Various Artists

Blue Note Re:Imagined

    This autumn will see the release of Blue Note Re:imagined; a brand-new collection of classic Blue Note tracks, reworked and newly recorded by a selection of the UK scene’s most exciting young talents. Representing a bridge between the ground-breaking label’s past and future, the project features contributions from a rollcall of 16 revered UK acts including Ezra Collective, Nubya Garcia, Poppy Ajudha, Jordan Rakei and Brit Award-winning Jorja Smith. Blue Note, which celebrated its milestone 80th anniversary in 2019, boasts an illustrious catalogue that traces the entire history of jazz and the Re:imagined project features music originally created by some of its most legendary artists.

    This is the fifth part in the Blue Note's "Trip" series and the second that German jazz collective Jazzanova have compiled. As previously the selection features a great mix of classic tracks alongside current artist's songs, with everything from extended jazz instrumentals and soul-jazz gems to gentle bossa and cool 'pop' included. You'll all be familiar with classics like Bob Dorough's "Three Is A Magic Number", Marlena Shaw's "Save The Children", J Dilla's mix of Brother Jack McDuff's "Oblighetto" and Gary Bartz' "Carnaval De L'Espirit", but how about checking undiscovered cuts by The Waters, Djavan, Gene Dunlap and Janet Lawson.


    2xCD Info: Double mix CD contains all tracks from both "Scrambled" and "Mashed" LP compilations.

    Just 15 months after the launch of BNR’s BNR TRAX the label has grown up and become a highly respected platform for innovative experimental music and real techno rockets.

    So far there have been 11 BNR TRAX releases, featuring Benny Rodrigues, Para One, Bobmo and Maelstrom plus completely unknown youngsters such as Audionite and BS1.

    ‘BNR TRAX 01-10’ is a compilation of the best of the first 10 BNR TRAX releases, featuring Strip Steve & Das Glow, Djedjotronic, Shadow Dancer, Para One, Maxime Dangles and Benny Rodrigues, among others.

    Boysnoize Records are turning seven this year, which presents a perfect opportunity to sum up their long label history and to celebrate another year of labeldom with the second volume of the infamous ‘BNR’ compilation,
    including well chosen tracks by label boss Boys Noize himself.

    Since the launch of ‘BNR Vol 1’ back in 2008, the BNR family have continued to grow, both artistically and musically. ‘BNR Vol 2’ features Jan Driver, DIM, Spank Rock, Siriusmo, Erol Alkan & Boys Noize, Chilly Gonzales, Shadow Dancer, Strip Steve, Djedjotronic, Housemeister, Handbraekes (Boys Noize & Mr. Oizeo) and many more. Plus remixes from Modeselekor, Brodinski, SebastiAn and Diplo, amongst others.

    Available as a 3CD digipack with an eight page booklet, featuring a continuous DJ mix by Shadow Dancer.

    Strut's first collaboration with Bill Brewster and Frank Broughton’s DJ History celebrates Bob Blank’s time at Blank Tapes with an exclusive compilation, covering the many facets of the producer's work. They feature the very first track ever recorded at the studio, Milton Hamilton’s "Crystalized", anthems including Fonda Rae’s "Over Like A Fat Rat" and lesser known Blank classics from the vaults from Debby Blackwell and Mikki. The first ever album retrospective of one of New York’s most revered of all producers, Bob Blank, this album traces the history of his independent studio, Blank Tapes, one of the city’s most important creative dens during the vibrant arts scene of the mid-70s to mid-80s.

    Blank started out in New York in 1973 as a guitarist before producing one of the first 12" disco records in 1975 – Jimmy Sabater’s "To Be With You". He opened his own Blank Tape studios a year later. He quickly became an essential port of call for New York’s diverse artistic community, honing the freeform, anarchic visions of August Darnell, Cristina and Lydia Lunch for ZE Records and, with producers Patrick Adams and Greg Carmichael, helping to shape the sound of many disco classics. Musique, Inner Life, Instant Funk and Salsoul Orchestra all recorded classics at Blank Tapes. Arthur Russell also recorded much of his most celebrated disco-related output at the studios under pseudonyms Dinosaur L, Indian Ocean and Felix, as well as "Wax The Van" with Blank’s wife, Lola. Other regulars at Blank Tapes included Latin producer Tito Rodriguez, whose Charanga 76 and Eddie Palmieri recordings with Blank would receive Grammy nominations. Not only that, but jazz and blues heads like Sun Ra and James Blood Ulmer also passed through the Blank Tape mixing desk. An awesome compilation, and another essential from Strut.

    Various Artists

    Bob Stanley & Pete Wiggs Present Occasional Rain

      It's the day after the 60s. You turn on the radio and there is news about John leaving the Beatles – or will Paul be the first to jump? There is insecurity and uncertainty. The rain filters into the post-psychedelic, pre-progressive sound; in times of upheaval, you always notice bad weather.

      "Occasional Rain" is the sequel to Bob Stanley and Pete Wiggs’ highly successful "English Weather" collection ("Really compelling and immersive: it’s a pleasure to lose yourself in it" - Alexis Petridis, the Guardian). This is the sound of young bands experimenting in a period of flux, feeling for a new direction, exploring jazz and folk – as many songs are led by mellotron, piano and flute as they are by guitar. Lyrically, there are two themes that crop up regularly: the search for a home that isn’t there anymore – the certainties of the optimistic 60s, the physical reality of terraced streets – and the rain. For the former, there’s Cressida’s gentle, keening ‘Home And Where I Long To Be’, while Duncan Browne’s shape-shifting ‘Ragged Rain Life’ feels like a decent summary of Britain in both 1970 and 2020.

      "Occasional Rain" puts the era’s bigger names (Traffic, Yes, Moody Blues) and the lesser known (Mandy More, Shape Of The Rain, Tonton Macoute) side by side. Like its predecessor "English Weather", it evokes the turn of the new decade, a beautiful state of fuzzy confusion, and the feel of a wet Saturday afternoon at the dawn of the 70s spent flicking through the racks, wondering whether to buy the new Tull album or maybe take a chance on that Christine Harwood album in the bargain bin (go on, you won’t regret it).

      “Paris In The Spring” is a collection of the new music, put together by Saint Etienne’s Bob Stanley and Pete Wiggs, that emerged from France between 1968 and the mid-70s, an extraordinary blend of several previously independent strains – French chanson and yé-yé, American jazz and funk, British chamber pop – shot through with the era’s underlying mixture of optimism, uncertainty and darkness. This is the first collection of its kind, released on the 50th anniversary of the Paris uprising.

      Serge Gainsbourg – a jazz pianist with a chanson past and a pop present – was in a position to play a key role in soundtracking France in flux over the next five years. His “Histoire de Melody Nelson”, with its heavily atmospheric arrangements by Jean-Claude Vannier, was the acme of this new, unsettling French sound. “Paris In The Spring” includes other equally dazzling Vannier arrangements (for Léonie) and Gainsbourg compositions (for Jane Birkin and Mireille Darc).

      Prior to 1968, 60s French pop had been dominated by yé-yé, the country’s unique brand of upbeat pop, a world of primary colours, minijupes and discothèques (a French invention, after all). Its stars either faded fast after May ’68 or adapted to the new era: Jacques Dutronc (‘Le Métaphore’) and France Gall (‘Chanson Pour Que Tu M’aimes un Peu’) discovered a moody side they had previously kept hidden, while Françoise Hardy released the Brazilian-influenced, after-hours classic “La Question”, from which we have picked ‘Viens’.

      New bands like Triangle emerged, influenced by Soft Machine and Gong who became regulars on the Paris club scene. French library music from Janko Nilovic and film soundtracks (François De Roubaix, Karl-Heinz Schäfer) reflected the era’s edginess. All are represented on “Paris In The Spring”, making it a continental cousin to Stanley and Wiggs’s hugely popular 2017 Ace compilation “English Weather”

      By mid-1968 there was a growing consensus that something had gone horribly wrong with the American dream. The nation’s youth had loudly made their feelings clear, but now the older, pre-Beatles generations began to look at the country – with urban riots, Vietnam, and the assassinations of Martin Luther King and Bobby Kennedy – and wonder what the hell was happening. This album includes rare classics (The Beach Boys’ ‘Fourth Of July’), lost masterpieces (Roy Orbison’s seven-minute ‘Southbound Jericho Parkway’), and forgotten gems by some of the biggest names in the business (Elvis Presley’s ‘Clean Up Your Own Back Yard’).

      Reactions to America’s existential crisis ranged in subject matter from divorce (Frank Sinatra’s ‘The Train’) and the break-up of the nuclear family (The Four Seasons’ ‘Saturday’s Father’), to eulogies for fallen heroes (Dion’s ‘Abraham Martin and John’), sympathy for Vietnam vets (Johnny Tillotson’s ‘Welfare Hero’), the church’s institutional racism (Eartha Kitt’s intense ‘Paint Me Black Angels’), and even questioning the ethics of the space programme (Bing Crosby’s terrific ‘What Do We Do With The World’).

      Compiled by Bob Stanley and Pete Wiggs, State Of The Union follows on from their highly acclaimed English Weather and Paris In The Spring compilations. With clear parallels between today's fractured country and the USA fifty years ago, this is a fascinating condensation of what Americans were thinking when they turned on the TV, or the radio, or simply walked down Main Street in 1968.


      Coloured LP Info: 180g blue vinyl double LP.

      Various Artists

      Bob Stanley & Pete Wiggs Present The Tears Of Technology

        At the turn of the 80s, a new generation of musicians appeared who saw synthesisers not as dehumanizing machines but as musical instruments that could be coaxed into creating modern, beautiful and decidedly emotional music. It was almost as if the musicians were intentionally creating this music to prove the doubters wrong. “The Tears Of Technology” celebrates an era of electronic melancholia, synthesized intimacies and insights – even Tomorrow’s World didn’t see that coming.

        Compiled by Saint Etienne’s Bob Stanley and Pete Wiggs, “The Tears Of Technology” celebrates this brief period when scruffy synth duos from the provinces broke through and took over British pop. Like mellotrons before them, synths could project a strange and deep emotion; listen to OMD’s ‘Sealand’, or the Human League’s ‘WXJL Tonight’, and it was clear that something in the wiring had an inherent melancholy.

        In the 60s and 70s, the synthesiser had mostly been regarded as either a novelty or a threat. Tomorrow’s World warned us that the cold, heartless synth would soon make orchestras redundant. But by 1980, Korgs, Moogs and Rolands were becoming affordable for all, and post-punk had created a safe place for new groups to experiment with these new toys.

        The influence of Kraftwerk – who had made a landmark appearance on Tomorrow’s World in 1975 – is all over this collection. Big names rub shoulders with obscurities by Turquoise Days, Electronic Circus and Illustration, all highly prized recordings among ‘cold wave’ and ‘minimal synth’ afficionados. There are pioneers like John Foxx and Thomas Leer, alongside unexpected synth sadness from Simple Minds and the Teardrop Explodes.

        Britain wasn’t on its own in having a thoroughly miserable 1973: O Lucky Man! and Badlands both found a great year to premiere; Watergate brought America to a new low. But America didn’t still have back-to-backs and outside bogs. Tens of thousands of Britons were still housed in wartime pre-fabs. The bright new colours of the post-war Festival of Britain and Harold Wilson's talk in the 60s of the “white heat of technology” now seemed very distant as strikes, inflation, and food and oil shortages laid Britain low. What had gone wrong? And what did pop music have to say about it?

