MAGIC MIX

ALL GENRES

WEEK STARTING 13 Dec

ALTA’s debut release, "Reasons" is the product of many long nights making music together in a back room at Hannah and Julius’ Brunswick home. It was self-recorded over 10 months, from January 2018 to November 2018, using midnight sessions, tape delay effects and a literal room full of wall to wall synths to carve out a world all their very own. 'It's a collection of songs written together in our home studio. No cowriters or anything, just us two experimenting making the music,' says the band. The album was later mixed by Seekae’s George Nicholas in Sydney and mastered by Grammy-winning engineer Chris Gehringer at Sterling Sound (Rihanna, Janelle Monae, Chvrches).

Thematically, the album’s title alludes to the sense of complacency that often sets in when people start making excuses for themselves. 'It’s this internal thing,' Julius explains, ‘always coming up with reasons why things did or didn’t happen, or reasons why someone else did something. Often it’s self-preservation but it’s also bullshit.'

"Push" follows on from previous singles "Figured Out", "Back On It" and "Twisted", which have just under 2 million streams on Spotify since their release and are receiving global attention, with spins on BBC Radio 1 and praise from the likes of The Line of Best Fit and CLASH.

"Reasons" is an intricate and emotional body of work that will see ALTA step out from Melbourne’s underground scene, and into the international limelight..


Known to the world as the founder of the Church of Satan and author, among other cult esoteric texts, of the Satanic Bible, Anton Szandor Lavey was also a skilled musician with a taste for weird, creepy old/timey sounding tunes. Present in this compilation are 6 of his best recordings and the first ever recording of a satanic mass conducted by the very high priest himself in 1968. A compendium of the words and music of one of the most singular and demonized characters pop/culture has ever seen. Let yourself go with the suave and eerie sounds of the satanic empire and hail the dark lord!

Apiento returns to World Building for another soulful journey!

Hot on the heels of the smash "Things You Do For Love" seven inch.

"Down That Road" features the ultra smooth vocals of Los Angeles' Harriet Brown. An intimate London by L.A. via D.C. connection.

Brown's contemplative lyrics meet Apiento's rainforest synths & massive low-end pressure. Patient dancers are rewarded halfway with a dope sunrise acid bass. Serious smiley face biz! Multiple mixes with a trippy ambient dub & a cute padapella.

World Building ensure they're talk of the town as the year draws to close with this essential twelve from Apiento. 


STAFF COMMENTS

Matt says: Apiento are fast becoming the hottest thing in the blogosphere right now; counting Ruf Dug, Tom Nobel, Neil Diablo and many more as avid fans. This 12" shouldn't let anyone down whose previously dug their arresting, skeletal deep electronic soul.

Archers Of Loaf

Icky Mettle

    Originally released in 1993; refreshed here with liner notes by Robert Christgau (of Village Voice).

    “No single trend in 1990s indie rock can be traced back to Archers of Loaf. They weren't quite "lo-fi," they weren't quite "slackers," their guitars weren't quite "noisy" and their drums weren't quite "mathy." Eric Bachmann's vocals were gritty and visceral, but his lyrics were oblique and cerebral. Archers of Loaf thrived on subtle contradictions, on purposeful vagaries, on tentative gestures delivered with utmost conviction.

    They released increasingly adventurous records for five years, and broke up with minimal drama or fanfare. This perfectly captures the energy of the band's early days, from their slapdash first singles to the scrappy brilliance of Icky Mettle itself to the more honed recordings that followed. Released on the heels of some well-received singles and a buzzed-about performance at the CMJ Music Marathon in New York, Icky Mettle was a hotly anticipated debut. To say it starts on a strong note would be an understatement; opener "Web in Front" is quite simply among the finest indie rock songs ever written. That a song whose lyrics are all but impossible to parse literally comes off as so immediate and relatable speaks both to Bachmann's skill with words-as-sounds, and to his bandmates' ability to put force and nuance behind his voice. Much of the credit here belongs to guitarist Eric Johnson, whose melodic and fluttery guitar parts seem to hammer the very emotional notes that Bachmann's words intentionally skirt. The second disc compiles the excellent Vs. the Greatest of All Time EP and the early singles that were previously included on the Speed of Cattle compilation. The five songs from Vs. the Greatest of All Time hint at the more spacious and muscular sound that the band would cultivate on their sophomore LP, Vee Vee, while early 7" versions of "Wrong" and "Web in Front" are disjointed and flaccid previews of their album counterparts. Uncertainty has never sounded so much like a rallying cry” 

    FORMAT INFORMATION

    LP includes MP3 Download Code.

    BDB

    Boss Rhythm / Niio Rhythm

    UK techno stalwart Benjamin Damage makes his debut on Feel My Bicep under the name BDB - a collaborative alias with anonymous label mates. Two original tracks, a dub and a handy tool make up the 16th release on the label, which seem to be treading onto more techno-leaning pathways of late.

    The 50Weapons star drops two full-side tracks, starting with the wailing and screeching tension of "Boss Rhythm", that drops into full-throttle flatline techno hum after its monstrous breakdown.

    "Nilo Rhythm" loads unrelenting hi-hat patterns and emotive pads into the DAW; a long, powerful arc into late night decadence that'll make most sense being spun after the 3AM watershed.

    FMB continue their majestic run of form.... Recommended!




    Becoming Real

    Mist Face

      Becoming Real is a UK electronic producer based in Copenhagen. ‘Mist Face’ finds him further exploring the influence of grime, vapour wave, cyberpunk and ambient dream music, paired with detailed and engrossing sound design that conjures fragmented ghostly scenes in empty future cities. It should appeal to fans of Arca, Burial, Four Tet, Varg, HKE, Murlo, Dream Catalogue and Actress. Since his first release in 2010 he’s dropped several well-received EPs and an album on Transgressive Records. His early promise earned him inclusion in The Guardian’s ‘New Band Of The Week’ and NME’s ‘Radar’ features, and saw him pick up radio support from Lauren Laverne, Huw Stevens, Mistajam, Rinse and Mary Ann Hobbs. Following the release of his debut album ‘Pure Apparition’, he took some time out of music to focus on the visual arts. ‘Mist Face’ is his most fully realised project yet.

      Regular Public Possession pal Bell Towers touches base again, treating all comers to a off-beat treat in the form of "Juicy Blend". As a DJ, digger and selector, Rohan's pop chops have been proven time and again, and here the producer serves us his slinkiest serenade yet, topped with his own vocal intonations. Stepping into the club wearing a synth pop shimmer, Balearic cardigan and some form of fetishwear, "Juicy Blend" is house in its loosest sense, sounding less like MAW and more like an '88 Frankie Knuckles mix of Flash & The Pan with Neil Tennant on vocals - and if that's not a juicy blend, I don't know what is. As well as the full vocal version, Bell T treats us to the mostly voxless Groove version on the B2, leaving more than enough run time for a pair of ace remixes. Leftfield stalwart Bullion brings the track to the peak time in the back room with electrohouse synthlines and a shuffling 4/4 for his more streamlined mix while alt-pop king Jaakko Eino Kalevi pairs percolating bass tones and snapping perx for a killer Streetsounds-style variant.

      Better Oblivion Community Center

      Little Trouble

        Back in January, Better Oblivion Community Center, surprise-released their self-titled debut album. The record is available digitally and physically via Dead Oceans. Today, the new band from Phoebe Bridgers and Conor Oberst follow the release with two new songs, as well as a live set for NPR's Tiny Desk featuring stripped-down performances of "My City," "Exception to the Rule," and the album's lead single "Dylan Thomas."

        We've only got a handful of these so get in there quick!

        FORMAT INFORMATION

        Ltd 7" Info: Clear with orange splatter vinyl!

        A beautiful, dreamlike expression of spiritual jazz recorded at a time when the idiom was completely out of vogue, Gary Bias' East 101 remains little known even by cult-classic standards, but its free-flowing approach demands attention from listeners who believe this kind of LP ceased to exist somewhere around the late 1970s. Recorded with a stellar supporting cast including vibist Rickey Kelly, bassist Roberto Miranda, and pianist David Tillman, Bias unspools a suite of deeply soulful and profoundly far-reaching original compositions that vividly evoke the blue skies of the record's Los Angeles origins. His flute and soprano saxophone somehow divine gravitas from weightlessness, creating music that challenges as much as it comforts.
        Jason Ankeny/AMG

        Bitter End

        Honky Git Fonky / Bu Bu Yam Yam

        Bitter End continue to rip up the rule book with a genre defying output that's up there with some of the best dance music around at the moment. Release No.11 hits the ground running with a whiteboy disco-funk bomb on the A, a relentless gallop with soaring synth work and an unwavering commitment to uniting sweaty bodies. Coincidently aligning itself with the sound of rising Manchester upstarts - See Thru Hands. Are we due a prep-funk revolution?!

        "Bu Bu Yam Yam" switched into deep house mode, a subtle Reese gliding away in the lower registers as frenetic perc, keys and drum kit all get bustling in the rhythm section. 


        STAFF COMMENTS

        Matt says: I honestly can't believe we're up to number eleven in this series. Well, you know how the old saying goes - time flies when you're having fun. And having fun we most certainly are when Bitter End are involved!

        Ground & Water, Blu and Damu The Fudgemunk have released yet another standout project as part of their already-incredibly noteworthy catalogues. But this time, they’ve done it together. After collaborating in different ways over the years, the two joined forces for a release that’s every bit as dope as you’d hope considering who’s involved. From the Los Angeles rapper’s tight-as-ever rhymes to the Washington, D.C. native’s crunchy production, Ground & Water captures exactly why Blu and Damu are so revered. For Damu, that meant diving into the storied discography of his new partner-in-rhyme. While the producer always thought highly of the emcee’s talents, he says he realized that Blu’s much greater than people give him credit for.

        That led to the excitement of creating Ground & Water, because Damu knew he’d get to tell a story through a cohesive release. The story is one that treads personal, introspective territory that Blu delivers like only he can. On standout track “Share The Love,” Blu and guest Raw Poetic (one of Damu’s frequent collaborators) tackle the dusty, meditative production with thoughtful raps about wanting to see the world in a better place with inspirational lines like, "Stop being so tight, and be more lovable/ I guarantee more opportunities open up for you." Similarly, Blu bares his soul on instant highlights “Feet on the Ground,” “Rhymes & Gemstones,” and “Grey Heaven." His verses take a deep dive into relatable topics like faith, guilt, spirituality, humility, and so much more, proving that his pen game is as sharp as ever. “When you listen to the lyrics and digest the subject matter, there's a lot of depth in his words,” Damu says of his collaborator. “I wanted to provide a similar depth in the music.” To say he matched Blu’s efforts would be an understatement, which you could find out for you 

        STAFF COMMENTS

        Millie says: Collaborating to make this incredible hip hop album is Blu & Damu The Fudgemunk. Amazing production and beats, not to mention the impacting lyrics which hold so much depth and relevance. This needs your attention!

        FORMAT INFORMATION

        Coloured LP Info: Blue Vinyl LP.

        When acclaimed South African musician Guy Buttery first sought out Dr. Kanada Narahari in late 2016, it was as his patient.

        “It was a dark time.” Buttery recalls, “I had been bedridden for months and had been suffering from debilitating bouts of fatigue which no diagnosis or medication could help me get to the bottom of. When I first met Kanada, I was at the stage where even picking up my guitar to make music had become a joyless and taxing exercise.”

        As Buttery’s searched for a cure, a family member recommended he see Kanada an Ayurvedic doctor who had relocated to South Africa from India and set up a practice in Durban. It was during this consultation, that the musician first experienced how Narahari infused the healing properties of Indian Classical music into his practice. Rather than treating him with a smorgasbord of pharmaceuticals, Narahari played his sitar and set Buttery on a strict daily diet of Raga’s to fast track his recovery.

        Buttery was not only struck by his doctor’s musical talents but by the powerful healing properties inherent in his sitar compositions. When he left Narahari’s doctors room that afternoon, he asserts he was feeling decidedly clearer, lighter and stronger.

        “Diving into Kanada’s music was definitely one of the reasons I'm still here today.” he admits. “The consistent tonal centre at the heart of Indian Classical Music, literally became my support pillar over this period. A central core of sorts in which to fall back on, strengthen and discover.”

        Narahari as it turned out, was not only a prominent music therapist (and one of the only Ayurvedic doctors practicing in South Africa) but like Buttery, a highly accomplished musician with a devoted following back in his homeland.

        Born in a small village along the Western Ghats in Karnataka, India, Narahari, at the age of nine, had enrolled to study Carnatic classical vocal and developed an interest in Hindustani Classical music with a particular passion for the sitar. While Buttery had secured his reputation as one of South Africa’s musical treasures, a multi-instrumentalist who commands sold-out performances both locally and internationally and more recently had been awarded the prestigious 2018 Standard Bank Young Artist for Music.
        From this consultation, a friendship developed between the two musicians with Buttery soon inviting Narahari to join him in his studio. But it wasn’t all plain sailing in the beginning. While Buttery and Narahari’s sensibilities were very much aligned, there were a range of cultural and musical influences, nuances and inflections that first needed to be navigated and understood.
        “I suppose we had to find a common ground.” Buttery says, before adding, “Which in the end turned out to be pretty "uncommon ground" for the both of us.”
        It was after a few intensive sessions together that something exhilarating began to emerge. What began as a few idle improvisations soon evolved into feverish and lengthier jams. Whenever time permitted, the musicians would meet, descending deeper into the emerging sounds, while reimagining the realms that existed between their African and Indian heritages.
        Over the next few months, the duo would rack up over fifteen hours of recordings in studio, and it was up to Buttery to shape the material into an album which they collectively titled Nāḍī, which Narahari translates from the Sanskrit as "The Channel" or "An Internal River".

        During this period, Narahari bestowed upon Buttery, the moniker Guruji while Guy would refer to him, in affectionate return, as Panditji. Each time the musicians would meet, the studio space would be cleared by an impromptu ritual, with Guruji burning African Imphepho while Panditji would chant a Sanskrit mantra dusting Indian Agarbatti clouds over their instruments.

