MAGIC MIX

ALL GENRES

WEEK STARTING 20 Apr

Emotional Rescue and Jamwax end their Capo Disco series by returning to Glen Adams and his cover of Bob Marley’s classic. The early 70s Lee Perry produced original raw sound is taken to the disco reggae dancefloors of the early 80s with a bottom heavy jam, while his Capo Crew works a killer dub flipside. 
“Fussing & Fighting” was originally released on the 1971’s Soul Revolution album and for many came during the pinnacle of Bob Marley & The Wailers output, before the smoothing out of their sound during the later “Island” years. Whichever, the guidance and collaboration with Perry transformed the Wailers from a successful Ska / Rocksteady group towards a visionary, conscious, crossover phenomenon. Perry’s in-house band, The Upsetters, lent so much to this early period, the brothers Aston and Carlton Barrett creating a perfect drum and bass bedrock. With Glen Adams on organ, the original version known simply as is an incessant, rumbling message and in that light, Adams return to it over a decade later makes justified and righteous sense.
Actually released on both Capo Disco and Marley’s own Tuff Gong, Adams’ vocal marries a disco-dub and guitar groove, dropping, in the latter half, right down to tambourine into perfectly stretched Discomix. Things get even more laid out on “Mad Blank” aka the version. Riding the desk, “Capo” lets each instrument time and space, dropping to just a kick and dubbed piano before slowly coming back with hats, guitar and then when the bass comes, the Gospel purity of dub reggae shines, all before the teasing fade calls for a rewind. Rest and rise, Glenroy “Capo” Adams.

DJs of the world rejoice! You no longer have to play either, a) your crap 1980s Trax original 'Weetabix' pressing, or b) your scuffed and dusty (cough cough) 'replica copy' of this Chicago house classic and Hacienda anthem, as it's here, remastered from the original tapes and reissued on the purest of wax for full high fidelity action and with authentic Trax label artwork! A possible winner of the much coveted "Best Bassline Ever" trophy (it gets my vote!), Adonis' 1986 ode to hedonistic dancefloor oblivian rocked the house on both sides of the Atlantic and its dope blend of 808 jack, bass power and creepy treated vocal still does the trick today. Get on it! 


Not content with an extensive A&R schedule and running a new Balearic empire, International Feel impressario has still managed to find time to retire to his home studio, resurfacing with another 12" of sublime new material. The title track is an elegant wash of Tangerine Dream synths and shuffling, tribal percussion, rhythmic and purposeful without ever leaving its deck chair. Fluttering lead synths bring the track right up to the here and now, while the bubbling bassline should keep the bleary eyed ravers swaying while the sun comes up. The flipside sees Barrott harness the sultry swelter of tropical climes, topping a lush field recording with ambling bass, acoustic guitars and gentle synths. Put simply, it's more music to drift away to.

After a short break in the African wilderness, Black Rox return for the fourth part of this acclaimed series. Opening cut "Date With The Rain" sees Soft Rocks turn in an 11 minute 'One For The Lion King' manipulation of a joyous and uplifting jam that fuses traditional rhythms (think a humm-ba-ba) and vocals that are underpinned with a strong 4/4 kick.On the flip side,Roots Unit perform some major surgery with a 'Pump Up The Jam' reconstruction on 'Le Beat Is Technotronic'. Crazy percussive jungle rhythms and wonky vocal hooks rule the roost until it merges into a future 'techno-techno' Amazonian world.

STAFF COMMENTS

Patrick says: If you know, you know. Soft Rocks' riotous Black Rox series has delivered nothing but heat from the mother continent and this wax is no exception. On the A-side, Soft Rocks themselves take us into the Township for the ultra-extended, outrageously groovy and altogether delightful Mbanqanga stylee. Club kids and wave freaks flip the disc for Roots Unit's mega Afro-electronix excursion "Le Beat Is Technotronic" - a future Talking Drums tonker if ever I've heard one.

Bonny sings Susanna, to simply try and save the world. Sonata Dwarf Mix Cosmos is an old companion of his and with the Chijimi house band +1 they bring it all back home again, this time to the space in Bonny’s place.

“As other practitioners are leaving the room in favor of novel forms of recording and distro and consumption, we are left with a virtual PALACE, fantastical and real structures and practices. Like we are allowed into the museum at night. We can make a great essentially live record with great songs and great players because nobody else is? ‘Wolf Of The Cosmos’... is about, as much as anything, direct engagement with recorded music. So step right up to the replicant.” - Bonnie ‘Prince’ Billy

Bonnie ‘Prince’ Billy is joined by musicians Emmet Kelly (bass guitar, voice, acoustic guitar), Cheyenne Mize (violin, slide ukulele, voice), Chris Rodahaffer (banjo, voice, acoustic guitar) and Elsa Madeline Oldham (juice harp).

“‘Wolf Of The Cosmos’ is a wonderful obsessive trip into the mind of one of the most important living singers” - Country Music

STAFF COMMENTS

Barry says: Beautifully emotive country-tinged plucks, BPB's unmistakable voice and softly pulled strings make for an enchanting an absorbing journey. Yet more evidence of the unwavering excellence of one of today's most successful singer-songwriters. Brilliantly fresh, but comfortable and familiar.

Bristol native Borai’s drops some heat for NYC-based label Discovery Recordings. Perfectly fitting the label's aesthetic, "I've Had Quite A Day Too" blends a multitude of sonic stata - bubbling bass, crashing cymbals, emotive vocal part and a sweep of joyous E-harp. "Tri Chevron Dynasty" has a bit more umph, taking it straight to the heart of the nightclub and dazzled with strobe lights. The fizzing synth stabs and direct b-line are difficult to ignore when constructed with such finesse and this one's a no brainer for your working nightclub technician. "Your Place" concludes, another bright-eyed, optimistic number that's delightfully restrained but really quite alluring.

David Bowie

Aladdin Sane - 45th Anniversary Limited Edition Silver Vinyl

    See Instore for details....

    WE CANNOT SELL THIS ONLINE - SO PLEASE CALL IN THE SHOP FOR MORE DETAILS.

    2017 saw gold vinyl versions of ‘Hunky Dory’ and ‘The Rise and Fall of Ziggy Stardust and the Spiders from Mars,’ released 45 years to the day of the first issuing of Ziggy. To celebrate the 45th Anniversary of the ALADDIN SANE album; there will be a special limited edition silver vinyl version released.

    This strictly limited one run only silvery vinyl edition of ALADDIN SANE will contain Ken Scott’s approved 2013 remaster and will be released on 20th April, 2018, 45 years to the day since the original release date for the album. Previously thought to have been issued on 13th April, 1973, new evidence has come to light that proves the release date was officially the 20th, but being Good Friday in the UK the album was 'made available' on the 19th.

    Recorded in London in late 1972 and early 1973 in New York and Nashville while Bowie and the Spiders were on the Ziggy Stardust Tour and coming on the back of two top ten UK singles, ‘The Jean Genie’ and ‘Drive-In Saturday’. Aladdin Sane was described by David as "Ziggy goes to America".

    This will only be available to ‘bricks and mortar’ retail stores and not through on-line stores.


    Anne Briggs

    An Introduction To

      Anne Briggs has since been discovered by the present folk generation, male and female alike. Eliza Carthy, Kate Rusby, Alasdair Roberts and Riley Walker, are among many who recognise Anne Briggs as an extraordinary, inspirational voice.

      Anne Briggs was born in Nottinghamshire in 1944 and began singing in local folk clubs in her teens. Her break came through the Centre 42 tour of 1962. This was a distinctly leftist group of artists, writers, actors and musicians whose lofty aim was to make arts and culture accessible to the masses. Local artists were invited to audition where Ewan MacColl first heard Briggs’ remarkable voice and persuaded her to join the tour. Briggs debut EP, The Hazards Of Love, was produced by Lloyd although Briggs never enjoyed recording and it was only though Lloyd’s coaxing that she contributed to his pioneering conceptual albums The Iron Muse and The Bird In The Bush. The first six, traditional, unaccompanied songs presented here are taken from these outstanding recordings made between 1963 and 1966 which display all the hallmarks of Anne Briggs artistry – pure, fluid and with flawless timing.

      It wasn’t until 1971 that Briggs eventually recorded her debut album for Topic. Anne Briggs (Topic LP 12T207) was again produced by Lloyd. Briggs draws almost exclusively from the classic repertoire of British folk, her performances are both pure and unusual. Famously, Briggs taught Jansch ‘Blackwater Side’, which he then made his own on his classic 1965 debut album; the next year his pivotal traditional album Jack Orion largely comprised songs he learnt from Briggs who helped him understand the structure of folk song. Briggs and Jansch also wrote a handful of songs together. One of these, ‘Go Your Way (My Love)’, was eventually recorded for her Topic album, as was her definitive treatment of ‘Blackwater Side’.

      Minimal pioneer, Steve Bug returns to his iconic Poker Flat Records in toe with Max Langenberg.

      The album is centred around hardware heavy production made with a blend of legendary and cult synthesizers like the Juno 60 and 106, Studio Electronics Omega 8 or the classic Roland TB 303 and mixed by legendary mixing engineer Hannes Bieger, who mixed tracks for producers like Dixon, Ame, Ben Klock, Stephan Bodzin, Ellen Allien, DJ Tennis and many more.

      Neither Steve Bug nor Langenberg need much introduction due to the sizeable contributions both have made in building the European house and techno scene as we know it. Bug’s relentless commitment to quality - both in his own work and in the many producers he has championed - has made him one of electronic music‘s most revered artists and curators.


      New York's Marcos Cabral steps up for his first full release on Dimensions Recordings, with the "Nature Walk EP". Following on from his epic Prochainement masterpiece on Dimensions 002, the EP provides a glimpse into the mind of a well-established and hugely respected artist. "Nature Walk" is a broad EP that demonstrates just why Marcos's records have been finding their way into a multitude of DJs' bags for the last fifteen years.
      From his work with Jacques Renault as Runaway, and his coveted Hamilton Dance Records output to his more recent deeper and darker leanings for leading labels such as Clone, L.I.E.S. and Mule Musiq, Marcos has quietly and studiously worked at developing an impressive catalogue which most folks who have brushed with house and techno will have heard…whether they know it or not. The EP provides a snapshot of some of the tastes and styles that Marcos has experimented with over the years, the rolling, energetic and optimistic sounding, not quite house, not quite techno of "Wishful" gives way to the brooding, dub techno of title track, "Nature Walk".
      "Cape Cod" sees Marcos in classic house mode with a cut that could easily have dropped on NYC's Nu Groove Records, whereas "Rice A Roni" is a no nonsense nugget of twisted, grinding, acid. The EP rounds off with "Let's See How The Light Goes Through It", a spacey hypnotic workout for the late hours and a fitting end to a stand out EP from the self proclaimed, Hardest Working Man!

      STAFF COMMENTS

      Matt says: The Dimensions series continues in earnest with Marcus Cabral the latest producer to drop some heat.

      Weird-wave leg-end and dance floor oddball Hugo Capablanca hits us with the middle leg (oi oi!) of his "Lap Top Less Dance" trilogy, inviting Lipelis, Alessandro Adriani and YPY for an international four way. Russia's alt-disco genius Lipelis opens proceedings with his Paper Sound Dub of "Lap Dance", turning out a tapey trance dance decorated with twinkling chimes, burnt out percussion loops and a whole load of wiggy fx abuse. If you chucked an Italian library LP, a NES cartridge and an ounce of Lemon Kush into a Soda Stream, you'd probably end up feeling like this sounds. Next up, Capablanca's "Track 2" gives Shit & Shine a run for his "Texan cough syrup sippin' money", blasting through some Southern States psychobilly with a tape delay pedal, pitch shifter and spring reverb. The result is a total mind-fuck that's currently got me and Kickin' Pidge going wild. From there we segue swiftly into the menacing, metronomic world of Mannequin boss Alessandro Adriani, who smears the loose psychedelia, warbled vocals and warped soundscaping all over his industrial techno groove. If you're into wall shaking bass, touch perx and disembodied vocals you're gonna love this shit. Osaka's YPY closes the set in suitably batshit fashion, flipping "Top Less" into a disorienting episode of grinding, panning distortion, molten synth blips and grumpy bass pulses. 

      STAFF COMMENTS

      Patrick says: I've been waiting for this for about three months and it's totally justified my excitement. Without a doubt the most fucked up record of the week, this is a bit like listening to normal music at the moment when the bathsalts begin to turn you into a zombie.