        Many of the year’s biggest acts had set out on their particular journeys in the most idealistic years of the 60s (Yes, Genesis, the Moody Blues) and still held traces of that era’s promise. For acts such as Bowie and Roxy Music who had emerged in the new decade, one way out of the British malaise was to look into the future, embracing modernism and the space age beyond, a world of electric boots and mohair suits. Another was to draw heavily on the revered 50s, retreating to rock’s unsullied roots while remaining ostensibly current – Wizzard, Mott The Hoople and even the Rubettes managed to reshape the 50s to their own ends, much as Springsteen did in the States, although beyond them lay Showaddywaddy, Shakin’ Stevens, and a sickly nosedive into nostalgic yearning.

        This left a small rump of acts diligently soundtracking Britain’s present, not with a wagging finger but a fuzzy guitar, a primitive synthesiser, and a pitch-black sense of humour. Quite often these records were cut in home studios – many featured the same basic synth (just the one) that Roxy’s Eno and Hawkwind’s DikMik used; the guitarists still played blues progressions picked up from the Stones; and they sometimes touched on glam – the era’s brightest, newest noise – found inspiration in its disposability and its energy, but didn’t have the luxury of a Chinn and Chapman or a Mickie Most to sprinkle fairy dust on their final mix. And outside the studio door were the strikes, the cuts, economic chaos, teenage wasteland – these musicians created music that, intentionally or not, echoed their surroundings. It wasn’t glam, but it emerged from what Robin Carmody has called “the glamour of defeat, the glory of obliteration”.

        The songs on “Three Day Week” amplified the noise of a country still unable to forget the war, even as it watched the progressive post-war consensus disintegrating. We hear shrugs and cynicism, laughter through gritted teeth. Comparing it to the richness of records made just five or six years earlier, you might think musical instruments had been rationed, and that everyone has one eye on the clock, cutting corners to get the recording finished before the next power cut. You picture engineers in donkey jackets, with a brazier by the mixing desk. You hear odd electronic explosions, quacks and squiggles. The pub piano is predominant, with its brown ale, Blitz-spirit, grin-and-bear-it jollity. And under many of these tracks is a barely concealed frustration (sexualised on the Troggs’ ‘I’m On Fire’) and even anger (how else to read ‘Urban Guerrilla’, or the howling and the hand grenade at the end of Stud Leather’s ‘Cut Loose’?). Think of “Three Day Week” as an extended, musical Play For Today.

        The Three Day Week itself – which only lasted eight weeks, but was the nadir of a four-year-long depression – had been a result of the Tory government’s limit on pay rises in October 1973 and the miners strike that followed. Back at the start of 1972 the miners had struck for higher pay and won, averting Prime Minister Edward Heath’s threat to introduce a three day week in manufacturing and industry to hold on to energy reserves. By late 1973, though, the miners had slipped from top of the industrial wages league to 18th. Amid strikes by civil servants, medical staff, railway and dock workers, the miners went on strike again. The Three Day Week proper lasted from New Year’s Day to 7 March 1974. TV shut down at 10:30. Power cuts and blackouts in homes across Britain meant the sales of candles and torches soared. Old soldiers tutted. The Army were on standby. And, nine months later, there was a spike in the birth rate.

        For the younger generation, however, the Three Day Week is not remembered as a period of woe. Power cuts were fun! Who wouldn’t like the idea of a three day week? More time to play! It was also easy for kids to confuse pop culture and politics when the Prime Minister was Ted Heath and the leader of Britain’s biggest union, the TGWU, was Jack Jones. Even the TUC’s leader Vic Feather sounded like the bassist from a RAK act. There is also the folk memory of the period being a high-water mark for the power of trade unions, who seemingly always struck for higher pay and won, a dreamtime for many on the left. The second miners strike brought down the Tory government – what a time to be alive! Margaret Thatcher was only education secretary at this point, the hated “milk snatcher”, and no one had a crystal ball to see what the Tory reaction might be several years down the line.

        The records on this collection were almost all released as 45s, sent to shops in cost-cutting plain white paper bags, and – thanks to the oil shortage caused by the Arab-Israeli conflict – pressed on thinner vinyl than you’d have had ten years earlier. On every level, they felt as if they were being recorded and released under wartime restrictions. Many of these tracks were B-sides, recorded in haste, with no commercial forethought or relevance to the A-side, because, as Peter Shelley recalls, “You’d made the wild assumption that no one would ever play it”.

        Why did the music end up sounding this way? There had been a general sense of decline in Britain since the turn of the decade – not only in industry but in film, art, fashion, and in people’s expectations. You could trace its roots further back to 1968, when the collapse of the Ronan Point tower block in East London sounded a death knell for modernist dreams. Or to 1967, a year for which Swinging London has prevailed in popular memory over Cathy Come Home, but which should be remembered for the devaluation of the pound and the capital's nationalistic dock strikes as much as Alexandra Palace’s 14 Hour Technicolour Dream. By 1972, everything new – be it a brick wall or a terylene suit – was a shade of brown or orange, and the smell of sweat and odour-hugging man-made fabrics (not only clothes but carpets and curtains) was dominant. The worsted mills of Bradford and cotton mills of Manchester were fast disappearing, and the mix of wet wool, chimney smoke and boiled cabbage that Shena Mackay recalled being London’s olfactory default in the 60s had been replaced by weeks-old fag smoke, BO, and something plasticky you couldn’t put your finger on.

        Few of the songs on “Three Day Week” are politically direct: the Edgar Broughton Band had been Ladbroke Grove rabble rousers at the tail end of the 60s, but their ambitions sound entirely blunted on the monochrome hopelessness of ‘Homes Fit For Heroes’; Phil Cordell’s ‘Londonderry’ is diffuse, but it was an odd place to single out for a song title in 1973; Pheon Bear appears to be losing the will to live even as he shouts himself hoarse on ‘War Against War’. The ambivalence of the Strawbs on ‘Part Of The Union’ – a #2 hit – is entirely in keeping with the pub humour and shrugging cynicism of the era. So there is a little agitation here, but there is plenty of gleeful irreverence. One more drink? What have we got to lose? The government’s on its knees and we might all be out of work tomorrow. Quick, somebody, get on the piano before the lights go out again.

        BOB STANLEY.

        Various Artists

        Bob Stanley Presents 76 In The Shade

          “76 In The Shade” follows in the footsteps of Bob Stanley’s hugely successful comps for Ace, including “English Weather” and “The Tears Of Technology”. It suggests bright yellow sunshine, hot plastic car seats, cats lolloping on the lawn. A few tracks (Smokey Robinson, Cliff Richard, David Ruffin, Carmen McRae) act as necessary splashes of cooling water; most of them sound like it’s just too hot to move. Luckily, you don’t need to.

          The months without rain and airless days and nights might not have been something out of the ordinary in the Algarve or the south of France, but it was without precedent in Britain. The Summer of 1976 has remained a benchmark for long, hot summers – there may have been scorchers since, but none have seemed quite as relentless or enervating. The country melted into a collective puddle. “76 In The Shade” probably wasn’t anyone’s real life soundtrack of the year – that could have included Bowie’s “Station To Station” and Abba’s “Greatest Hits”. Instead, Saint Etienne’s Bob Stanley has put a compilation together that sonically evokes the summer of 1976 itself, its sweet heat and almost narcotic lethargy.

          Getting out of the sun, you might have sat inside with the radio on, and heard the dreamy wooziness of Liverpool Express’s ‘You Are My Love’, 10cc’s ‘I’m Mandy Fly Me’, or the Emotions’ ‘Flowers’. Or maybe you flopped out in front of the telly, where you heard an alternative summer soundtrack – the music libraries that provided the bulk of the testcard’s music gave us Simon Park’s minimal ‘Stoned Out’ and John Cameron’s deeply immersive ‘Liquid Sunshine’; the Californian jazzer Spike Janson provided the wordless vocal harmonies of ‘Walking So Free’.

          “76 In The Shade” follows in the footsteps of Bob Stanley’s hugely successful comps for Ace, including “English Weather” and “The Tears Of Technology”. It suggests bright yellow sunshine, hot plastic car seats, cats lolloping on the lawn. A few tracks (Smokey Robinson, Cliff Richard, David Ruffin, Carmen McRae) act as necessary splashes of cooling water; most of them sound like it’s just too hot to move. Luckily, you don’t need to.


          2xLtd LP Info: 180g pressing, with deluxe heavy-duty gatefold sleeve, that features a bonus track!

          Various Artists

          Bobo Yéyé: Belle Époque In Upper Volta

            Bobo Yéyé: Belle Époque in Upper Volta From his studio in central Bobo-Dioulasso, photographer Sory Sanlé documented a nation’s transformation from colonial foothold to cosmopolitan oasis. Bobo Yeye: Belle Epoque in Upper Volta provides an intimate look into the landlocked nation’s pop culture explosion of the 1970s. A melange of community elders and emboldened youth spill from the brightly lit confines of Sanlé’s Volta Photo into the dimly lit nightclubs of Upper Volta’s cultural capital. Accompanying this hardbound monograph are dozens of rare and evocative recordings spread over three discs by Bobo-Dioulasso’s musical titans: Volta Jazz, Dafra Star, Echo Del Africa, and Les Imbattables Léopards.

            Get Physical invite Canadian electronic pop sophisticates Matt Didemus and Jeremy Greenspan, aka Junior Boys, to contribute the latest instalment of the "Body Language" series. There's a touch of Balearica, exemplified by Prins Thomas's chiming remix of Sorcerer, and Todd Terje's version of Studio's "Life's A Beach!". Stereo Image (Junior Boy Johnny Dark and San Serac), bring us dark synth-pop cut "Dark Chapter", and there's original electro-pop from Visage; Kelley Polar (Environ) is represented here by an instrumental of "Rosenband"; "BL3W R0D30 D3M0" by Junior Boys techno-loving drummer F0st3r is exclusive to this mix, as is the band's own "No Kinda Man". Matthew Dear's "You Know What I Do" recalls Talking Heads at their rhythmic avant-pop peak, while Chloe pops up with "Be Kind To Me" and dubbed-out remix of Rework's recent Playhouse hit "Love Love Yeah Yeah" for fans of tech-house and minimalism.


            2xLP Info: Unmixed vinyl includes Sorcerer "Surfing At Midnight" (Prins Thomas Miks), Stereo Image "Dark Chapter", Studio "Life's A Beach!" (Todd Terje mix), F0st3r "BL3W R0D30 D3M0", Junior Boys "No Kinda Man", Chloe "Be Kind To Me", Gui.tar "Love Started To Shine", Visage "I'm Still Searching" and Matthew Dear "You Know What I Would Do".

            Somehow or other Modeselektor still find time to be among the best, most reliably party smashing DJs on the planet. Their contribution to Get Physical's "Body Language" mix series is a riotous, bass-heavy affair, one that takes in all kinds of interesting developments in cutting edge contemporary dance music. MDSLKTR draw a natural line from the fizzing aqua-crunk of Rustie's "Zig-Zag" to the R&B bump of Missy Elliott's Timbaland-produced "Lick Shots", from the skippy 90s techno of G-Man's "Quo Vadis" to the tough Berghain minimalism of Norman Nodge. Dubstep – a big influence on the Moderat project – plays a pivotal role in the mix: moody, synth-led masterpieces by Peverelist and Benga recall classic Detroit techno, while Untold's devastating "Anaconda" is sheer dancefloor energy. Scuba's "Klinik" isn't so much dubstep as broken, reductionist house music. The uncompromising, big-hearted "Body Language Vol.8" is one of the most refreshing and outrageously banging mixes you'll hear all year, a stellar addition to a series that has seen previous contributions from the likes of MANDY, DJ T, Matthew Dear and Junior Boys.