        Once the room had been made hazy with this aromatic alchemy (with the ancestors welcomed in) the musicians would pick up their instruments and plunge into shimmering tides of sound. Reflecting on these sessions, Narahari recalls the immense creative freedom he felt throughout: “Guy and I tried to wander as much as possible, without any speculative, preoccupied ideologies or limitations. Love remained at the forefront of our journey together.”

        “Those evenings we spent together in the studio” adds Buttery, “felt incredibly rich with purpose and a profound sense of freedom. While improvising, anything could happen and mostly did.”

        On a first listen, the tracks on Nāḍī emerge as salty, humid invocations to the inscrutable depths and misty myths of the Indian ocean-- that vast body of water that stretches between, and laps the shorelines, of the artists’ respective homelands.

        When asked to describe the sound him and Narahari refined, Buttery prefers to relay a series of evocative images.

        “For me” he explains, “Nāḍī is a lighthouse, a beacon that resides at the bottom of the ocean.” As Buttery envisions it, “what once offered light to guide ships to safety, has been submerged and re-purposed by marine life as a coral-reef temple. Similarly, this sunken lighthouse exists as a concealed cenotaph, memorializing the ancient sea-routes and passages that once connected the two distant lands.”

        On paper this may sound obscure but listening to the songs, it serves as an apt metaphor.

        Across each meditative movement, listeners are able to relive the journey, immersing themselves in a series of incantations, replete with high dynamics, delicate African-Indian inflections and virtuoso string playing of an entirely new order. Further complimenting the fusion of musical dialects are a range of guest artists including Shane Cooper on bass, Thandi Ntuli on vocals, Chris Letcher on organ, Ronan Skillen on tabla and percussion and Julian Redpath on guitar, synth and backing vocals.

        Now like the submerged lighthouse, the recordings stand as a monument, a marker and snapshot of this fortuitous meeting, a tribute to the healing gifts of Guruji and Panditji in performance. It’s a process that already, both musicians look back on with reverence and nostalgia.

        Buttery ruminates in closing, that when he first met Kanada his illness correlated with the biggest drought South Africa had experienced in many years “…for whatever reason, whenever we would connect and make music together, the sky would tend to open. Even if it was just a few drops. This went on for months, until finally the drought dissipated and my health had been restored.”

        By the time the heavens did open across the East Coast, a deep friendship had been forged and with it abundant musical offerings poured down. A treasured sample of which we able to share in every time we press play and immerse ourselves in the sacrosanct musical universe that is Nāḍī.

        For its new release, the Parisian crew Discomatin picked a lesser known banger of the boogie era, Maudit DJ by Clara Capri. Produced in Belgium by Jay Alansky with lyrics written by his sidekick Jacques Duvall, this EP brings together an Italo discoesque bassline surrounded by shiny synths and irresistible guitar licks. On top of that, Clara Capri sings with a high-pitched voice. Maudit DJ is a real celebration of the nightlife.

        Fortunately, it’s brought here with all 3 versions transferred from the original tape masters: the extended “Version Longue” with its great introduction sounding like strong early house, the shorter “Version 45 Tours” if you’re in a hurry and, last but not least, the instrumental version for those too shy to play the vocals. But let’s head back to the 80’s: Jay Alansky and Jacques Duvall are having a real success. They just produced famous Belgium female artist Lio’s first hits and have access to Dan Lacksman’s studio in Brussels - member of Telex with Marc Moulin. During this euphoric period, they met Clara Capri, a young Italian girl really crazy about Disco, swearing only by Giorgio Moroder or Chic. Her two buddies decide to concoct her a real hymn to the dancefloor. For them it sounds like the perfect time, considering the duo always dreamed of being like a shadow production team, just like Motown’s very own Holland-Dozier-Holland. With a great care to the production and the sound and with the best technologies from the era, they managed to create this French dance music attempt, at a moment when nobody was speaking about French Touch.

        Thanks to Discomatin, it’s now available to the real connoisseurs with an exclusive insert which contains lyrics, again with fantastic illustrations from french artist Camille de Cussac.

        STAFF COMMENTS

        Patrick says: You know I can't resist this kind of tackle. Francophone boogie with superb bass sequences, sweet female vocals and Chic guitars - you can virtually taste the beachfront shandy...

        While "Bobby" was the track that sparked the idea for Caserta to start BridgeBoots, "Diana" was always in the back of his mind.

        "Diana" started off as a release on the long since defunct LegitMix platform. Now it gets new life remixed and mastered by Caserta @TheBridge StudioLA, with a more concise 7-inch edit as well as a brand new 'Sing A Long Dub' on the flip; it's sure to be a main stay in the crates for years to come.


        STAFF COMMENTS

        Sil says: Right on time to be dropped in one of those awful xmas office parties but hold your horses... why drop the original when you can drop this mega edit instead? Buy on sight!

        "Tangerin" serves as a coda to the qualities that have established Celeste as one of the most instinctive and generous underground DJs in the current landscape of dance music. Beginning as a record store assistant at Idle Hands in Bristol and now a fixture of some of the world’s most acclaimed clubs and festivals, Celeste’s instincts and curiosity have forged a musical space that is very much her own. Here, whether in sweat-drenched basements or to vast numbers, she strikes a common cause between the melodic richness of the legacy of the music of Detroit, alongside the natural ease with which she carries across tempos that embody UK Soundsystem traditions. "Tangerine" is Celeste’s most fully-realised contribution thus far to this continuum of musical culture.

        More than that, Tangerine is an innate extension of Shanti’s self, telling stories beyond her record box and delving into her personal history. There is her manipulated voice serving as a bedrock in tracks. There's a kalimba, recorded at her father's home in Chile.

        There are, of course, her rich synthesizers that wrap her tracks like velvet cloaks, providing the familiar warmth and colour we know from her work so far on labels such as Idle Hands and Future Times. There’s even her characteristic paintings on the cover. Here, on her very own Peach Discs, the label she co-runs with goodfriend Gramrcy, Celeste naturally delivers her most impressive and wholly personal work.

        'When I made music for EPs, sometimes I felt restricted,' she says. 'I would think too much about creating the moments on the dancefloor I love - seeing visions of ecstatic people hugging, I didn’t give myself free reign to express all of myself. Writing an album made me feel free of all this because it seemed like an open-ended project. I could just keep creating until I felt like stopping'.


        STAFF COMMENTS

        Sil says: I love this producer. Real deal house music for the heads the like it deep, but still like to party and dance front left. She gets my vote.

        The Chameleons

        Script Of The Bridge - 2CD 25th Anniversary Edition

        This is one of the greatest records ever associated with Manchester. Taking their drive, passion and earnestness from punk but with a songwriterly craft light years beyond, The Chameleons mixed swirly, echoey FX, heart-on-the-sleeve angst, and the most incredibly anthemic songs, to produce a far stronger album than say, U2, whose debut was in a similar vein to this record. This was a band you could truly believe in. They were never cool or fashionable, it was all about The Music and the connection. This 25th anniversary, 2 CD edition features updated artwork (by Reg!) a remastered, awesome sound, and new sleevenotes from Mark Burgess. It's absolutely brilliant!

        The Chameleons

        Script Of The Bridge - Remastered Edition

          The Chameleons seminal debut album ‘Script of the Bridge’ restored and re-mastered for vinyl at Abbey Road Studios, London. The package contains two heavyweight (180g) vinyl discs together with a free digital download code.

          The two 12” discs are in white poly bags inserted into spined LP sleeve, featuring exclusive new artwork by The Chameleons guitarist Reg Smithies. 

          FORMAT INFORMATION

          2xLP includes MP3 Download Code.

          The Chameleons

          What Does Anything Mean Basically? - Remastered Edition

            The Chameleons second studio album ‘What Does Anything Mean? Basically’
            re-mastered for vinyl in Spring 2018.

            The album is presented on heavyweight clear vinyl in a gatefold sleeve with printed inner bag. The iconic cover art has been re-worked and updated by guitarist Reg Smithies.

            This packaging is restricted to one thousand copies, with any future runs only being available in regular sleeve.

            FORMAT INFORMATION

            Coloured LP Info: 180 gram clear vinyl in a gatefold sleeve.

            The Chameleons

            What Does Anything Mean? Basically - 2CD Collectors Edition

            A collectors edition of The Chameleons second studio album, "What Does Anything Mean? Basically" is via Blue Apple Music. The 2-disc set contains a re-mastered version of the original album (including the 1981 "In Shreds"/"Nostalgia" single), plus a bonus disc featuring previously unreleased demo recordings. The album is presented in a Super Jewel Case with new artwork by Reg Smithies.

            "'What Does Anything Mean? Basically' proved to be that rarity of sophomore albums, something that at once made the band all the more unique in its sound while avoiding a repetition of earlier work. Ironically, the first track, "Silence, Sea and Sky," turned out to be the least Chameleons-like track ever, being only a two-minute synth intro piece played by Mark Burgess and Dave Fielding. But with the gentle intro to the absolutely wonderful "Perfumed Garden," lyrically one of Burgess' best nostalgic pieces, it rapidly becomes clear exactly which band is doing this. The empathetic fire that infused Burgess' words for songs like "Singing Rule Britannia (While the Walls Close In)," a poetic attack on the Thatcher government, finds itself matched as always by brilliant playing all around. John Lever's command of the drums continues to impress, and Fielding and Reg Smithies remain guitarists par excellence; the searing, sky-bound solo on "Return of the Roughnecks" alone is a treasure. The sublime combination of the rushing "Looking Inwardly" and the soaring, blasting rip "One Flesh," leading into a relaxed instrumental coda, anchors the second side, while "P.S. Goodbye" provides a lovely, melancholic conclusion to an astounding record." - All Music

            STAFF COMMENTS

            Martin says: If ever there was a perfect example of the right sound at the wrong time on an even wronger label, The Chameleons were it. Sentimental kitchen sink tales of ordinary Manchester wasted lives; of drugs, love and stoned existential evenings set against a glorious, dreamy post punk soundtrack to a winter's day.

            The Chameleons

            Why Call It Anything - Special Edition

              The Chameleons fourth and final studio album receives its first ever outing on vinyl, with the initial pressing on 2 x heavyweight coloured discs presented in a gatefold sleeve.

              Why Call It Anything was produced by David M Allen (Strange Times) and was the band’s first full studio recordings after a fifteen-year break.

              Re-mastered for vinyl, the album was cut at Abbey Road by engineer Geoff Pesche whose impressive CV includes cutting the lacquer for the best selling 12” of all time, New Order’s Blue Monday.

              FORMAT INFORMATION

              2xColoured LP Info: Orange and blue coloured vinyl.

              My Favorite Things was one of John Coltrane’s bestselling LPs ever. Recorded by Atlantic Records in less than three days during several marathon sessions, it produced enough music that would later be issued on subsequent albums: Coltrane Plays the Blues, Coltrane’s Sound, and Coltrane Legacy. “My Favorite Things”, the title tune, belongs to the Rodgers & Hammerstein hit musical The Sound of Music, which opened on Broadway on November 16, 1959. Prior to Coltrane’s interpretation of the song, Benny Goodman was among the first to give it a jazz setting, but it was Coltrane who brought “My Favorite Things” to the attention of the jazz world with the version contained here. Apart from the bonus track ‘Exotica’, an original by Coltrane, the inclusion of compositions by Cole Porter, George & Ira Gershwin and Rogers & Hammerstein, this album is very much a salute to the ‘great American song book’.

              FORMAT INFORMATION

              Ltd LP Info: Limited edition 180g vinyl with alternative cover, deluxe inner sleeve and bonus track. One pressing only.

              The Cramps

              M-M-M-M-M-M-M-M-M-M Mad Mad Daddies - Live At Napa State Hospital

                On 13 June 1978, NYC punkabillies The Cramps played a free show for 300 psychiatric patients at the Napa State Hospital.

                The greatest live show in the history of rock and roll music!!! A unique document of a wild performance where the only folks wilder than the band are the audience. 

                The final chapter in the D.K. trilogy has arrived adorned in a hooded cloak. Sword by his side, the warrior master is rising. This time taking a decidedly darker and determined approach, D.K. is here to fight the final battle - and make it out alive.

                The EP opens with the aptly titled "Storm Of Steel". An industrious cold front brimming with metallic clangs and resonant tubes. You can hear lightning strikes in the snares and thunder in the bass. In "Frozen Sword", the tropes synonymous with this trilogy are neatly tied together again as D.K. opts for glass tubes, gated snares and deep rhythmic baselines. This second track is an epic battle song, conjuring Crouching Tiger, Hidden Dragon / quasi-Matrix fight scenes.

                Racing the clock to crack the code in "Code Breaker", alarm sirens sound off in the background as if D.K.’s plans have been foiled. It’s not until a flute motif at 4:14 that you realise our protagonist, all along, had an ace up his sleeve. The EP’s closing and title track "Rising" is a melancholic/euphoric dance between D.K.’s warrior’s emotions of what was won, but also what was lost.

                STAFF COMMENTS

                Patrick says: In case you haven't noticed yet, D.K. only makes sick records, and this latest EP for Antinote is among his most infectious. Tribal rhythms, razor sharp breaks and voodoo drum machines intersect with metallic leads, synth flute and 16-bit symphonies, totally nailing that cyber-druid videogame vibe. Flawless victory!

                Originally out on Happy House in 1992, this Mad Mike produced vocal house tune has been an enduring anthem for nearly three decades. Reissued on Underground Resistance, featured on Laurent Garnier's famous Mixmag CD and lusted after by Detroit and garage fans alike, it's striking old school sound blows up whenever it's dropped. Sounding just as good as it ever did and joining other auspicious UR reissues "Riot", "Dookie Machine" and "World 2 World". Features extended club mix and shorter radio version. Back for a limited time... don't sleep!

                Presented in Europe in 1956 under the title of Davis’ Cup were Miles Davis’ earliest recordings for Columbia. Most of the tracks had been previously released on the album ‘Round About Midnight (CL949), which marked the trumpeter’s first LP for that label. Miles Davis’ quintet was formed in 1955 and is widely regarded as one of the greatest combos in jazz history. The band’s considerable number of recordings is due mainly to contractual agreements. Miles had been recording for the small jazz label Prestige, which didn’t have a wide distribution. However, after his success at the 1955 Newport Jazz Festival, he received a substantial offer from the recording giant Columbia. Prior to leaving for Columbia, Miles fulfilled his Prestige contract with a couple of marathon sessions that yielded the celebrated Cookin’, Steamin’, Workin’ and Relaxin’ LPs. Davis’ first Columbia sessions, recorded while Miles was still under contract for Prestige, produced the album ‘Round About Midnight, which was titled after the Thelonious Monk tune that had earned him such great success at Newport.