      Originally recorded between 1974 and 1978 at Industrial Records studio in London "The Space Between" album was first released as a 90 minute cassette in 1980 on Throbbing Gristle's Industrial Records label. It wasn't until 1991 that it was again released by Mute Records on CD. Although tracks from "The Space Between" have appeared on numerous compilations since its release, the album has never been available on vinyl until now. This new vinyl edition on Optimo Music, now retitled "The Spaces Between", doesn't include all the tracks of the original album but has been enhanced and remastered from the original two-track master tapes and has new cover artwork especially for this release. JD Twitch has this to say about the release; 'The original release featured 15 tracks. As I wanted to have a reasonably loud vinyl pressing, I have picked my favourite six to appear here (not an easy task to narrow it down). In addition there is a bonus track "Climbing" which was recorded around the same time that was released by Coil's Geoff Ruston on his "Men With Deadly Dreams" cassette in 1981. One of the first ever recordings to use an 808 drum machine, it still sounds as if it is from tomorrow. In my opinion, these are some of the key recordings in the history of electronic music. They were made using very basic equipment at a time when there was no blueprint for what electronic music could and should be. There is a beauty, an emotion and an imagination present here that is lacking in a lot of modern machine music. This music is as vital and wondrous today as it was four decades ago.'

      All tracks have been remastered by Chris Carter in 2009 for this release. Musically, it's an electronic soundtrack for a sleazy sci-fi movie, with moments of uplifting beauty combined with bits of claustrophobic mania. Amazing stuff.

      FORMAT INFORMATION

      Coloured LP Info: Limited Repress On Grey Vinyl.

      Johnny Cash

      The Rough Guide To Johnny Cash

        timeless collection from the most famous and influential country singer of all time. Includes classic tracks “Folsom Prison Blues” and “I Walk the Line”, which became signature tunes that defined his long career. Includes free download card enabling you to download the full album as well as bonus Johnny Cash tracks.

        Cash’s crossover appeal won him inductions into the Country music, Rock and Roll, and Gospel music Halls of Fame and he was one of the most influential popular musicians of the 20th century. Johnny Cash’s genre-spanning songs and sound embraced rock and roll, rockabilly, blues, folk, and gospel.

        One of the biggest-selling music artists of all time, having sold more than 90 million records worldwide, these classic tracks recorded 60 years ago which still ring out potent and true. On Cash’s death in 2003, Bob Dylan called him “the greatest of the greats, then and now”.

        Don Cherry

        Live At The Bracknell Jazz Festival

          The mid-1980s were a pivotal period for Don Cherry. Much of his energies had been devoted to co-op projects like Codona and Old and New Dreams and he also helped jumpstart the Leaders. The time being ripe to form his own ensemble, Cherry created Nu, a quintet with saxophonist/flutist Carlos Ward, bassist Mark Helias, percussionist Nana Vasconcelos and drummer Ed Blackwell. Live at the Bracknell Jazz Festival, 1986 confirms Nu to be an ensemble that vigorously and cogently articulated the various aspects of the multi-instrumentalist’s multicultural aesthetic. This exceptional concert recording fills a significant gap in Cherry’s discography.
          (from liner notes by Bill Shoemaker, taken from JAZZ TIMES).

          Ahead of the 10-track album Dimitri From Paris presents Le CHIC Remix, this limited, hand-stamped white label features two of Dimitri’s meticulously reverent mixes alongside their respective instrumentals. In his mixes of Sister Sledge’s evergreen ‘Thinking Of You’ and the unmistakeable Chic staple ‘Le Freak’, Dimitri’s touch underlines the enduring and undeniable power of these timeless disco records. On the A-side, Dim delivers extra polyrhythmic power, kick drum punch and stereo space to deliver the definitive version of Sister Sledge killer "Thinking Of You". Meanwhile on the flip, the Frenchman mixes up the arrangement and ups the intensity to add a little extra dancefloor oomph to "Le Freak". C'est magnifique.

          FORMAT INFORMATION

          12" Info: Hand stamped 12"

          Bas Van Vuurde aka Colophon is a Harlem based producer who was a regular in the Deeptrax store and had an open exchange with the label. A label owner himself, his Lowercase Life has put music out by Florian Kupfer and Orson Wells. The four tracks here have been selected from his achieve by Deeptrax and see VC-118A brought in to remix title track "Heritage". A beautifully biotic interpretation of vintage machine music, the tracks have a nocturnal mood - lying in shadows but catching flickers of light as they develop momentum. Cushion soft electronics, frenetic rhythm, synthesized drums - the very definition of techno but wrapped in a sympathetic, loving patina. VC-118A's remix of "Heritage" is urgent and overwhelming, one of the centre pieces of the EP. Strictly limited to 250 copies. 

          FORMAT INFORMATION

          Ltd 12" Info: Limited to 250 copies with full picture sleeve.

          Terrestrial Funk comes through with their first release. A reissue of the ultra rare Miami funk LP, Lang Cook's "She's Hot With 2,000 Watt's". Featuring guitarist Teddy Studstill, Miami soul legend Willie Clarke, and Andrew 'Le Spam' Yeomanson. A deeply passionate musician, Lang poured his heart and soul out through his own vocals, the Fender Rhodes, Roland SH-2000, bass, and guitar. This is a truly scarce piece; the last time one came up at auction was in 2017 and went for over £600! - and don't even think about snapping one up discogs! Stylistically it skirts between the various DIY bedroom boogie flavours a la Jeff Phelps, Uku Kuut & the majority of the PPU back catalogue. Cook's vocals are impassioned and suave, with a snap-back reverb that gives them extra character. He's not afraid to get smoochy in the choruses either. Originally out in 1984, this was the sole release on Evolution Record (it also spawned a tiny 7" single - "Chocolate Stuff" - included here). A truly collectors piece, made available legit and correct and presented with love from Terrestrial Funk. You need.

          Few artists in Europe have generated as much excitement with the new generation. For his fourth unreleased album, recorded in 1979, Alain Mion, his piano, and his Fender Rhodes send you on a journey with I Heard a Sigh. The grooves are, as usual, unstoppable -- take "A Winning Team" or "High on the Funk," for example. Nine songs with the best instruments of the time in the best hands (Fender Rhodes, Moog, Prophet, Korg, Orange Drum). Trad Vibe, accompanied by Alain Mion, is pleased to present the vinyl with artwork that takes us back to the '70s.

          Emotional Rescue and Jamwax return to Capo Disco with the first ever-official release of a holy grail of the Caribbean disco sound. Fully licensed and remastered especially for this release, there is no now requirement for badly pressed rip offs. While little is known about the Crashers, all leads point to an incarnation of the revolving “house” band of Glen Adams. As often the case, the floating nature of Jamaican born labels, rhythm sections naming and renaming to fit occasions was endless.  Running out of his Brooklyn studio, the otherwise known Outerlimits, Capo And The Crew or even possibly Crashers, the swinging reggae meets funk grooves are apparent. Led from the desk by label owner, producer and writer, Glenroy Adams and co created a 12” that covers bases in one release.
          While funk bass, chopped guitar, harmonica and vocal harmonies created the Caribbean flavours of Flight To Jamaica, they cloud Capo’s closest assent to the disco sound he was tapping in to. As NYC shifted towards the fresh block party sounds of hip-hop it should be remembered those early parties were in essence disco and funk records cut up, looped and rapped over.
          With the over-used grail tag worthy of the A side alone, the flip itself has become a funk-bomb that pushes dealer prices to the heavens. Featuring the unknown Lamour on vocals, it’s as much the female harmonies, slap bass and guitar solo mixed with stabbing piano and drum breaks that make this short, but sweet ‘skank’ a worthy collectors item in it’s own right.
          While Capo Disco was just a yearlong sub label, the breath of style, optimism and intent is obvious. As an archive mission, Flight to Jamaica being removed from the bootleggers hands is justified, but sitting in the middle of 3 killer 12”s rewinds of Glen Adams vision, it should be seen in a broader spotlight. 

          Nuovo Italo duo Cristalli Liquidi make their long awaited return to Bordello A Parigi with a four track wax offering which boasts remixes from Black Spuma, Alexander Robotnick and Bottin as well as the sought after 12″ version of the evergreen LCD cover "Volevi Una Hit". Black Spuma start the party with the rampant electro-disco bassline, delayed vocal ping and galloping bell rhythm of "Restare Andare". Tuned to purring perfection, this HiNRG mauler finds that peculiar pocket where the coked up excess of Rimini rolls into the dark room fist of Berlin. Italo hero and acid O.G. Alexander Robotnick rocks the spot next, teaming up with Bottin for the driving 303 funk of "Q.I.L.D.E.", a rampant space disco slammer with just enough keyboard wonk to spring it from the straight and narrow. Flip it to the B1, and Alexander goes solo with his super groovy, bass heavy vocal mix, turning out a future Red Laser classic. Last but not least, Bordello take pity on those who missed their moment in 2012 with a much needed repress of Cristalli Liquidi's, sensual and smooth italo cover of LCD Soundsystem smash "You Wanted A Hit". Top stuff.

          Organic Analogue broadens its remit on this killer boogie inflected diversion from Italian producer Croza. Where the label has been often associated with deeper techno and electro, it sounds right at home exploring the Moog bass licks and snappy drum programming that pours like a fine wine out of every track. "Night Heat" is the perfect lead track, all steamy synth throb and funky guitar licks, while "Feel" turns up the pressure with a proto house burner that would have set the Paradise Garage alight. Also look out for a rare appearance from Pic fave AD Bourke, who cruises on to the record to deliver a blissed out version of "Night Heat" for the smokiest of sundown situations.

          Cyrkle

          The Minx Original Soundtrack

            The Minx, an intriguing soundtrack from the Cyrkle, is laden with their trademark three-part harmonies, intricate arrangements, and paisley-psychedelic sounds. Recorded in 1967—following the Cyrkle's pop chart success with Paul Simon's “Red Rubber Ball” and their own “Turn-Down Day”—and shelved until the film's release two years later, The Minx has eluded the grasp of even the most dedicated Cyrkle fan, until now. This legitimate, deluxe vinyl reissue (created from the master reels, with full participation of the band members) includes bonus tracks, extensive notes, and features a DVD with the original, outrageous film!

            Dali

            Leviathan / Electricsheep

            Following the massive buzz a round the label's last release, Hobbes Music kicks off 2018 with a heavy slice of warehouse techno backed with deeper electro flavours, a second double-A-side 12" outing by the anonymous DALI.
            You may remember DALI (NB all caps in the spelling) released a debut 12" around this time last year. Support came from Ben UFO, Laurent Garnier, Domenic Cappello (Sub Club), John Heckle, Chris Duckenfield, The Revenge, Tom Findlay (Groove Armada), Sean Johnston and XDB (among others) and a repress happened swiftly, with Laurent Garnier and Avalon Emersonalso supporting most recently (on WWFM and at Berghain, respectively). DALI has a passion for analogue synths, abstract, hypnotic dance music and all things psychedelic. Don't bother looking her up on the net, social media etc. DALI is eschewing all that, to let the music do the talking for now.

            DETROIT RISING: A COSMIC JAZZ FUNK ADVENTURE—an unprecedented project created by universally respected musicians, including current and original members of the archetypal funk band Parliament-Funkadelic, along with a selection of world class talent from across the country—is going to bring a new style of funk to audiences this spring.

            The hybrid jazz-funk and R&B-flavored album—set for release Friday, March 30 via Down Jazz Records, with physical distribution via the Seattle-based Light In the Attic Records—is a collaboration between highly sought after young P-Funk artists and writers, and is supported by legendary industry veterans, including members that have performed with artists such as Beyonce, Lady Gaga, Mary J. Blige, Herbie Hancock, Bootsy Collins, Bernie Worrell, Theo Parrish and Red Hot Chili Peppers, in addition to their regular work with Parliament-Funkadelic. Key figures in the group also played regularly with late, great artists such as Prince and Miles Davis, among others.

            The 10-track album—conceived and overseen by creative producer David Schwartz over the past three years—opens with the saxophone and keys-heavy “Lashing Out” followed by “Little Bit,” one of multiple tracks that musically stretches out over nine minutes in length. Elsewhere is the soulful “Rocket Love,” the sexy ode of “Gorgeous” and the groovy unity-themed anthem“With Peace & Harmony.” *See below for the full track listing.

            DETROIT RISING was recorded live at the world famous Motown affiliated United Sound Studios in Detroit, as well as at renowned studios in New York, Los Angeles, Las Vegas and the Swamp Funk studios in Florida, and mixed and mastered by some of the best engineers in the business, including Richie Beretta (Beyonce), Tatsuya Sato (A Tribe Called Quest) and Mark Santangelo (Childish Gambino). The result is a highly skilled, vibrant and progressive album that combines elements of funk, jazz, soul, hip-hop and rock ‘n’ roll to capture a live sound that genuinely represents the next best thing to having the full band performing live in front of an audience.

