the deep, mystical harp trills echoing through the inky blackness, picking up the bioluminescent shimmer of an Abraliopsis Squid. Gradually we make our way into the light, cruising past shoals of silver scales and underwater forests. ‚Immersion’ offers a placid, percolating rhythm and billowing pads, providing sonic symmetry for the dancing leaves, while the spheric soundscape of ‘La Vie A L’Ombre’ bubbles away like an underwater volcano. The optimistic ambience of ‘Plenitude Azotee’, brimming with delicate melody and glistening sequences, perfectly captures the wide-eyed wonder of a reef dive, before drifting into the serenity of ‘Parade’, an aquatic acquaintance of A.R.T. Wilson’s ‘Overworld’. A brief foray into shark fin funk sees out the A-side, before we’re back amid the beauty of the ocean floor; ‘Variation Abyssale II’ echoing the album opener but with even more poetry. The exotic and otherworldly sine waves of ‘Dans La Jungle De Varech’ simultaneously sound like a rainforest canopy, alien landscape and coral microcosm, expanding our horizons nicely ahead of the adrenaline rush of ‘Hors D’Haleine’. Shelter then sets us at ease with the tidal tonality and subtle shuffle of ‘Fumeurs Noirs’, a sublime synthetic suite, then leaves us to marvel at the soft focus splendour of ‘Synthii Outro’.

                          STAFF COMMENTS

                          Patrick says: Stunning sub-aquatic imagery and deep water ambience from Parisian producer Shelter here, who joins the Growing Bin ranks with one of their finest releases to date. Melodic, exotic and esoteric, this has been a regular presence on the Piccadilly promo-player, so expect to see it make a major dent in our end of year charts.


                          Issue 82

                            Shindig! is an eclectic cornucopia overflowing with obscure TV and film, psychedelia, folk, garage rock, folk rock, progressive rock, funk and soul. Contributions from its team of international expert writers ensure that new and intriguing tales about influential artists fill every issue. Shindig has established itself as a cutting edge forum and critique of the glories of 60s and 70s music, film and culture.
                            Available version

                            Into the darkness, the early days. In this issue, we look at how four working class lads from the tough Aston district of Birmingham defined heavy metal and brought the Dark Side to the masses.

                            Skiffle Players

                            Piffle Sayers

                              Supergroup, side project, high-school-garage-band-of-brothers-from-other-mothers, whatever its called, this band formed to play a one-off show in Big Sur and had so much fun they’re still at it. On guitar, Neal Casal (Circles Around The Sun) sticks mostly to the acoustic allowing his elegant affinity towards melodic craft to shine. Cass McCombs’s guitar wizardry and acclaimed compositions are at their peak, and his raw, mostly first-take vocals bring the core of the song to the forefront. And when asking “what the hell was that sound”—it was probably Farmer Dave, the official leader and founder of the band, his keyboard / lap steel / harmonium work is the glue that holds the flotsam together.

                              Dan Horne’s bass (Circles Around The Sun) and Aaron Sperske’s percussion (Beachwood Sparks) are so intertwined it sounds like each of them are both playing drums and bass at the same time.After the instant classic and record store rare find Skifflin’ (2015), The Skiffle Players are ready to release two new works. The Piffle Sayers EP ss made up of a few gems from the Skifflin’ sessions, and can be considered a companion piece to that debut LP. This foreshadows the release of a new full length album scheduled for this fall.

                              STAFF COMMENTS

                              Barry says: There's no way with this calibre of musician, that the debut release by the Skiffle Players would be anything but brilliantly executed and immensely enjoyable, and you'll be happy to hear that everyone is indeed on top form. Beautifully evocative, brilliantly written and (as expected), played perfectly. Can't wait for the full-length!

                              The Spitfires

                              The New Age / Bitter End

                                The New Age captures the band’s live sound. 3 and a half minutes of loud guitars and energy with a sort of ‘back to basics’ approach.

                                Legalize Lambada step up for their 4th outing with four delectable Afro disco edits from Sputnik. Starting the party off right, "Superlove" sees Sputnik channel early garage house with a sublime kwaito recut - all Zanzibar groove, echo-laden vocals and tropical synths before melting and smelting "Feeling Fine", a reggae tinged, Afro boogie gem with major Balearic possibilities. On the flip side, "Groove Me" unearths some feel good Cameroonian disco gold complete with killer guitar solo, whilst 'Rick' closes out the e.p. dropping the tempo for a synth soul, slow jam. With early support from Hunee, Lexx and the likes, LEG004 is shaping up to be one of the summers standouts.