                FORMAT INFORMATION

                Ltd LP Info: Limited edition 180g vinyl. Collectors edition with alternative cover and deluxe inner sleeve. One pressing only.

                Exploring the balances between pop song writing structures, 80s bedroom electronics and dirge-y gloom rock, Paris based Dissemblance presents her debut LP "Over the Sand" for Mannequin Records.

                Over the ten tracks Dissemblance treads the fringes of a blurred dream world, using her bass guitar, voice, and drum machine as the backbone to create haunting yet soothing pop atmospheres in her songs.
                The opener "Transfuge" maintains a focus on the bass guitar, while a sparse rhythm box and monotone vocal fuel unbreakable tension. "Rescue" continues centered around the bass playing, this time with more almost upbeat surf rock pop sensibility driving the track. The closer "A Ride" takes shape with Boss DR-55 clicks, solem, floating vocals and a subtle bassline reminding us of some of Lifetones finer moments.
                A welcome new addition to the Mannequin catalog, "Over the Sand" will appeal to fans of gloom tinged electronic pop and even to optimistic goths around the globe.

                All songs written and produced by Mathilde Mallen in Paris, France. Mixed by Silent Servant in Los Angeles, California, 2019.

                DJ Nobu returns to his own Bitta label, his personal playground for new musical projects with a focus on artists coming out of Japan. The label functions as a space for experimentation with the intention of instigating multiple styles by unexpected artists or pairing them with stimulating remixers. The unique chemistry created by these cross-genre connections results in an exciting catalogue carefully curated and directed by DJ Nobu himself. After recent outings on Rush Hour, Token and BleeD, the Japanese producer dives even deeper into a pure and adventurous techno journey with his most simplistic output to date. A DJ tool EP designed for the club, with four tracks of stripped down yet powerful dance floor workouts. All cuts have been tested and proven in Nobu's own DJ sets before now, so he decided to make them available for fellow DJs to play and experiment with.

                STAFF COMMENTS

                Patrick says: Though this quartet of DJ tools mght be simplistic, they are highly hypnotic, nailing the Robert Hood "Minimal Nation" style of immersive techno whilst exploring a more organic and psychedelic palette.

                Kicking off a brand-new Wolf offshoot label, celebrating the soulful sound of house music from the late 90’s & early 00’s, two DJ Romain classics get the remastered treatment straight from the DATs!

                "It’s The Spirit" became an instant classic when released in 2004 - it’s eyes closed business with a weighty bassline, buzzed stabs, spiritual organs and Darryl D'Bonneau’s impassioned vocals. A track that still holds up today, regularly played by the likes of Floating Points, Ben UFO, Kerri Chandler and others in the know, fetching up to £40 on the cogs.

                While digging through the racks in A1 Records in New York a few years ago, the Wolf duo came across "Piano Man" nestled on the B side of a Romain release from 1998. A peaktime burner, that never fails to ignite the dancefloor and one that always gets named checked whenever they let it loose.

                After contacting DJ Romain, who to their surprise knew of Wolf and was keen to work together, they set about giving these jams a new lease of life, digging back in the archives to recover the DATs from the original projects.

                This one’s not for the gurning fly catchers, it’s specifically for those that like to get down. 


                Gerard Hanson fans are currently enjoying a feast of new and old music from the electro stalwart, with Frustated Funk reissuing a double 12" a few months ago and now this brand new LP on Forgotten Future.

                One of the most revered and respected of the knob twiddlers, Hanson's aliases (Convextion, ERP), since 1995, have created some of the most unique and atmosphere-riddled pieces to have graced the techno and electro cannon. His scarce, quality-controlled output, coupled with his shyness towards publicity and an almost none existent touring schedule have earned his a diehard set of fans across the world, culminating in a now historical European debut here in Manchester in 2006 at the old Rampant Lion pub for (Wet Play precursor night), Detroit Public Radio - !!!

                Anyway, what's in store on "Exomoon" I hear you ask? Well, the most emotion-charged neon-lit futurescapes I've heard for a while. Imagine if you were piloting a drone around nocturnal Tokyo in the year 2055. The reduction in combustion of fossil fuels resulting in a serene, quiet and crystal clear environment. You're darting around at sky-scraper height, surveying the cityscape in your precision, hovering craft. These are the kind of images I get right through "Exomoon", but everyone will have their own interpretation - the common theme evoking lucid dreams of science fiction megaworlds; A.I.-induced calm and an omnipresent, highly sentient, alien-robot hybrid that governs over all.

                Highly, highly recommended! 


                Eddy Current Suppression Ring

                All In Good Time

                  It is impossible to deny no one sounds like Eddy Current. I was hooked from riff one and I was lucky enough to do a full tour of Australia with them years ago—good fucking boys, simple as beer and chips, and that satisfying live. But that’s not to say there aren’t odd complexities to their definitive sound. “You can smell Mikey Young’s guitar approach like Sasquatch rustling the bushes, every time you think you see the bend ahead, you go into a tunnel or backtrack for a moment, then back to a nice place you can call home. Rob [Solid]’s bass is pub-fuzz groove. It’s shellson- the-floor and leaning-against-the wall-with-one-hand-while-youhave- a-piss thinking: maybe you can take that guy? Only one way to find out— oh wait, he’s smiling…nice bloke! Danny [Young]’s drums are a clinic in reservedness: 4-on-the-floor. This guy’s Charlie Watts in the looking glass, every hit a necessity—solid, not flashy, like the lead street tough in a ‘70s flick. He don’t say much, but it counts. And then there is Brendan [Huntley], be-gloved lead mensch in this quartet. Singing with earnest street poet confidence, his message coming in on the weird-wire, hard to describe, best to just listen and see: a pubpunk- priest. “We are very pleased to have these boys back on the streets. It had been far too long.” - John Dwyer.

                  STAFF COMMENTS

                  Barry says: Castle Face definitely have a sound, and this newest one from Eddy Current Suppression Ring fits right in, seamlessly. Grooving guitars, frantic freak-outs and snarling vocal madness all embellish a satisfying and groove-led odyssey. Ace stuff.

                  Elbow

                  Giants Of All Sizes

                    ‘Giants of All Sizes’ was recorded at Hamburg’s Clouds Hill Studio, The Dairy in Brixton, 604 Studios in Vancouver and Blueprint Studios in Salford with additional recording taking place at various band member’s home studios spread across Manchester. As with their previous four studio albums, ‘Giants’ was produced and mixed by Craig Potter. Guests across the album include Jesca Hoop, The Plumedores and South London newcomer Chilli Chilton.

                    Guy Garvey describes the album as “an angry, old blue lament which finds its salvation in family, friends, the band and new life.” It is a record that lyrically takes in moments of deep personal loss whilst reflecting its times by confronting head-on the spectres of injustice and division not just in the UK but across the world. It is a record that could only have been made in the 21st Century.

                    Given such bleak, if ultimately redeemed, subject matter, it is also, perversely, the most relaxed record which elbow have made in some time. On ‘Giants of All Sizes’, each band member extended their usual process of working on demos alone and followed their vision to its conclusion rather than, as Craig Potter puts it, ‘taking the edges off things to find compromise’. In tandem with this, they returned to playing live in the studio, encouraged to experiment with the banks of analogue equipment at Clouds Hill in Northern Germany, giving songs a looser, more live feel.

                    The result is the most starkly dynamic record from the band in recent times, “Sonically unabashed”, as Guy would have it. Whilst album closer ‘Weightless’ has the gossamer melodies and communal harmonies for which the band have latterly been known, this album echoes earlier elbow work at times whilst also breaking new ground.

                    ‘White Noise White Heat’ is motorik, metal machine soul driven by a vocal that is rage incarnate, ‘Doldrums’ mixes John Carpenter with The Plastic Ono Band to brilliantly disturbing effect and ‘On Deronda Road’ hitches stark bass beats and glitches to an ad-hoc choir. ‘Empires’ delivers dark resignation via an insidious melody and ‘Seven Veils’ continues the subversion by inverting the perception of elbow as a band for lovers into a band for haters, a double-barrelled fuck-you song par excellence. ‘The Delayed 3:15’ marries mariarchi guitars to jazz dynamics, Morricone via Buddy Rich, and ‘My Trouble’ is a clockwork, analogue shuffle housing a delicate melody that builds over the course of the song into a fragile monolith to the power of love.

                    Lead track, ‘Dexter & Sinister’, released on 10” ahead of the album, encapsulates the whole. A seven-minute musical journey that blends deep bass grooves, sudden keyboard stabs, dislocated piano and guitar runs and soul stylings then abruptly shifts gear, parts the storm clouds and takes wing, flying towards the heat of the sun. It is the soundtrack for these ‘hope free, faith free, charity free days’, a denial of the divine and a reconciliation, two songs in one song, two emotions for one emotion, human, fragile and brilliant like the album which it opens.

                    FORMAT INFORMATION

                    Deluxe CD Info: An exclusive CD that has a hard clear plastic O-card sleeve on it, which when pulled off will leave the CD artwork bare of text.

                    Ltd CD Info: Limited 1 continuous track, "don't skip" edition.

                    In case you haven't noticed, your Piccadilly pals have been all over the Employee sound of late, regularly repping the narcotic machine experiments and next gen sound design of the Berlin duo. Here they join the recently reignited tradition of European's making digidub with five echo-drenched reflections on nine-to-five dilemmas plus a dizzy remix from OK Spirit co-founder DJ Neewt. Trading in sub tickling basslines, synth melodica and plenty o' tape hiss, the duo manipulate the genre conventions with twisted sequences and sick frequency adjustments while keeping the riddim at the forefront. Any house/electro DJs out there should check the percolating vibe of DJ Neewt's Psychic South Mix, which practically drips solder onto the turntable.

                    Neka Neka' (on General Purpose) is the first solo release by multi-disciplinary artist, Ex Ponto (Ivan Mašic). Coming of age during the mid-90s Melbourne rave scene, Ivan was infected with music by the legendary Kate Bathgate on 3RRR community radio.
                    Hearing music by the likes of Oliver Lieb, Will E Tell, HMC & and other producers of the time, an infection quickly turned into a music obsession that lives on today.

                    In the following years Ivan would go on to manage one of Melbourne's longest running record stores (Dixons Records) and in 2005 built a recording studio, aptly named The Womb. From 2005-15, he produced and played on over 20 albums for improvisation collective, Council of Elders and experimental, no-wave band, Wunderlust.
                    'Neka Neka' is a nod to ex-Yugoslavian experimentalists of the 80s (Rex Ilusivii, Kozmetika, Miha Kralj etc) and the thriving, late-night hedonism of Belgrade's Club 20/44.


                    STAFF COMMENTS

                    Patrick says: Excellent experimental electronics and wave here from lesser known Melbourne musical mainstay Ex Ponto. Amid the buzzing textures and immersive compositions, the humid "Straight To The Tropics" and Bush-of-Ghosts styled "Stuck In Oberon" sparkle particularly.

                    Plunge Remix is a new compilation of remixed Fever Ray songs. Fever Ray is the solo project of the Knife’s Karin Dreijer and ‘Plunge’ was the first release in eight years since her celebrated self-titled debut in 2009. Remixers were chosen with the goal of creating music for Fever Ray to dance to. Released over a period of almost two years, the tracks will now sit together for the first time. The A-side opens with the full throttle electro-house of Tami T's remix of "Mustn't Hurry", before Bunny Michael incorporates future proofed R&B and footwork into a fresh mix of "IDK About You", a perfect companion to the psychedelic freakout Faka cooks up on the A3. On the B-side, Karin's bro and Knife companion Olof Dreijer gets slinky with a wonderful organic techno mix of "Wanna Sip", fellow art-synther Glasser conjures an epic space-synth translation of "Falling" while Sissel Wincent merges trance and techno in a huge floor melter to close the side. The intensity continues on the C1 as r&S affiliate Paula Temple slams a Berghain sized wrecking ball through "This Country", before a stepping UK bass styled mix from Aasthma offers a bit of rhythmic variation. Lisbon's usually breakneck DJ Marfox sticks to a relatively stately 130 with a bleeping twist on "Plunge" which manages to sound like a lost UR set from a Portuguese slum, while personal favourite Tzusing closes the package out with a chugging industrial incarnation of "Mustn't Hurry" tailor made for our current dystopia.

                    Energized by the funky sounds of 1970's West Africa but existing in a very modern space, Flammer Dance Band introduce their hybrid sound on new label Lyskestrekk Records. Packed with hip-shaking grooves, uplifting vibes, vibrating synths, screaming saxophones and crispy drum breaks all recorded in a warm and stuffy shack in Oslo and bolstered through some intricate but totally sympathetic electronic elements, "Flammer" is a charming and soulful homage to an era with a unique and rich sound: a truly raw and authentic sounding Afro-funk LP which brings new life to the existing cannon through some skilled and inspired musicianship and some brilliant writing. Fela eat your heart out! A precursor to, I imagine, an ambitious tour schedule; I'm already craving to see these perform live. With dreamy artwork to boot this is a lovely piece for Afro fans old and new - highly recommended!

                    Garfield Fleming

                    Don't Send Me Away

                    A multi-genre-busting release that has transcended most dance scenes from modern soul, rare groove and boogie to become perhaps the most in-demand '80s records on the current collectors scene. Finally released on 7-inch.

                    The popularity of "Don't Send Me Away" was recently confirmed when a YouTube clip of Garfield himself, performing "Don't Send Me Away" at a Paris record stall in late 2018, went viral with over 2,000,000 views to date.

                    "You Got Dat Right" is equally arresting, a bumpy soul-disco cut with big chorus, rambunctious keys and heavy slap bass.

                    Pressed on dinked, heavyweight 7" this is a soul & disco collector's dream!


                    Another absolute gem of a reissue from Light In The Attic.