            1. Outro
            2. Rustie – Zig-Zag
            3. Missy Elliott – Lick Shots (Instrumental)
            4. Osborne – The Count
            5. Boy 8 Bit – The Cricket Scores
            6. Felix Da Housecat – Kickdrum
            7. Alex Cortex – Huyendo Part 2
            8. G-Man – Quo Vadis
            9. Norman Nodge – NN 8.0
            10. Benga - Emotions
            11. Peverelist – Clunk Click Every Trip
            12. Untold - Anaconda
            13. MOVES!!! – All Skate
            14. Busta Rhymes – Gimme Some More (Amended Version)
            15. Joker & Rustie – Play Doe
            16. Mark Pritchard & Om'mas Keith – Wind It Up
            17. Djedjotronic – Dirty & Hard (Feat. Spoek) Vs. Dorian Concept – Trilingual Dance Sexperience
            18. Horsepower Productions – Let's Dance (Club Mix)
            19. Robert Hood - Unix
            20. Major Lazer – Pon De Floor
            21. Boys Noize – Nerve
            22. Siriusmo – Nights Off
            23. Modeselektor – The Black Block (Marcel Dettman Redifinition)
            24. Scuba – Klinik
            25. Animal Collective – My Girly
            26. Modeselektor – Fill #1

            A1. Siriusmo – Nights Off
            A2. Animal Collective – My Girls
            B1. Missy Elliot – Lick Shots (Instrumental)
            B2. Mark Pritchard & Om'mas Keith – Wind It Up
            B3. Major Lazer – Pon De Floor Feat. VYBZ Kartel
            C1. Moderat – A New Error
            C2. Peverelist – Clunk Click Every Trip
            D1. Felix Da Housecat – Kickdrum
            D2. Modeselektor – The Black Block (Marcel Dettman Redifinition)

            True to form, Boston-based label Cultures of Soul is set to release a compilation of obscure disco from a far-flung corner of the world. After forays into India and Brazil, they now turn their attention to South Africa. South Africa is home to a dizzying variety of musical genres and traditions, including some that look directly to American sounds for inspiration. In the late 70s and early 80s, many of the country’s best young musicians were guided by funk. All over the world, disco was growing harder and more electronic, with new synthesizers entering the market every month. The southern tip of Africa was no exception. Global music industry geo-politics, however, aided by the country’s pariah status and a UN-sanctioned cultural boycott, prevented the vast majority of this music from ever being heard outside the country, nor ever being released on CD or digitally. Until now. Compiled by Cultures Of Soul head honcho Deano Sounds in collaboration with Johannesburg-based DJ Okapi from the Afro-Synth blog and record store, Boogie Breakdown serves up two tracks apiece from six seminal acts from the era - Harari, The Cannibals, Neville Nash, Benjamin Ball, Don Laka and Al Etto – to offer a glimpse into this long-forgotten era in African music history. A period of true innovation and new possibilities – as well as isolation and political instability – the early 80s in South Africa saw the emergence of numerous talented, innovative artists, whose efforts soon gave rise to the big-selling ‘bubblegum’ sound of the mid-80s. As the decade wore on, this sound shed its American roots and took on more local influences, becoming ever more electronic and less funky, to become the kwaito of the 90s and ultimately the house music of today. It all started with the arrival of synthesizers and the creativity of producers and artists featured on this compilation - pioneers
            of a new sound before it became established and marketable – global in its appeal, yet rooted in Africa

            STAFF COMMENTS

            Matt says: So, you have Harari's "Good Vibes" (recently edited by none other than Neil Diablo) and Don Laka's "I Wanna Be Myself" (currently none available of discogs at all) on one comp. I'm already sold! The rest of the tracks are dope too. And we all know Cultures Of Soul do this shit proper. Immense.

            Soul Jazz Records' new 'Boombox' features some of the many innovative underground first-wave of rap records made in New York in the period 1979-82, all released on small, independent, of ten family-concern record companies, at a time when hip-hop music still remained under the radar. This first exuberant wave of innocent, upbeat,'party on the block' rap records were the first to try and create the sounds heard in community centres, block parties and street jams that initially took place in the Bronx in the mid-1970s. But where Flash, Kool Herc and Bambaataa were back-spinning, mixing and scratching together now classic breakbeat records like The Incredible Bongo Band's 'Apache' or Babe Ruth's 'The Mexican', these first rap records were all made using live bands, often replaying then current disco tunes, whilst MCs rapped over the top, creating a unique sound that later became known derisively as 'oldschool'. And while hip-hop started in the Bronx, rap on vinyl began in Harlem where long-time established rhythm and blues producer-owned record companies such as Joe Robinson's Enjoy Records, Paul Winley's Winley Records, Delmar Donnel's Delmar International and Jack 'Fatman' Taylor's Rojac and Tayster were the first off the mark to realise the commercial potential of rap music-releasing early ground-breaking records that all quickly followed in the wake of the first rap record, The Sugarhill Gang's 'Rappers Delight', a million-selling worldwide hit. This collection celebrates these first old-school rap records, bringing together rare, classic and obscure tracks released in the early days of rap.

            Deluxe double CD-pack comes with slipcase, 40-page outsize perfect-bound booklet,extensive notes, exclusive photography and original label artwork. Triple heavy weight vinyl includes full artwork, text and notes as well as free download code.


            3xLP includes MP3 Download Code.

            Various Artists

            Boombox 3 - Early Independent Hip Hop, Electro And Disco Rap 1979-83

              Soul Jazz Records’ new ‘Boombox 3’ continues their story of the first rap records to be put onto vinyl. It is a jam-packed collection of original independent old school hip hop, created with just one thing in mind - to get this party jumping.

              After the explosion of hip hop in the parks and clubs of The Bronx in the mid-1970s, it was in Harlem where the first rap records emerged at the end of 1979 - an avalanche of superb rap tracks released on small independent labels all trying to capitalize on the success of ‘Rapper’s Delight’.

              Like hip hop culture itself, these first rap singles are the product of their own unique set of aesthetics - exciting and innovative rap performed with Bronx block party B-Boy funk breaks, disco jams and Jamaican sound system culture.

              The extensive sleevenotes discuss hip hop’s trajectory from the first wave of Bronx creativity - the legendary DJs Kool Herc, Grandmaster Flash and Afrika Bambaataa - through to its arrival in Harlem via the entrepreneurism of old-school African-American rhythm and blues producers and émigré Jamaican producers all living in New York. Along the way the notes discuss everything from the New York power blackout of 1977, the Italian mafia involvement in the music industry, the links between rap and Jamaican dancehall and more besides.

              ‘Boombox 3’ features a line-up of stunning, near unknown New York rap artists, classic disco breaks (including Chic’s omnipotent ‘Good Times’, MFSB’s ‘Love Is The Message’, Queen’s ‘Another One Bites The Dust’), proto-electro and more. And by the early 1980s the first rap records outside New York began to emerge - Los Angeles, Houston, Milwaukee, Phoenix - and the first of these are also featured here in this new collection.


              2xCD Info: Double CD pack with 44-page outsize booklet and slipcase.

              A compilation from world renowned Swedish label Borft. Four different tracks by four different artists, all originally released by Borft between 1996 - 1998 and re-mastered by Andrea Merlini. Pher contributes a shoulder-rolling slice of deep house pleasure via "Tja Boo", more akin to the Prescription or Cajual labels but sounding super funky here with its rampant snares and highly swung hats. Dan Fun drops some otherworldly quirkiness in the form of "DFSS1" with its traditional talking percussion paired with a jolty technoid stomp. Crinana returns to vintage house goodness on "Killimanjaro"; which in retrospect looks like an early blueprint for the lo-fi house scene with its frequency reduced hats, skeletal construction and radiant pad stabs. Finally, "Smooth Lover" by U sees a euphoric, strobe lit lead line pair up with subtle kick, sexy male vox and delicate ride cymbals for a surprise moment of dancefloor euphoria that's cuddly and unimposing yet captivating and uplifting in the bucket load. Mega.

              Various Artists

              Born Under Pitches 1

              Several years ago, the born under pitches DJ Crew members got their hands on a couple of original 70s obscurities, while these standout records shone brightly in their own right, the team finally decided to put them out as those obscure old records fetch eye-wateringly high prices on the second-hand market. Due to popular request & lovingly mastered to the highest possible standards, they are now available to play and share in very special moments at parties around the world.

              On the A-side we have a brisk and brilliant bit of Lofty disco flecked with all those jazz funk trimmings that set a party off right - sustained synth notes, slick guitar work, syncopated hats and finally a female vocal that coos into your shell-like. Meanwhile on the B-side we get a slow rolling disco-funk cut with hypnotic vocal chants, wikka wakka guitar and the bassline to end all basslines. Mirrorball magic y'all.

              Yowzers! Just in time for the Christmas hustle (yes I just mentioned the C-word!) we have this most perfect of festive present ideas. Kev Beard's iconic DIY label, Box Bedroom Rebels label bring a compilation of the best bits from the series in a beautifully presented pack. 33 tracks from the first 2 years of BBR, most of which are now impossible to get anywhere; this also includes a few previous 'download only' tracks. In the two years since its inception, BBR has become somewhat of a cult label amongst its fans, garnishing support across the world and media. They released one of the very first Horsebeach 7"s, have put out material from the farthest reaches of Scotland, to the darkest suburbs of Wigan and kept a ridiculously creative, inspiring aesthetic throughout. Punk rock through and through in mindset and execution, the styles and genres on show from the label range from morose shoegaze through melancholic, rain-soaked indie-fuzz through to glacial moments of icy shimmering electro-pop. There's always a hook or a melody, but you might have to fight through 6-inches of distortion, grit, blood and tears to get to it. A lesson for us all that 'doing it yourself' can be much more inspired than running the normal course of label / distribution / record deal; Kev's kept hold to every last drop of artistic credibility but still achieved widespread appeal and a die-hard fan base to boot. It'd be both shameful and against the punk spirit of this record to talk about how the OG 7"s sell for loads of discogs (but I just did). Just buy this record to feel it through your bones to the bottom of your feet and to the pit of your heart. And that's what matters. We heart Box Bedroom Rebels 4 ever!


              2xLtd LP Info: Super deluxe compilation of Kev Beard's iconic label. Comes in a thick, embossed, matt card gatefold sleeve with full colour inner sleeves, double sided insert & envelope containing 40 track download code, BBR Letter, BBR#20 Confetti & pages from The Picture Of Dorian Gray.

              This album is a unique project for Soul Jazz Records, featuring all-newly recorded exclusive tracks of future dub and dubstep from key artists in the scene. After two killer Digital Mystikz singles on the label last year and an amazing amount of publicity around the dubstep movement, this album clearly shows the influence of original electronic dub pioneers like King Tubby, Scientist and King Jammy on this new generation of artists and producers. Emerging out of south London, dubstep has grown from its roots in the grime and drum and bass scenes to create a whole new movement of artists - including Digital Mystikz, Skream, Scuba Kode 9 and Burial - all influenced by soundsystem culture as well as technology. With heavy basslines and complex drum patterns, this is dance music that also works for the mind, being both progressive and innovative.