            Featured on DETROIT RISING are United Sound musicians guitarist DuminieDeporres (Theo Parrish) and bassist Kern Brantley (Lady Gaga, Beyonce) and P-Funk musicians Gabe Gonzalez (drums), Danny Bedrosian (piano, keys, moog, vocals and current young Parliament-Funkadelic synth leader), DeWayne “Blackbyrd” McKnight (guitar/has also played with Herbie Hancock, Miles Davis, Red Hot Chili Peppers and Bootsy Collins), Lige Curry (bass), Greg Thomas (saxophone, vocals/also played with Bootsy Collins), Benjamin “Benzel” Cowan (drums and son of P-Funk trumpet player Benny Cowan), Tonysha Nelson (vocals and granddaughter of George Clinton) and Steve Boyd (vocals), along with special guest vocalist Sue Ann Carwell (Prince, Parliament-Funkadelic).

            After years of honing their performance skills on worldwide stages, the current touring musicians of DETROIT RISING now take center stage, performing original compositions that shine a light on the true extent of their talent and creativity.


            FORMAT INFORMATION

            Coloured LP Info: LP pressed sea green colored vinyl.
            Extra heavy print board, metallic ink jacket.
            Comes with digital download and extra tracks, instrumentals, dance remixes, ability for DJ’s to remix.

            The Kwaito train continues to gather steam amongst new kids and seasoned professionals alike, Highlife getting in on the action with a piece of Kwaito from South Africa’s DJ Call Me.

            A track sweeter than Irn Bru, "Marry Me" was championed by New York DJ, Sadaf. Already with over a million youtube plays, and declared 'track of the Summer' at the start of the decade, the track wasn’t available to buy in any kind of format, and so began an elaborate quest to track down the artist via his defunct Facebook page. After many an unanswered email and a couple of years persistence, Highlife finally managed to track down a manager still in touch with DJ Call Me, and sealed the deal via an exchange of WhatsApp messages!

            Decorated with marimba, powered by a typical Kwaito riddim, it contains this heart wrenchingly powerful and wonderfully childlike vocal (unaccredited) which opens it up to a vast range of audiences. Its pop like charm but in vogue palette mean this could well be the 'tune of the Summer' OVER HERE.... ten or so years after it was originally released... Ridiculously good! It comes boosted with another, more experimental track - "Dictionary" which touches on EDM vibes with its stadium-filling sound and euphoric crescendos but I reckon it'll be the A-side you go to ever time... Every home needs one! Most recommended.


            STAFF COMMENTS

            Sil says: 'Marry Me' hides no secrets. All the clues are in the title. A song with a clear message to the listener. Heavy bass, slight tinges of reggaeton (nothing major but it is there) and catchy vocals that a toddler can sing-a-long. On the flipside we carry on with similar vibe regarding the beat but we go a bit more ravy and hands in the air. Feel good track for the summer lurking around the corner.

            Gliding in on wave of summery shimmer, DJ Koze heads up his own latest 12" on Pampa, just in time for those feel good moments of house hedonism throughout the holiday season. Both "Pick Up" and "The Love Truck" should transport the listener to carefree moments dancing next to big speaker stacks while crepuscular rays shine warmth on face and feet, Joyful and redolent, "The Love Truck" is the slightly more mellower of the two, destined for late afternoon / early evening when a red hue tinges the air and the hustle and bustle of day gives way to a more languid and atmospheric mood. "Pick Up" on the other hand is a spellbound piece made up of intricate disco loops and reinforced with house drums; one to get the whole field rocking towards the end of a headlining set; a closing centre piece to elevate them into the sky.

            STAFF COMMENTS

            Sil says: Refreshing and a glimpse of hope shines through the boxes of records we open on a daily basis when you know that Stefan Kozalla is there. I have been in love with this man's music since I was 22 and I purchased a mixed CD by him convolutingly called 'Music is OK'. He brought humour to electronic music, hip hop and later on onto house! You can't go wrong with the house experimentalist that is DJ Koze. A true provocateur and gender bending master. On this supwerb 12'' you get two cuts of the highest caliber (those who stand the passage of time gracefully - not many do!) on the also great Pampa label. Years pass by, the man gets older but also wiser. A Side offering 'Pick Up' is peak time disco house tune, but me, the introspective and complex soul I am, I lean towards 'The Love Truck' with its atonal and asyncopated sensual beats that bar Dj Koze few tend to play with. Ladies and you too, gents... this is my 12" of the week.

            DJ Monchan from NYC drops three edits for Stilove4music and it’s the bomb! Ted Taylor is first to go under the knife as his TK Disco released, 1977 soul hit "Ghetto Disco" gets a subtle tweak. "Good Night Tonight" is led by an excellent Tropicalia guitar lick which sees a funky, perc-led number really come into its own during some stripped back instrumental sections. OG unknown! Finally, we get the accelerated disco fusion of "Listen To Me Baby". Again, the source material is escaping me but that's of little importance - just sit back and watch this succinct edit do all the danceflor damage you require. As ever sterling stuff from Derradji's firm.

            Doc. Alimantado / Peter Tosh

            Mary Lou / A Little Melodica

            Third and final Alimantado related seven to drop this week. Backed with Peter Tosh, "Mary Lou" and "A Little Melodica" are actually bonus DJ cuts of Jimmy London's "A Little Love". Released in 1973 it's a little earlier than most of Alimantado's output and is more traditionally ska sounding in nature. Recorded and produced at Randy's studio and written by Winston Thompson. On the flip Peter Tosh gets busy with the reggae-flute aka the melodica as "A Little Melodica" flips the riddim in a sea shanty flavoured instrumental! Amazing!

            Another from Alimantado's vaults. This one released on Vital Food in 1977 and produced by Linval Thompson. The mood is more roots than the jump up riotous reggae that is "Best Dressed Chicken..."-era. On the flip he's joined by The Rebels for a tasty instrumental / dub version which emphasizes that rootsy groove and the thick dread encompassing the musicians. Top stuff.

            Doc. Alimantado

            Poison Flour

            Reissue of this massive reggae tune from the funkiest chicken - Doctor Alimantado. Originally released in 1977 it epitomizes the scratchy off-beat guitar pattern and the deejay style vox that Alimantado popularized so well. A huge crossover tune with Don Letts' punks due to its rebellious message and serendipitous release date. A tune of two parts, across both sides of the 7" the vocal delivery carries on through both parts as opposed to a dub or instrumental version that would often be the norm.

            The one-and-only, heroically self-determined, best-dressed chicken, straight to the head of all intolerance and bigotry. Recorded at Channel One in 1977, after a Kingston bus driver swerved to put the young Rasta in hospital. In London, the record’s popularity with punks was a big leg-up for the fledgling Greensleeves label. The musicians who played on the record did so without payment. You have on this heavyweight vinyl four tracks that are all as good as each other. Dub, roots and heart warming lyrics for all. This is a limited, anniversary edition on Tado’s own Keyman imprint.


            STAFF COMMENTS

            Sil says: Monster 12" with four giant tracks from the Doctor. You can't go wrong with these classic roots tunes.

            Mindblowing Afro-Soul music from the Ivory Coast here, served up by Deke Tom Dollard, an obscure artist who only recorded two albums in 1979 and 1981 but who created an original funky fusion with Bété langage. This 12" offers a selection of four amazing tracks recorded in Abidjan on two different records label called War Records and As Records.
            The music here is a mixture of funk with heavy basslines, traditional percussions, funky guitar riffs, nice horns section and lyrics in Beté. The song “Demonde” is inspired by harmonies of the famous “Dance to the Drummer Beat” by Herman Kelly. Those two rare records were found by Afrobrazilero (aka Djamel Hammadi) and never appeared on the vinyl market.

            Mike Donovan

            How To Get Your Record Played In Shops

              Peacers / Sic Alps lead singer Mike Donovan steps out from behind the ash-stained curtain for his second solo album in the past five years, ‘How To Get Your Record Played In Shops’.

              ‘How To Get Your Record Played In Shops’ is a tribute to the streets where you find the shops that play the records. To pin down this increasingly-imagined place, Mike DIYs it to the max, recording everything himself and playing most of it too, basing it largely on piano riffs, which is something different, especially with adding touches of other keys and notes of whatever fits into the scape. The combination of these colourful backings with Mike’s synapse-shifting lyric wit leads us into new odd corners, where the only option seems to be the mirror and eyes looking back deadly at us. Yet, in the chilly sling of SF, the legend of communal lifestyle rules on and, with help from the lads in spots and a Bo ‘Bozmo’ Moore cover to boot, this record can be stowed safely beneath the Peacers umbrella - even in the solo-ist of moments, when Mike’s hand on the piano is delightfully blurry among the reverbs, his voice listing along the falsetto borderline, smile frozen, as a feeling of aloneness and absolute nothing becomes poignantly alive.

              Despite (no, because of) all the carnage, ‘How To Get Your Record Played In Shops’ is something to make you really happy when you stumble upon it in the bin, a secret communication outside the lines of corporation entertainment, news media and the rest of the contemporary corruption influences.

              Dr Alimantado

              Born For A Purpose - Sons Of Thunder

              A great collection of 70s roots tracks from vocalist Dr Alimantado. Recorded at Channel One, Joe Gibbs, Tubby's and Black Ark, with backing from The Aggrovators and a plethora of vocal talent. Apart from the music, which is ace, i've always loved this LP 'cos it's got photos on the sleeve of him messing around in Notting Hill - playing table tennis, pulling an old lady style shopping bag on wheels, jogging in a rasta tracksuit - the funkist chicken in town make no mistake! Originally released in 1981 on Greensleeves, Limited reissue on Keyman Records.

              Dr. Alimantado first came to international attention in the 1970s with his singles "Best Dressed Chicken in Town" and "Born For a Purpose." This collection of rarities from the Jamaican toaster includes some of his earliest recordings, like 1969's "No Gwan So", originally released under the name Winston Cool (his real name is James Winston Thompson) and the Lee Perry-produced "Maccabee the Third". Toasts on various 1970s backing tracks (themselves versions of US chart hits like "Piece of My Heart", here retitled Chapter of My Heart", and "First Cut Is the Deepest", appearing here as the anti-street violence "One Trouble"), as well as some confident, eccentric late-'70s Lee Perry productions, make this set essential listening for fans of vintage Jamaican reggae.

              Final installment of funky chicken power brought to you by Piccadilly Records April 2018! "Love Is" from 1983 and features such hits as "Stop Yer Fighting", "Mek A Little Move" and "Go Deh Natty". With Alimantado's love of big motorcycles apparent from the front cover, its a decidedly slow pace of living than the hydraulic powered road beast. Recorded by Lee Perry it displays some strong experimental dub elements alongside his idiosyncratic rastaman vocal delivery.

              All songs and lyrics by Cate Le Bon & Tim Presley Recorded by Stephen Black (Sweet Baboo), Drums by “JT” John Thomas (Cate Le Bon/Islet), & mixed in Los Angeles by Samur Khouja at Seahorse Sound.

              A month spent in an old mill in the under belly of France. River swimming thrice a day. Hot nights soundtracked by the rattle of randy frogs. Scorpion fear. In the sheets, on the face.

              Hours of bird watching — no phone service. No wifi . 3 DVDs. Jurassic Park 1, 2 & 3. Violin practice. Bread scoffi ng. Early morning coffee drinking before the sun was too hot to do anything but snooze in the thick walled house. Music in the afternoon after a dip in the river and a cold beer on the square.

              With all the ease and air needed, in this mysterious place, we made an album made for each other by one another with no hands, eyes or ears piercing the bubble other than our dear friend Steve who slid in under the door and took note of it all.

              Cate Le Bon.

              In a town, so very still and quiet. A month in St. Hippolyte Du Fort, South France.

              Where completely all of their brave young men vanished forever from the death machine of the fi rst world war.

              At one time left with only women and young girls. Only relics of time standing still. All the deceased names of men chiseled under a stone angel, that watches over the town square.

              We set up a recording unit in an old stone mill turned house and began to write and record with the attention of tree trimmers or gardeners. It got so hot we had to swim in a local river near by just to be able to think, then back to our home to make sounds and songs. Any sounds we could think of or wanted. We used night sounds, night insects and used frogs as instruments. Did you know frogs have saxophones in their throats?

              This is a broken music. a crumble. It’s the music of the building we called home for a month. We’ve never made & recorded music in such a simple living environment.

              With all the ease, and air we needed. We were in a town 8 miles over from Robert Crumb’s hidden residence.

              We lived in a mysterious place. We had a fl ock of bats over for dinner many nights. No internet, or a phone to look to.

              We had a beautiful big stone house, a river, and from time to time a lovely elderly yet young-hearted couple who would visit.

              It was the opposite of what a typical recording experience usually is for any of us.

              We tried to capture all of this and put it on record.


              Tim Presley

              STAFF COMMENTS

              Millie says: A favourite of mine, Cate Le Bon teamed with Tim Presley makes for this wonderfully original release. With disjointed guitar plucks, it holds both their musical styles and highlights their influences of writing this album in a quiet town with stripped back surroundings, this atmosphere is captured and beams into Hippo Lite. Absolutely lovely!