                    Album recorded at the legendary Wally Heider Los Angeles studios and features heavy session players Dr. John, Jim Keltner (John Lennon), and James Burton (Elvis Presley).

                    Release sports 32 page CD booklet and 180-gram wax, lovingly re-mastered from the original master tapes and a deluxe Stoughton “Tip-On” old school sleeve with faithfully reproduced original artwork.

                    What happens when a musically minded country boy from rural Kentucky heads to the Golden State and makes an album of blue-eyed soul with Dr. John, Jim Keltner (John Lennon), and James Burton (Elvis Presley) as his back-up band? Well, if the stars were aligned, singer songwriter Jim Ford would’ve had a major hit on his hands. As it was, 'Harlan County', released in 1969 on the minor label Sundown Records, simply fell through the cracks between monster selling titles by The Beatles, Led Zeppelin, and Creedence Clearwater Revival. Despite being allied with some of the biggest names in the business and a deft musical touch - Ford wrote songs for Bobby Womack (“Harry Hippie”), Aretha Franklin, P.J. Proby, The Temptations, and even appeared on Sly & the Family Stone’s 'There’s a Riot Goin’ On' - Ford never struck gold as a solo artist and eventually left the often cutthroat music business for a quieter life at the turn of the 1980’s.

                    “Jimmy Ford is the baddest white man on the planet,” said Sly Stone of Harlan County’s main man, and listening to the album today who’s to argue? Needless to say, Light In The Attic Records are honored to re-release these ten emotive country-soul songs on CD and LP with Ford’s original cover artwork, beautifully re-mastered audio, extensive liner notes by Kurt Wolff (The Rough Guide to Country Music), and rare photos, all presented with an adult portion of love. Fans of Charlie Rich, Tony Joe White, Lee Hazlewood, and Bobby Charles, please take note. 'Harlan County' is a revelation to deep music heads and for the previously converted, an opportunity to revisit one of the California studio scene’s crowning glories. To quote the title of Wolff’s booklet essay, “Jim Ford’s Music Will Kick Your Ass And Blow Your Mind.”

                    Armed with a powerful whiskey fueled voice, down home rhythms, tight horn section, and occasional spectral orchestration from Gene Page (The Righteous Brothers, Barry White, Marvin Gaye), Harlan County is ripe for reappraisal. And though Ford is unfortunately no longer with us - he passed away in 2007 - his musical legacy lives on. With fans and friends including Brinsley Schwarz leader Nick Lowe and actor Marlon Brando it’s safe to say that Jim Ford was the real deal. So head over to your local brick and mortar record shop, hit the liquor store for a bottle or two, and turn up the stereo. Take a country-funk trip to Harlan County. It’s cheaper than a flight and will take you right where you need to be.

                    FORMAT INFORMATION

                    Coloured LP Info: Limited blue vinyl version.

                    Forty Seven Times It's Own Weight

                    Cumulo Nimbus

                    Fable is a small independent record label started in Austin, Texas in the early 1970s by a young trombone player named Michael Mordecai. In autumn 1975 he debuted a trio of albums on Fable by Austin bands 47 Times its Own Weight, Steam Heat and Starcrost. With only 1000 of each pressed, and each carrying a different emphasis on soul, funk or jazz, all 3 have gone on to become highly sought after by collectors and DJs around the world.

                    This 7” serves up two Jazzfunk gems from the rare 47 Times Its Own Weight LP on the small format for the first time.

                    Ultra limited 12" from Four Tet featuring an elite duo of remixers - San Fran house royality Avalon Emerson alongside emergent tech-bass megastar Overmono.

                    "Teenage Birdsong" treads the heartfelt, holographic dreamworlds that we explored on "There's Is Love In You". With a slow, creeping dynamic decorated by a mellifluous synth-wind motif it conjures up futuristic images of augmented realty and a new Global Optimism throughout the homo sapiens network. Avalon Emerson adds vibrant drum breaks creating more drama than the slight serenity of the original.

                    Rising stars Truss and Tessela, each with solo success under their belt, drop the next flawless addition to their fledging catalogue with a remix that's seems so quintessentially suited to Text you can almost see Keiran Hebden gleefully smiling in disbelief. Containing the expert, frantic drum programming the pair are fast becoming famous for plus taut atmospheres and tasteful flickers of dance music tropes from across the years, their remix of "Teenage Birdsong" is an epic piece in its own right.

                    "Dreamer", a final flurry from Four Tet utilizes the same dreamy, celestial palette of sounds as "Birdsong" and adds the slippery, gliding 4/4 beats that fuel much his work. Delicate plinky plonk leads and glassy bell tones, combined with flutters of bird song make this truly hallucinatory, 'enchanted garden' type affair. As always, truly hi-tech and exhilarating stuff from this UK luminary. Recommended!


                    STAFF COMMENTS

                    Matt says: A trascendental and heavenly offering from our mam here on the buy-on-sight Text imprint. Two sterling remixes mean it's a bumper offering just in time for those stockings...!

                    Groovin sublabel dedicated to vintage house and garage, Dark Grooves reissue this Joshua Michaels-penned deep house hit from 1996: "Happiness". The very first release on what would become the cult Chicago label, Guidance, this is old school mid '90s house music at its very very best. A favourite with DJs who've feverishly concealed its ID over the years, it's now available for one and all through the people's reissue label!

                    "Happiness" is joy-filled, conga-fuelled, garage-leaning business with a killer vocal refrain, bright keys and a disco-informed bassline. "Nite Position" is a gritty sample-based jam with those patented Chi-town hats rolling around as digital keys stab and jab across a round electronic b-line. The EPs highlight for many, "More" is next. Gliding in on smooth subs, intricate drum programming and a stripped back, techy edge mean this one's had plenty of plays thru the years. Finally, "Otherworld Constructs" concludes with flailing sine tones, meeting dry bleeps and metallic stabs for a techno-leaning concludes that reveals funky MPC usage as it progresses through its captivating arrangement. Solid stuff rite the way through here folks - essential stuff for any deep house fan.




                    Skinned alive by Prince Fumu from the zones of M16, the second time this prodigal new producer has graced Lister's cult imprint and it's an electronic battle cry with destructive tendencies.

                    FUMU's grasp of sound is miles ahead of the pack. A producer whose studiously gone into the science of frequency and rhythm on the search for completely unique patches and patterns, Teaching himself vintage drum programming from the days of jungle, learning synthesis from Demdike Stare and honing his outboard, mastering and mix down techniques from the sorcerer's sonic handbook has resulted in a fierce and uncompromising sound that'll do more than put hairs on your chest - it'll clean wax the bumfluff rite off your arse!!

                    Seriously, miss this shit at your peril. Especially relevant for anyone with a penchant for industrial, breakcore, noize and the various mutations of techno and bass that have occurred since '91.

                    Highly recommended!



                    STAFF COMMENTS

                    Matt says: My boy Mike from Old Trafford knows how to mangle sound like no other! If you don't know - get to know. This cat is here to stay. One of the most skilled producers in the game rite now. CHECK!

                    Function’s long career has seen him uncover a vast range of sonic identities, a mainstay through house, techno and industrial with collaborations with the likes of Regis, Damon Wild alongside his highly influential Infrastructure imprint. With influences deeply tied to pop art, rave and gay scenes, and early memories of block-parties emitting Kraftwerk and Strafe, he found himself seeking out the undercover illegal nights of the 90s on a quest of sexual unearthing, mixing the ever-yearning escapology mission of disco with the influential DJ sets of Jeff Mills.

                    For his new album "Existenz", he marks a clear step away from the corporeal techno of his recent releases. Pivoting around themes of religion, sexuality, trauma and healing, it is a work expansive and celebratory, a clear liberation from a deeply internalized past. Formed from a collection of recordings made in a period from late 2016 to mid 2019, "Existenz" takes the form of a creative outburst in reaction to a number of traumas - recent, childhood and throughout Function’s life. Life partner Stefanie Parnow assisted the production process in its entirety, providing inspiration, spiritual healing and featuring vocal contributions.

                    Cosmic synths soar and swoop in "Pleasure Discipline" through towering stacks of rhythm that stutter and creak to a halt before rebooting, a firm robotic response to human intervention. "Zahlensender" reflects a spatial tetris of urban life, as digitalization set within an XYZ matrix confronts the sprawling city. Constant arpeggiated meditations echo synaptic transmissions, a dissolution of boundaries. "The Approach’" recalls the unification of the self, a state of delirium non-subjective and smooth, as all connections and functions give way to simple intensities of feeling, crossing the threshold into spirituality. "Golden Dawn", featuring Stefanie Parnow, marks a further elevation of dubbed-out euphoria, as once more positive rays emerge. His ode to the effortless short-trip urban navigation "Kurzstrecke" finds Function in motion, upfront and bold, snapshots of conversation and flickers of light. "Ertrinken" finds metallic bass jabs swamping snipped synthetic voices, with hidden stores of emotion set as a nod to the history of vocoders as a tool for encrypted military communication. House icon Robert Owens features on "Growth Cycle" and "Be", entrenching a celebratory atmosphere over Function's clubwise leanings. Closing track "Downtown 161" reflects the unmistakeable filtered and squashed interjections of television, and sampled dance vocals - a sound for the curious, dreamers and dancers.

                    With "Existenz", Function reveals an essential body of work, spread over 4LP - thought experiments on the role of identity and spirituality after a lifetime of upheaval and trauma. Leading up until the release date, Function will undertake an album promo tour with select dates - A/V shows at Berlin Atonal and Rural festival in Japan, and three dates as part of his Bassiani residency. 


                    The Geto Boys and Rap-A-Lot Records have a successful history dating right back to 1986. "Trigger Happy Nigga" is taken from the 1989 album, "Grip It On That Other Level"; while "Scarface" is taken from the 1990 album, "The Geto Boys". Both are excellent examples of proto-gangsta rap, with fine breakbeats, tight AF scratches and great lyrical content. Infact, what caught me by surprise was the line on "Scarface" - 'started small time, dope game, cocaine" - which the avid hip-hop will recognize Freddie Gibbs as biting on the track of the same title of the "Pinata" LP....

                    Nice 7" pressing ready for the club... Vintage rap on wax! Only 250 pressed.




                    Manchester's most exciting, enthuastic and entertaining house upstart (FKA LOZ) Goddard kick flips onto Apparel for a four track EP featuring a hot collab with Harry Wolfman and a tasty remix from Jad & The. 
                    As usual we're talking high def house business from the get-go here, starting with "Fourth Dimension", a frankly irresistible groover which sees the G-man tag team the studio gear with the aforementioned Wolfman. Aimed for peaktime deployment, the cut swells from cosmic filters and trilling arps into a total 4/4 shoulder roller packed with percussive nuance, NJ swing and a right rib rattline B-line. If you need a breather after that opening salvo, I'd suggest you luxuriate in the deep and jazzy "Signals", a smooth serving of relaxed house with plenty of syncopated percussion and subtle Rhodes. The fun continues over the road as Loz pays homage to the expansive melodies and tonalities of Norway with "It's Not Cold In Tromso", a spacey house jam which could easily be mistaken for the next incarnation of Torske, such is the quality of the cut. Aussie operative Jad & The joins in the festivities on the B2, employing junglist breaks and nanging acid lines where once there was fjordfunk. Bangers all round - big up Goddard!

                    STAFF COMMENTS

                    Sil says: Worth its money for the brutally good 'It's Cold in Tromso'. The track is not breaking any molds or establishing a new genre, and neither it is the title telling us anything we do not already know about Tromso. However, its melody and punch will make you move like a maniac. And just for that, it is worth its price in gold!

                    Wojciech Golczewski

                    Tonight She Comes - OST

                      Tonight She Comes lays an important spine to the pulsating backtrack of Matt Stuertz’s movie. The music manages to stay true to the retro aesthetics of the genre it pays homage to whilst at the same time keeping a synthwave appeal. Golczewski’s distinctive compositional style is omnipresent throughout the forty-three minutes of the album. Dark and organic, the electronic sound of Wojciech Golczewski’s Tonight She Comes Original Soundtrack has the strength to come alive even outside the pictures. It works horrendously well as a score for your autumn commute through the dusky urban sprawl.

                      FORMAT INFORMATION

                      Coloured LP Info: 180g red vinyl.

                      Following on from his joint release on RNT white label last year, Colombian wunderkind Felipe Gordon moves over to the Reserve imprint with a 4-tracker of beautifully crafted sampled house.

                      The record kicks off with "Those Quiet Eyes of Yours", skillfully blending a sunny, picked guitar lick around swung houz drums and a wobbly bassline. "There's A Part Of Me That's Always True" is up next, utilizing bright digi-keys, another wobbly b-line and phosphorescent drums.

                      Side B's "Now That You Caught My Heart For The Evening" offers updates to the jazzy house blueprint, with a well known Tropicalia vocal indent in there for good measure. Finally, "That Night At El Bukowski" concludes with a deep, sublime, nocturnal jam that perfect eschews any overused house tropes for something inventive and considered. Top stuff. 


                      South London singer and songwriter Greentea Peng releases her new release, "Rising", following 2018’s acclaimed debut EP "Sensi" and the simmering viral hit "Downers", released in summer 2019. Featuring the blissful, Earbuds-produced "Mr Sun (miss da sun)" that sets the tone for a bright, bold EP which weaves a myriad of genres, all anchored by a mesmerising old-soul vocal. On the clattering title track "Risin'", Peng announces 'woke up today, brand new morning' over an insistent, handclap- supported beat, before adopting a half-spoken wordflow. Elsewhere, over the densely layered hip hop beat of "Sane", she sings a low-slung, effortless hook: 'come make me feel sane, baby.'

                      Greentea Peng is dark and light, half soul-searcher and half wise-cracker. In a constant explorative state, she is honest and frank, her inner battles channelled through the rhythms and flows of her music. Her energy beams bright whether she’s touching on darker matters or happier moments. Visually Peng is a living, breathing piece of art - effortlessly cutting the figure of a true British original. So much so, Vivienne Westwood street cast her for her recent ‘Youth Is Revolting’ cover of Dazed.

                      FORMAT INFORMATION

                      Coloured Mini LP Info: Green vinyl.

