Balearic . Yacht Rock . New Age . Downbeat


Genre pick of the week Cover of Trip To LA by Blue Dream.
Andy Compton is undisputedly one of the hardest working producers in dance music. With over 40 albums and 150 EPs released either solo or as part of deep house legends The Rurals, the Bristol-based producer just can't stop creating profoundly funky and vibey music that works on loose-limbed dancefloors, beach bars and shag carpets alike.
He has appeared regularly on quality labels as diverse as Lumberjacks In Hell, Hed Kandi, LARGE and naturally, his own vital imprint Peng.

Andy's latest long player for Tangential Music is a collaboration with LA artists Irantzu Pujadas and Brad Kent under the name Blue Dream.
Aptly titled: 'A Trip To LA' the album is a deliciously louche and laidback twelve tracker of pure LA heat. The project began as many great ones do, without a plan. Visiting Brad's studio to check out his huge vintage analogue synth collection in search of new sounds for The Rurals, they got to thinking...and jamming. With Brad on the dusty old drum machines, Irantzu on the microphone and Andy in synthesiser heaven, Blue Dream was born.

Their first and equally good album 'California Dreaming' was released on Peng in early 2019 and now we are here with a second round of perfectly realised dream-like grooves. Think of the sun-facing vibes of Shuggie Otis, Eddie Chacon, Bobby Caldwell or Roy Ayers at his most relaxed and add a passionate knowledge and experienced grasp of electronic forms. They make this seem easy goddammit.

'I Wanted To See You' sounds like Khruangbin with a 303, 'You Want Me Back' with its mid-tempo shuffling groove, saucy squidge bass line and seductive soul house vocal is pure daytime at Houghton Festival happiness, like Crazy P in the hot tub.

At no point are we required to sweat. Lie down if you must, stand up and sway if you're ready. This could be lovers music or just for you alone. Irantzu's vocals throughout are whispers and purrs, evocations of humid love drenched in reverb and easy living. Sunset music.

The singles 'I Wanna Go Home' and 'Sandwich Dub' don't deviate far from the endless feeling of hazy cinematic sunshine, one a sultry plea for intimacy, the other a heavily dubbed-out slice of musique française amour.
'Trip To LA' with a vocal more than suggestive of the Balearic classic 'Sueno Latino', spare guitar chords and a prodding repetitive bass line creates a feeling of slinky bliss.

Every track is full of sensual melodies and the space required to be truly funky. Press play and invite a bit of California magic in...


1. Theme Song
2. I Wanna Go Home
3. The Kiss
4. You Want Me Back
5. Lonnie's Street
6. Sandwich Dub
7. Taking It To The Top
8. Blue Moon
9. Feel
10. I Wanted To See You
11. X Express
12. Trip To La


Bliss Waves (From The Heart Realm)

AHRKH is the solo project of A P Macarte, multi-instrumentalist member of Salford's critically acclaimed noise experimentalists GNOD. Using Modular synthesiser, field recordings and voice, AHRKH explores the relationship between sound and consciousness and the ability to invoke altered states that touch the intangible, traverse the infinite expansive panorama within ourselves and discover ultra-dimensional transportation methods via sound. Recorded during the first UK lockdown in 2020, "Bliss Waves" brings us an hour of undulating, swirling, orgasmic, miasmic waves of sonic bliss. Close your eyes and you could be listening to Iasos, Laraaji or Ariel Kalma, open them and you're on K in Islington Mill. "Forget about the world, lie down, rest your mind and watch the neon tinged clouds of sunsetting on the world gently pass by, nothing matters and nothing exists outside of this moment, right here, right now."