              E Myers

              Love/Hate

              After setting the cat amongst our very own Kickin' Pigeon with last year's single-sided sell-out smash "Home", the mysterious E. Myers returns to the vinyl world with two more tracks of intense analogue action. Picking up the proto house baton from where he left it at "Home", Mr Myers marshalls the Roland rhythm crew for a hard hitting excursion into Chicago house on A-side cut "Love". Rattling rim shots and tumbing toms inject some neccessary groove into that stiff 4/4, while bittersweet synth strings, glistening sequences and a sublime sax riff top a deep and round bassline. Proper end of night / end of season tackle from the mystery producer. Over on the flip, Myers opens a porthole into the darker side of the club universe with the psychotropic, EBM driven "Hate", a raucous banger propelled through the smoke and strobes by a particularly Belgian synthlead. Not for the faint of heart, this retro techno tonker could put the frighteners in anyone. In limited supply with the promise of no repress, this is another buy-on-sighter from the mystery man.

              Hard edged EBM and industrialized stomp here on the newly minted Ratteznake records. First single also by Effet Rose. "Los" sounds like it's been ripped off a lost Medusa edits twelve, its mix of Nitzer Ebb, Ministry and Severed Heads rippling off the wax with a ferocious intent. "Warschauer" sees concentric dark acid mixed with incomprehensible vocal utterances, recalling some machine darkness from Glasgow's Clan Destine Traxx. Finally, "Dance For Me" sees the gremlins' battle cry eeked out of a frazzled outboard, drawing out all the mutants for a techno moshpit of destructive proportions. Head for the bunkers!

              STAFF COMMENTS

              Matt says: Colon-busting biznis here from newly minted Rattleznake. Tuff enough to blow even the most hardened new beater a new orifice or two. Yowzers.

              The story goes that Marcel Vogel and Oye boss Delfonic met in Berlin around 12 years ago and started a weekly bar DJ night together with Tinko & Noema at a gay bar in Mitte. After bonding over disco and orange juice, the two have become total BFFs. It makes perfect sense then that the Lumberjacks In Hell boss joins the ranks of the OYE edit crew with this fierce four tracker touching on funk, disco, Afro and dub. The set opens with the funked up bass rumble of "Movin'", a percussive thud of scat style vocals, tribal percussion and warm organ keys which keeps the tension sky high throughout. Next up we funk it up with a sweet number that the Balearic crowd might just recognise. Jump onto the B-side and cop some feels via the shuffling congas, limber bass and female vox of "Lovin'", a hefty helping of mirrorball magic in vintage COMBi style. Finally, the slow and skanking "Talkin'" takes us into the sunkissed realm of deepest dub, with some African-American empowerment vocal samples thrown in for good measure. Right on.

              STAFF COMMENTS

              Sil says: Groovy, funky and cheeky edits by no other than Em Vee. These four cuts will keep you moving and jumping from funk to disco and a touch of balearic.A bit for everyone but all of them of an outstanding quality. And that folks, is not something to oversee when it comes to the murky world of edits. Buy on sight I say.

              Silvana Noris, Italian-German singer, is an artist who has embraced theater, sport (she has been awarded on various occasions in various martial arts disciplines), writing and singing. The cult song "Din Don" published under the pseudonym of Evo in 1983 for the Italian label "Cultura & Musica" is regarded by many as one of the sweetest anthems in the Italo music cannon. With Silvana's voice in a very deep and dark intonation, accompanied by technicoloured synthesizer chords, it's at once yearning, melancholic and cosmic AF. Recently rediscovered by DJ Harvey & Il Bosco and played into the 'Sarcastic-disco' sessions and "Red Laser Vol.1" compilations respectively. Now's another chance to own this absolute beauty on highly quality fresh 12" vinyl.

              Exitmusic

              The Recognitions

                Follow up to 2012’s album, Passage (Secretly Canadian). Past media support from NPR, FADER, Stereogum, NME, Pitchfork, etc…. While many couples can trace the real time rise and fall of their relationship back to social media feeds and harried phone calls, Aleksa Palladino and Devon Church have channeled the highs and lows of their storybook courtship into something else entirely: the explosive, discomforting confessionals of Exitmusic. The mercurial project started the year they got married (2004) and all-but-imploded during their recent divorce, but not before the duo wrapped its most fully realized collection of beautifully damaged music yet titled The Recognitions.

                It wasn't easy, though, for the band has always had to balance its writing and recording sessions with Palladino's career as an actress in such acclaimed television shows as Halt and Catch Fire, The Sopranos, Boardwalk Empire, Storytelling and Before the Devil Knows You're Dead. "Our relationship finally cracked when Aleksa took a break from recording to work on a film in Iowa," explains Church. "It takes place on a lake so deep, indigenous people believed it had no bottom, and was a portal to the spirit world. When Aleksa returned from shooting, I could tell immediately something major had shifted.

                She described an experience of standing up in a boat on the lake and seeing her reflection in the water, and having the realization that we had only been living on the surface of life—that there were fathomless depths to be explored if we were able to set each other free." That feeling makes itself known right from the very beginning of The Recognitions, as "Crawl" abruptly shifts from a sinister-butsubdued intro—think: Beach House re-scoring Suspiria—to a full-on exorcism, a fearless, fang-baring fight for one's life that leaves a trail of blood, sweat, and tears behind. Things slow down slightly amid the quivering strings, bold shuffleboard beats, and minor-key melodies of "Iowa," but there's no denying what a wildly expressive diary entry this album is by its end. That goes for everything from the bittersweet piano balladry of "The Distance" to the queasy rhythms and delirious hooks of "Criminal." Aleksa is presently filming a role alongside Robert De Niro on Martin Scorsese’s The Irishman while Devon Church is working on a solo record.

                Fake Love

                Fake Love Vol.2

                More illicit edits from the elusive Fake Love crew. The A side is a stonkingly huge Japanese boogie thing from 1982. Cosmos and "Midnight Shuffle", taken from the album, "Bourbonsuite" and previously titled in Japanese! A copy of the full LP'll set you back between 50 or 75 sheets, but here we get this killer lead track presented on a full clean side of wax and sounded super hot and heavy! - yes cru! Featuring sugary sweet female vox, galvanized bass and big powerful piano chords, this shows the Japanese band equally as apt and conjuring big bolshy disco-boogie crossover hits. Next up a fast paced, Moog-led, disco-funk blaster with fiery synth work, big slap bass and vamping piano licks; jubilant and rambunctious from start to finish, answers on a postcard if you know this one folks! Concludes with a smooth-rolling erection-section groover, with sunshine brass, detailed guitar licks and sloppy boogie drums, this EP is all the working DJ needs to keep the majority of nighttime establishments more than happy as they dance away the evening sipping cocktails. Big smiles all around - 10 / 10.

                STAFF COMMENTS

                Matt says: Bloody hell don't sleep on this pop pickers. Rare-ass Japanese album track boogie and two even harder to identify disco jams from the Fake Love cru.

                Far Out Monster Disco Orchestra

                Black Sun

                  Far Out Monster Disco Orchestra returns with Black Sun, its second full-length album of 100% original, unadulterated disco sophistication, featuring all three original members of pioneering Brazilian jazz-funk trio Azymuth, a full orchestra with arrangements split between Arthur Verocai and Azymuth’s late maestro Jose Roberto Bertrami; plus members of the legendary Rio funk group Banda Black Rio.

                  Since its critically acclaimed self-titled debut album in 2014, the FOMDO imprint has released a string of remixes by some all-time greats of dance music, including John Morales, Theo Parrish, Mark Pritchard, Marcellus Pittman, Andres, Dego, Volcov, Kirk Degiorgio and Al Kent. To huge effect in clubs and festivals around the globe, some of the more recent remixes teased the new album material, which for the first time, is presented in its original, soul-heavy incarnation, alongside instrumental versions highlighting the album’s stunning arrangements and compositional brilliance.

                  Far from a throw-back - with disco music firmly entrenched in the modern club vernacular - Black Sun is ecstatic dance music at its finest.

                  Simone Felice

                  The Projector

                    Simone Felice, the singer-songwriter/record-producer from deep in the Catskills, has announced the release of his new album The Projector on April 13, 2018 via New York Pro.

                    Riding the train down from the Catskills to New York City’s slam-poetry scene in 1998, a callow “tone-deaf” kid with little musical skills but verse in his heart. Forming a band with his brothers in 2005 and travelling the world. Hitting Number One in the US and UK with one production collaborator (The Lumineers’ Cleopatra, 2016), scoring a Mercury Music Prize nomination (Bat For Lashes’ The Bride, 2016) with another, striding into another side of 2018 with yet another (Peace, the Midlands band whose Kindness Is The New Rock And Roll bursts forth this spring).

                    The first single to be taken released from the record is album opener and title track ‘The Projector’, premiering today on the Line of Best Fit. Spectral, almost skeletal at first, before the man’s resonant voice and spartan guitar are joined by shiversome choral vocals from Bat For Lashes’ Natasha Khan and haunted folktronica from Four Tet. Felice counts London’s genre-surfing experimentalist as both close friend and neighbour. The track is a hallucinatory walk through the backrooms and hallways of modern human paranoia and tech-induced loneliness, as the warped choir sings: ‘All the while you felt so alone/but all the while there were bugs in the phone and you were not alone.’

                    Up in the Catskill Mountains, Simone Felice was thinking. Considering the roads he’d taken, and also the roads that had taken him.

                    “I’ve been down the track,” says The Felice Brother turned solo artist, putting it mildly.

                    It was a lot to take in. And as he considered the prospect of a new album, it was a lot to get out, as well.

                    “So often artists are looking to what they’re doing next, or are stuck in where they are today,” Felice thinks. “Sometimes we forget to honour our history.”

                    “It speaks to my journey,” he begins. Back in the mid-Nineties, cresting out of his teens, he’d read at the Nuyorican Poets Café, a vital scene best exemplified by Saul Williams.

                    “I became a stand-up riddler, reciting my poems from napkins or from memory, it’s how I cut my teeth. For me this was the beginning of understating the diabolical alchemy of the English language, the rhymes, the pictures you can paint, both terrible and fair, or as Patti Smith calls it: “... a string of words more precious than the emeralds of Cortés.”

                    Lights down, curtain up, flickering camera on: this is the world of The Projector. It’s a handcrafted album of lone guitars echoing in the twilight, nocturnal electronics and woodsy vocals in which you can hear and feel the grain. Of scenes and moods, shouts and cries and pleas, interweaving narratives lovingly birthed in Simone’s native woods, (with longtime recording collaborators David Baron, Pete Hanlon and James Felice) not far from the Kaaterskill Creek upon which he himself was born.

                    Our woodsy auteur will be coming down from the mountain this spring, travelling to the UK and Europe, one man and his guitar and his store of stories, for a series of evenings with Simone Felice. This Projector won’t be hitting any multiplexes, but it will be unspooling in a run of bespoke venues – special environments for very special songs where, if you listen carefully, you just might sense something so emotional and true it’s, well, cardiac.

                    “Since my surgery you can hear my heart ticking,” says Felice. He means it literally but, sure, we can take it figuratively, too. “If you’re in the room with me I’m the crocodile who swallowed the pocket watch. For a few years I’d try to dampen the sound when we made recording in the studio. But I’ve given up on that. If you listen closely you’ll hear it when things go quiet. You might mistake it for a metronome that’s off-time. But it’s not. It’s just my achy breaky heart.”


                    The Flaming Lips

                    Scratching The Door: The First Recordings Of The Flaming Lips

                    The Flaming Lips have pushed the envelope and bent boundaries for more than two decades with the band’s Grammy®-winning music and ground-breaking concerts.

                    Scratching The Door highlights tracks recorded by The Flaming Lips’ original line-up, which featured Wayne Coyne’s brother Mark on vocals. The album includes the band’s first and second cassette demos, in addition to The Flaming Lips first self-released EP, and marks the first time all of these recordings have been collected together on a single release. Among the other featured tracks are covers of The Who’s “Anyway, Anyhow, Anywhere,” Led Zeppelin’s “Communication Breakdown” and the theme song from the 1960’s Batman television series, which previously appeared on Rykodisc’s 2002 compilation, Finally The Punk Rockers Are Taking Acid.

                    All of the music on Scratching The Door has been remastered from original sources by the band’s longtime musical foil and producer, David Fridmann with help from the Lips’ Wayne Coyne and Michael Ivins.

                    Hailing from Indianapolis, Caesar Frazier (spelled ‘Ceasar’ from time to time) was a funky soul-jazz organist who recorded several albums for the Eastbound/Westbound label family during the '70s. In addition to recording on his own, Frazier also played keyboards in Marvin Gaye's backing band.