                      The Heliocentrics’ debut album, "Out There" (2007) was a confounding piece of work. Drawing equally from the funk universe of James Brown, the disorienting asymmetry of Sun Ra, the cinematic scope of Ennio Morricone, the sublime fusion of David Axelrod, Pierre Henry’s turned-on musique concrète, and Can’s beat-heavy Krautrock, "Out There" pointed the way towards a brand new kind of psychedelia, one that could only come from a band of accomplished musicians who were also obsessive music fans. Drummer Malcolm Catto and bassist Jake Ferguson are the Heliocentrics’ masterminds and producers, and guitarist Ade Owusu, percussionist Jack Yglesisas and keyboardist Ollie Parfitt hold constant presence within this ever-evolving ensemble. They have been playing together for over a decade and their collective drive is to find an individual voice. The Heliocentrics search for it in an alternate galaxy where the orbits of funk, jazz, psychedelic, electronic, avant-garde and ethnic music all revolve around The One Back at Now-Again with 13 Degrees of Reality, the Heliocentrics have returned to develop this epic vision of psychedelic funk, while exploring the possibilities created by their myriad influences – Latin, African, and more.

                      Thus, the electro-Latin fusion of "Descarga Electronica" sits next to weeping strings piled atop "Collateral Damage’s" chunky rhythms, which nearly misses the undulating swing of "Wrecking Ball", a dirge as irresistibly funky as it is devastating. No surprise, then, that the Heliocentrics have earned lifetime fans in the likes of questing spirits like Madlib (with whom Catto has collaborated on numerous Yesterdays New Quintet projects), DJ Shadow (both as a touring ensemble and in the studio), Quantic and Ethiopian jazz giant Mulatu Astatke, with whom the Heliocentrics recorded and released "Inspiration Information 3", the fourth classic Mulatu album – released nearly forty years after his other three. "Out There" may have been one hell of an opening volley, but having spent some years in the wild running among mavericks like Astatke and Oriental Jazz pioneer Lloyd Miller, the Heliocentrics have realized that their strongest statements are made somewhere between the persistent fuzz of Owusu’s distorted guitar, Catto’s impossible syncopation and Ferguson’s looping bass lines. "13 Degrees" of Reality is one of the most distinctive musical statements you’ll hear all year.


                      STAFF COMMENTS

                      Matt says: Nicely uncatagorisable LP from this celebrated psyche-jazz-soul outfit. Literally had me scratching my head for about 10 mins to decide which section to put it in - which can only be good thing!

                      Linda Hill recorded this LP for Nimbus West in 1981 with fellow Arkestra members, including flautist Adele Sebastian. And it’s Sebastian’s vocal duet with Hill on the spiritual jazz epic “Leland’s Song” that opens this stunning LP. Hill’s ensemble also included the serious horn player Sabir Matteen, as well as bassist Roberto Miranda and drummer Everett Brown Jr., who would all go on to record LPs for Nimbus.

                      The Arkestra first started rehearsing at pianist Linda Hill’s house in the early ‘60s. “In a few months, we’d built up from seven or eight to about 18 cats, musicians started living there,” Tapscott wrote in his autobiography. “People got involved with the Arkestra like it was their life’s work.” Hill took the role seriously, earning her the name of “the Ark’s matriarch” by Tapscott.

                      Hollow Ship

                      We Were Kings / Air

                        Melding the analogue ‘60s with modern sounds, Hollow Ship’s unique brand of psychedelic rock has already seen them tour far beyond the borders of Sweden, despite not releasing a single minute of music until now. Hollow Ship is the latest addition to the roster of Stockholm label PNKSLM Recordings (Les Big Byrd, ShitKid, HOLY etc) and the debut single “We Were Kings” was mixed by Swedish producer Mattias Glavå (Dungen etc).

                        Hollow Ship is the project of Thomas E Frank (guitar/vocals) from defunct Swedish cult psychedelic rock act Den Stora Vilan, Vincent Vensal (guitar/vocals), Johannes Cronquist (bass/vocals) of Swedish hard rock avt Vidunder, Lisa Kylsberg (witchery of sound) and Mårten Magnefors (drums/percussion) from the free jazz trio Dog Life. The We Were Kings / Air single is being released digitally and on 7” vinyl this winter, with the band’s debut album due 2020.

                        Bafta Award-winning modern master of the soundtrack, David Holmes, working in collaboration with composer Brian Irvine. Set in Northern Ireland, directed by Holmes’ longtime friends Glenn Leyburn and Lisa Barros D’Sa (Good Vibrations, Cherrybomb), and written by legendary Irish playwright Owen McCafferty (whom Holmes has known for forty years), the film tells the extraordinary story of Tom (Liam Neeson) and Joan (Lesley Manville) - their life and love as they enter the uncertainty and upset of Joan’s cancer diagnosis. In a career rich in highly personal work, Ordinary Love is up there with the most affecting in Holmes’ canon. Recorded between Abbey Road and Holmes’ own Drama Studio, the soundtrack features input from some of his most trusted collaborators. Holmes states: “I worked on the score with Brian Irvine. He is a longtime friend and the first person I ever had studio experience with 27 years ago. It felt important to work with Brian on this as his father (Ronnie), Owen’s father (Gerry) and my father (Jackie) - all now deceased - were great friends through a shared love of Point-to-Point horse racing and their work as bookmakers. For the three of us to work together on this was an opportunity I couldn’t ignore.”

                        There is also contributions from Holmes’ bandmates, Jade Vincent and Keefus Ciancia, who comprise the trio Unloved. The group’s sound has been central to the much lauded Killing Eve soundtracks, which saw Holmes and Ciancia pick up a Bafta in 2019. Vincent provides a stand-out performance - lending her haunting and smoky vocals to the albums centrepiece and final track - ‘Isn’t It So’. The score to Ordinary Love wasn’t inspired by any other soundtrack or even musical composition but by a mathematical theory called The Game of Life. Devised by mathematician John Conway in 1970, The Game of Life is not your typical computer game. It consists of a collection of cells which, based on a few mathematical rules, can live, die or multiply as the cells form various patterns throughout the course of the game. 


                        FORMAT INFORMATION

                        LP includes MP3 Download Code.

                        Groovin Italy reissue this Fantastic underground soul-boogie track from 1984 and add two DJ Spinna remixes to boot - bonza!

                        Extensive EP featuring both original vocal and instrumental version plus two different DJ Spinna mixes. One of the most anthemic boogie tunes to be released in 1984, it's soaring chorus and typically squelchy lead bass synth combine for a dizzying slice of late night energy.

                        Spinna's 'Keyapella' is especially worthy of note - a beatless excursion into echo-drenched vocal heaven that seems to go on for a joyous eternity. This is primed for extended plays at the big, end-of-year parties where emotions and sentiment are running high. Recommended!



                        Hoshina Anniversary

                        Sagano B/w Haru Wa Akebono

                        Hoshina Anniversary is conquerer of the mind, creating the most beautiful sound, other than silence. This is his first offering for the ESP Institute. Side A’s 'Sagano' is fairly representative of the Hoshina sound — raw organic samples and instrumentation, of traditional Japanese origin, mercilessly bent and tweaked to suit the needs of his obsessively precise arrangement. Midway through the track, we’re bewildered by his demonic breakdown on the Rhodes, which daringly tags the bassline and strings into a synchronized trio of jazz-funk noodles, and he even throws in a key change before dropping us back into the main hook for the duration of the dance. It's a major flex, and indeed makes an impression. On side B’s 'Haru Wa Akebono', Hoshina displays an alternate and equally significant side to his songwriting, merging optimistic twinkles and arpeggios with slightly detuned dry percussion for an overall uneasy vibe, not dissimilar to early video game aesthetics or circuit-bent toys. Across both sides, there lies an unhinged overtone, such that we feel one small step from spiraling deep into a demented quicksand, a freak-out where hallucinations get the better of us. Initiating a breadth of releases planned with the ESP Institute, this single summarizes a few of Hoshina’s most compelling modes, and though there is a whole circus yet to unfold, we hold his cards close, no spoilers before the main act. These two songs will have you drinking moon juice and dancing naked at the Mardi Gras.

                        STAFF COMMENTS

                        Patrick says: Fans of boundary pushing house and oddball dance music might recognise Hoshina Anniversary from his breakout 12" on Safe Trip earlier this year. Here the Tokyo based producer cooks up a bouncy banger for the A-side and a proper cosmic cruiser on the flip, instantly attaining five mushrooms out of five in our new Piccadilly scoring system.

                        This album digs deeper into the most experimental recordings in the archives of Nelson Records. The label was founded in 1970 by the musicians Maurizio Majorana, Antonello Vannucchi and Roberto Podio (who along with Carlo Pes would be known as I MARC 4), after establishing the Telecinesound studio, right where the New Italian Library Sound was created. They recorded with Armando Trovajoli, Piero Piccioni, Ennio Morricone, Piero Umiliani, Henry Mancini and many others, and created a special sound, mixing jazz, pop, rock and psychedelic music, to produce records aiming to be used by the programmers of the Italian RAI television.

                        The music of "Thrilling Mortale" is mostly special effects, drum breaks, fast bongo rhythms and groovy Hammond background sounds inspired by cinema noise experts who did not use any musical instruments and had only a few objects to recreate the noises of the films; from horse rides to closing gates, everything was done in the traditional way. I MARC 4, instead, would recreate those sounds with bass, guitar, drums, piano and Hammond organ.

                        Many musicians, record producers and film directors still like, look for, rediscover and re-use for their work, and the music on these albums recorded by I MARC 4 between 1970-1976 have reached cult status among library music collectors.


                        J A surfaces on RUBBER with six disorienting wave tracks, reigniting the catalogue after a short hiatus. Crafted by Andrea Noce (Eva Geist, As Longitude) and Jonida Prifti (Acchiappashpirt, Opa Opa), these productions find elegance in their noir aesthetic and sketch-like composition, breathing filmic atmospheres of its creative process and the hedonist self alike. Straying away from the societal drift for efficiency and make belief, this record was produced over a timespan of five years, while shifting between Berlin and Rome. Dancing and loafing, mirrors were splintered and scattered shards reflected a new light. Here, Noce's serpentine sense of melody guides uncharted signatures of reverberating syncopated drums, while soundscapes move in and out as apparitions fogging the mind. The poetic spoken-singing of Prifti subdues the tracks, through a linguistic form where Albanian and Italian intertwine, channeling her scientific field into art. Cleverly processed, the vocals take on many shapes, blurring lines between instrumentation and recognition, creating meaning where language ends.

                        STAFF COMMENTS

                        Patrick says: Killer machine vibrations and wave preoccupations from Andrea Noce and Jonida Prifti here, who marry stuttering rhythms with sparse synthesis and fx-laded vox across six chilly cuts.

                        Jai Ho

                        Short Story From Tabla, Drums & Trumpet / Oye Maia

                        Any jazz lover will tell you that one of the main considerations in their appreciation of jazz is spontaneity, and the freedom it gives to improvise. In jazz, freedom is everything.

                        Here we have a record that was recorded simply because some musicians met in the studio one day in 1996. They were not under instruction, they had no plans. What they had was the presence of mind to make music with one another, free to collaborate and spontaneously create new sounds. Drummer Harbans Srih tells us about 'Short story from Tabla, Drums & Trumpet':

                        "We were tracking some funky jazz with a full band. All left at the end except for Pandit and myself. As there was a bit of time left I said to Pandit to have some fun tracking tabla and drums. Engineer pressed the record button and off we went without any prior rehearsal. This take is the result. Colin had turned up, took one listen and said he'd like to play trumpet on it. Again without any particular discussion he went in and recorded this take, resulting in this fusion of Indo-Jazz."

                        And then in 2003, 'Oye Maia' came about:

                        "We met at the recording studio one afternoon. I had an idea of recording an Indian themed track and had brought along a kalimba. I showed it to Shanti who started to play it. It was suggested that he recorded a 2 bar loop while Pandit and I performed alongside. Shanti then improvised on trumpet utilising Indian phrasing. The track was named after his daughter Maia, and translated it means 'Listen Maia'."

                        Johnny Moped

                        In Trafalgar Square 1983

                          Johnny Moped “Official Bootleg”In 1983 Johnny Moped were asked to play a rally in Trafalgar Square, Central London The rally was for the Campaign Against Seal Hunting and was held on Saturday afternoon, the 12th March 1983. This recording, taken from the Dave Berk archives has been lovingly restored from the original cassette and will be available as a limited LP & Download on Damaged Goods Records. It’s got a screen printed cover and a A4 sheet of photos and info from the day. Features Captain Sensible, Beki Bondage and also the original speeches from the speakers on the day. Speeches include Gabrielle Drake and Fiona Richmond. Johnny Moped “Official Bootleg”In 1983 Johnny Moped were asked to play a rally in Trafalgar Square, Central London The rally was for the Campaign Against Seal Hunting and was held on Saturday afternoon, the 12th March 1983. This recording, taken from the Dave Berk archives has been lovingly restored from the original cassette and will be available as a limited LP & Download on Damaged Goods Records. It’s got a screen printed cover and a A4 sheet of photos and info from the day. Features Captain Sensible, Beki Bondage and also the original speeches from the speakers on the day. Speeches include Gabrielle Drake and Fiona Richmond. 

                          Brand new release on Brothers From Different Mothers, after the first LP of J-zbel, Judaah's label deliver the first solo EP of Jonquera, half of The Pilotwings.

                          It's a scuzzy take on sinister electro and more experimental electronix as our guides takes us through five very different sonic environments.

                          "Umamami" is sludgy and lysergic, full of gated drums and swirling sfx; like if Adrian Sherwood decamped to the Red Planet. "Hell Reggaeton" also milks the 80s gated drum set, with a crossover freestyle beat and mangled to oblivion vox; it's galloping delays and discordant guitar chops only add to the sense of urgent disorientation.

                          "Smegta" opens the flip with an arresting slice of aural manipulation; pulling and stretching a canvass of synthesized choir notes around a mechanized loom; it's like the ghosts of a cotton mill escaping out the woodwork.

                          "Escroc Voice In My Head" concludes the trip with a stop-you-in-your-tracks slice of taut EBM. Highly strung and ready to implode at any moment, the elastic synths and dark stabs perfectly compliment the creeping, zombie-horror groove in what's surely one of the best closing tracks to grace an EP all year!