                                STAFF COMMENTS

                                Patrick says: Summer sizzler from Sputnik and Legalize Lambada here, hitting us with four different flavours of Afro-disco brilliance. More refreshing than a Supermalt and tastier than chin chin, this should smash it for the Worldwide, disco and Balearic crowds.

                                Candi Staton

                                Hallelujah Anyway - Inc. Moplen / Frankie Knuckles Remixes

                                Candi Staton’s much-loved disco anthem ‘Hallelujah Anyway’ gets a house-inflicted remix by Italian producer Moplen, as well as a previously unreleased Frankie Knuckles and Eric Kupper version, on this 7” vinyl gem. Italian producer Moplen delivers a 90s-house-esque Classic Vibe mix while production greats Frankie and Eric pick up the pace with soaring synths and a grooving beat in the FK’s Director’s Cut Soul Praise mix. Glitterbox presents two must-hear mixes both breathing new energy into this timeless record.

                                Picture yourself in front of your record collection, deciding which one you'll listen to next. You finally choose 'Kilimanjaro' by Teardrop Explodes; you haven't listened to it for a long time. In that moment, you notice that your partner placed your 'Face to Face' copy in an incorrect slot. It goes with you to the record player too. A few minutes later, you corroborate that both Cope and Davies made prevailing, lucid and brilliant records. And you dream thinking how would they sound together, in an hypotetic alloy that feels almost impossible straight away. There are only fourteen years away from one record to the other, but they seem made in different centuries, different planets. We find the answer at the Electric Duck studios in San Francisco, Kelley Stoltz's base of operations.

                                A Detroit-native, Kelley was an adolescent moved by post-punk and English new-age, and became an adult falling in love with the extensive pop legacy from the 60s. Both references define one of the strongest, most talented discographies of the last years. Filtering and tying those sounds together with freshness and distinction is what makes Kelley an unique composer. Stoltz gets ostentation and histrionics out of the best 80s pop and supplies it with outstanding melodies and sense of humor. What Brian Wilson doing a cover by Wire's 'The 15th' would feel like.

                                STAFF COMMENTS

                                Barry says: Definitely influenced by the hypnotic repetitions and incremental progressions of 70's Krautrock, Kelley Stoltz presents a gripping cosmic journey, ambient and soaring but with the sturdy backbone of post-punk holding things together. A brilliantly conceived, and impeccably realised juxtaposition, and an absolute joy to listen to.

                                From the green hills of Albania to the back rooms of New York City, Sworn Virgins bring the light. A stranger's hand on your shoulder, bright red painted finger nails scratching your thigh, all those beautiful things that made you leave that small town you came from. Greased up and ready to go, close your eyes and take it in.
                                All very good, yeah, but what am I buying you may be asking yourself. You are getting quality. Beautiful, odd, warm, pushing the boundaries, sample heavy and funky as hell - think about a mixture of DJ Koze and Losoul and you start getting close to the beauty that is 'Fifty Dollar Bills'
                                Flip this very bad boy and you are greeted by a colder yet funky number with slightly more electro undercurrents with freaky vocals filling you up with the reasons why he is burning off his clothes off. Oddity, provocation and gender-bendering on this surprisingly mega Deewee release. I am getting a copy myself and dare to say that this is the house record you need this week. Will be a staple in your sets - if the crowd allows it. Not always easy. 

                                STAFF COMMENTS

                                Sil says: Record of the week for me. Both sides are just gorgeously crafted. Proper alternative house for the freakos out there. You are not alone.

                                Written and produced by Maurice Fulton. 'An Original Dr. Scratch Mix'. Published by Buttrubb Music.

                                Maurice Fulton re-instates his much lauded Syclops project for album number three. Joined by Hanna Sarkari on guitars, who was part of the original lineup, and with Zanzibar cum Sheffield songstress Mim Suleiman on drums and Karo Brandi doing... some other stuff? Maurice has always kept us been aloof with exact details of his (makebelive?) band.

                                Anyway, as we've come to expect - a mix of Fulton's idiosyncratic, sativa-blend hyper-electronix, big bolshie drum breaks and a heady, cerebrum tickling musical style that covers new jazz, space funk and synth wig-outs in equal measure. There's no-one in the world that sounds like this 'band' and it's great to hear them sounding as assured and as creative as ever on their third outing!