                    Collaborations with contemporaries were numerous and to this day Frazier’s legacy is still alive through samples & remixes from outfits such as ‘Gang Starr’ and ‘Arrested Development’.

                    In 1972 Frazier cut his first album ‘Hail Ceasar’, which featured musicians commonly associated with the Prestige label's jazz-funk outings -- Melvin Sparks (guitar), Houston Person (tenor), and Idris Muhammad (drums). Those names alone should give you a clear idea what's going down on this
                    album: slick wa wa guitar lines, the crisp ultra bumpin' conga rhythms, Idris's slick funk beats, screaming sax solos and last but not least Caesar’s trademark Hammond organ sound.

                    Next to his own material you can also find a few cover tunes on here (by Quincy Jones, Isaac Hayes, Bob Porter (responsible for many superb jazz productions for Prestige and Atlantic) and to top it all off, recording duties were handled by Rudy Van Gelder (known for recording Miles Davis in the early 1950’s and the countless work he did for Blue Note, Prestige, Verve .. and many others). This record is a delight for anyone who likes that 1970s organ groove sound and is right up there with some of the best of the Soul Jazz coming out of the early seventies. 

                    Originally released in 1972 on Eastbound Records, super rare and fetching large sums on the collectors market, now finally back available as a limited deluxe vinyl edition featuring the original artwork by Tom Curry. 


                    Initially paying tribute to the analogue absurdity, sonic diversity and sheer imagination of the early 90s dance music landscape, Future Four returns after a hiatus of several years, pushing into new eras, machines and ideals with 'Connection'. Initially a solo project of Andy Meecham, the brains behind Emperor Machine, Chicken Lips, and Bizarre Inc., 'Connection' is the first Future Four release to feature the contribution of Erol Alkan as a permanent member, and is a coupled with a remix from I:Cube.
                    A veritable powerhouse of synths, vintage drum machines and all manner of effects, 'Connection' unfolds with minimal tempo and maximum impact, as sequences of unexpected electronics gradually build from every direction, each landing with the razor sharp precision associated with their composers. Cascading synths overflow like fizzy drinks, pro-pelling the track along an electronic patchwork of FM synthesis and psy-chedelia.
                    On the remix, I:Cube takes the unpredictable rhythm of 'Connection' and coaxes it’s versatile, multiple elements into a timeless slice of boogie house. Nurturing the outsider Casio feel of the track under a musical heat-lamp, the always forward-thinking Frenchman emerges with a cut that could easily soundtrack both sun deck and space station.

                    STAFF COMMENTS

                    Sil says: Electro good times yeah! Rawish menacing beat accompanied by some wacky synths on A Side will open proceedings for the big act on the B Side (at least for me). Good old reliable I Cube cranks up things couple of notches. It makes the original more palatable and dreamy for your punters while keeping the essence of the original present. I Cube loves synths and so do I.

                    Patrick Gibin Aka TwICE

                    Patrick Gibin Aka TwICE Edits

                    TwICE aka Patrick Gibin established himself as a selector to be reckoned with through his Black Aroma re-edit series, and now he brings his penchant for deep cuts and dusty reworks to the RNT catalog. Stretching over the A-side is "Sunrise", a bouncy sunny synthy affair, seemingly made for summer rooftops and pool parties. On the flip, "Searching" updates a woke soulful 70s anthem, and "Take Flights" loops a boogie instrumental with hypnotic simplicity. Re-edits done proper.

                    Girl Ray

                    The Way We Came Back

                      "The Way We Came Back". The song is notable for being written by Poppy Hankin when she was just sixteen years old, yet had never been recorded until after the release of the North London group's debut album Earl Grey.

                      "It's cute, I guess," says Sophie Moss. "You kinda wanna skip to it, you know? Makes you think about arguments but it doesn't make you hate them that much. It's an early, early - we're talking pre-Earl Grey here - banger that we wanted to oil up. A plump cow that needed to be milked. It was one of the first songs Poppy wrote when she was 16 which we all found pretty impressive. Sly arrangement, good vibes here."

                      Gomez

                      Bring It On (20th Anniversary Edition)

                        To commemorate the 20th anniversary of Gomez’s Mercury Music Prize winning debut album, Bring It On will be re-mastered and reissued (20.4.18) as a super-deluxe 4CD with an accompanying remastered double LP release (180 gram with download codes).

                        The 4CD 20th Anniversary edition of Bring It On contains the original, classic album remastered by Frank Arkwright @ Abbey Road studios and 35 previously unreleased tracks including 25 demos (recorded between January 1996 and August 1997) - 13 of which are appearing on an official Gomez release for the first time. The Super Deluxe box set contains 35 previously unreleased tracks. The collection features 25 demos & 13 songs never released in any form by Gomez, including covers of Neil Young’s “Unknown Legend” and “T-Bone Walker’s Mean Old World” plus the band’s 1998 Glastonbury performance and BBC sessions. The package includes a 10,000-word essay by music writer Paul Stokes, with new interviews with the band and those close to them.

                        FORMAT INFORMATION

                        2xLtd LP includes MP3 Download Code.

                        The Great Electric

                        The Great Electric

                          The Great Electric, an Indie/kraut supergroup, was formed in the winter of 2012 by Malcolm Doherty (Guitars, FX), Rob Hyde (Drums), Darren Hayman (Synth), and Pete Gofton (Bass/Production), and released their debut EP on the ever exceptional Static Caravan label back in 2014. Alumni of bands as diverse as Hefner, Kenickie, GoKart Mozart & Mum and Dad, the band was united by a love of the classic German electronic and progressive acts of the 1970s coupled with the pop music sensibilities, hooks and production of 90s bands such as Stereolab, Quickspace and Electric Sound of Joy. Encarta - Updated early 90s post rock with added quiet storm sax and Material Girl Music & Colour - If latter day Brian Jonestown had a vocoder rather than a nutcase up front. Some tracks references : Night Music - Beach Boys “Love You” synths, American Analogue Set’s vibraphone. Features the voice of Sam Carelse. Mope - Riders On The Storm rudely segued by Blue Cheer. Top of The Tower - Originally called ‘Bruton Music’. A stab at library synth rock. Mount Nod - Harold Grosskopf, Camel and Steve Reich trade cigarettes. Fata Morgana - Cavern Of Anti Matter in two minutes. All These Worlds Are Yours - A final peek behind the curtain. Unlike the rest of the tracks, no editing of the final take, everything is played as is. A soundtrack to 2018 as the world falls into the sun

                          FORMAT INFORMATION

                          Coloured LP Info: White Vinyl

                          Coloured LP includes MP3 Download Code.

                          Jonny Greenwood

                          Phantom Thread

                            Vinyl release of Jonny Greenwood’s Oscar, BAFTA and Golden Globe – nominated score to Paul Thomas Anderson’s new feature film, Phantom Thread.

                            DJ legend, edit addict and all round gee Andi Hanley follows up his smash sell out double pack on Ruf Kutz and his Bat-action on Red Laser with the inaugural release on the ultra fresh Misadventures label. Staying true to my man's uncrimpable style, this three tracker's slick, smooth and well cheeky, working its magic at the very heart of the Balearic/Disco/House Venn diagram.
                            Strolling out the blocks in a shimmer of sunscreen, "Heaven" plonks us on a pool bar stool and takes control of the dance floor, throwing all manner of sultry shapes to the warming sounds of woody synths, 80s funk bass and rolling percussion. From there "Girl" drops the tempo and sparks the spliff, locking into a lolling cod reggae riddim that reeks of THC, tastes like Tropicana and looks like Ruf Dug making a perfect run on Donkey Kong. Last but by no means least, "You" lets loose with backcombed bass, lush FM pads and circular mallets, totally rocking that tropical synth-funk sound. 
                            The hardest-working, most lovable, least egotistical man in music strikes again. Full marks!

                            STAFF COMMENTS

                            Patrick says: Much loved member of our extended audio family, the mighty Andi Hanley launches the Misadventures imprint with a top trio of tropical, synth funk edits. Balearic boogie, digi-dub-pop and 80's fusion are on the menu, and you're certain to come back for seconds. Yes mate!

                            Martin Hannett & Steve Hopkins

                            All Sorts Of Heroes

                              From the shrapnel of the unlikely collision point where Mancunian post punk royalty collides with sci-fi cinema and art house animation, this obscure diamond in the rough shines a new light on the Northern DIY era providing disc detectives with a whole new punk funk perspective. Recorded in 1976 by Invisible Girls’ Steve Hopkins and Martin Hannett for a truly bizarre stopmotion animation called ‘All Sorts Of Heroes’, this hard edged funk instrumental theme reveals another side to this versatile production team, joining the hidden dots between Hannett’s own discoid experiments with ESG, Gyro, A Certain Ratio and the mythical Afro Express recordings from the same year. Embodying as much in common with 1970’s bass heavy European funk soundtracks by bands like Goblin and Placebo, as the expected parallels with John-Cooper Clarke’s backing tracks or early Happy Mondays, this early 1976 session is the perfect example of Hannett and Hopkins’ under-the-radar artistic commissions working to a storyboard brief in what has now become recognised as a fertile arena for lost filmic funk.

                              Drawing historic parallels with Leeds based Graeme Miller and Steve Shill’s home recorded DIY soundtracks for ‘The Moomins’ animation and accentuating the connection between Manchester based animation house Cosgrove Hall (‘Dangermouse’ / ‘Chorlton And The Wheelies’) and its employees Bernard Sumner, John Squire and members of Gerry And The Holograms, this lost recording adds kudos to a quirky micro-niche and reveals another dimension to Northern anti-pop’s snarky personality.

                              Pressed here by Finders Keepers for the first time on vinyl, in close accordance with the wishes of Steve Hopkins himself, this custom-composed track originally appeared on the short film by Rick Megginson and Steve Hughes which was shown at the Ottawa International Animation Festival in 1976 where it might have otherwise remained, preserved in an 8mm film box up until now. As relevant today as it was then, this closely recorded, cosmic cartoon, slappy funk theme provided the films backdrop for a workshop montage scene where an aardvarkian spaceman constructs a giant metal face robot which might well leave fans of Madlib and MF Doom fans pondering time travel. Like much of the lost and unreleased projects that stalled on the peripheries of early proto-Madchester, including the disco-pogo music of Spider King, Gerry And The Holograms, The 48 Chairs, Naffi and The Mothmen, this record has been frozen in time waiting for the wider marathon of independent pop to catch up.

                              This 7” might well be another missing link between your Rabid, Absurd and Factory records, backed with another lesser-known Invisible Girls recording, ‘Scandinavian Wastes’, which has also been begging for its first vinyl outing since its recording in the early 1980s.

                              Originally released in 1983 on the famous CAM Records for the obscure Vietnam movie 'Tornado' (Antoni Margheriti), this highly sought-after soundtrack finally gets the official re-issue treatment it deserves! A very diverse LP with productions that range from classic soundtrack and horror to italo disco and pop...and even a featuring of the late Toots Thielemans. Limited pressing!

                              Sam Vicary A.K.A Hunrosa (meaning "to dream") is an electronic music producer capturing the wild organic senses of his childhood and anchoring it with a darker 2am undercurrent. Based in Manchester, he is principally a bassist and currently a member of The Cinematic Orchestra, Paper Tiger and The Dominic J Marshall Trio, as well as performing with Manu Delago, Imogen Heap, Matthew Halsall, Anil Sebastian and Stuart Macallum.

                              His latest offering 'Ransome' is a heavily rhythmic journey, full of textured hand percussion and soaring strings, accompanied by the beautifully melodic vocals of Alice Higgins drifting overhead. The Clap Clap remix sees the Black Acre mainstay exploring expansive territories, polyrhythmic hand percussion and textured electronica perfectly intertwine, drenched in dub ambience, heightened by scattered arpeggios and swirling synths. The music is inspired by a coastal upbringing, represented in the music via field recordings, as well as being aided by visual stimulus throughout the writing process.

                              After at least one week away from the release sheets, Australia's prolific king of Italo foth makes a welcome return to Violette Szabo with four more sensual DJ cuts! If you like your synth-pop and Italo sweet, sleazy and appropriately cheesy, this is the deep digger you turn to - and once again Hysteric comes through with the goods. "Moonlight" opens the set in dramatic fashion, merging swooning sequences, hypnotic percussion and distorted guitar into the kind of thing you'd expect to hear in straight to TV teen drama from 1986. Throw in some totally ridiculous vocals (sample lyric..."What's the worth of my bohemian charm, when all the girls lay in someone else's arms") and you're away, mopping your brow with a sweatband and dancing into the distance. The cinematic feel continues with "Voix", a emotional pop peach with precise woodblocks, bubbling synth bass and slick guitar licks. After a slow and steady build, the tension breaks and the track segues into some spoken French vocals dripping with Gallic charm. Skip to the flip and "F.F." brings the drama for the Bboys out there, delivering heavy bass sounds, metallic synth percussion and Miami Vice style guitar. If you've planning on taking your sports car for a sunset spin anytime soon, I'd suggest this as the soundtrack. Last but not least, "Vocoder Lady" is a dreamy, nearly Balearic disco cut, complete with snapping snare, bouncy bass and you guessed it, vocoder. Here for a good time, not a long time, so snap a copy up sharpish.