              Various Artists

              Brand New Wayo - Funk, Fast Times & Nigerian Boogie Badness 1979-1983

              Comb & Razor Sound launches its exploration of the colourful world of popular music from Nigeria, starting with the post-disco era of the late 1970s and early 80s.The years between 1979 and 1983 were Nigeria’s Second Republic, when democracy finally returned after 23 years of uninterrupted military dictatorship. They were also the crest of Nigeria’s oil boom, when surging crude prices made the country a land of plenty, prosperity and profligacy. The influx of petrodollars meant an expansion in industry, and the music industry in particular. Record companies upgraded their technology and cranked out a staggering level of output to an audience hungry for music to celebrate the country’s prospective rise as global power of the future. While it was a boom time for a wide variety of popular music styles, the predominant commercial sound was a post-afrobeat, slickly modern dance groove that retrofitted the relentless four-on-the-floor bass beat of disco to a more laidback, upbeat-and-downbeat soul shuffle, mixing in jazz-funk, synthesizer pop and afro feeling. At the time, it was still mostly locally referred to as 'disco', but has since been recognized as its own unique genre retrospectively dubbed 'Nigerian Boogie'. "Brand New Wayo" collects 15 pulsing Nigerian boogie tracks in a lovingly compiled package chronicling one of the most progressive and creative eras in the history of African popular music.


              CD Info: Deluxe CD box set. P&P equivalent to 3xCD.

              Various Artists

              Breath Of Danger (Themes)

              "Breath Of Danger" was originally released in 1974, and rounded up a killer ensemble cast of library legends including Alan Hawkshaw, Brian Bennett, Alan Parker, David Lindup, Kenny Salmon, Barry Morgan and Ray Cooper.

              They Say: “A selection of suspense underscores and drama blackcloths which vary in intensity and cover a wide range of suspense and drama situations”.

              We say: A breaky, funky library great masquerading as a horror score. Oh, and the cover art is amazing.

              Lindup’s opener “Cold Sweat” sounds like hip-hop-friendly mode Axelrod and, indeed, was brilliantly sampled by Kool Keith for his Dr. Dooom project. Alan Hawkshaw and Brian Bennett’s “The Manipulator” sounds like it arrived straight out of the same sessions as their legendary Synthesizer & Percussion LP from the same year.

              Over on the B-side Alan Parker’s “Psychosis” is a moving and beautifully restrained funk-guitar/cello/harp workout. Stunning. Kenny Salmon’s “Flying Squad” is a sleazy, flute-enhanced gem and the album closes with “Voodoo”, a seventy second riot of sound and colour from the dynamic drumming-percussion duo of Barry Morgan and Ray Cooper.

              Sonically, there’s a widescreen vitality in all these tracks thanks to the driving rhythms, vibrant horn sections and blazing guitar work. It renders Breath Of Danger - 45 years old - truly ageless. The Themes series is known for having particularly striking sleeves, which was unusual for library records at the time, and Breath Of Danger’s scraps of comic-book crazy make for one of the most eye-catching.

              As with all of our other Themes re-issues, the audio for Breath Of Danger comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity.

              Volume five of the killer Britxotica! series, looking this time at 16 super rare and briliantly bonkers latin and percussive pop cues from the wild British Isles!

              Britxotica! (pronounced “Britzotica”) neatly describes an odd and yet undocumented pre-Beatles British musical scene where famed UK composers as well as unknown singers and bandleaders threw convention on holiday and went wild wild wild! Put together by Jonny Trunk with DJ / tastemaker and Smashing nighclub legend Martin Green, these groundbreaking new compilations shine new light on lost and forgotten corners of British culture and sound.

              For this, Part Five of our planned Britxotica! series we head to lively latin tinged dancefloors where Brits could cha cha cha to the KIrchin band, “Jump In The Line” with Frank Holder and Mambo with Ido or Don. This killer collection of British dance obscurities brings us lively sounds from the rarest UK record bins, including this time an amazing cover version of the legendary loungecore hit “House Of Bamboo” plus the stunning “Jonny One Note” by Ted Heath, the track that originally introduced John Craven’s Newsround. To sum up, this is another exciting, wild and occasionally bonkers compilation by Jonny Trunk and Martin Green, two of the UKs most wild record collectors. Also, there are men in underpants on the sleeve, What’s not to like?

              Various Artists

              Broken Lamps And Hardcore Memories Vol.2

              Pastepunk delivers another diverse and well aimed broadside with the second in the "Broken Lamps And Hardcore Memories" series, taking in metal, hardcore and punk along the way. The 26 bands featured include Most Precious Blood, Atreyu, Nora, Staring Back, Blood Red, Break The Silence, Martyr A.D. and Curl Up And Die amongst others, and the whole thing comes in at just under a fiver. So what are you waiting for?

              Various Artists

              Brought To Light

                This release is a collection of demos, curated by the FatCat Records, who have deemed them some of the finest submissions they’ve received over the last few years. FatCat have a long tradition of supporting new artists and treating demos with an open mind. This new collection of songs, the first in a trilogy of such releases, is demonstrable to the eclectic taste the label have always possessed. One of the founding partners of the label, Alex Knight says. “FatCat has a rich history of signing Artists from Demo recordings, this includes renowned artists such as Frightened Rabbit, The Twilight Sad,Animal Collective and Max Richter as well as current signings C Duncan, Samana, Resina and Shida Shahabi. We receive a wonderful array of demo’s and the compilation is a great way to highlight just how good this material is!”

                FatCat have always been a label that comfortably straddle the line between guitar music and electronica. For this release, the focus is on the sort of DIY guitar sound of which Paws and TRAAMS fans might enjoy. Away from the FatCat roster, fans of Yuck, Cloud Nothings, Drenge and Girl Band will also find plenty in which to immerse themselves. The next two compilations will focus on other genres that make up the FatCat musical tradition. The artists on this release are all at different stages of their careers. Some have gone to work with labels, some have remained independent. Some are new, some have been around for years. The album has been lovingly put together by FatCat with the intention of bringing these songs into the spotlight.

                FORMAT INFORMATION

                LP includes MP3 Download Code.

                Everybody’s favorite source for the hard stuff is back in business, with ten more lethal doses of rare hard rock, heavy psych and proto-metal! Hard to believe we’re eight Trips in and we haven’t lost any steam since the get-go. As usual, we’re laying the heaviness on you in the most legit way possible. These obscure tracks have all been licensed, the bands have been paid, and the sources are all analog. The quality of tracks seems increase along with the number of Trips and this cohesive collection comes outta the gate with both guns blazing!

                Pegasus recorded one single in Baltimore in 1972 and they made it count. “The Sorcerer” is a throbbing ripper that prior to this was basically unknown. However, it doesn’t seem too far fetched to speculate that Black Flag lifted the riff for “No Values” from this track eight years later. Unlikely, but possible, especially considering how big a Black Sabbath fan Greg Ginn is. Pegasus was lauded back in the day for “how much they delivered that Black Sabbath feel.”

                You may read the track title for the Nobody’s Children 45 and start thinking, OH NO, the guys behind Brown Acid have given up on bad trips. Fret not, “Good Times” was originally written as a joke, but when Ron Chapman of the Sump’N Else TV show heard it he passed it along to the folks behind GPC records and they quickly pressed 100 copies. Unfortunately, the evening it was slated to be played on the local Dallas radio station KLIF, Robert Kennedy was murdered and premier was pre-empted by a Classical music tribute to him. The song has since been bootlegged numerous times and even covered by the Butthole Surfers, but this is the first time it’s been fully licensed.

                Youngstown, Ohio is the most commonly referred to city of the entire Brown Acid series. This town of just under 150,000 people may’ve had the highest (literally and figuratively) per capita output of heavy 45s. Blue Amber recorded this in 1971 at Gary Rhamy’s analog Mecca, Peppermint Recording Studios. This two-riff boneheaded banger sounds like a caveman protest song with an extraordinary amount of delay on the vocals. No wonder this 45 fetches three-figures on the rare occasion it comes up for sale.

                Batting clean-up, we have Negative Space, the only LP sourced track on this album. This crunchy jam comes off the band’s 1970 record entitled Hard, Heavy, Mean, & Evil. At over six and a half minutes, “The Calm After the Storm” is the longest track included on this volume, but it never gets dull. Fun fact: before changing the name to Negative Space, Rob Russen called his band Snow and released the “Sunflower” 45 in 1969 — you might recall that groover from the First Trip.

                We generally stick with American artists for this series, but every now and again something foreign grabs us and shakes us to the core. One example is this Swedish 45 by Zane. These crazy Swedes did one incredibly damaged (hence the title) record on the MM label in 1976. These proto-punkers relied heavily on synth for this tune and mixed the drums so obnoxiously loud, you might think the kit is in the room with you. This is a weird one that somehow sounds like Zolar X covering Wicked Lady. Brown Acid material all the way!

                B must be short for Bangers, ‘cuz this Side is full of ‘em! The flip of this Trip begins with a virtually unknown Oklahoma record from 1973. Blizzard was Rod McClure’s high school band, but you couldn’t possibly guess that teenagers recorded this heavy slab on the Token (should’ve been Toking) label. It’s one of the best we’ve comped and it sounds like a hypothetical MC5/Hendrix collaboration.The “Under the Ice” level drum fills will knock your socks off if the heavy shred doesn’t first.

                OOOOk-lahoma, where the wind comes sweepin' down the plain and apparently where the fuzz goes seepin’ in your brain! Third World is the second Okie inclusion on this Trip and we couldn’t be more stOOOOOked to be sharing this very obscure single with y’all. If the heavily distorted two-note riff doesn’t grab ya, the apocalyptic Grand Funk vibes will. Once they get their mitts on ya, Third World will take you back to 1971 and leave ya there. Can we hitch a ride too?

                Ever heard of Virginia, Minnesota? We hadn't either until we got in touch with Calvin Haluptzok and got the back story on his band Sweet Wine. This bitchin' one-off 45 must've melted the snow off the roofs of the households brave enough to play it when it came out in 1970 and it's still red hot nearly 50 years later. This vino may be sugary, but it packs an incendiary punch! Sadly, Calvin passed before we could get his music re-released, but it was nice to have reached him before it was too late. The Sweet Wine legacy lives on thanks to the Brown Acid archivists.

                C.T. Pilferhogg wins the award for most puzzling band name in our series. What’s not puzzling is how righteous both sides of their self-released 1973 single are! Featured here is the A-side “You Haul” which is one of the best examples of a poor man’s Deep Heep (Deep Purple meets Uriah Heep) we’ve ever heard and the demonic Echoplex-laden laughs mixed into this track are out of control. The band was touted as “Southwest Virginia’s Finest Boogie Band”, but don’t let that fool ya. They could bang heads with the best of ‘em.