                                If anything Maurice has ramped up the intensity, with shuddering, monolithic drum crashes opening the record. "The Skipper" soon introduces us to a shimmering, dancefloor friendly cut with gurgling bass and suspended arps. Jason finds his K but Sarah loses her E, resulting in a pitch black, technoid thud that'll disorientate even the most ardent dancer. Elsewhere, there's moments of skeletal drum machine techno ("Kelly Is With Her"), bouncy house discord ("Five Left") and mind melting, cranium busting future jazz rampages such as "Karo B Is Not On Love & Hip Hop" and the eponymous album closer "Pink Eye", that'll leave you nothing short of breathless after its six minute onslaught of intensity.

                                It's like Maurice and the Syclops have channeled all the aggression and energy of a thousand dinosaurs and let it loose across the myriad studio outboard resulting in a very busy, adventurous and dynamic album - easily set to be regarded as the best out of the three from this project. Why's it named after conjunctivitis though...?!?!?

                                STAFF COMMENTS

                                Matt says: Stone cold L E G Maurice returns with the Sycops in toe for perhaps their loudest, most crazed expedition to date. Your head'll be left in a spin by the end of the LP.

                                The debut album by West Coast emcee Tone-Loc, "Loc-ed After Dark" features two collaborations with a pre-fame Young MC that would rocket the artist to the top of the pop charts: “Wild Thing,” the first Top 10 Pop hit for a black rapper, and the follow-up smash, “Funky Cold Medina.” The former reached #1 on the Billboard chart, while the latter topped out at #3. The net result was a #1 album, making it only the second rap album to top the charts at the time (the Beastie Boys’ "License to Ill" was the first). RIAA certified double platinum, Tone-Loc’s debut remains a hallmark of West Coast party rock, mixed with a healthy dose of streetwise swagger. This reissue features vinyl cut under the supervision of Dave Cooley (J Dilla, Madlib) at Elysian Masters.

                                Summertime funtime courtesy of... someone from somewhere. Who knows?

                                “Liwando” is Madchester rave culture with a disco underbelly and a bongo and conga fervor. It'll take ya back to the Haç with a shake of its hi-hats and keep you jumpin' till dawn with its purple dove piano lines and endless euphoria.

                                Jacques Renault’s mix somehow manages to cram a few more sticks of dynamite into the mix, beefing up the funkiness quotient (that bass!) and embellishing the breakdowns (that horn!) - yes Jacques!

                                “Didn’t I (Acid Version)” concludes with a joyous, soaring encore that has, yes, a touch of acid folded in and sees another high energy, hands aloft banger that typifies any number of nights spent in the loving bosom of ecstasy. Highly, highly recommended party tackle from the monolith that is Let's Play House.

                                Third release on Radioactive Man's highly, highly acclaimed imprint, Asking For Trouble...Victor Valiant is the pseudonym of the label head, Keith Tenniswood and Suade Bergemann working in collaboration and recorded in the latter's 'mega studio' deep in the Northeast of England.

                                Recorded last year over two, 3-day sessions; produced, cut and mastered between the two producers, they have executed every level of production flair for this double pack vinyl release - with meticulous attention to detail.

                                Suade Bergemann is a Newcastle-based producer, mastering engineer and founder of techno label Adapted Vinyl. He collaborates with Steve Legget and is a resident at Free Rotation.

                                I really want to let the music speak for itself here, with little outside influence or hype affecting you, the listener's decision to purchase or indeed, future enjoyment. I'll go as far as to say that it's one of the best things I've heard this year: funky, advanced, accessible and ear-catching all at the same time. Obviously Keith's got enough of a cult fanbase to mean this'll sell out without question, but newcomers or anyone not familiar with Radioactive Man's many talents, don't miss an opportunity to get a seriously strong record from one of the underground's most enigmatic and multifaceted producers. 

                                STAFF COMMENTS

                                Matt says: Keith's done it again. Collaborating with Suade Burgemann, this, for me, surpasses the exquisite double headers that opened up the label last year. A ridiculously good release I'm more than giddy to get stuck into.

                                Chicago wordsmith Verbal Kent (Ugly Heroes) and Spanish-German beat maker Superior have joined forces. The resulting full-length album "Half My Life" is set for release via Below System Records. Known for his mixture of verbal gymnastics with humor and everyday pathos, Verbal Kent delivers what might be among his most personal rhymes.