                              Slovenia's Ichisan always comes correct, not least on his 2017 LP "Aperitiv", which was so stupendously good that Bordello A Parigi have opted for a revisit. Four choice cuts have been selected and reworked with a specific instrument focus. The harpsicord version of “Hotel” keeps the intoxicating melody of the original but allows beats to relax as notes shine with an incandescent brilliance. Drums put their feet up for the Rhodes version of “Modri Tunel.” Deep stings and lounging lines mingle in this work of smoke swirling seduction. “Kozmetika (Trumpet Version)” dances to a different tune. Rich bass is again central but this time brash and bold brass intertwine with funk filled bars. The last waltz arrives with the piano version of “Terminal E.” Alluring notes ascend, rising and falling against heartwrenching guitar strings for a finale to end this ballroom inspired beauty.

                              Slovenia's Ichisan always comes correct, not least on his 2017 LP "Aperitiv", which was so stupendously good that Bordello A Parigi have opted for a revisit. Four choice cuts have been selected and reworked with a specific instrument focus. The harpsicord version of “Hotel” keeps the intoxicating melody of the original but allows beats to relax as notes shine with an incandescent brilliance. Drums put their feet up for the Rhodes version of “Modri Tunel.” Deep stings and lounging lines mingle in this work of smoke swirling seduction. “Kozmetika (Trumpet Version)” dances to a different tune. Rich bass is again central but this time brash and bold brass intertwine with funk filled bars. The last waltz arrives with the piano version of “Terminal E.” Alluring notes ascend, rising and falling against heartwrenching guitar strings for a finale to end this ballroom inspired beauty. 

                              Finnish band Jesse makes unsentimental and innovative music. What you hear on “Fluids”, released as a picture disc album on Höga Nord Rekords, is the sounds of four creative brains’ journey into the music universe of the future. Their music is influenced by earth and space: Jesse’s astral and cosmic disco is prospective, totally boundless, and vibrant of life and blood. The production sounds luxurious and helps the psychedelic qualities to shine through the sound. Jesse, who with their first releases some ten years ago played fast and arrogant synth based music, now picks up influences from afro beat, funk and ambient but they’ve kept the electronic core of their sound - simple chord structures rest upon cool synthesized waves of sound, like a glider carried upwards on the thermals between the summits of the Andes. Soft, pliable and mighty! Jesse's music is dreamy but not unworldly and one thing that makes them special is their ability to place the listener on the edge of their safety zone. There, in the frontier, they explore the possibilities of cross over music. 

                              Kalbata goes full-acid with this snappy 303/808/909-driven four tracker. In a homage to 90's motorcycles, Kalbata whips up four jacking warehouse tweakers, wrapped in thick-smoke and crisp primal beats. A second release on his own Brush & Broom label. A slightly more tamed and well mannered sibling to Super Rhythm Trax, Posthuman, I Love Acid etc, but don't let that delude you - Kalbata's control of his machines is more than impressive; like when you when best mates younger brother beats you at Tekken 3....

                              Kalidasa

                              The Mirage - Inc. Soft Rocks Remix

                              Tim Rivers aka Kalidada drops some fresh heat on Kinfolk following well received numbers on World Unknown Magic Feet and Tusk. "The Mirage" and "Sun Aki" are both tracks for those who like to chug-along to the more gentle and refined rhythms. Both undulating with an otherworldly swell, multi-textured and multidimensional disco music that's rich in emotion and splendor. Cosmic troubadours Soft Rock throw around some magic dust on the flip, mixing "The Mirage" into a 9 minute time lapse venturing from an early morning canter through to a pulsating electronic drive through into the heavens. Ace!

                              Africa Seven is taking its first trip to Germany... Well Germany via Cameroun. Charlie Kingue Soppo is better known as Charly Kingson, cousin of Manu Dibango and a Cameroonian emigrant in the 1970s. Charly first headed to Paris and then found his way to Munich in 1978. He recorded two albums in his career, "Born In Africa" in Munich in 1978 and "Dance To The Music" two years later in New York.

                              For this outing we focus on his debut "Born In Africa". It was recorded in Union Studios in Munich with some of the city's finest (and surprisingly funky) session musicians of the day.

                              The LP opens up with "Nimele Bolo" a trademark Africa Seven sound if ever there was one… early growling analog synths, big stabby brass and afro rhythms. Add in Charlys vocals and it is easy to see why this track was a highlight of our recent African Airways 04 Funk compilation. Next it is time for smooth ballad, "Makakane Masu" and its smooth jazz overtones. Next "Manyaka" the suspenseful string section, octaving keys and percussive horns drive the wah wah guitar and Charlys brooding song.

                              On the flip side we open up with the rolling bass and swinging brass of lead track "Born In Africa". This track was a single and it's the perfect microcosm of the album elements in one track. It even manages to name check all the big afro musicians of the time. "Nanga Boko" and its big smiles all around for the good time synth-boogie funk. We close off the LP with "Reviens-Moi" a pensive ballad about Charly's forlorn love. He wants her back of course.

                              After Charly moved on from recording in the 1980s he stayed in Germany, performing in a series of local jazz and funk bands. We tracked him down in 2016 and we really pleased to be re-releasing his debut long player at Africa Seven. It sounds just as relevant (if not more so) in 2018 as it did 40 years ago in 1978.

                              STAFF COMMENTS

                              Patrick says: Africa Seven serve up more heat here with Charly Kingson's big bad "Born In Africa", complete with the moog fuelled acid afro disco squelch of Nimele Bolo. Big!

                              New release from Kiwi and Disco Halal. London mainstay Alex Warren has been in a bit of a purple patch of late, his cover of "Throw Down" (Optimo Music) went onto receive critical acclaim while two twelves already released this year on Moda Black and 17 Steps have both gone on to do 'nuff damage in the club.

                              Exotic flavoured electro-disco is order of the day here. "Pine Martin" begins the journey in beguiling and peregrine form, it's tentative arps plotting a path through new and vast landscapes."Daubenton's Bat" is a shuddering, druggy trip into tribal lysergia - a wavering vocal chorus contrasting against electric rhythms and foreign instrumentation. Finally, "Pine Martin" gets a club friendly rub down which really bring out the jarring electro-disco arpeggios and driving, heads down groove. It's another doozy from this multifaceted producer and another winning release from the omnipresent Disco Halal. Top one! 


                              Klauss & Craig

                              Momentum

                                Planet E make an inspired return with "Momentum", a two-track collaboration between Carl Craig and Argentinian live electronic collective Klauss. A result of an unplanned production session at the Klauss' Buenos Aires studio in February of last year which I presume saw Mr. Craig drop in unannounced. Each track runs at over ten minutes long, brimming with tension and utilizing analogue-formed grooves to form a grounding for meditative loops and mind-bending sonic processes to wander. It's a steady, deliberate piece of music quite detached from the label's usual output but nonetheless arresting and should keep die hard Carl Craig fanboys more than happy... Top stuff!

                                Home Taping dropped this killer, Medlar-penned track back in 2011. Now the imprint's shining new light on it by drafting in some top drawer remixers to work their magic. Tuff City Kids' 'Acid' mix sizes up the stems before unleashing demolition ball kicks and explosive 303s onto the mix; causing a whole manner of destruction onto the original theme. TCK stay on the attack through track two, their 'Garage' mix equally as destructive but characterized by deep techy stabs, intricate SFX and searing strings rather than the lashing 303s of previous take. The beautifully poised and well constructed original version gets a second outing, reminding us just how clever this Medlar alter-ego is as it effortlessly skirts between house, disco and electro-funk like a pixie at a free party. All that's left is for Dicky Trisco to drop a house flavoured rubdown, with rolling congas and squelchy B-line...what a package!

                                “...one of the best, perhaps the best, on the label...displays the typical Tumbleweed combination of a loose, stoned ‘Astral Flash’ vibe and a classy production.” - Patrick Lundborg, - Acid Archives

                                Denver in 1971 was the right place, right time for musician Robb Kunkel. He’d just come off a year rambling around North America before settling in Colorado, landing a gig as a promotions rep for ABC-Dunhill. The weed was potent, magic was in the air, and Kunkel’s life was about to change forever.

                                The San Fernando earthquake had spurred industry pals Bill Szymczyk and Larry Ray to join forces to form their own label—and get the hell out of California. The duo reached out to Kunkel who helped set up shop for their burgeoning Denver enterprise, Tumbleweed Records. Kunkel secured a headquarters, helped staff the label, and brought in talent, including Danny Holien, Pete McCabe, Dewey Terry. But Kunkel was itching to make a record of his own. Perhaps to repay him, Tumbleweed agreed.

                                A longtime piano man and blues aficionado, Kunkel had the soul of a poet and the restless spirit of the jazz musicians he also worshipped. For his album, Kunkel wanted a jazz producer, and Szymczyk hired Ed Michel, then the head of Impulse Records, who brought on a string quartet and jazz legend Ray Brown and Wrecking Crew musician Jimmy Bond.

                                Ostensibly a pop album at heart, _Abyss_ brings all of Kunkel’s influences together and vacillates wildly in style. From folky ditties to pensive wailers, Kunkel’s songs are often piano-driven but rarely straightforward. Tracks regularly veer off into jazz or baroque string arrangements, but there’s a raw quality—in the production and in Kunkel’s literary and at times earnest lyrics. It’s the album of a young and uninhibited musician who has realized a lifelong dream and who takes it seriously, but not too seriously. 


                                FORMAT INFORMATION

                                Ltd LP Info: Limited edition pressing of 600 with hand numbering. Includes gatefold jacket and 8 page book with unseen photos and liner notes by Sarah Sweeney.

                                Laish

                                Time Elastic

                                  Laish, from Brighton, are piloted by the mesmeric Danny Green, a master of captivating confessionals and a thoroughly engaging front man. His glorious voice ranges from the angelic, to a plaintiveness echoing Robert Wyatt, to deeper Kurt Wagner-esque tones. New album, Time Elastic, brims with ultra-cool, classic songwriting and bestows a superbly developed and playful record, full of surprises. A bold step forward, presenting a songwriter at the height of his powers.

                                  Exceptional return of L/F/D/M aka Love’s Flacid Disco Muscle on Midnight Shift, with a remix by Nick Dunton of 65D Mavericks, resurfacing under his latest moniker D-56M. Abrasive acidic trax from the edge from this mainstay of machine music. "Sixteen Snakes" is an all out sensory assault, not a million miles away from the darkest of Ste Spandex's Cerberus output - rattling metallic perc, buzzsaw distortion and flailing sine tones combining like a battering ram of hardware tekno. "X-Enter-O" is characterized by growling, low-tuned LFOs that spit analogue phlegm over static hats and incessant modular rhythms; an expert display by a producer with a total grip on his instruments. "Silver Grain" sees aerial-born leads circle above crackling electronic discharge for an experimental but nonetheless engrossing piece that concludes the EP on a high. Wonderful stuff here.

                                  STAFF COMMENTS

                                  Martin says: Midnight Shift continue their interstellar war cry with hardware molester L/F/D/M on the guns for this latest campaign.

                                  Lord Huron is an American indie folk band based in Los Angeles. The group's debut album, Lonesome Dreams, was released in 2012 on Iamsound in the US and Play It Again Sam in UK and Ireland in January 2013. The band released their second album, Strange Trails, in April 2015.

                                  The band's name was inspired by Lake Huron, the lake which band founder Ben Schneider grew up. 'Lord Huron invites you to stare into the abyss this spring with the release of their third full-length album, Vide Noir. Written and recorded over the past two years at Lord Huron’s Los Angeles studio and informal clubhouse, Whispering Pines. The album was mixed by Dave Fridmann (The Flaming Lips/MGMT) and engineered by Sonny DiPerri (Portugal. The Man, Animal Collective).

                                  STAFF COMMENTS

                                  Barry says: A brilliantly varied suite of thumping percussion, jagged guitar riffage, nuanced ambient interludes and neo-folk melodies, underpinned with a steadily growing melodic wash of ambience. Vide Noir is a brilliantly compiled journey from start to finish.