01 Bliss Waves (14:56)
02 Haze Cascade (11:00)
03 Oceanic Boundlessness (23:23)

Formed in 2012, Asa Moto purvey non-standard body music from their Ghent outpost, Studio Martino. Closely affiliated with famed Soulwax imprint, DEEWEE, the Belgian duo’s recorded offerings carefully juxtapose expert synth-work with aesthetic imperfection. Charming melodies and throbbing rhythms come courtesy of archaic tone generators and acoustic instrumentation alike, landing Asa Moto in a zone of confident sonic idiosyncrasy. Their studio prowess has hardly gone unnoticed and during their breakout year of 2018, Resident Advisor, Redbull and the BBC were quick to take note of the group’s steady ascent. Via their ever-changing live performances, Asa Moto have become regular fixtures on the European touring circuit, touching down for club nights and festival appearances across the continent. As astute selectors, they operate a bi-monthly radio show in Brussels, digging into their sprawling collection, ranging from obscure jazz records to contemporary electronic cuts. Asa Moto have re-adapted their unmistakable strain of body music into a live show, which premiered on the Mainstage of the Lokerse Feesten 2019 and at the 40th anniversary of Ancienne Belgique in Brussels. In 2020, they co-produced and mixed the Turkish band, Altin Gün album ‘Yol’ marking the first time that the band has collaborated with outsiders.


A1. Connexion À Liège
A2. Cacao
B1. Missing Teeth
B2. Veleda
B3. In My Body

In 1987 Tor Dietrichson released new age masterpiece Global Village. Carnival Rhumba, an uptempo latin jazz number featured on the b-side. With snapping congas, wild guitars, and an over all groovy melody, it stood out as the most dancy tune on the album. Here you get the song remastered, on a loudly pressed 12 inch. On the whole A-side Prins Thomas delivers an extended edit, with all it’s best parts spread out for an extraordinary dancefloor experience. On the b-side you get the original, and a dub-version of the long edit. Buckle up, you are in for a treat.


A1. Carnival Rhumba (Prins Thomas Edit & Overdub)
B1. Carnival Rhumba (Prins Thomas Edit & Overdub Dub)
B2. Carnival Rhumba (original 1987 Version - Vinyl Remaster)

Everything But The Girl

Eden - Half Speed Remastered Edition

    Everything But The Girl's best-selling debut album, 'Eden' is the latest re-release from the duo to benefit from half-speed remastering at Abbey Road Studios by Miles Showell, and a fresh 180gm vinyl pressing.

    Originally released in May 1984, the album spent almost six months on the official UK album chart peaking at number 14 and spawned the UK Top 40 hit, Each and Every One. The label wanted further singles but the duo preferred the album to grow by word of mouth. 'Eden' achieved gold album status in the UK and has gone on to sell more than 500,000 copies worldwide.

    Ben Watt and Tracey Thorn met at the University of Hull in 1981; they formed Everything But The Girl initially as a side-project, as both had already established themselves on the UK independent music scene as teenagers - Tracey with her lo-fi minimal girl group, Marine Girls (later name-checked as one of Kurt Cobain's favourite bands); Ben as a young guitarist and singer-songwriter, collaborating with alt-folk icon Robert Wyatt on his debut EP.

    In the summer of 1983 the pair - having each gone on to to release debut solo albums - decided to pool their new songs for 'Eden'. It was recorded with producer Robin Millar (chosen for his work with Weekend and The Pale Fountains) at his Power Plant Studios in Willesden, North West London.

    "All the songs were written on guitar in Hull in early 1983. We were living in one room with a shared kitchen on Pearson Park," recalls Tracey. "Power Plant seemed very glamorous by comparison. Sade was recording downstairs. We were upstairs."

    The sessions featured a band handpicked by Ben and Tracey: Working Week's Simon Booth on second guitar, This Heat’s Charles Hayward on drums, and South American musicians Chucho Merchan (double bass) and Bosco D’Oliveira (percussion) plus a clutch of top horn players from the English jazz scene. The line-up was part friends from London, part musicians Ben admired from trips to the Bull's Head jazz room with his dad when growing up, in particular Peter King (alto sax).

    "We were intent on being non-rock," says Ben. "No clichés. No snare drums, no solid body electric guitars or electric bass. We wanted soft horns, Gretsch guitars, no fuss, a lightness of touch. We were into pop, latin, torch songs, sharp lyrics."

    The album was released on the newly-formed imprint Blanco Y Negro (co-run by Mike Alway and Rough Trade's Geoff Travis) through Warner, and signalled Everything But The Girl’s move from an independent - Cherry Red - to a major label.

    The artwork by Marine Girls band member Jane Fox was delivered as a three-dimensional collage of hand-drawn art and torn paper. Warner (who were marketing and distributing the record) didn’t really know what to do with it. The original version didn’t even have the name of the band on it. In the end it was photographed and printed on ‘reverse-board stock’ - unusual for a major release at the time.