                          From the Outplay camp comes their new sublabel 24 Carrot, designed as an outlet for stuff that's a bit more leftfield or simply not suited for the main label's programme. 

                          The first on the label and it's familar faces Junktion and Fouk on the contribution. Junktion comes at you with "The Search", an uplifting piano & vocal disco tune which will be sure to make those feet move!

                          The flipside is Fouk's turf. "That's Pretty Vague" amps it up as a groovy bassline house track, broken with toughened up synths.

                          "Paahdy" concludes proceedings; straight up house with nods to Chicago, perfect for a most scenarious where dancing is the main priority...


                          Direct from the Midwest, ace imprint Clear present us with four tenacious hardware workouts from Juzer. For the uninitiated, Juzer is the joint project of two artists central to the underground music scene in Chicago, Beau Wanzer and Dan Jugle. The work of both straddles the fault-lines between, noise, techno, industrial, EBM, and the more frenzied shades of house. 
                          In theory the 12” starts slowly, with the 100 bpm rattle of "Old Reliable", although it’s fitful energy is anything but, while the following track "September" coils itself into a tightly wound circuit freak-out. "Busy Bees" and "We Work Hard We Play Hard" are the buildup and climax of the record’s machine driven anxiety, fit for a chase scene in a post apocalyptic megacity thriller.

                          Ketiov

                          F/G

                            There's a lot to love about Voitek Taranczuk, not least the the fact that his nom de plume appears to be Polish for Ket! This latest EP on the producers own imprint comes chock full of floor pleasing goodness spread out across five multi-purpose jams. The opener (appropriately titled "Number One") doles out redolent guitar licks, exotic synths and the occasional reggae vocal over a mid tempo beat just polyrhythmic enough to prompt a sway from the most committed wallflower. Next up "Loca" launches electro drums (massive snare, heavy on the two) and pinging synth melodies like a lost Metro Area tool with maximum bite, minimum fucking around. For "Another Mindset" the Polish producer reaches into that hazy '03 - '07 era to blend Villalobos bleeps with a tuned tom bassline and clattering hand drums, adding the chopped "ethno" vox for added impact. Flip it for a right chug-a-thon in the form of "Lasai" - spine tingling trance lines laid upon a stiff space age rhythm grid - and the eerie deep house of "Tu I Teraz", a fine throwback to the sexier end of the late minimal techno era. Is Sankeys still open? Asking for a friend...

                            Kojaque and Luka Palm have dropped their new collaborative project, ‘Green Diesel’. Additionally, Kojaque has been confirmed to tour with slowthai across Europe in October.

                            Describing how the pair’s ‘Green Diesel’ project came about, Kojaque says: “we started out wanting to make a short project, 4 tracks or something, but the more we worked together the more the tunes piled up, until we had like 11 tracks together, we kept working on um and finessing then and chose the ones that flowed together the best. The project is all energy, we pushed each other to make it and to get it to a place we’re both really happy with. I think you can see a lot of passion in the project and some bangin fuckin tunes.” The mixtape sees production from New Machine (Phoenix), the Soft Boy label’s peers - Kean Kavanagh (Date Night, Airbnb + more), Matt Finnegan (Spit Dat Out) and a special feature from Scottish MC ‘CHLOBOCOP' on ‘Chew Toy’.

                            2019 has already been a remarkable one for Kojaque, whose ‘Deli Daydreams’ project continues to take him far beyond the city of Dublin that inspired it. A conceptual tape based around a week in the life of a Deli worker, the project became the first of its kind to be nominated for the prestigious Choice Music Prize in Ireland (following an outcry from critics and fans alike at its initial eligibility). Along the way, Kojaque has built an impassioned global audience (all totally DIY): from a rack of sold-out headline shows – including the likes of XOYO in London – and worldwide festivals (SXSW, Glastonbury, Longitude) to being invited to tour with Slowthai and Lana Del Rey (in Dunlin’s 30,000-cap Malahide Castle). Kojaque was also recently selected for YouTube Music’s ‘Foundry Programme’ alongside the likes of Omar Apollo and Flohio (previously shortlisted artists include Rosalia, Dua Lipa and Dave) as he continues work on his next solo album this year.

                            A fellow Soft Boy alumni, meanwhile, Luka Palm is a Swedish-born rapper from Stockholm who grew up in Dublin, and has been a staple of Ireland's underground hip-hop scene since the release of his track ‘Pink Lady’ in 2015. Currently a member of Kojaque's live show and a close collaborator on previous tracks such a ‘Politiksis’ and ‘Date Night’, it was a natural occurrence for them both to collaborate and create a record together.


                            FORMAT INFORMATION

                            LP Info: Green marbled vinyl.

                            "Army Arrangement" comes from 1985 and is co-produced by Bill Laswell (Material) with the likes of Bernie Worrell (P-Funk) and Sly Dunbar guesting, giving the tracks an extra electronic edge. The LP is a critique of Nigeria's attempt at democracy. Mired as the army-led government was in political corruption, it came as no surprise that this LP cemented Fela's reputation as an anti-government subversive and continued the spiral of arrests, beatings and imprisonments that marred his life.

                            FORMAT INFORMATION

                            LP includes MP3 Download Code.

                            The album is among Fela’s most courageous responses to the Nigerian army’s destruction of Kalakuta on 18 February 1977. During the attack, Fela’s mother, aged 78, a veteran of Nigeria’s struggle for independence from British colonial rule and an early campaigner for Nigerian women’s rights, was thrown out of an upstairs window, fracturing a leg. Fela believed that the assault led to his mother’s death 14 months later

                            FORMAT INFORMATION

                            LP includes MP3 Download Code.

                            Fela Kuti

                            Johnny Just Drop (J.J.D.)

                            Originally released in 1977, ‘Johnny Just Drop (J.J.D.)’ features Fela lampooning Nigeria’s ‘beentos’, people who had been to Europe or America to work or study and then returned (dropped) home with European social pretensions and an inferiority complex about African culture. The reissue features original album artwork designed by Lemi Ghariokwu, who created the cover art for around half of Fela’s albums.

                            FORMAT INFORMATION

                            LP includes MP3 Download Code.

                            ‘No Agreement’ is sometimes overlooked among Fela’s 1977 releases, eclipsed by albums such as ‘Johnny Just Drop (J.J.D.)’ and ‘Sorrow Tears and Blood’, yet it is among his best albums of the period. It includes an outstanding Afrika 70 instrumental, ‘Dog Eat Dog’. The track includes a solo by the American trumpeter Lester Bowie of the Art Ensemble of Chicago, who was then staying with Fela in Lagos.

                            FORMAT INFORMATION

                            LP includes MP3 Download Code.

                            By the time of these recordings Fela Kuti was HIV positive, drug addicted and had been brutalised by continual imprisonments and beatings at the hands of the Nigerian authorities. Over a fifteen year period he had sung about injustice, persecution, the downtrodden and the poor. He championed everyman's right to a decent life, decent education and freedom from intolerance. He had his all too obvious faults but his music remains a testimony to a performer justifiably known as the 'King of Afro-beat'. The last album of newly recorded material to be released during Fela’s lifetime, 1992’s ‘Underground System’ is an outstanding swansong. While Fela’s recorded output slowed up as the 1980s progressed - largely as a result of ongoing arrests, beatings and jailings - his final years of recording produced some of his strongest work, notably ‘Teacher Don’t Teach Me Nonsense’ (1986), ‘Beasts Of No Nation’ (1989), ‘Overtake Don Overtake Overtake’ (1990) and ‘Underground System’.

                            FORMAT INFORMATION

                            LP includes MP3 Download Code.

                            Fela Kuti

                            V.I.P. (Vagabonds In Power)

                            ‘V.I.P.’ (Vagabonds In Power) was recorded live at the Berlin Jazz Festival in Autumn 1978 and released the following year. It is a ferocious and lyrically exalted attack on the abuse of state power. The festival straddled the cusp of the break-up of Afrika 70 and the formation of Egypt 80 in Spring 1979 and ‘V.I.P.’ was the last album Fela made with the drummer Tony Allen, who had been with him since 1964 and acted as Afrika 70’s bandleader.

                            FORMAT INFORMATION

                            LP includes MP3 Download Code.

                            ‘Yellow Fever’ was originally released in 1976, during Fela’s extraordinarily prolific 1975-77 purple period, when he released 24 albums in Nigeria alone. The title track is one of Fela’s defining masterpieces. Sung in Broken English, the language he adopted in order to make his words understood beyond Yoruba speakers, the lyrics rail against the fashion for skin-whitening creams.

                            FORMAT INFORMATION

                            LP includes MP3 Download Code.

                            L'Epee

                            Ghost Rider

                              Available on 180 grm Yellow vinyl 12”. This is the 2nd single release from L'Épée, from the seminal album “Diabolique”. This 3 track single contains an exclusive track to the release “Shiny Shiny” & the artwork is by Frank Kozik. The band are Emmaunelle Seigner (Ultra Orange & Emmanuelle), Anton Newcombe (The Brian Jonestown Massacre) & Lionel & Marie Liminana (The Liminanas) . Recorded in Cabestany (France) and Berlin at Anton’s Cobra Studio. 

                              A classically trained multi-instrumentalist, Don Laka began his career in the ‘70s and then joined the seminal jazz outfit Sakhile in the early ‘80s. Already an established musician by this time, Laka was at the forefront of exploring the latest synth sounds of the day. Being introduced to synthesizers by Harari's Alec Khaoli, Don soon began experimenting with different synths like the Oberheim, Juno, and Prophet 5 while using a Commodore 64 to sequence them. Constantly striving for the latest sounds, Laka’s early explorations culminated in his debut solo album, "I Wanna Be Myself". 'I went and did an album, recorded tracks at Downtown Studios [in downtown Johannesburg]. Most of the album, except for "Let’s Move the Night", was done straight with a Fairlight at a different studio, of the guy that owned the Fairlight, Adrian Strydom.'

                              He was the only guy in the country who had a Fairlight, I think on the continent. 'This was the first commercial record made on a Fairlight in this country. I remember the other instrument I used was Jupiter 8, which was a very expensive Roland synth, and I used a Juno-60. I would layer them. The only thing I programmed was the drums. You can hear the snare sound, I think it was a mix of some cracked bottles and something that we just mixed. Holed up in the studio, Laka remembers getting special input on "I Wanna Be Myself" from master bassist Bakithi Khumalo, who would also feature prominently on Graceland. 'I remember I played all the instruments on it. I played bass, I played all. Bakithi walked into the studio and I said, ‘You know, I’m not a bass player. Baks, do you wanna do it?’ And he nailed it, in one take! Reissued for the first time is Don Laka's masterful album. 


                              STAFF COMMENTS

                              Matt says: If you study the sleevenotes or credits of pretty much any good dance record from South Africa around a certain time period (let's say 1980 - 2005) there's a 90% chance that this guy will be involved! A true star, prodigy, muse and inspiration. Don Laka we salute you!

                              Five years have now passed since Boogie Café Records was established as an outlet for soul-flecked dance floor jams. The Bristol-based label has grown exponentially in that time, with a succession of highly regarded releases attracting a swathe of higher profile artists to the roster.

                              The latest is Russian heavyweight Alexander Lay-Far, a producer whose blends of deep house, disco, boogie, soul, jazz and broken beat have appeared on labels including Local Talk, Atjazz, City Fly, Lazy Days, Leng and the In-Beat-Ween Music imprint he established in 2015.

                              The Moscow-based producer’s first outing on Boogie Café is entitled “Re-Imagine Yourself”; it seems a fitting name, because across the four sample-heavy tracks Lay-Far brilliantly joins the dots between disparate sounds and styles whilst retaining his trademark warmth and soul.

                              Check first “Embrace The Contradictions”, a deliciously sub-heavy broken beat number bristling with hazy Fender Rhodes chords, glassy-eyed female vocal snippets, funky samples, wobbly analogue bass motifs and cowbell patterns slyly sampled from a disco-boogie classic. Bustling breakbeat number “Spiral Movement” follows, with Lay-Far invoking the spirit of 1989 via dreamy chords, cut-up vocal blasts, short-sharp rave sirens and hip-house style beats.

                              The latter half of the EP is deliciously warm and woozy, with Lay-Far wrapping enveloping pads, ear-catching synthesizer flourishes and yearning melodies around off-kilter broken beats and sturdier sub-bass. Of the two tracks, it’s “Something Else” that’s arguably the most potent of the pair despite its’ inherent deepness – think Bugz In The Attic style beats and fireside-warm musicality – but closing cut “April” is not far behind. Lay-Far has successfully re-imagined himself for Boogie Café and the results are little less than stunning.


                              Mutant industrial acid house from one member of the UK Mutoid Waste Company art and performers collective. The Mutate tracks where created in 1990 when Steffe Lewry, vocalist composer and producer from the UK, active since the mid 1970 (Gong, Planet Gong, Here & Now), was living with members of the Mutoid Waste Company - the legendary performance arts group founded in West London in the early 80s.

                              Influenced by the movie Mad Max and the popular Judge Dredd comics, they specialised in organising illegal parties in London throughout the 1980s, driven at first by eclectic assortments of fringe music such as psychedelic rock and dub reggae, but then embracing the burgeoning acid house music movement by the late 1980s. They were famously described as "part street theatre, part art show and part traveling circus" in the 1986 LWT documentary South of Watford presented by Hugh Laurie.
                              The group became famous for building giant welded sculptures from waste materials and for customising broken down cars, as well as making large scale murals in the disused buildings where they held their parties. 
                              In 1989, after a number of police raids on their warehouse in King's Cross, they left the country and travelled to Germany where they became notorious for building giant sculptures out of old machinery and car parts, one of which was 'Käferman', a giant human figure with a Volkswagen Beetle for its chest, offering a Bird Of Peace sculpture that overlooked the Berlin Wall towards East Berlin and the regime of East Germany. They had a collection of scrap military vehicles, including a Russian MiG 21 fighter aircraft which 'followed' them around wherever they went, and a painted tank known as "the Pink Panzer".
                              The 3 tracks where included in a video compilation of Mutoid art, “How The Mutoids Brought Down The Berlin Wall”, edited by film maker Jonathan Barnett. To make these tracks Steffe used a 4 track teac reel to reel, a Korg DDD1 drum machine and Fender stratocaster guitar.