                                Speaking on the significance of the album title Kent said "Half My Life signifies the amount of time I've been at this. I started rhyme writing seriously at 18/19 years old and never looked back. I've always felt grounded in my expectations, fame and fortune was never a factor for me. I love making music enough to do it seriously for 20 years now, and I doubt I'll ever be able to stop."

                                Superior's creative use of psychedelic, rock, soul and funk samples create an eclectic yet cohesive musical backdrop. Some examples of the chemistry include the first single "The Little Things" which is Kent's version of the love joint (see Common's "The Light") but more in Seinfeld territory. Sample lyric "Dr. Kirschenbaum's my dentist and now he's your dentist and that goes for any practitioner of medicines."

                                Tracks like "Classic Shit" and "For The Love" are deeply biographical tracks while there is also straight quality emceeing tracks including "Go Get The Dank" and "Steven Hawking Walking". Guests that get it in on the album include Vic Spencer, Sonnyjim, Recognize Ali and Lance Ambu.
                                Initially linking up on a track on Superior's album "The Journey" (released early 2017) the duo realized that they were a good combination. Speaking on the album process Kent said "when Superior started sending me beats I started realizing his beats are emotional, so I let them lead the way as a result a lot of the content is reflective."

                                The budding of a serious team for boom bap lovers, Superior and Verbal Kent were able to link up in person this summer and perform at Hip Hop Kemp, one of Europe's biggest festivals. "More on the way" Verbal Kent adds.

                                Bugge Wesseltoft & Prins Thomas

                                Bugge Wesseltoft & Prins Thomas

                                The Rainbow Studio in Oslo is a familiar name to anyone who follows the ECM label – many of its classic 1970s jazz albums were recorded there under the eye of resident producer Jan Erik Kongshaug. Bugge and Thomas booked a couple of sessions at the legendary space with Kongshaug at the controls, and improvised some tunes in the style and spirit of some of their favourite ECM moments, like the fresh, open sounds of Codona, Egberto Gismonti, Oregon and Kenny Wheeler. Bugge had previously done a remix of Thomas’s "Bobletekno" in 2015 but this is the first time they have worked together as active musicians. The results – also partly taped at Thomas’s home studio – fuse programmed rhythms, live synths and percussion, all captured in a sumptuously spacious acoustic.

                                For an even more authentic touch they called up one of their all time local heroes and one of Norway’s most famous jazz drummers, Jon Christensen, who’s been the go-to guy for Jan Garbarek, Terje Rypdal, Keith Jarrett and many more. At 75 years old he’s still pretty spry behind the kit, as you’ll hear on several tracks here.

                                Make no mistake, though, this is not retro pastiche but contemporary music, coasting on gently insistent programmed grooves and bubbling basslines. The whole thing feels not so much like a consciously hip fusion of DJ and jazz musician, more like two great musicians totally enjoying themselves. Which is exactly what it is.

                                STAFF COMMENTS

                                Patrick says: Take one part Bugge Wesseltoft jazz, a generous helping of Prins Thomas Balearic and shake over ice until the whole thing starts to fizz. Mint and lime offer a little cocktail hour refreshment while the mellow guitar licks and kosmische sound design take over. I'm lighting the Balearic beacon as we speak...

                                Kanye West returns to the top of the album charts today in historic fashion, as ye –released digitally on June 1 via G.O.O.D. Music/Def Jam Recordings – becomes his eighth #1 album, and West ties the record for most consecutive #1 album debuts in chart history. ye’s seven tracks amassed a total of 180 million on-demand streams in its debut week, and reached a total album equivalent of 208,000 units. ye was unveiled last Friday at a once-in-a-lifetime listening event in Jackson Hole, Wyoming, seen around the world via a global livestream courtesy of the WAV app. Fans, media, radio programmers, tastemakers, artists and celebs flew in from all over world to be part of the ye Wyoming experience, and gathered around a bonfire in to hear the album for the first time. ye’s tracks immediately shot to the top of the Spotify Global chart, and reached #1 in 83 countries on Apple Music. Now receiving a physical release on CD jewelcase with 8pg booklet and 1 x black heavyweight vinyl, spined sleeve with a white inner. 