                                  Marcel Vogel's mighty Lumberjacks In Hell imprint takes a break from their trademark edit offerings with this original Afrobeat banger from Philou Louzolo and Villy. The release is dedicated to the Amsterdam based Alkebulan Project, an organization aiming to bring artists from Africa & the African Diaspora together to change the perception of the continent and its citizens. A-side cut "Africa Rising" finds Philou expressing his Congolese, Nigerian and Sierra Leonean heritage in collaboration with Nigeria's political funk outfit Villy & The Xtreme Volumes. Recalling Fela Kuti at his most hypnotic, The Xtreme Volumes drive through warm organ riffs, hot horns, restless percussion and groovesome bass, while Villy calls out for revolution across the continent. With Philou working spiritual magic behind the desk, the cut sounds warm, full and big enough to bring it to any soundsystem. There's a shorter instrumental version for anyone who doesn't dig on the lyrical fire, but unless you intend to get creative with two copies, I reckon you're missing the point. The deep, dancefloor vibes continue on the flip with the horn heavy assault of "Kinshasa Anthem", a floor filler if ever I've heard one. The rhythmic guitar riffing weaves a hypnotic spell through the midrange, the booming drums and beefy bass pack a serious body moving punch at the bottom end and mysterious, melodic flute poses the perfect reposte to Villy's half-spoken, half sung vocals. Melody comes to the fore on the EP closing "Queens Of Zomba", a guitar led journey through the afro-disco cosmos alive with spectral synth fx and drifting melodies - proper Body & Soul tackle.


                                  Love's High

                                  Love Generator / Moon Bounce

                                  More modern funk classics from the Star Creature camp. Sole single to date by new group, Love's High from Europe. Featuring Isreal's Soul Supreme and special guests Marlon Penn on vocals and even a trombone player! Soulful bedroom boogie stylings take over A-side cut, complete with top drawer vocal. "Love Generator", a star-aligned disco-funk stomper characterizes the B-side's "Moon Bounce".  

                                  Percussion - Dea Plevnes
                                  Trombone - Valentin Guenther
                                  Written, Produced, Synthesizer, Drums - Noam Ofir
                                  Written, Produced, Vocals, Lyrics - Marlon Penn

                                  Ludgate returns to West End Communications (following the wonderfully named Perth Drug Lord...!) with a high energy, maximum impakt, club record. Ranging from fast paced techno to distorted electro, showcasing a diverse pallet with a more ambient cut to finish. All round 12/10!

                                  West End Communications continue to spearhead the dirty tekno frontline, RIYL: June, Powervacuum, Midnight Shift, LIES etc.

                                  **TIP - check out "Huh?"!! ;)


                                  STAFF COMMENTS

                                  Matt says: More ridiculously named but hard hitting techno from the West End Communications camp. Ludgate Squatter joins Perth Drug Lord as best named techno act in 2018. His beats ain't bad neither!

                                  Bryan MacLean

                                  Ifyoubelievein

                                    Ethereal and exquisite songwriting from one of the forces behind the legendary band Love! Across fourteen tracks, former Love guitarist, singer, and songwriter Bryan MacLean is undeniably mesmerizing, his soaring falsetto and euphoric guitar weaving through performances that showcase his distinctive talent. Long out of print, and a must-have for fans of the legendary L.A. band, Sundazed proudly presents this essential collection on white vinyl, featuring extensive liners from David Fricke and the late MacLean himself.

                                    “Ifyoubelievein is, in a sense, the Love record that never was: solo demos and home recordings of fourteen original MacLean songs, all written in the earliest and most vital years of Love and all but three virtually unheard in any form since MacLean wrote them over 30 years ago. It took a lot of time for the music on ifyoubelievein to end up where it always belonged–on record, as Bryan MacLean originally wrote and envisioned it. And it has been worth the wait. Listen and be forever changed.” - David Fricke.

                                    FORMAT INFORMATION

                                    Coloured LP Info: Limited white vinyl edition.

                                    Made In Thailand

                                    DS1

                                    Audio contraband from a mysterious Southeast Asiatic connection. Info is light but vibe is heavy! A-side touches on that eastern-cosmic style that seems very in vogue at the moment, as producers look even further afield for inspiration and sounds. Side B takes it back to Europe though with an Italian sounding shuffle and shoulder roll with sparse arrangement decorated beautifully with space vocoder. Exotic and enjoyable flavours beamed directly to your lughole! Do not miss!

                                    STAFF COMMENTS

                                    Sil says: Electro with heavy Asian influence on A side and a more chilled discoid version with a bit of vocoder included on B side that will smoothly oil up your dancefloor. I am lovin' it.

                                    For Clandestino's fifth offering Berlin's Italiano in residence José Manuel drops his unique strain of exotic club music; once again exploring deep, ritualistic and tribal influences to great dramatic effect. Opening cut "Human Behaviour" is a woozy nine minute opus, rich in shamanic atmosphere, ritualistic chants and ethnic flutes. Clandestino's remix refines the track for the dance-floor, retaining the atmosphere and injecting a driving 303 line and jamming Afro keys. Upping the tempo on 'Bangalore', a great ethnic guitar hook drives the groove into a dervish whirl while disorienting chants and tribal percussion flutter underneath. Finally, Mushrooms Project turn out an essential blissful sundown version by extending out the pads and adding gentle warm keys.

                                    Max Abysmal

                                    Sutekh's Mirage / Donna, Don't Stop

                                    Young Marco's Safe Trip are back with another high-grade heater for all the microdosers out there, this time courtesy of shadowy Dutch figure Max Abysmal. In keeping with the label's dreamy aesthetic, the mystery man treats us to a pair of hypnotic, exotic and esoteric house jams perfect for sunset, sunrise and fireside romps. On the A-side, "Sutekh's Mirage" moves through circular chimes, airy flute licks and warming bass tones while keeping the mechanical percussion restrained and dynamic. Beautiful and hallucinogenic, this is perfect material for either side of the peak time. On the flip, "Donna, Don't Stop" moves further into the shamanic house territories, teaming woody pipe riffs with clattering beats, hypnotic bass and cascading keys. Whether they're quaffing mushy brew, riding the rainbow highway or experimenting with letters and numbers, Safe Trip spangle you sweetly.


                                    STAFF COMMENTS

                                    Patrick says: The mysterious Max Abysmal takes to Safe Trip, donning druid's robes and conducting an ayahuasca ceremony with a DX7 as his assistant. Hypnotic, organic and entheogenic house music here, perfect for the naturists on the dance floor.

                                    Melvins

                                    Pinkus Abortion Technician

                                      The Melvins return with the new album Pinkus Abortion Technician (April 20, Ipecac Recordings), featuring both ongoing Melvins’ bass player Steven McDonald (Redd Kross, OFF!) and Butthole Surfers’, and occasional Melvins’, bottom ender Jeff Pinkus on bass.

                                      “With our upcoming release, we double your bass player with Steven McDonald AND Jeff Pinkus holding down the bottom,” explains Dale Crover. It’s an experiment in the low end of the aural spectrum where we asked ourselves, ‘would it work?’ ‘could it work??’ ‘should it work???’ The answers were yes, yes and YES!”

                                      “We’ve never had two bass players. We’ve had two drummers and two guitar players so it makes total sense to now have two bass players, adds Buzz Osborne

                                      “Stop Moving To Florida” is a medley of the James Gang’s “Stop” and Butthole Surfers’ “Moving To Florida,” the band also covers the Beatles’ “I Want To Hold Your Hand” and Butthole Surfers’ “Graveyard” on the eight-song release. 

                                      Luciano E La Sua Orchestra Michelini

                                      La Conquista Di Luna

                                      There is only a tiny Wikipedia page about Luciano Michelini, and is written in German. A fact that should make us think on how he is still virtually unknown and unappreciated in Italy. After graduating from the conservatory, the pianist and composer started working as a teacher, while pursuing a more creative ca-reer as a composer. From 1964 to 1982 he also worked as a manager for RCA and left his mark primarily as the author of Italian film soundtracks. Among his best-known scores are worth mentioning Il Decamerone nero, La polizia accusa: il servizio segreto uccide, La città gioca d'azzardo and, above all, the beautiful L'isola degli uomini pesce, written for the eponymous sci-fi horror film by Sergio Martino.

                                      His true masterpiece, however, was composed in 1969 and is titled La Conquista di Luna (The Moon's Conquest), one of the rarest and most sought Italian soundtracks, virtually impossible to get without spending a fortune. Michelini and his orchestra produced this imaginary sci-fi soundtrack enriched by the presence of the legendary singer Edda Dell'Orso on some tracks.

                                      Drawing its structure from classical and orchestral soundtracks, the album is tinged with prog elements ahead of their time, soft psychedelia and moments of sheer genius: more than 40 years after its first release, it still guarantees a jaw-dropping listening experience. It is almost impossible, for example, to listen to Tycho without thinking of the following decades of orchestral pop production and how a song like that could and should have exerted its influence.Better late than never...

                                      Piccadilly customers, house music inclined Mancunians, the whole of Chicago (surely?!) and WHP attendees will have known about this for some time now - but that hasn't quelled any anticipation or excitement - yes you heard right - THE FIRST LARRY HEARD ALBUM IN TWENTY FIVE YEARS!!!!

                                      Take a breath...

                                      Famous as one of the most important heads in dance music around the world, Larry has enjoyed a successful career as a producer, remixer, collaborator, vocalist and DJ spanning 35 years. Out on his own Alleviated Records, "Cerebral Hemispheres" features 14 new pieces of music that allows the listener to fully immerse themselves and dig deep into Larry's musical world. Often regarded as one of the brightest stars to shine on deep house music, Larry's alter-ego Mr. Fingers has rarely put a note wrong across an illustrious and expansive career. Lucky for us, the fingered one has decided not to change the formula tooo drastically, so it's full of rich, textured piano, delicately played congas, dreamy xylophone licks and swinging house beats. There's a touch of Latin flavour, a stupendously rich and varied palette plus an advanced musical structure, owing itself to proper 'songs' than repetitive beats n trax that litter the modern day house scene. Larry's gone and brought home the bacon pop pickers, showing every mutha f***a how it's done in 2018. An imperative release. Every home needs one! 


                                      STAFF COMMENTS

                                      Matt says: Possibly the most antipated 'dance' album from the last...five years..? Anyway, ignore the hype just listen to the music and make up your own mind. Is there anyone that crafts house music like ol' Larry H. I doubt it. Impeccable - he's still on top!

                                      Patrick says: Larry Heard follows up that spectacular 12" with his first album of new material in years. Ranging from the deep and soulful to the totally alien, this is top tackle from the real OG. Get your orders in, because this triple vinyl will fly...

                                      Mudlow

                                      Waiting For The Tide To Rise

                                        The latest LP from UK band Mudlow is a retrospective compilation of hand-picked songs from their previously-released studio albums and EP's. Some swamp punk whiskey-driven film-noir blues'. 

                                        "Blues sung with a low rasp and roar, guitar as nasty and swampy as you want." Everett True - Plan B Magazine

                                        "dirty guitars and sleazy howling vocals&the kind of music that makes you want to bark like a dog...” Erin Prior - BBC Southern

                                        National Jazz Trio Of Scotland

                                        Standards Vol IV

                                          "It's kind of a double bluff calling it the National Jazz Trio Of Scotland," says Bill Wells of a group that is famously neither a jazz band or a trio. "I was trying to be kind of perverse about it, calling it jazz and then deliberately not having anything that actually related to jazz."

                                          On their latest album, Standards Vol. IV, the National Jazz Trio continue their engagement with classic and outsider pop traditions. In addition to the ten Bill Wells originals and a new version of the Aidan Moffat collaboration 'Far From You', Standards Vol. IV features a cover of Richard Youngs' "Summer's Edge" from the latters's 2005 masterpiece Summer Wanderer.

                                          Now we're talking! After an endless winter of doom, gloom and cold war revivalism, Noche Espanola is here to herald the return of warmer days, white sands and primo pingers (our current batch are windmills - reassuringly expensive). The man behind the music, Balearic legend, production whizz and melodic maestro Phil Mison, forgets the stress of current affairs and takes us back to the glory days of Balearic house. The Outdoor Mix of "Domino" locks into a precise 4/4, flirts with some gorgeous conga rolls then lets Phil take it away with breesy acoustic guitar licks. From there we feel the force of a girthy synth sequence, delivering the neccessary bassweight to balance out the pitched down vocal sample - the crowd will go wild! On the flip, the Indoor Mix ditches the acoustic guitar, pushes the synths to the forefront and slots into heads down groove mode, additional cowbell and crystalline keys an added bonus. Phil drops a beatless synth outro as the umbrella in our cocktail then takes his lilo elsewhere - job done.

                                          STAFF COMMENTS

                                          Patrick says: It's always a good day when a Highwood box arrives, and Senor Mison's latest EP offers a much needed dose of dopamine in these uncertain times. This is Balearic house at its best, effortless, melodic and totally evocative of carefree days on the dance floor.