                The closer on the Seventh Trip is one we hold very near and dear. Not only is this record the one that’s taken us the longest to secure the rights to, it’s also one of the very best examples of heavy psych you’ll ever hear. The track rings your bell (literally) straight out of the gate and the dank psychedelic vibes kick in immediately. “The Darkness” was recorded in a basement studio in Kansas City in 1969 when the lead guitarist was only 16. The band was from a rural Missouri town, played only one impromptu gig in Clinton, and pressed only 125 copies of this, their only single. It should come as no surprise that it sells for hundreds of dollars when it’s offered. That’s a small price to pay for such greatness

                Various Artists

                Brown Acid : The Fourth Trip

                  If you thought we were getting close to the end of the Brown Acid series with our last Trip, you were dead wrong…we’re only just getting rolling. The well of privately released hard rock, heavy psych, and proto-metal 45s is deep and we are nowhere near tapped out. Most of these records were barely released and never properly distributed so they ain’t easy to find, but they’re out there if you’re willing to dig…and we aren’t afraid to get our hands dirty. Hard calluses have formed from handling the shovel and we’ve sifted through a lot of dirt, but we’ve dug up another ten tremendous records to share with all the heavy heads out there. This volume brings together eight insanely rare and skull-crushingly heavy 45s as well as two previously unreleased bangers. You may remember the Zekes’ jaw dropper “Box” from the First Trip. If you don’t, you better go back and refresh your memory, you stoner.

                  That song rips! And so does this previously unheard recording we legally obtained from the Beverly Hills records vaults. “Comin Back” is the longest tune we’ve yet to include on this series and it’s a full-on rager! The only surviving copy of this recording came to us on the original 1/4” master tape from Hollywood’s long-defunct Demars & Duffy Music. We did our best to preserve the recording and we think you’ll appreciate the rawness. There have been numerous groups named Bad Axe over the years, but the one you hear here is the baddest.

                  This five-piece fresh outta high school kicked out this jam (and a few others) in a Chicago studio in 1973 just for the hell of it. As a garage band, they were previously named The Burlington Express and they went on to be known as Bitch, but these dudes hit their stride as Bad Axe and “Coachman” is their crowning achievement. It went completely unreleased until 2014 when Permanent Records issued it and “Poor Man, Run” as a limited edition 45 with a killer picture sleeve. It’s long out-of-print and only obtainable now on Brown Acid. The rest of the records included on this volume vary in rarity, but at least two of them were virtually unknown until we discovered them. You’ll win the lottery before you find copies of all of the original 45s in even the best record stores. Many of the records included in this volume are owned only by the members of the bands and some of the band members don’t even have personal copies.

                  That’s just how hard these guys hit it back in the day! We’re lucky some of these guys are still alive and well enough to give us permission to use their masters. And for that, we thank them. And you, for all your support. Brown Acid is here to stay…as long as you’ll have us. Plug in, turn up, and freak out…this is what RocknRoll is all about.

                  Various Artists

                  Brown Acid: The Eighth Trip

                    Brand new edition of the Brown Acid series release this time out to coincide with RSD. All the first pressings of this series sell out on release day. Some super rare and firesome private press heavy rock and psych from the underground rock scene of the 1970's. Essential for all stoner rock rans and heavy sike wig out enthusiasts.

                    Various Artists

                    Brown Acid: The Sixth Trip

                      The forthcoming latest edition of the popular compilation series of long-lost vintage 60s-70s proto-metal and stoner rock singles. The series is curated by L.A. label RidingEasy Records and retailer/label Permanent Records. If you’d told us when we started this epic journey that we’d have six volumes worth of licensed tracks released in just three years, we would’ve laughed in your face! Doing the Dark Lord’s work isn’t an easy job, but somebody’s gotta do it, so here we are with six Trips under our belt and more lined up. You heads just can’t get enough obscure hard rock, heavy psych, and proto-metal from the late-60s & 70s! And for that, we’re grateful for the opportunity to keep laying these slabs in your lap.

                      This isn’t just a random mixtape we threw together off the Internet. We find the records, track the bands and transfer the tapes, so you don’t have to. The bands did their job back in the day by writing, recording and releasing this material, most times against all odds, and you’ve squandered your hard earned scratch on this record, so I guess the least we can do is continue to compile quality Rock’n’Roll cuts from the golden age of heaviness. This time around we have 10 deep cuts from across the continental US of A and one from our neighbors up North. This Trip kicks off with an outrageous number from Gold out of San Francisco circa 1970. The band used to open their sets with this over-the-top frantic jammer which is absolutely mind-blowing and also leads one to believe that the only band that could’ve held a candle to Gold back in the day would’ve been the mighty Blue Cheer. As we delve deeper into the depths, Canadians continue to prove that they could bang heads with the best of ‘em! Heat Exchange from Toronto released the rollicking ripper “Inferno” on the Yorkville label way back in 1968 and it’s still thumping almost 50 years later! Missouri isn’t a state that brought us a lot of heavy 45s, but there are a handful of outstanding tracks from the Show Me State, one of which is the funk-laced anthem “Give Me Time” by Backwood Memory from Kansas City. Speaking of Show Me, many thanks to our KC pal Jeffrey Harvey for turning us on to this one and helping put us in touch with the band.

                      The longer we do this, the more we begin to believe that Youngstown, Ohio was the Hard Rock Mecca back in the day. Travis is yet another Youngstown group that aimed to get asses out of seats and out in the streets. “Lovin’ You” is a groovy banger with a sultry riff originally released on the prolific Starshine Productions imprint. Six years prior to his Arcadian synth-funk novelty hit “Space Invaders” from 1980, Victor “Uncle Vic” Blecman took Flight into the studio with a list of relationship requirements. Amongst which are his need for “Luvin’, Huggin’, & More”, with emphasis on the “More” part if we’re to believe the urgency with which he delivers this fist-pumper. If you don’t immediately recognize the Truth & Janey moniker, you need to get with it and familiarize yourself with their incredible 1976 LP “No Rest For The Wicked”. It’s a protometal masterpiece that’s been reissued on Rockadrome. Released four years earlier than their debut LP, “Midnight Horseman” is a 45-only track backed with a cover of “Under My Thumb”. Dennis Bergeron from Rockadrome was crucial in helping us obtain the rights to this Iowa burner.

                      Another Iowan group, West Minist’r, self-released three 45s between 1969 and 1975. They’re all great in their own way, but “My Life” hit the crunchy sweet spot in ’71 with vocals sounding like a fresh from primal scream therapy John Lennon over a zonked-out Hendrix groove. You can count on hearing more from West Minist’r on future Trips. It’s nearly impossible that Dayton, Ohio’s Purgatory didn’t seize the “Strange Days” and join “The Soft Parade” while “Waiting for the Sun”. And although “Polar Expedition” wears its influences on its sleeve, 1969 would have been at least a little worse off if the band hadn’t self released this single.

                      Johnny Barnes was definitely “smokin’ that reefer” and “drinkin’ that wine” when he released “Steel Rail Blues” in 1976. The label states that you could order a copy of this 45 for by sending $1 to a PO Box in Boston and it’s the only record on the Brown Acid series that seems to be obtainable currently for about the same amount it was sold for over three decades ago. That said, it’s doubtful that it will remain so cheap for much longer. With a track as heavy as “Is There No Peace” it’s easy to let the name of the label on this 45 slide. In Chicago in 1970 PSLHRTZ seemed like as good a label name as any for the guys in Zendik to release this insane recording on. Halfway through the track you might be wondering to yourself, “How was this not a hit?”, and then you hear the lyrics to the last bit of the song and understand. Thank Christ for Zendik, even if he is dead. Well, there ya have it. Months worth of record digging and detective work for about 40 minutes worth of music. Some people might think this is a waste of time, but we don’t and we hope you don’t either. This is the stuff that makes life worth living, at least until the next Trip…

                      “Screaming out of the gate, here’s the third volume of the critically acclaimed Brown Acid series! We curate these heavy compilations so the heads can hear the best songs they’ve never heard. As usual, this batch of tracks is off the rails. It’s an absolute tragedy that these cuts aren’t in heavy rotation on classic rock radio…yet.

                      “We continue down the wormhole of hard rock, heavy psych, and proto-metal here on The Third Trip with a set of tunes so obscure they can’t be seen without a third eye. Most of these tracks were recorded in shack-sized studios, privately pressed for promotional purposes, and tossed out like last night’s half empties only to later be discovered to be half-full, if not overflowing with greatness. The majority of these tracks are from the good ol’ US of A with two exceptions, Ash-labelmate New Zealanders,Chook, and the mighty Limeys, Factory.

                      “We won’t take full credit for it, but we’re sorry to say that these types of 45s have skyrocketed in value over the last little while and some of the records included in this volume have only changed hands a handful of times on the collector market. Although it’s a bummer for the pocketbook, we say “Hell Yeah!” it’s about time these rarities have become recognized as the priceless artifacts that they are.

                      “Unlike many labels doing compilations of rare dusties, we’ve actually gone to the trouble to contact the bands included here for permission to use their material. It was a long and arduous task to say the least, but it’s the way it should be done. And we paid ’em! So sleep easy knowing that no one was ripped off in the making of this record.

                      “As they say, first is the worst, second is the best, third is the one with the hairy chest. So take a shot of whiskey, shotgun a beer, and put some fuzz in between your nipples with the hairiest Trip you’ve taken yet. You won’t be sorry you did.”

                      Compiled by DJ, record collector and label boss Gilles Peterson, the tastemaking Brownswood Bubblers series returns.

                      The latest outing for Brownswood Bubblers follows in typically eclectic fashion, showcasing a treasure trove of fresh talent whose music spans boogie-dripped soul, UK hip-hop and Afrobeat. As ever, it’s artists who float in the orbit of Peterson and his Brownswood label, featuring the likes of Emma-Jean Thackray, Sonnymoon and Oscar #Worldpeace. A must-buy for anyone in search of an easy primer on some of the most exciting new names to emerge in the last year.

                      Debuting in 2006, along with the founding of the Brownswood label itself, the roll-call of artists who’ve appeared on Brownswood Bubblers speaks for itself. It boasts alumni like Flying Lotus, The Invisible, Hiatus Kaiyote, Dam-Funk and Floating Points. A platform for underground music’s rising stars, each edition is a time capsule of that year’s most exciting musical discoveries.

                      Brownswood Recordings is the independent record label founded by DJ, record collector and broadcaster Gilles Peterson. Started in 2006, it’s a platform for new artists and music creatives, as well as an outlet for established acts to do something different. Restless and open-minded, the label has championed independent, eclectic music from the UK and beyond.

                      STAFF COMMENTS

                      Millie says: The thirteenth Brownswood edition unearth yet more talented artists and shine a light on those that needed to be discovered! They all bring something to the table whether it's broken-beat jazz, Afro-Caribbean rhythms or a snippet of soulful R&B. A beautiful mixture complied by Giles Peterson, as always.

                      Gentrified Underground presents an interdisciplinary project tackling the sonic fiction & afrofuturism of Drexciya.
                      2x12", Cover by Abdul Qadim Haqq, 56 Page Bubble Chamber booklet included!

                      2x12", Cover by Abdul Qadim Haqq, 56 Page Bubble Chamber booklet included!

                      Gentrified Underground presents an interdisciplinary project tackling the sonic fiction & afrofuturism of Drexciya.

                      Thought as an extension to the Bubble Chamber exhibition happening at Mikro & UP STATE Zürich, GU releases a 2x12 vinyl compilation and a booklet with contributions by Abdul Qadim Haqq, Charlie Mills, chukwumaa, Dominiqueh White, Gentrified Underground, Maïté Chéniere and tracks by Xor Gate (Gerald Donald), Shawescape Renegade, DJ Dijital, Plant43, The Exaltics, Kuldaboli, Iko, Tom Ware, Luz1e and Sansibar.