                                The debut album by Young MC, "Stone Cold Rhymin’" reached #9 on the Billboard album chart upon its original release in 1989 and spawned the GRAMMY® Award-winning (Best Rap Performance), ubiquitous party anthem, “Bust A Move” Featuring clever, acrobatic rhymes by Young MC and skillful production by Matt Dike, Michael Ross and the Dust Brothers, the album remains one of the most catchy, infectious party records of all time. Fun fact: the album features Flea of the Red Hot Chili Peppers holding down the groove on bass. This reissue features vinyl cut under the supervision of Dave Cooley (J Dilla, Madlib) at Elysian Masters.

                                'Manchester has produced some of the world's most loved artists and bands - from indie to acid house - listened to by millions around the world. Ad Hoc Records continues this musical tradition, as a record label dedicated to showcasing the very best of Manchester's music scene - with a firm 21st century, 'post-everything' mentality.'

                                First up to grace MCR's newest imprint comes Banana Hill's very own Cervo with a track perfectly timed for midsummer. "Hesse Groove" swells with warm pads and skits forward with a simple rhythm, the dual affect is a sweltering piece of mid-session house bliss; perfect for uniting crowds early doors with the day's fug and heat still ripe in the air. Taurtollo follows up a cult adored Reform Radio show with a lively piece that nods to the global funk showcased across his show. Live percussion meets an infectious organ line before Taurtollo ramps up the tape delay and beefs up the beats for the final furlong. Very nice! Paul Chamber's brings a raw, Fela Kuti sampling afro-house cut sure to get your head bobbing before Piccadilly regular and So Flute! star Yadava follows up releases on Church and Banoffee Pies with "Kadampa 125" - a piece driven by heavy-ass double bass and suspended on a crest of tension.

                                STAFF COMMENTS

                                Matt says: Manchester fires one back at Peckham's Rhythm Section and 22A with a jazz-leaning, forward-looking debut from the newly established Ad Hoc records. Watch out Bradley we're comin' for you...!

                                The Twisted Wheel in Manchester is one of the legendary names in British clubbing history. Originally launched in a coffee bar in 1963 it quickly developed a reputation as one of the country’s finest venues for hearing obscure, imported soul, R&B and ska records. Music fans would flock from all around the country to the weekly all-nighters to hear these records along with live sets from some of the finest soul artists of the time. The term ‘Northern Soul’ was in fact first coined by the journalist Dave Godin following a visit to the Twisted Wheel to describe the distinctive brand of music played there.

                                Catapult yourself back to the mid-60’s with the biggest classics that were once spun at the Twisted Wheel. Featuring a host of legendary R&B artists including Bobby “Blue” Bland, Joe Haywood, The Sharpees, Benny Spellman, Alvin Robinson, Solomon Burke, Ernie K-Doe, The Rubaiyats, The Ad Libs, Bo Diddley, Fats Domino and more, all newly restored from the original analogue tapes.

                                Various Artists

                                Fabriclive 99: DJ Q

                                  A prolific artist, DJ Q and his speedy, bassline sound first gained notoriety via his 2007 smash hit ‘U Wot’. This secured him a six year stint as a DJ on BBC Radio 1Xtra. He has over one hundred productions and remixes under his belt. Album releases include his solo work - ‘Ineffable’, his collaborative ‘UKG’ which dropped in 2017 as one third of outfit TQD, followed by ‘All Night’ out this year.

                                  Bar one track, ‘FABRICLIVE 99’ contains all previously unreleased music and features 15 of his own productions alongside cuts from Todd Edwards, TQD, Royal-T, Flava D, Jack Junior, Swindle and others.

                                  Moving between bassline, UK garage, bumping house and beyond, Q’s mix captures the next-generation soundtrack from the Huddersfield-born DJ and producer.

                                  Various Artists

                                  Give Me My Flowers

                                    Founded in 1951 by independent record store owner and radio show promoter Ernie Young, Nashville, TN’s Nashboro Records recorded some of the most potent and forceful gospel music of the time period. Although initially begun in response to overwhelming demand for gospel locally, Nashboro quickly became nationally applauded for its curatorial prowess (under the guidance of Rev. Dr. Morgan Babb of the Radio Four) and signature production style.

                                    The lightly-reverbed, clear sound of a Nashboro record is unmistakable. Give Me My Flowers is a compilation of some of the finest cuts released by Nashboro Records, many of which have not been previously reissued. It kicks off with a total banger, The Hightower Brothers’ “Until He Comes,” which would have made an amazing cover song for Spacemen 3.