                                          FORMAT INFORMATION

                                          12" Info: Limited Hand Stamped 12" + Sticker

                                          In the relatively short time since Stroom first appeared in the stores, the Belgian label has quickly blossomed into an essential imprint for any true heads out there. Drifting between esoteric ambience, bedroom tape manipulations, wavy torch songs and overlooked R&B, the Stroom catalogue explores the frayed edges of the musical map, always looking for something unheard and unmissable. Their latest release puts a spotlight on Pablo's Eye, a loose collective of musicians and performers centered around Brussels engineer Axel Libeert. From 1989 to 1999, the flexible ensemble created a septet of CD only releases, the highlights of which make it onto this perfectly sequenced collection.
                                          Opener "Blind And Quiet" sets the scene with backmasked guitar, tremulous bass drones and animalistic breathing, gently pulling us into the deep dreamspace which Pablo's Eye call home. "Track 2" offers a further post modern twist, turning evocative piano, otherworldly zither and choral vox into a mournful mood piece via snippets of evangelical vocals. Soon we drift from that Lynchian contradiction to the remarkably Balearic "La Pedrera", a moody midnight stroll by beachside cafe's in an ocean breeze. At the close of the A-side, the somber strings and gentle guitar of "Track 4" hold us close in suspended animation, before the flip brings the propulsive beach resort funk of "Otis". With its atmospheric electronics, steady bass and chorus guitars "El Barrio Gotico" sounds like an ambient reprise of Texan classic "Broken Wings", while the tumbling percussion, snatches of vocal and electronic textures of "Amb 7" takes us dancing into the centre of the self. Finally, the one chord suspense and delicate jangle of "A Long Standing Dream" carries us off into the warming soup of the collective consciousness. By means of depth placement, psychoacoustics and spatial fug, Pablo’s Eye is experienced in the deeper reaches of the body, bypassing the conscious part of the mind entirely. More than anything, Pablo’s Eye is a temporary atmosphere, like a taste or a dream..." 


                                          Theo Parrish

                                          Gentrified Love Part 4

                                          New Theo featuring Amp Fiddler, Randolph, Ideeyah, John Douglas & Katy Kosins. Much like the three installments proceedings it; "Leave The Funk To Us" features a live and jazzy set of sound sources but it also harks back to classic Theo - niggly, trickski grooves decorated with hand claps and finger snaps but given extra life through stylized MPC programming. "Be Like Me" applies the breaks for a proper languid summer jam. Like sprawling across freshly cut grass as the Sun beams warmth onto your face, the track's midday haze and swelter is reinforced by powerful vocals and phat synth lines. In undeniably Theo and resplendent with soul. A sure fire jam for the holiday season.

                                          Shrouded in mystery, the Hermetica are a series of Egyptian-Greek didactic texts, meant to help the willing student better understand the cosmos, divinity, and nature. On her debut LP for DFA Records, German producer Perel takes the listener into deep space and explains it all. Over the course of nine tracks, she shares a striking amalgamation of house, new wave, and kraut motifs that crystallize to form a unique sound.

                                          Born in Saxony, Annegret Fiedler ventured into the realm of songwriting at the age of eight, composing her first songs on her grandmother’s piano while listening to Eurythmics and 2 Unlimited cassettes in her spare time. Moving to the East German city of Halle to study in the mid-aughts, she was heavily influenced by the multifaceted alternative music scene there, and the parties people threw in post-Berlin Wall abandoned buildings. Fiedler went on to develop her craft as a formally trained singer, co-producer, and multi-instrumentalist in several bands, covering a broad palette of styles ranging from punk rock to electro pop and honing her performance skills. A move to Berlin (and the city’s club landscape) inspired her to start recording solo productions under the moniker Perel.

                                          Mark Peters

                                          Innerland

                                            ‘Innerland’ is the first ever solo album by Engineers co-founder/songwriter and Ulrich Schnauss collaborator Mark Peters. It was originally released as a low-key limited-edition cassette late last year, but it sold out immediately through word of mouth and the backing of BBC Radio 6 Music’s Lauren Laverne and Gideon Coe, Uncut magazine and Caught By The River, whose Robin Turner said it was “impossibly beautiful, evoking a bird’s-eye view of its own landscape, one untarnished by the blots and the palettes and the Tescos of the real world”. It has now been relandscaped into a larger-scale, eight-track album and will get a full release on vinyl, CD and digital on April 20. A collection of instrumentals, with nods to Brian Eno, Talk Talk, Richard Thompson, Vini Reilly and Felt’s Maurice Deebank, ‘Innerland’ highlights Mark’s incredible musicianship, positioning his guitar rather than his voice as the focal point of the music. It also finds him reconnecting with his youth and rediscovering a sense of place, following a move back home to northwest England in late 2016, with all the songs named after local places and landmarks. 

                                            FORMAT INFORMATION

                                            Coloured LP Info: Blue vinyl version.

                                            Bobby Van Putten's Planty Herbs project has been active since 2010 albeit with an annoyingly scattered and scarce output. Now he offers fans a fully fruited tree of musical pleasure; 12 tracks across two discs that show exactly what Putten is made of. From the mellow soul food of "Nothing Lasts" to the laidback hip hop funk of "Downgrade", the dusty house experiments of "Akustika" to the poppy overtones of "Follow Me Now,"this is the sound of an artist with a rich musical gift and a soulful instinct. 

                                            A wonderful companion piece to the totemic Fed, we proudly announce the first ever vinyl edition of Korp Sole Roller by Plush. Liam Hayes' magical fourth full-length LP was previously only available on a rare Japanese import CD. Produced and arranged in 2010 by Pat Sansone (Wilco / The Autumn Defense), it finally arrives in a limited edition of 500 copies.

                                            The common impression of Plush is that of an underground rock myth, lent greater poignancy by the lofty vision that galvanised his music. Yet while he has long been a cult concern, clued-up celebrity fans periodically declare their profound love for Hayes' maverick genius. Indeed, after Jason Schwartzman introduced Plush to Roman Coppola, several stunning songs from Korp Sole Roller soundtracked Coppola's A Glimpse Inside The Mind Of Charles Swan III.

                                            As ever with Plush, it's easy to imagine you are listening to a privately pressed rarity from the mid-late 1970s. Or one of the criminally neglected jewels from the discography of Jimmy Webb or Burt Bacharach. The sound on Korp Sole Roller does differ crucially from Fed, however. It is more streamlined. These 10 gorgeously seductive creations careen around ornate string and wind instrument arrangements and producer Sansone's deft work is likely the reason for this. Yet, brilliantly, it still possesses that sun-warped take on classic pop-rock, that Plush specialises in. That peculiar "down-lifting" phenomenon of performing upbeat songs in an enigmatically mournful way.

                                            Upon completion, Korp Sole Roller barely received anything resembling a release. Press coverage was zero because none of the major magazines or blogs knew of its existence. His management at the time essentially buried the album in order to concentrate on other releases. Looking back on this decision, it really made little sense. Everyone involved in its creation of these near-perfect gems is extremely proud of it. Liam himself has described it as the favourite of his albums. Pat's delicate work is astounding. Remastered especially for this special limited edition, it is presented in a sumptuous gatefold jacket with high-end art photography throughout, including full colour inner sleeves. Finally, here's your chance to own a slice of kaleidoscopic pop history.

                                            STAFF COMMENTS

                                            David says: It's very rare these days that a record's reissued that no one here at Piccadilly HQ doesn't have at least some glimmer of knowledge stored away in a dusty part of their brain. This Plush album however, is just that, a genuine bolt of lightning that's electrified all of us with it's lush, Peak Bowie orchestration and kaleidoscopic embrace of pop history. Brilliant.

                                            Feel good soulful house music here from Preslav and Natalie Rogers. "Watch Your Step" is house precision mixed with an almost pop like sensibility. Riding in on a wave of jubulation and sunshine, the track's destined for massive crossover plays across the board over the next few months. Comes with a tasty instrumental version then it's onto Ladymonix for an incredibly tasty, Hacienda-flavoured house re-rub, big and bouncy and super super smiley - avee iiichh! The 'Sport' remix concludes, a shoulder swinging number you might catch Karizma making use of in the mix. It retains elements of the vocal, looping it up for maximum impact and pairs it with a squelchy bass and techy stabs before fading in some lush and dreamy keys. Awesome!

                                            Detroit lyricist and walking height chart Royce Da 5'9" teams up with production legend DJ Premier for their second full length LP as PRhyme. The first group Primo's been a part of since his time in the legendary Gang Starr, PRhyme hit us with a future facing take on hip hop's golden age, complete with killer flows and freewheeling lyrics. With guest features from Dave East, Yelawolf, CeeLo Green, 2 Chainz, Big K.R.I.T., Curren$y and two time Grammy nominee Rapsody, you know this is gonna be lit.

                                            Roska

                                            Windbreaker Riddim / Warming

                                            This release sees Roska dropping some new, serious fun, with the pad-tinged menace of "Windbreaker Riddim" and the carnival flavoured chaos of "Warming", it finds Roska is excellent form - poised, classy and undeniably FUNKY! Two cuts ready to rock the dancefloor and the field over the coming months.

                                            Released via the impeccable Byrd Out which has previously released killer twelves by DMX Crew, Andrew Weatherall and Mad Professor.


                                            Limited copies! 


                                            STAFF COMMENTS

                                            Matt says: Byrd Out continue to proove their diversity, enlisting UK funky pioneer Roska for a double header of carnival presha. Big ting!

                                            Fresh on Fly Lo's Brainfeeder comes this lo-fi stalwart with four tracks of decidedly more experimental styling's than the usual bit reduced 4/4 house he's become famous for. An obvious choice for this pioneering LA-based label, RFF is both taste-defining, on trend and cutting edge, all at once; barging his way into the hallowed halls of this iconic label and finding confidence next to label mates like Kamasi Washington, Daedelus and DJ Paypal. The four tracks here are multi-textured and detailed, languid and emotive. As much in tune with the mind and soul as the body and butt, it marks an exciting new direction for this talented producer who's obviously still got lots of tricks up his sleeve. From electronic soul of openers "Don't Wake Dad" and "John Cage" to the adventurous, swirling deep house of "There's a Hole In My Heart" and the stuttered glide of EP closer, "March"; every track has manipulated vocals and a distinctive sound palette, demonstrating the exquisite skills of this producer wonderfully.

                                            Koenig Saatgut

                                            The Spirit EP

                                            Koenig Saatgut appears for the first time in 15 years with this high spirited double header which screams of vintage nostalgia and 90s hedonism. "The Spirit" is an unabashedly big track, matching a catchy dry piano lick and sticking an almost retroist big beat boom bap beat underneath it. "Your Houze" flips the mood into summat tighter and dare-I-say-it more sophisticated, bringing a modernist approach to vintage, sample heavy house music. There's a whiff of French touch and KDJ about this one, mixed with an incendiary and couldn't-care attitude that'll ensure it sets plenty of dancefloors alight this year. Big tune.

                                            Originally from Japan, this Boston-based singer, song-writer, and DJ is known to her peers as the Beantown Disco Queen & is bringing back the eclectic, outrageous fashion and cultural diversity that composed the nightclub scenes in the 70s and 80s . With a touch of humor added to the equation, her popularity has been gaining steady momentum in the U.S. and overseas underground disco scene.

                                            "Magic Dust" comes in two flavours. U-Key traverses house and boogie, with a 4/4 projectory and 80s synth inflections, paired with some skilled guitar fretting. E Live pumps up the strings for a more smooth gliding, soulful operation, crossing into warm Balearic moods. Really strong release! 


                                            Next up to bat on Art Alfie’s Velvet Pony is Stockholm talent and Karlovak alumni Cj Scott who hits way out of the park. This EP includes the highly anticipated track "Peaktimekatten", already featured on Baba Stiltz Resident Advisor mix along with two more house bombs both bearing CJ´s signature touch of speed and urgency stretched out over the full length capacity of a record's side.

                                            "Mixed Emotions" utilizes a traditional funky house sound at full throttle, landing somewhere between Subliminal Sessions and Hot Haus Records! Meanwhile "CJ's Flyby" introduces itself through head turning fx and enveloping beats, galloping into a peak time house frenzy that recalls the steam train power of Delano Smith! Finally, the aforementioned "Peaktimekatten" is the most abstract yet hard hitting of the three, long percussive passages giving way to skeletal stabs and a squashed, low end rumble.

                                            His previous release on Karlovak gained huge support from the likes of Martinez Brothers and Cassy and this one looks to be equally devastating across clubland... Of you like your house music fresher and hotter than a noontime This & That off Mo, this bad boy burner is surely for you. T I P!


                                            STAFF COMMENTS

                                            Matt says: It's funny, I always end up falling for Art Alfie related stuff. I never realised this was his label and I was already going nuts for this full throttle deep house bulldozer.


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