                              Daniel Lopatin returns with his latest score for the A24/The Safdie brothers’ film Uncut Gems which is out internationally on the same day as it hits theaters. The film screened to rapturous response from critics and stars Adam Sandler (in an outstanding career-best performance) as well as NBA star Kevin Garnett, Lakeith Stanfield, The Weeknd, Julia Fox and more. The hypnotic crime thriller follows Sandler’s Howard Ratner, a charismatic hustler always on the lookout for the next big score, in a twisted odyssey through the New York jewelry market. This is the second collaboration between Daniel Lopatin and the Safdie brothers following his highly acclaimed work for Good Time, winner of the Best Soundtrack Award at Cannes Film Festival 2017 and also for the Best Original Score for a Feature Film at the Hollywood Music in Media Awards 2017. His other film works include Ariel Kleiman’s Partisan (2015), and contributions to Rick Alverson’s The Mountain (2019) and Sofia Coppola’s The Bling Ring (2013). 

                              Magnetic Fields

                              69 Love Songs

                                Originally released in 1999. 6xLP is black ten-inch vinyl in box with ten-inch book insert and full album download. 3CD is jewel case box set and book insert. 

                                FORMAT INFORMATION

                                6x10" Info: Black ten-inch vinyl in box with ten-inch book insert and full album download

                                FREE SHIPPING This item has FREE UK shipping!

                                3xCD Info: 3CD is jewel case box set and book insert

                                Magnetic Fields

                                The Wayward Bus / Distant Plastic Trees

                                  The 1st and 2nd albums by The Magnetic Fields; originally released in 1991 & 1992. 2xLP is black vinyl in two jackets with obi wrap and full album download. 

                                  Johnny Marr

                                  Single Life - Limited Edition 7" Box Set

                                    Single Life collects together the first ten solo single releases by Johnny Marr in a limited edition 7” box.

                                    Wrapped in a metallic silver box, the set contains all Johnny's 7” releases from 2012’s Upstarts through to 2018’s Spiral Cities, all in original artwork sleeves.

                                    The boxset also contains vinyl debuts for the promo only track The Messenger, backed with an exclusive unreleased demo version of the fan favourite New Town Velocity and the double A side Armatopia/The Bright Parade.

                                    All ten 7” singles are pressed onto coloured vinyl and the set is completed by two limited edition photographic prints, exclusive to Single Life. 

                                    FORMAT INFORMATION

                                    FREE SHIPPING This item has FREE UK shipping!

                                    James McArthur And The Head Gardeners

                                    Tourist Town/ Plane Sailors

                                      Taken from the 4 Star Shindig Reviewed LP Intergalactic Sailor, James McArthur And the Head Gardeners AA sided single is the only physical release from this session. Tourist Town is smothered in James's hushed vocals, The flip Plane Sailors grooves acoustic guitars and beats. Think Jansch & Drake with the Beta Band. WIth help from Syd Arthur this limited single was originally released as part of the Wonderfulsevens subscription club. 

                                      Zoe McPherson & Rupert Clervaux

                                      Plafond 5

                                      Radically shapeshifting and surrealist, as spinning sonic prisms taunting the ears, 'Cercle Vicieux' and 'Cercle Vertueux' channel Fluxus artistry, straying past jazz-licked drones, avalanching low end and blood red scatting. Scenes both condescending and anxious -- this release is carried by its interwoven conflicts, where strange attractors reveal knots at each listen. The fifth Plafond is a special joint project tying the synchronicity of two contemporary minds. Both Zoe Mc Pherson and Rupert Clervaux are known to actively transgress art forms, reconstituting production methods through respective audiovisual and literary pursuits. The listener is relocated in their musical interzone, bordered by avant-garde experimentalism on one side, and bass-heavy club mutations on the other. This ambiguation lays out a gateway, one through which modern producers can re-adopt the revolutionary energy of those who unraveled conventions on music and sound in the first place -- a 'Cercle Vertueux', indeed. Comes in a hand printed sleeve with multiple tints grey and silver, including an Obi-strip, by the BAKK Interzone Alcazar.

                                      STAFF COMMENTS

                                      Barry says: Booming, sub-sonic bass and rhythmic sidechains take hold in one installment while the echoes of chamber classical instrumentation and reverbed vocals tear through the acoustic percussives and shadowy pianos. Hypnotic and entirely spellbinding.

                                      One of our favourite newcomers to the dance arena concludes what's been an absolutely stellar year with a tasty three tracker for new label, Original Schvitz. The Toronto native heads the lasers and the big rigs for a trusting mainroom anthem, "The Canadian Shield" is built around galvanized synths, buzzing leads and uplifted stabs - it's basically a totally playable techno bomb that few will find resist after a couple of garies with their mates...

                                      "Feed The Planetary Sharks" is more cerebral, showcasing the playful and exotic side that highlights much of Micay's output thus far. Jubilant and with a magic and highly transportative quality, it's the sound of a producer conjuring up his own sonic planes on which to inhabit.

                                      "I Like My Nudeln Fried" is deep n naughty; capturing the house heads with its highly swung drum beat but keeping the techno heads hooked with its big rumbling b-line and futurist synth washes. Micay's expertly processed drums sound particularly exquisite on this final number....

                                      A flawless year for this burgeoning producer who more than warrants your attention right now! 


                                      Graeme Miller & Steve Shill

                                      The Moomins: Woodland Band (Parade)

                                        Consisting of homemade electronic and mechanical music heard exclusively via British TV speakers as an eerie backdrop for the Polish made stop- motion adaptation of the Finnish comic strip classic The Moomins. Custom-composed for radically reedited daily five-minute episodes (alongside reconstituted storylines and the narrations/impersonations of comedy actor Richard Murdoch), the short cues written and played by two Leeds based post punk avant-theatre composers helped exacerbate the programme’s bizarre spectral storylines and characters earning a firm fixture of fear, intrigue and infatuation in the hearts and memories of a slightly confused electro fed generation.

                                        Ticking all the boxes that attract freak folk enthusiasts and synthusiasts alike, the combined efforts of Steve Shill and Graeme Miller deployed thumb pianos, backwards tape effects, wooden pipes and a Wasp synthesiser (the almost affordable post punk synth of choice) to replace the original 70s German jazz soundtrack, thus dramatically mutating the tonality of the one- hundred-episode-long saga. Miller and Shill’s unique DIY approach follows characters like Moomintroll, Sniff, Snuffkin and the Snork Maiden as they encounter hobgoblins, sand lions and the mysterious Groke complete with their individual detuned electronic voices and thereminesque whimpers.

                                        Based on the original sprites invented by Tove Jansson, the modified fuzzy felt figurines were designed by animator Lucjan Debinski at the legendary Se Ma For studios in Poland for German syndication resulting in what many regard as the definitive and most enigmatic version of the story succeeding further animated adaptations from Japan and Russia. Sharing the same nostalgia and oblique exoticism as The Singing Ringing Tree, The Little Mole, The Magic Roundabout and other reconstituted imports seen on programmes like Granada TV’s Picturebox, The Moomins and its synonymous theme tune and sound effects render this limited 7” vinyl release an essential addition to the record shelves of soundtrack collectors, domestic electronic fans and absent bygone tele-addicts as well as animation and design enthusiasts on account of its unique imagery and packaging. The single comprises an extended take of ‘Woodland Band’ and a never before heard cue from the forthcoming ‘Lost Tapes’ album.

                                        FORMAT INFORMATION

                                        Ltd 7" Info: Housed in a custom-made felt backed sleeve.

                                        Born in 1938, and raised in Glendale, California, Lloyd Miller has had one of the most unusual careers in all of jazz. By age 12 he had declared an intent to make his living as a jazz musician, and by high school he had already begun to experiment, shunning swing music's mechanical perfection, and chafing at his parents’ desire for him to nurture his talents with formal training.

                                        This tumultous relationship with his parents would eventually lead to a stint in a psychatric hospital, before reuniting with them in moving to Iran, his father having accepted a job working for the Shah. Stops in Hong Kong, Japan and Pakistan on the way to Iran deepened Miller's connection to other cultures he’d first felt while listening to old world music compilations. He felt a definite calm and peace, an immense respect from everyone towards everyone else, and immersed himself in other cultures and languages immediately.


                                        Miller spent a year in Iran with his family, picking up Farsi after a few short months, and steadily gaining more and more of an appreciation for how deep the roots of Persian art run. However, still committed to his decision forge a career in jazz, Lloyd left Tehran in 1958 to head to Europe to see if he could make a living from jazz music. Miller kicked around the continent, first in Germany, then in Switzerland, Sweden and Brussels. He collaborated and performed alongside 60s jazz legend Jef Gilson, and experimented with exotic instrumentation before returning to America to resume his studies at Brigham Young University in Utah. In the years following his stint with Gilson, Miller had become more and more disillusioned with both modern music and modern society, which had ashewed jazz for rock music, which he detested. In Miller’s conception, for a music to have value it had to have a deep connection to a tradition, specifically connecting jazz to African lore. To Miller, something like “Tuareg African music is blues, just with no chord changes.” Oriental Jazz was recorded, compiled and self-released in 1968 while Miller was studying at Brigham Young. The record, originally pressed in a quantity of 300 copies, sought to combine a cool, modal style with the exotic arrays of instruments and styles that Miller had picked up during his travels. Miller included songs he’d cut with Gilson in his Parisian studio years before, and a solo piano piece that he recorded in one of the school’s practice rooms. Despite Lloyd’s professed aversion to modernity, there nevertheless is something strikingly new sounding about this music, which fits together in startling juxtapositions.

                                        Traces of Bill Evans, Stan Getz and Jimmy Giuffre rub shoulders with Persian santur, Arab oud and Turkish saz music. Copies of Oriental Jazz languished in Miller's home for years after numerous failed bids for record contracts, before finally ending up in the hands of record collectors decades later. After its release however, he would find a second life after returning to Iran, doing field recordings, and eventually hosting a weekly television show that programmed both American jazz and the best traditional Persian musicians he could find. It was not to last however, as he abruptly abandoned the country to return to the US in the late 1970s, predicting the arrival of the Islamic Revolution. 

                                        Recorded in a basement studio in Deer Park, New York - 1980. Mixed Company’s "Let’s Go Disco" is a relatively under the radar record, originally released on New York radio station WNBC 66’s compilation showcasing local talent. Thanks to meticulous archiving, Gene Lastorino was able to locate the original multi-track master tapes for the session which included a number of unreleased tracks. Gene also found lots of old photos and flyers, which you see grace the cover design courtesy of Charlotte McCrae.

                                        Here, Rain&Shine present a 12” with the best unreleased tracks, edited for the dancefloor by Andrea Passenger. The original "Let’s Go Disco" is of course included, along with a Waxist multi-track edit and a groovin’ Frank Booker instrumental mix. Nice!


                                        Karma Moffett

                                        Sitting Still Within / Sitting Still Without

                                        Sound has the ability to heal. This is the primary tenet that has been driving Karma Moffett for over 35 years. Pure tones, resonant harmonics, the sounds of the earth. At the dawn of the 80’s, as the burgeoning movement of privately-issued New Age was taking hold, Karma Moffett was a pioneer. Eschewing the use of synthesizers and other increasingly-available electronic technology, Karma crafted his meditative, introspective music using ancient instruments. Primarily utilizing Tibetan Bells, and Singing Bowls, Karma Moffett crafted sounds that led the listener on an inward journey.

                                        1982’s "Sitting Still Within / Sitting Still Without" is Karma Moffett’s earliest triumph. Combining the aforementioned Tibetan Bowls & Bells along with naturalistic field recordings, Karma’s first album is a testament to the power of minimalism and repetition. An ambient voyage that truly draws the listener inwardst, and outwards, "Sitting Still Within / Sitting Still Without" is music for healing.


                                        One of the best house reissue labels in our opinion, Power Music presents Mood II Swing's "Call Me" 12" - surely one of the act's finest moments!!

                                        Originally released on Earth Moon & Sun (Power Music parent label) in 2000, some of the remixes were released separately (and conversely, before the original release!).

                                        Fans of Mood II Swing's highly swung beats, soulful keys and punchy bass are gonna be in for a treat here - a crowning jewel of the duo's catalogue plus everything single remix here is highly effect and unique in its own way.

                                        A simply essential release for house heads! 


                                        Juan Moretti

                                        Cats Do Not Care About Glasses

                                        Summer might be fading away, but the good time grooves keep on coming courtesy of Hell Yeah’s next album project: Cats Do Not Care About Glasses is the latest from all round musical talent Juan Moretti, who fuses together jazz, hip hop, electronics, soundtracks, musical experimentation and much more into a freeform album of intoxicating sonic journeys.

                                        Moretti is a bassist, drummer, composer, arranger, visual artist, DJ, hard clubber and good food lover who has been plotting his own route since the early nineties. He is co-founder of the 3IO jazz band and Things Happen nu disco duo who has been involved with theatre shows, short soundtracks, visual installations, festivals, DJ sets, experimental art and more. Drawing on all that and heading off into the unknown, out of his comfort zone and into brave new sound worlds, he goes where the compositional process takes him without a view to any specific genre or style.

                                        That plays out across the seven suburb tracks, with opener ‘Flare’ managing to be a worldly ambient piece as well as a slow motion acid track, a blissful balearic trip but also a majestic melodic masterpiece. ‘Fahrenheit’ fuses cosmic Sun Ra jazz with glistening electronics that drown you in warm sunshine, and ‘Insane’ has a tropical feeling and gentle bossa rhythm, but intensely freeform synths that tie you up in knots.

                                        The midpoint sinks you into the breezy wind instruments, afro vocals and gently lilting guitar licks of ‘Fortaleza’ before ‘Claustrophonic’ is another celestial electronic jazz epic with withering sci-fi synths and live drums that constantly evolves. A swaggering dub beat and drifting sax line make ‘Moroboshi’ a low key beach club classic in the making, and finally ‘Backdoor (Mad The Cat)’ is a lush hip hop vibe awash with breezy licks and steamy chords.