                                    Iola and Sullivan Pugh, also known as The Consolers, top off the A-side of the compilation with the intensely potent namesake track, “Give Me My Flowers”. A final highlight is “Almighty God” from Sister Pope and the Pearly Gates; dare you to get it out of your head after you hear the chorus even once. Not only are the featured artists endlessly skilled at their craft, their songs are absolutely explosive. This is the opposite of indifference or irony; there is a mission here, steeped in a full-heartedness that can only be derived from selfless devotion. Additionally, the songs featured on Give Me My Flowers are representative of a far too overlooked and important chapter in Nashville’s music history.

                                    These musicians, store employees and businesspeople played a critical role in building the infrastructure for independent music to flourish in their city. Naturally, it is a cornerstone in Third Man’s long-term mission to support and highlight the complete music histories of Tennessee and Michigan, from the most rightfully revered to the most critically under-represented. All of these tracks were assembled with producer and journalist Mike McGonigal (Detroit Gospel Reissue Project, Temperature’s Rising: An Oral History of Galaxie 500) and transferred directly from the 45 collection of Kevin Nutt (Case Quarter Records, Sinner’s Crossroads radio program).

                                    Second release from Downfall, the label and club night of the same name. A selection of artists graces DRF002 - all of them veterans of the 1980’s London acid house scene!

                                    Consequence kicks off the rave with "They're At It Again", a thick, 'hoover-acid' preset (you'll know it when ya hear it...) with 'Charlie'-esque cartoon vox - 'they're at it again...' sniggering away behind smatterings of midrange 303 and crisp AF drum boxes - it really dunt get more acid than this!

                                    Type-303 deliver a skeletal but frenetic framework with "Acid Will Survive", tailor made for building dancefloor busting mixes with deep into a dark warehouse session.

                                    "Get Down" by the Auditor utilizes compressed kick drums and floor toms with a stuttered vintage vocal sample as expertly programmed drum machines assemble a complex and highly engrossing rhythm for physical enjoyment.

                                    Nufftrip concludes with a balls out aciiieed romper: "Free Your Soul", compete with shoulder dropped hats, rib-ticklin' kick and wild flailing acid lines: wonderful stuff!

                                    FORMAT INFORMATION

                                    Ltd 12" Info: Strictly limited to 150 copies.

                                    Since they made their entrance on the reissue stage in 2016 (with the essential reissue of "Fire In My Heart" no less), Isle Of Jura have dropped nothing but fire, proving to have a formidible ear for an unheard hit. Now the crew come through with the first in a series of compilations which blend Dub, Ambient, Downtempo, Boogie and Proto House with a focus on music never before released on Vinyl, sought after out of print titles and some special versions edited specifically for the album.
                                    The intention with this project was to delve deeper into the reissue pond and unearth some lesser known tracks and artists. Highlights include Smackos' (AKA Legowelt) ambient epic ‘We Can Watch Alf In The Hotel Room’, never before released on Vinyl, the dub / psych hybrid of Minus Group’s ‘Black Shadow’, Kash’s sought after ‘Percussion Sundance’ and special edits of Ken Dang and Tabou Combo. As if that weren't enough to tickle your pickle, then the four ambient tools the Jura Soundsystem have cooked up for the finale totally take the cake.

                                    STAFF COMMENTS

                                    Patrick says: After a string of excellent reissues over the past two years, Isle Of Jura drop their first compilation, a mega set of not-on-vinyl heat, out of print excellence and specially edited bangers for disco, house, downtempo and dub fans. Maximum respect!

                                    Various Artists

                                    NOW 1

                                      Back by popular demand… NOW 1 is being re-released this summer on Vinyl  featuring the original track list and cover from 1983. Genesis, The Cure, Simple Minds, Kajagoogoo, Duran Duran, The Human League. Go on take your self back in this classic album package. 

                                      Splitting the masses somewhat due to it's 'one riddim' approach, this set by the Congos, Lee Perry and Rhythm and Sound is none the less quite adored by the purists and deep heads alike. Much like R&S' "See My Jah" LP, The Congos "Fisherman" rhythm is dissected and rolled out across 24 tracks, with a plethora of different vocalists, old and new, invited to drop some vocals on the stems.

                                      The result speaks volumes for the quality of the original riddim, with enough variety amongst the numerous tracks to see the idea behind the album. Thankfully everyone behind the project has kept the running costs low, meaning it's not that much commitment if you're only after one or two of the performances. 

                                      With detailed sleeve notes from Steve Barrow, and presented in full colour picture sleeve this is a collection not to be missed! 

                                      Latest Pre-Sales

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