    Each And Every One
    Tender Blue
    Another Bridge
    The Spice Of Life
    The Dustbowl
    Even So
    Frost And Fire
    I Must Confess
    Soft Touch

    First time vinyl edition of one of Laraaji’s best loved albums, originally released in 1992 as one of the first releases on the All Saints label.

    ‘Flow Goes The Universe’ was recorded in Tokyo, Osaka, New York City and the English Lake District at various studio sessions and live concerts and subsequently compiled and augmented by ‘infinite guitarist’ Michael Brook, noted for his collaborations with Brian Eno, Nusrat Fateh Ali Khan, Robert Fripp and David Sylvian.

    A suite of luminous ambient pieces that stands amongst Laraaji’s very best work.

    Cut as a double album by Stefan Betke (aka Pole) for maximum fidelity and housed in a gatefold sleeve re-designed by David Coppenhall from his original projection-based designs.

    Liner note interview with Laraaji conducted by Andrew Parks.

    Includes digital download card.


    Being Here
    A Cave In England
    Zither Dance
    In Continuum
    Deep Celestial
    Space Choir
    Mbira Dance

    Piccadilly Records

    Logo T-Shirt - Autumn 21: Spearmint / Guava

      This shirt features a guava pink print on a spearmint green Gildan Softstyle Rinspun t-shirt.

      "Lost Tapes" is a monthly release of rare B-sides, exclusives & even some previously unreleased tracks.

      'Upon renovating our arctic chateau here in the desolate north, we came across an old sea chest containing an abundance of rare B-sides, exclusives & even some previously unreleased tracks.'

      The first clutch of these tracks is available here on limited & number 2xLP and it's a rather spectacular affair. Drfiting dreamily from electronic textures into their driving, expansive, cinematic vision and occassionally drafting in some pop angel for a casual vocal utterance.

      For long term fans, this is thorough excavation of this cult and iconic duo. Boosted with extra online content and with more volumes to comes, it's nice to relive the weightless bliss and electronic pop decadance this Finnish act injected into the world. 


      1. Rising Urge
      2. I Wanna Know
      3. In The End
      4. Church
      5. Across The Graveyard
      6. Rescue
      7. I Just Don’t Understand You
      8. Ice Machine
      9. Shores Of Easy
      10. Were You Ever Wanted?

      Speiz Boiz

      Speizbanger / Breakbottle

      Speiz Bois is a trio of three seasoned Hungarian musicians active in countless other projects (think of the already cult Jazzbois outfit) playing a unique fusion of hip-hop, spaced out psychedelic grooves and melancholic 80's guitar sounds.

      'SpeizBanger' on side A is one of those timeless songs that are hard to be described, but we are pretty sure this is what an imaginary demo by random members of BadBadNotGood and Khruangbin, recorded in a smokey Budapest home studio would sound like.

      'BreakBottle' on the flip starts off as a more conventional live groove until the ethereal synths and guitar harmonies come in, from then it sounds like the fictional demo described above.

      The single is limited to 300 copies


      A. Speizbanger
      B. Breakbottle

      Will O' The Wisp Ft. Rick Astley


      No, your eyes don't deceive you! Rick Astley, yes THE Rick Astley in a one-drop, limited run, blink-and-you'll-miss-it, BALEARIC DISCO romper!

      Three new tracks which are destined to become certified future wedding classics whilst perfectly capable of holding their own across the Adriatic festival network next Summer.

      Lines like 'I've killed the groove now there's blood on my tie' could only really be sung by someone as large as Rick Astley. But there's a contemporary feel to the tracks which isn't a million miles away from what Jungle are doing at the moment. Big, resplendent guitar lines; powerful falsetto vox and warm, electronic disco production give these three songs huge mainstream appeal.

      This is a bit of a coup we have to say. God knows if there's more material due from this pair - might just be a sneaky one-off project - whatever it is, we highly recommended bagging yourself a piece of this oddball slice of Balearic gold! 


      Martin says: It's not "Never Gonna Give You Up", but this blink-and-you'll-miss it from the late 80s pop icon should keep Balearic aficionados nodding approvingly as they sip their pina coladas from the poolside.


      A1. Burning
      A2. Blood On My Tie
      B1. The Waves

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