                                        This is a brilliantly inventive album that brings together jazz, electronics and hip hop in truly magical new ways.

                                        A chance meeting in a New York club led to the conception of Mowgan’s debut album, in collaboration with renowned African Benin-born Nigeria raised singer and multi-instrumentalist, Kaleta (Leon Ligan-Majek) an ex Fela Kuti, Sunny Ade, Lauryn Hill cohort who also fronted Akoya Afrobeat Ensemble and presently heads up a 70s style afro funk band called Super Yamba based in NYC. The Frenchman was working at Lina Frey when he overheard a Beninese salsa singer called Laurent Hounsavi channeling Afro-centric vibes through his performance. He approached the singer and was put in touch with Kaleta, who lives in the Big Apple, too. What happened next was pure magic, as the two men got to work in the studio to bring their two worlds together.

                                        It’s the kind of mystical alchemy that only happens once in a blue moon; Kaleta was given carte blanche over Mowgan’s extensive collection of Africa-inspired electronic instrumentals. He selected his favourites and performed on each one, delivering an original vocal, and his own guitar licks, over the top. To stir up even more electrifying vibes, Kaleta also invited several of his talented friends to join the recordings sessions - they included vocalists Shade Myers Emmanuel, Justin Masters and Gbenga Wise, Freddie Deboe on sax, Mic Dada assisting Mowgan on synth pads and Takuya Kuroda, the infamous Japanese trumpet player from Kobe who specialises in neo-soul, hip hop and electronica.

                                        The result is ‘Karoussel’, a vibrant, dynamic, soul-enriching hybrid between electronica and deep African musicality that sets the standard for contemporary collaborations between western and African artists, and the first in a series of album projects from Mowgan on his fledgling label Mow Records...

                                        On The Corner provide the first taste of a landmark recording that the label embarked upon two years ago on the East African island archipelago of Zanzibar. Pete On the Corner was consulting for the ambitious permaculture development of Fumba Town. The story of Siti Binti Saad, the mother of Taarab is rooted in Fumba. Pete joined the dots to shine new light on the pioneering life of Siti Binti Saad as the innovative town development took shape and looked to connect with the Island’s unique history at the centre of the Swahili world. Whilst steering a recording project that would celebrate Siti Binti Saad’s legacy, Pete brought in producer Sam Jones and the pair met with filmmaker Andy Jones (who documented the life and work of the legendary Bi Kidude) who revealed that Siti Binti Saad had a great grand-daughter, Siti Muharam who led a very private life but had a ‘golden voice’. With music director Matona on board the scene was set to go beyond celebrating the singular legacy of a Swahili pioneer and find a new hero.

                                        Siti Muharam has a golden timbre and on this 7” we get the first taste of her debut LP that will represent her great grandmother’s legacy for the next generations. The 7” is two tracks which are at the furthest reaches of the LP project. The A-side is a Sam Jones Construct of ‘Ashikibaya (Ft. Tamar Collocutor)’ who find new frontiers of this Swahili jazz out across the Indian ocean pushing a cosmic Taarab on the trade winds. The flip is an instrumental affair with Matona driving the stunning ‘Mandira’. This project came to life in a derelict studio in Zanzibar in February 2018 with the help of Fumba Town Development, Dhow Countries Music Academy, The British Council, Matona, Sam Jones and On The Corner.


                                        Fred Neil

                                        Fred Neil

                                          A moody NYC masterpiece from the Village circa ‘66. New York folk artist Fred Neil’s eponymous second album may not have been a sales smash, but it inspired countless contemporaries, from Jefferson Airplane to Crosby, Stills and Nash, to Harry Nilsson. It was the latter’s cover of ‘Everybody’s Talkin’,’ featured in the Midnight Cowboy soundtrack, that garnered Neil his greatest notoriety, but the album is full of shimmering, surreal gems, like ‘The Dolphins’ and the stunning ‘Faretheewell.’ Neil disappeared into reclusiveness not long after, but his legacy as a thoughtful, complex songwriter lives on.

                                          FORMAT INFORMATION

                                          Coloured LP Info: Clear Vinyl.

                                          Nexus 21's 1989 classic "The Rhythm Of Life" LP is approaching its 30th anniversary.

                                          For the uninitiated the LP is a perfect synthesis of UK rawness and Motor City funk, b-boy nous and sunrise soaked acid euphoria. Nexus 21's sole LP "The Rhythm Of Life" is considered a classic for many reasons. Originally released in 1989 on the influential Blue Chip record label, and then purchased by Network when they signed Nexus 21 for (what became an iconic) career, the record ties all of the above influences and styles into a unique rugged sonic tapestry that caused a sensation with DJ's and dancers upon its release, and for the subsequent three decades to follow.

                                          Mark Archer and Chris Peat created an album that bore a handful of club classics, on both sides of the Atlantic. Their association with Detroit, and particularly Derrick May and Transmat, saw them go to the techno mecca to record some later material that will also be reissued in the wake of this three decade celebration of all things Nexus 21. "The Rhythm Of Life" is easily one of the UK's most influential techno records, it's style, sound and attitude has reverberated through dance music across the years and this timely reissue will undoubtedly excite the old-school heads and the new-school appreciators of the real deal techno sound in all its glorious forms.

                                          Repressed and remastered, and spread across two high quality slabs of vinyl, this essential reissue has been made with the full involvement of Mark Archer and the legendary Network Records with all tracks being sourced from the Nexus 21 DAT archive for maximum sonic playback quality. 


                                          Nick The Record, Dan & The No Commercial Value Band

                                          Record Mission 6

                                          Nick The Record & Dan Tyler return with the sixth mission of their esteemed series. The boys have nailed it this time with a quartet of tracks that stylishly traverse proto-house and wacked-out disco with flair and flamboyance, landing somewhere between Mark Seven, (Dan's) Idjut Boys and Felix Dickinson.

                                          "Wordy Soca" is an electric affair with big boogie synths, a James Mason-esque proto-house drum pattern and large, killer bass.

                                          "Noice" sees fizzy disco drums and an echo-drenched vox vie for attention on the master tape. With recording levels red hot and 'nuff saturation we're left with a scorched groove until Nick & Dan allow more of the quirky Jamaican vocal part through toward the end. Crazy. Good!

                                          "Can You See My Big Pan" merges steel drum lines with classic disco drums for a tropical disco flurry of jovial, pleasant vibrations full of good vibes.

                                          Finally, we get all the echo artifacts and tape delay detritus from second track, "Noice (Dub Debris)" for the more leftfield-learning, Idjuts-adoring DJs out there in the field...

                                          Top stuff here and as always, limited copies so get those orders in quick folks!








                                          STAFF COMMENTS

                                          Sil says: Floor fillers for the world music inclined DJ. Touching many genres and bringing the right amount of effects and elongation of breaks a la Todd Terje to make this an essential 12". Bomba!

                                          Noema's last EP on his own, Magic Movement imprint was an absolute doozy, landing slap bang between shamanic house, cosmic and EBM flavours with a beguiling, mystic palette of sounds. He's back with some more music recorded on a recent trip top Sao Paulo and packing just as much punch as that previous volley. The title track translates a 90's Detroit house groove to the present day and adds cuica, berimbau and several other Brazilian drums on top. Riding the complex groove, you encounter eccentric synths, mysterious soundscapes and of course the horse, on this 11 minute long hack.

                                          "Minhocao" trades the horse for a racing car and takes you on a cruise on the same-named elevated highway that leads through the city of Sao Paulo. Surrounded by driving beats, guitar single-notes, massive synth-bass howls and a gritty Moog theme, this jam is a hell of a joyride!

                                          Khidja strips down the original title track to its core and creates a solely percussive version in a half-time groove. By adding a virtuoso qanon / saz-like sound the tune develops an arabesque flavour with a dubby bass as the cherry on the top.


                                          New Canoe and it's Nyra manning the paddles and he guides the vessel into the midst of a Belgium-themed warehouse rave! Two tracks that ride the arpeggios into a space disco oblivion ( "Every Electron" and "Atoms Of Joy" ), and two tracks that channel all the serotonin-flooding energies of a well synthesized ecstasy tablet ""Let's Trip Out", "Dusk Rider"), Nyra makes no effort to hide his influences.

                                          Instead, across four track he pays tribute to his favourite moments from the seedier recesses of dance music history. The result is a highly affecting EP that should keep the majority of club goers and DJ's more than happy in the later moments of the sesh. 


                                          STAFF COMMENTS

                                          Sil says: More Canoe to satiate your weekly fix of techno breaks and rave nostalgia that is so much in vogue now! Solid and likely to really annoy your neighbours if you are residing in a two up two down terraced house!

                                          Spaziale Recordings is born. Setting their sights on reissuing highly sought-after, obscure records, alongside providing fresh new interpretations of these classic gems, they kick things off with a bang. Presenting an official remastered limited edition reissue of a classic cosmic disco 12”, featuring extended disco versions of three superb Afro and Latin-flavoured tracks taken from John Ozila’s 1979 killer funk album "Boogie Salsa".

                                          Released on French label Disques Vogue, the A side offers the highly infectious afro groove of "Funky Boogie", treasured by the likes of Horse Meat Disco, Dekmantel Soundsystem and Jack J. Previously a fiercely-guarded record collectors’ secret, the flip houses two great afro-cosmic, obscure disco versions of "Let’s Go Boogie" and "L’Orange Bleue" previously only available as album versions on the "Boogie Salsa" LP. Now fully remastered and cut loud and proud to 12 inch for maximum audio pleasure.


                                          Pan American

                                          A Son

                                            Legacy Chicago craftsman Mark Nelson’s latest offering as Pan•American is less a distillation or divergence than it is a return to his musical and spiritual beginnings. Spare, subdued, and largely acoustic, A Son unfurls like late summer dusk on the edge of town, expansive but intimate.

                                            Motivated by notions of “moving backward” and tracing roots – as well as a couple years of hammered dulcimer lessons – the album’s nine songs were written and recorded in his home in Evanston, Illinois, and honed during a recent solo tour in Europe. The emphasis on uncluttered arrangements and the centrality of the guitar and vocals reveal these songs as the most direct and emotional statement of his career.

                                            Nelson cites everything from June Tabor, The Carter Family, Suicide and Jimmy Reed as oblique inspirations, though his truest muse was creative self-inquiry: “What does music do, Where does music start? How simple can it be? How honest can it be?”

                                            After decades of mining post-rock pathways and latticework electronics in Labradford and early Pan•American, A Son strips away ornament and distraction in favor of a direct gaze into the heart of what is.




                                            Theo Parrish & Maurissa Rose

                                            This Is For You

                                              Theo Parrish coming correct just in time for festive season with the ultimate stocking filler for DJs and music lovers alike!

                                              "This Is For You" is incredible! Landing somewhere between "Galaxy Pt.1", his work with Billy Love and "Summertime Is Here" it's painfully emotional and drizzled in languid organs and heart wrenching chords, I'm pretty much in tears just sat here listening to this..

                                              No amount of superlatives is gonna do it justice, absolutely breathtaking, sublime and one of the most essential Sound Signature releases to date. A complete triumph you're gonna be gutted if you miss out on. 


                                              STAFF COMMENTS

                                              Matt says: Fuckin' ell Theo Parrish cruising right back into my number 1 slot here with a crushingly beautiful track that's literally the best thing he's done in years! Awwwww shit!

                                              The sixth edition of the Pleasure of Love edit series features the Toronto based Patchouli Brothers (GAMM, Basic Fingers, Barefoot Beats, Tugboat). The duo have a long running disco & house party called Beam Me Up and have a proven track record of slicing up and distilling rare, underappreciated cuts into peak time dance floor gems.

                                              The A1 is a raw, driving Côte d'Ivoire disco revision with excellent celebratory vocal loops and synth leads. Next up is a smooth italo, tip-tap, jam re-edited to perfection, highlighting the sophisticated horn and lead synth interplay.

                                              On the flip is a rubbery synth bass led soca jam that will set off just about any party with its catchy vocals and tension/release re-arrangement. And rounding out the release is a dutch disco call and response re-edit detailing a common thread in the dancer-DJ relationship. Dancefloor tested and approved!


                                              The brothers Dewaele (of Soulwax fame) keep the Deewee bangers coming courtesy of he solo debut from their Brasilian buddy Phillipi. Earlier this year São Paulo duo Phillipi & Rodrigo dropped their beautifully uplifting debut album ‘Paciencia’, which scored all sorts of plaudits all over the place, including your favourite record shop (Ah-thankyou!). While ‘Paciencia’ pulsated with a euphoric beach party vibe, Phillipi’s solo project explores much darker territory. By uncompromisingly maximising the bass alongside a relentless beat, lead track ‘São Paulo’ is immediately oppressive and ominous. That intensity only amplifies as it’s blown open with tribal percussion, almost whispered vocals and glitchy synth stabs. ‘Vibe De Verao’ then takes a more progressive approach, with minimalist techno constantly evolving in surprising and inventive ways. 
                                              The EP’s second half extends Phillipi’s impossible-to-pigeonhole approach. In complete contrast to the preceding tracks, ‘9000’ is cinematic in scope and lighter in tone, feeling like the score to a lost ‘70s sci-fi cult classic that’s been reworked for 2019. And ‘Gelo Seco’ caps an unorthodox sonic adventure by setting a spliced, stuttered vocal simple around a dancefloor-friendly soundscape - making the title, the Portuguese phrase for dry ice, entirely appropriate. As with all DEEWEE releases, ‘Amadurecimento’ was recorded, produced and mixed at the label’s inspiring headquarters Ghent, Belgium.

                                              STAFF COMMENTS

                                              Sil says: Brazilian, playful and dancefloor friendly. It does not get hotter than this. And it has to be on the great Deewee label. You need this!

                                              Pina Edits

                                              Pina Edits Vol. 2

                                              The Berlin-based Pina collective drop their second seven inch to date. While the first one seemed focused on the magic of the re-edit / mash-up, volume two of their craft seems intent on delivering pumping mainline house music.

                                              Two tracks that should appeal to fans of Tiger & Woods, Shir Khan and Eddie C with their playful, loopy, sample-based sound.

                                              Limited quants - move quick! 



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