                      The goal of this compilation is to showcase the reach and influence which Drexciya had on generations of electronic music producers while linking them together with compositorial predecessors from the early 80s. The musical timeline of the compilation starts from 1982 and reaches its contemporary end in 2019.

                      The 56 pages booklet contains unseen and unreleased Drexciyan drafts by Abdul Qadim Haqq, an interview between him and GU, contemporary art contributions by chukwumaa, Dominiqueh White and Maïté Chéniere and an academic essay by Charlie Mills.

                      "More than twenty years after their first release, the sonic fictions produced by Drexciya, the Detroit based electronic duo founded by James Stinson and Gerald Donald at the start of the 1990s, continues to enthral contemporary cultural practitioners. By reimagining the Transatlantic Slave Trade as a fiction of enforced mutation, the Drexciya mythos opened, and continues to open, a speculative space for the reimagining of the posthuman condition, and for questions of becoming, origin and mutation in relation to capitalism, finance and futurity." - Kodwo Eshun

                      STAFF COMMENTS

                      Barry says: A ridiculously exciting and comprehensive look at the influence Drexciya has had on electronic music since their inception in the mid 90's through to the present day. Includes gorgeous looking booklet and all sorts of exciting archival gems. An essential piece for any electronic fans.

                      FORMAT INFORMATION

                      2xLtd LP Info: 2x12" & 56 page booklet

                      Legendary UK club night Bugged Out! follow up the success of the Simian Mobile Disco mix and "Suck My Deck" sessions with their first but long overdue Classics package. Bringing together a selection of massive alternative dancefloor anthems from the likes of The Chemical Brothers, LCD Soundsystem, Daft Punk and Soulwax, via underground classics from the likes of Slam, Claude Von Stroke, Miss Kittin and Gabriel Ananda, right through to bang up to date newbies such as Justice, Simian Mobile Disco, Mylo and Digitalism. Add to this some big dance remixes of bands like Franz Ferdinand and The Rapture and you've got an instant history of the current indie-meets-dance scene. From French disco house to techno to electro this album has got the lot. Presented over three CDs and 45 tracks "Bugged Out! Classics" features all unmixed cuts so is not only a great buy for DJs, but is also sequenced perfectly for home, car, beach or festival tent listening.

                      Various Artists

                      Bunny Lee & Friends - Good News

                        This release is the companion volume to "Dub Will Change Your Mind". It consists of all the vocal versions of the tracks on "DWCYM" and is sequenced in exactly the same order. The album concentrates heavily on the 1975 ‘flying cymbal’ style of Carlton ‘Santa’ Davis, but there is also one track from 1974,  plus a handful from the years 1976 to 1978. This is a CD only release and comes with an eight-page booklet featuring a track commentary by Bob Harding.

                        Various Artists

                        Buttons: Starter Kit

                          This entry level compilation features 20 songs from our original 004 cd, plus two bonus cuts, new liners, tons of sleeve scans, photos, and ephemera, all housed in a spot varnished, brick-thick gatefold sleeve. Artists include New Jersey's Toms, Kennet, MO's Trend, NYC's Colors, Treble Boys, and Sponsors, Hollywood's Randy Winburn and Tommy Rock, Des Moines, IA's Luxury, San Antonio's Kids, Connecticut's Bats (featuring a young Jon Brion), and Boston's Tweeds. Attention: In celebration of our Buttons series, you can buy both NUM004 and NUM044 together with our limited edition Power Pop Buttons Pack. This pack includes 32 high quality buttons of varying sizes that feature artists from both Buttons compilations. Act fast because this set is limited to 100 and will never be made again.

                          Various Artists

                          Buzzsaw Joint Cut 6 - Dusty Stylus

                            Buzzsaw Joint was born of a club offering Londoners the chance to revel in the sounds of good ol’ trashy rock’n’roll in all its vintage vinyl forms. Club top-cat, Fritz, then took the primitive Buzzsaw sounds online with a series of savage Mixcloud mixes created by record fiends from all over the globe. Now, the high-octane energy of Buzzsaw Joint has manifested into the physical form with a run of compilations on Stag-O-Lee. Get your ears around the wild’n’weird sounds of the extraordinary and inimitable Buzzsaw Joint! Dusty Stylus is a music junkie who lives in the country, a hundred kilometers north of Melbourne, Australia. He spent the late 80s drumming in 60s garage bands and now mainly gets his buzz from collecting post war blues, R B, and good old Aussie garage rock. He hosts a couple of nights, including the ever greasy Bacon Fat, and is often on the DJ bill at the phenomenal Slow Grind Fever. For the sixth Buzzsaw Joint cut, Dustys dusted off a purely top shelf selection of his rare 45 and 78 rpm records. Take the edge off with a hit of this gear here.

                            Various Artists

                            Buzzsaw Joint Cuts 5 & 6

                              Buzzsaw Joint was born of a club offering Londoners the chance to revel in the sounds of good ol’ trashy rock’n’roll in all its vintage vinyl forms. Club top-cat, Fritz, then took the primitive Buzzsaw sounds online with a series of savage Mixcloud mixes created by record fiends from all over the globe. Now, the high-octane energy of Buzzsaw Joint has manifested into the physical form with a run of compilations on Stag-O-Lee. Get your ears around the wild’n’weird sounds of the extraordinary and inimitable Buzzsaw Joint!

                              As usual with Stag-O-Lee we compile two vinyl volumes on one CD into 73 minute/32 track monster! The first 16 tracks come courtesy of Sophisticated Savage from Sweden. Dusty Stylus, an Australian native, offers another 16 track trip from mesmerizing Blues to moody Popcorn.

                              To celebrate the 30th anniversary of C86, Cherry Red release a sequel, in the shape of C87! Imagine if the NME had reconvened a year on from their original compilation? Well, that’s the inspiration for another 70+ tracks, ranging from well-known indie names to obscurities.None of the selections on C87 have been available on any of Cherry Red’s recent compilations. All tracks were recorded and/or released in the year or so following C86 (i.e. summer 1986 to the end of 1987).

                              Disc 1 boasts bands whose first recordings were made in 86/87. Some of them – The House Of Love, The Shamen, The Darling Buds, The Inspiral Carpets, Cud, etc. – later enjoyed chart success. Others have since enjoyed cult status, including Kitchens Of Distinction, whose debut B-side ‘Escape!’ appears here for the first time; The Boy Hairdressers, who would soon evolve into Teenage Fanclub; The Vaselines, who were covered by Nirvana; and The Sea Urchins, who christened Sarah Records with the classic ‘Pristine Christine’. Discs 2 and 3 revisit many of the bands who graced the original C86 cassette, checking in on later recordings by the likes of The Bodines, The Wedding Present, Miaow, The Servants, The Wolfhounds, Mighty Mighty and McCarthy.

                              C88 is another celebration of the Eighties Indie scene, documenting a golden era when tuneful guitar-based bands made records on shoestring budgets, often issued on small labels with hand-made artwork, with little hope of mainstream exposure. This 3-CD box set follows previous best-selling collections C86 (2014) and C87 (2016). C86 expanded the NME’s genre-defining compilation (initially a cassette, later a vinyl LP on Rough Trade) with 50 extra tracks from the period. C87 was an imaginary sequel, picking up the story a year later.

                              Disc 1 is devoted to artists who haven’t previously graced this series, who – for the most part – first made an impact in 1988. The Stone Roses, Carter USM, Pale Saints and The Mock Turtles would all enjoy mainstream success. Others like The Pooh Sticks, The Man From Delmonte, Bridewell Taxis were cult indie favourites. Sarah Records – which came to epitomise a certain type of Indie Pop – are represented by The Orchids, Another Sunny Day, The Sea Urchins and The Poppyheads (whose ‘Cremation Town’ debuts on CD here). Other key indie labels also figure, such as Creation (Apple Boutique, Pacific, The House Of Love, Emily), 53rd & 3rd (The Groovy Little Numbers, The Vaselines) and The Subway Organization (The Clouds, Rodney Allen, The Flatmates, Bubblegum Splash, etc.).

                              The deluxe clamshell package includes a weighty booklet full of illustrations, with an 9,000-word sleeve-note and band-by-band biographies by C86 co-compiler Neil Taylor.

                              Various Artists

                              C89 3CD Box Set

                                C89 is another celebration of the Eighties Indie scene, documenting a golden era when tuneful guitar-based bands made records on shoestring budgets, often issued on small labels with hand-made artwork, with little hope of mainstream exposure. This 3-CD box set follows previous best-selling collections C86 (2014), C87 (2016) and C88 (2017). C86 expanded the NME’s genre-defining compilation with 50 extra tracks from the period. C87 and C88 were the imaginary sequels, picking up the story as the 1980s unfolded.

                                Disc 1 is devoted to artists who haven’t previously graced this series, who first made an impact in 1988/1989. Carter The Unstoppable Sex Machine, The La’s, Milltown Brothers, The Family Cat and The Telescopes were among the indie scene’s biggest names that year. Disc 2 revisits many of the bands who appeared on C88, with later singles or B-sides by The Stone Roses, Mock Turtles, Pooh Sticks, The Man From Delmonte, Bridewell Taxis, Popguns, etc. Sarah Records – which came to epitomise a certain type of Indie Pop – are represented by Brighter, The Orchids, Another Sunny Day and Christine’s Cat. Other key indie labels also figure, such as Creation (The Revolving Paint Dream), Bristol’s The Subway Organization (Korova Milk Bar, Choo Choo Train), Manchester’s Playtime (The Rainkings, New Fast Automatic Daffodils), Sheffield’s Native (Treebound Story, featuring Richard Hawley, and The Snapdragons), Brighton’s La-Di-Da (Daisycutters, Bobby Scarlet, How Many Beans Make Five, Said Liquidator) and Liverpool’s Pink Moon (Barbel, The DaVincis, Jactars).

                                C89 also includes two previously unissued tracks. New names to the series include The Bardots, The Seers, Po!, The Ammonites, The Ogdens, Kit, The Candy Darlings, Jane Pow, Rorschach, etc. Several names feature personnel from notable bands, such as post-Razorcuts act Red Chair Fadeaway, post-Chameleons quartet The Sun And The Moon and post-La’s combo The Onset. Numerous tracks have never been on CD before. The deluxe clamshell package includes a weighty booklet full of illustrations, with an 8,000-word sleeve-note and band-by-band biographies by C86 co-compiler Neil Taylor.

                                Strut present the second volume in a series of compilations taken from the archives of Disques Debs International, the longest-running and most prolific label of the French Caribbean. Set up by the late Henri Debs in the late ‘50s, the label has continued for over 50 years, releasing hundreds of records and playing a pivotal role in bringing the creole music of Guadeloupe and Martinique to a wider international audience.

                                Volume 2 of the series focuses on the label’s ‘70s output and the development of the unique Cadence sound, pulling disparate influences into a Pan-Caribbean blend of rhythms, styles and languages that dominated the dancehalls, clubs and concerts of the decade. Based in a small but state-of-the-art studio on the first floor of Henri Debs’ Club 97-1, just outside Pointe-à-Pitre in the town of Gosier, the label hosted sessions from the cream of local and regional talent, hothousing ideas into over 100 LP and 45 releases over the decade that reflected an increasingly confident creole identity.

                                Groups like Les Vikings, Super Combo and Typical Combo along with a host of lesser- known bands were in fierce but friendly competition in the bals, dances and concerts in Guadeloupe, across the region and into Metropolitan France. Haitian Compas, Congolese influences from le Ry-Co Jazz, cadence-lypso and reggae from Dominica and a heavy dose of jazz and Puerto Rican salsa were thrown into the mix alongside local biguine, quadrille and gwo ka to power an unrivalled recorded output.

                                Compiled by Hugo Mendez (Sofrito) and Emile Omar (Roseaux), ‘Cadence Revolution’ is released in conjunction with Henri Debs et Fils and Air Caraibes. The package features previously unseen photos from the Debs archive with both formats featuring extensive liner notes and an interview with singer and trombonist Christian Zora (Les Maxel’s, Energy).

                                A 17 track compilation from Ellen Alien's BPitch Control imprint featuring brand new tracks and classics like Tiga's mix of Tomas Andersson's "Washing Up". Includes tracks by The MFA, Sascha Funke, Smash TV, Paul Kalkbrenner, Feadz, Sylvie Marks & Hal 9000, Modeselektor, Mochipet and more, with remixes coming from Tiga, Kiki, Miss Kittin and Dexter.

                                Various Artists

                                Captain Beefheart - Gimme Dat Harp Boy

                                A selection of tracks that helped mould the avant-garde sounds of Beefheart including some tracks from the Captain himself. A fantastic broad slice of American music from the 20s through to the 60s, this music contributed to the heady mix that manifested itself partly in the blues revival of the early 60s and subsequently in the sounds of the psychedelic years.

                                Various Artists

                                Captured Tracks CT10

                                  To celebrate 10 years of Captured Tracks, the label have created two budget-priced vinyl samplers that showcase now-classics from a roster of vibrant and varied artists. Plus, they've thrown an exclusive or two in to sweeten the deal. Ya’ll remember that supergroup called Shitfather? 

                                  FORMAT INFORMATION

                                  LP 1 Info: Volume 1.

                                  LP 2 Info: Volume 2.

                                  Carbon Logic continue their curated and remixed series with this new offering assisted by Melissa Livaudais and Busy Gangnes of Telepathe. Of all the tracks sent to the Carbon Logic website, "What Is Love" by New Orleans resident AZitiZ (As It Is) is what stood out for them. Originally a bruk soul / hip hop-soul track featuring an organic bashment riddim and fantastic vocals and rap from AZitiZ herself, Telepathe transform the track with their layered, fractured and distorted synthwave sound, taking it in a totally different direction. On the flip Alphabets Heaven stick closer to the original, but replace that bashment bump with something more languid and downbeat.

                                  We're also treated to bonus cut "Blue Brain" by Shad[]wb[]x, all skittering rhythms and warping analogue keyboard sounds.

                                  Various Artists

                                  CARE4LIFE Sampler 1

                                    The Chemical Brothers, Jamie Jones, Pete Tong, Groove Armada, DJ Harvey, Maya Jane Coles and many more join forces to raise money for NHS Charities Together with the CARE4LIFE compilation.

                                    “This is a really lovely way to help raise much needed funds for support now and during the recovery from COVID-19. The funds will help support NHS staff, volunteers and patients affected by the pandemic. We hope you can support this brilliant project and thanks to everyone that already has.” (Ellie Orton, Chief Executive, NHS Charities Together)

                                    An unprecedented array of electronic music’s finest artists have come together to create the 45 track compilation of exclusive music, donated 100% for free with all proceeds going to official fundraising partner, NHS Charities Together (registered charity no.1186569). NHS Charities Together is currently working to provide, in their next round of funding, additional support they feel is most urgently needed by NHS staff, volunteers and patients in their area, with a particular focus on support for people who are disproportionately affected by the Covid crisis, such as patients and staff from the BAME communities and other groups including those living with disabilities.

                                    “Through the challenges of the Covid19 pandemic we have all developed a new understanding and awareness about the role our frontline health professionals undertake, and as a nation we are all united in our appreciation of the incredible work they have delivered in the face of much adversity and pressure in the last couple of months. In the continued spirit of people coming together in this time of need, the CARE4LIFE project hopes that this amazing collection of music can contribute to easing that pressure by giving some much needed support to these frontline workers from our fellow artists and friends in the music industry and its surrounding community.” (CARE4LIFE, May 2020)

                                    CARE4LIFE features new, exclusive and unheard music from the vaults, hard drives and archives of UK artists as diverse as Jamie Jones, Nathan Fake, Groove Armada, Joe Goddard and Pete Tong alongside tracks from Radio Slave, DJ Harvey, Matthew Herbert, Crooked Man, Mason Maynard, Daniel Avery and many more. CARE4LIFE is a truly varied and diverse listening experience that not only mirrors the collective talents involved, it wholeheartedly celebrates the openness and love that the NHS has shown us all at some stage throughout most of our lives here in Britain and beyond.

                                    “The light of love and positivity has been brighter than ever during this time. It would be preferable to live in a world where institutions like the NHS aren’t considered charities kept afloat by the caring classes but, today, it’s nice to stand shoulder-to-shoulder with everyone doing what they can. The sharing of music feels more powerful now than ever.” (Daniel Avery)

                                    Various Artists

                                    CARE4LIFE Sampler 2

                                      The Chemical Brothers, Jamie Jones, Pete Tong, Groove Armada, DJ Harvey, Maya Jane Coles and many more join forces to raise money for NHS Charities Together with the CARE4LIFE compilation.

                                      “This is a really lovely way to help raise much needed funds for support now and during the recovery from COVID-19. The funds will help support NHS staff, volunteers and patients affected by the pandemic. We hope you can support this brilliant project and thanks to everyone that already has.” (Ellie Orton, Chief Executive, NHS Charities Together)

                                      An unprecedented array of electronic music’s finest artists have come together to create the 45 track compilation of exclusive music, donated 100% for free with all proceeds going to official fundraising partner, NHS Charities Together (registered charity no.1186569). NHS Charities Together is currently working to provide, in their next round of funding, additional support they feel is most urgently needed by NHS staff, volunteers and patients in their area, with a particular focus on support for people who are disproportionately affected by the Covid crisis, such as patients and staff from the BAME communities and other groups including those living with disabilities.

                                      “Through the challenges of the Covid19 pandemic we have all developed a new understanding and awareness about the role our frontline health professionals undertake, and as a nation we are all united in our appreciation of the incredible work they have delivered in the face of much adversity and pressure in the last couple of months. In the continued spirit of people coming together in this time of need, the CARE4LIFE project hopes that this amazing collection of music can contribute to easing that pressure by giving some much needed support to these frontline workers from our fellow artists and friends in the music industry and its surrounding community.” (CARE4LIFE, May 2020)

                                      CARE4LIFE features new, exclusive and unheard music from the vaults, hard drives and archives of UK artists as diverse as Jamie Jones, Nathan Fake, Groove Armada, Joe Goddard and Pete Tong alongside tracks from Radio Slave, DJ Harvey, Matthew Herbert, Crooked Man, Mason Maynard, Daniel Avery and many more. CARE4LIFE is a truly varied and diverse listening experience that not only mirrors the collective talents involved, it wholeheartedly celebrates the openness and love that the NHS has shown us all at some stage throughout most of our lives here in Britain and beyond.

                                      “The light of love and positivity has been brighter than ever during this time. It would be preferable to live in a world where institutions like the NHS aren’t considered charities kept afloat by the caring classes but, today, it’s nice to stand shoulder-to-shoulder with everyone doing what they can. The sharing of music feels more powerful now than ever.” (Daniel Avery)

                                      Detroit Love present the second release on their eponymous imprint – a collaborative venture from Planet E and !K7 which aims to capture the essence of Carl Craig’s beloved event series.

                                      Following last year’s inaugural mix from Stacey Pullen, the second entry comes from none other than Carl Craig himself. Across a hazy, funk-driven voyage, he delves into the spirit of his hometown, championing the past and future of the motor city into an expertly curated mix.

                                      With a blend of 90s gems and brand new exclusives, Carl’s track selections forge an atemporal vision of quintessential Detroit music. Opening up the mix are two rare, early 90s classics from Ectomorph and Rhythm Is Rhythm, neither of which have been reissued on vinyl for decades, followed swiftly by a 2015 collaboration from Carl Craig and Green Velvet, never before released on vinyl.

                                      New material comes in the form of an exclusive C2 edit of DJ Minx, another exclusive from Claude Von Stroke, tracks from TV Lounge affiliates Ataxia and Mister Joshooa and unheard music from Matthew Dear under his new Brain alias, to name a few.

                                      STAFF COMMENTS

                                      Matt says: Detroit granddaddy, Lord Carl Craig offers up a snapshot of his local scene through a tasty CD mix, of which choice tracks are nicely licensed for vinyl use too! The material is desirably unexpected and fresh, avoiding too many past glories whilst still shining a spotlight on both past and present gems.

                                      Various Artists

                                      Cerberus Future Technologies : Frequency Adjustments Vol. 4

                                        More storming cracked space techno from maison Spandex on volume 4 of the transcendental Frequency Adjustments series. Blistering circuit-bent beats and dystopian production. Chugging high-passed kicks, sky-cracking snare hits, and screaming resonant bass. These are a crew to be reckoned with, and as ever, despite the many artists on show here, they all work together like a perfect mob of hardware-wired space sentries. Mind-blowing and eye-opening otherworldly dance. 

                                        FORMAT INFORMATION

                                        Cassette Info: C90 Cassette with detailed insert, includes Immediate high quality download (in any format) of the individual tracks featured on the album AND an immediate high quality MP3 download of the mix cassette

                                        Various Artists

                                        Cerberus Future Technologies: Frequency Adjustments Vol. 3

                                          More crazed sonic manipulations from the Cerberus Camp. The usual Levenshume tekno hippees all present and correct (Montauk Boys, Skanky Magic, Kindred Dicks and Licking Mirrors - all produced by head wizard Ste Spandex), plus we get some new talent, Nova & The Prophet 600, sniffed out by Spandex's nose for top zest. Cerberus converts should know the drill by now - manic, hardware driven space techno, throbbing and spewing with buzzing Organite-fuelled 5D magic. "Red Lights" and "Two Dollar Pistol" giving us a clear idea of what's to come from the offset - schizophrenic arpeggiator abuse, rampant filter swirls and torn-through-the-fabric-of-space audio editing; insane Martian music for fans of Jamal Moss, Ron Hardy, Jeff Mills, Steve Poindextor and hardware freakz throughout the cosmos. As well as the aforementioned mentioned tracks, "Acceptable Levels Of Distortion" and "Boys V.2" should also find heavy rotation in the club, uptempo funky tek that rides on a rainbow road and glugs poppers for breakfast. One of the most truly unique, instantly identifiable sounds to emerge from our city in recent years this stuff folks. You know when it's a Spandex production within the first arse-cheek loosening bars. Immense stuff; grab a piece of Northern English Dance Music Heritage before it's too late.

                                          FORMAT INFORMATION

                                          Cassette Info: C90 Cassette with detailed insert, includes Immediate high quality download (in any format) of the individual tracks featured on the album AND an immediate high quality MP3 download of the mix cassette

                                          Byron the Aquarius fires up the MPC for a journey into the stratosphere, bringing the heat for Ele Records' 3rd edition with "Planet Rock", a jazz infected keyboard jam with chopped hip-hop samples echoing into the cosmos. Cozy Bear follows with "Nudi Riddim" a delectable mix of African percussion, jazz samples and acidic basslines. On the B side we find more hip-hop infused methodology, with Glenn Davis digging into Salsoul's back catalogue with his huge summer anthem "Holdin On". Finally, Unknown Artist is back on Ele following on from the huge anthem Ru$h. This time it's back to the MPC with a Daft Punk style 90's disco banger "Fade (Never Know)".

                                          23 track collection from London-based DIY new wave label, Dining Out Records, featuring a host of John Peel favourites filled with angst and invention. Featuring super rare eBay-friendly 45s from The Adicts, Normil Hawaiians, Club Tango, Farm Life, New Age and The Swinging Laurels, plus out there gems from The Twilight Zoners, Behaviour Red, Occult Chemistry, Spit Like Paint and The Insex, along with pert new pop from The Sinatras, The 50 Fantastics and Kan Kan, plus scheduled but unissued recordings from both The Disco Zombies and The Mysterons. Brimming with new wave artiness from primal electronic melodies to wonky pop, dishevelled funk riffs, drum-machines and analogue synths. The set features comprehensive sleeve-notes from original label owner now MOJO magazine’s Dave Henderson.

                                          Hand Of Glory records asked twelve artists for an original Christmas song.

                                          Here are twelve tracks that sum up the many experiences of Christmas, from lush widescreen pop (Webb Brothers), to sparkly Saturnalian disco (Mary Epworth) to dystopian Fall-esque horror (Extradition Order).

                                          Other standout tracks include Young Knives’ dark medieval-esque ‘Low Carol’, Kiran Leonard’s sprawling proggy epic ‘Huygens probe’ and Papernut Cambridge’s charming and magical ‘93 Million And One’.

                                          Celebrating 16 years in the business, Sampled Recordings present "Sampled Sixteen", a three-part release, with this final installment dropping just before Movement 2018 in May.

                                          Vol.3 boasts tracks from Chuck Daniels & Oliver Dollar (feat Amp Fiddler), Claude Young & Mike Clark, and on the B-side Detroit’s own Andrés & long time Sampled artist Tracey Cooper.

                                          Chuck and Oliver's "Do It" is a perfect example of driving, electronic Detroit house music. Featuring Amp on vocal (inna kinda KDJ, "Sexy MF" way...) Daniels and Dollar create a kinetic and highly stimulating house groove which encourages the listener to get lost in the fog and really move. Chuck Daniels keeps his hand on the desk for "Three Waves". Joined by Claude Young and Mike Clark it's another Detroit showcase of panache and flair; a funky house beat powered by subtle organ pumps and tight vocal snips slowly builds in intensity to one final crescendo. Andres deploys his now trademark style as "Woman Cry" sees another set samples cleverly re-arranged on his trusty MPC for a bumpety, soulful house joint. "Insight" by Tracey Cooper closes off proceedings here, a techy house glider with wubbing b-line and introspective vocal part, pure deep house if you will, executed with all the confidence and finesse of a master.

                                          Renowned Detroit artist Michelle Tanguay, created the design for all three releases and the record is pressed at Archer in Detroit, Michigan.

                                          STAFF COMMENTS

                                          Matt says: Get a taste of the current Deetroit scene down yer lugholes!

                                          After a brief hiatus, Church Volumes returns with deep cuts from Igor B, Leon Revol, Wasserfall & Vaage and U-I. Igor B's first to rumble our jungle with the thick and humid samples, winding bass and marimbas of "Turtle Cove". Well the title sounds like a euphemistic term for a female pleasure centre and the track gushes warmth and comfort throughout, so make of that what you will. From a gush to a Wasserfall and Vaage (it writes itself) who go deep as you like, Mr Fingering an old Rhodes to a lazy climax like the last moments of a chem-sex sesh. B-side boy Leon Revol brings to mind recently crowned mysogynist Vakula with the gurgling sound design and dreamy depth of the shoulder rolling "Analog In Transit", while U-I rock the dusty jazz breaks, bruk and downbeat for smokers jam "Duo Decim". Tasty trax...

                                          Various Artists

                                          Cinema Beer Buddy

                                          "Cinema Beer Buddy" is one of this year's most anticipated punk rock releases, the fifth in a successful series (such as 'Cinema Beer Nuts, Cinema Beer Belly' etc). The new compilation contains music videos by Jimmy Eat World, Midtown, Thursday, Thrice, Taking Back Sunday, A.F.I., Poison The Well, Stairwell, The Ataris, Audio Karate, Strung Out, Converge, Shadows Fall and The Lawrence Arms.

                                          In the spring of 2007, musician and producer Paul ‘Mudd’ Murphy decided to launch his own label. Named after the house he grew up in, Claremont 56 would release beautiful music by friends, associates, collaborators and like-minded musicians. In the 10 years that have passed since, Claremont 56 has more than surpassed Murphy’s modest expectations. It has built up a cult following around the world, with listeners responding positively to the label’s combination of magical music, beautiful artwork, and impeccable packaging. To mark the label’s first decade, Murphy has put together a sumptuous vinyl box set of previously unheard material, produced and presented with the same attention to detail that listeners have come to expect. Each copy of Claremont 56: 10 Years contains five weighty slabs of wax and a bespoke info sheet, housed in a specially designed, hand-numbered box with debossed logos on the front and rear. However impressive the packaging, it’s the music that makes Claremont 56: 10 Years stand out. Featuring a mixture of unreleased tracks and brand new remixes of vintage label releases, the highlights come thick and fast. As you’d expect, some of the most impressive contributions come from those artists you could describe as “legendary”, including Chicago deep house originators Larry Heard and Ron Trent. Can legend Holger Czukay kindly contributes one of the standout moments, the eccentric ‘Music To Be Murdered By’, from his own unreleased catalogue, while Afro-cosmic pioneer Daniele Baldelli joins forces with Marco Dionigi to deliver a typically spacey remix of Bison’s ‘Familiar Stranger’. There’s also an epic, Afro-tinged dub disco remix of Smith & Mudd’s ‘Nether’ by Norwegian scene founder Bjorn Torske. Elsewhere, Good Timin’ man Jex Opolis turns an overlooked track by Paraiso into a samba-boogie killer, Sean P dubs out Zee Erf’s beautiful cover of ‘Southern Freeez’, and Phil Mison turns FreshRo’s laidback electrofunk cut ‘Pacific State’ into a breezy, Balearic gem. Look out too, for the emotion-rich beauty of Statues’ ‘River Darkness’ – a track arguably worth the cost of the box set on its own – and the deep space explorations of Almunia’s Leo Ceccanti. We could go on, but we’re running out of space. Suffice to say, Claremont 56: 10 Years is a lovingly compiled, curated and presented celebration of the label’s first decade.

                                          FORMAT INFORMATION

                                          5x12" Box Set Info: Debossed black foil logo design box front
                                          C56 logo de-embossed box rear, hand numbered
                                          Info credit sheet
                                          5 x vinyl
                                          Pantone coloured spined sleeves

                                          Various Artists

                                          Clicks & Cuts 3

                                          Mille Plateaux round up some of their favourite laptop glitchtronica, lo-fi hi-fi grooves and minimal electro-deep house for your listening pleasure! Includes tracks by SND, Andreas Tilliander, MRI, Alva Noto, Swayzak, Tim Hecker etc.

                                          An amazing soundtrack from an amazing film! The Drive soundtrack features dark electro / synthwave tracks from the likes of the Chromatics, Desire, and Kavinsky & Lovefoxx amongst others as well as the stunning score for movie by Cliff Martinez, a recognized American composer and former drummer most known for his work with the Red Hot Chili Peppers.

                                          The film is based on the book Drive by James Sallis. Among many other awards, director Nicolas Winding Refn won Best Director at the Cannes Film Festival, and was nominated for a Palme d’Or, and the film was also nominated for an Oscar.

                                          STAFF COMMENTS

                                          Philippa says: Cliff Martinez scores this hit film, while there are also tracks from Kavinsky & Lovefoxxx (CSS), Desire and Chromatics (Italians Do It Better), and Riziero Ortolani & Rina Ranieri.

                                          Two years in the making, Close To The Noise Floor is a 4CD, 61-track set exploring the origins of electronica in the UK. Featuring tracks from key figures on the cassette label underground alongside early releases by future stars of the movement, this is part primitive rave, part synthesiser porn & part history lesson. Enthralled by the mysterious electronics of Pink Floyd, Hawkwind, Gong & German Kosmische artists such as Tangerine Dream, Harmonia & Cluster, & inspired by the DIY ethos of punk, a quiet revolution took place across the UK in the late 70s & early 80s. The rise of the microchip & the advent of affordable synthesisers enabled countless artists for whom guitars, drums & bass had become old hat, & in grubby bedsits, unremarkable living rooms & art school halls across the British Isles, UK electronica was born.

                                          Exploring every corner of this fascinating & often overlooked chapter in musical history. For proto synth-pop look no further than 100% Manmade Fibre & Spoon Fazer, whilst British Standard Unit & Five Times Of Dust lay out techno templates which wouldn’t take full form until many years later. Elsewhere, the synthesiser laden ambient music of Zorch & the found sound collages of A Tent sit comfortably alongside early forays by familiar names – Blancmange, The Human League, OMD & Throbbing Gristle – in over four hours of futurist, entirely modern music.

                                          For the third volume of compilations curated by confirmed crate diggers, Spacetalk invites you to take a trip to the magical Mediterranean resort of Club Meduse in the company of Beachfreaks Records co-founder Charles Bals.

                                          A creative director, designer and curator by trade, Bals spends the majority of his spare time searching for superb, unknown, small-run music releases made between the 1970s and 1990s. While some of these are made available for other enthusiasts to buy via Beachfreaks' mail-order service, many more make it into the racks of Bals' private collection. With Club Meduse, Bals is sharing rare, hard-to-find and just plain brilliant gems from his personal stash for the very first time.

                                          For Club Meduse, Bals was inspired by countless magic childhood summers spent playing amongst the rocks, beaches and warm seas of the Cote D'Azur. The compilation, then, is a soundtrack to the greatest soft-focus, sunlit teenage summer holiday you've never had, with a gaggle of forgotten musicians and overlooked artists for company.

                                          Take a barefoot stroll from the campsite to the beach with Ara Macao, whose warm and lucid "Canyon" is a softly-spun delight, before splashing in the crystal clear waters to the accompaniment of The Clean-Hands Group and their 1984 Balearic blue-eyed soul gems "Night Fly" and "Shake It On".

                                          As the sun comes down, clamber across the cooling rocks with the tumbling, sun-kissed guitar solos and sparkling analogue synthesizer motifs of The Keyboys' leisurely "Savannah" ringing in your ears, before using the words of Gemini's "Take A Chance" – undoubtedly the most Balearic record to emerge from Sweden in the last 50 years – to get flirtatious under the moonlight.

                                          Should you fancy a dance down the camp disco, Bals' selections will gently ease you onto the dancefloor and into the gaze of the boy or girl of your dreams. The fuzzy Italo-boogie of the C.V.Q Band's "Whatever You Do (Instrumental)" will get you going, while Miss's 1984 French electro gem "Hip Hop" should guarantee a celebratory conclusion to the night's party. 

                                          “In 1978 America’s Billboard Magazine voted Wigan Casino the World’s Best Disco. Over 4-million soul fans passed through the Casino doors, it really was a wonderful time.” - Russ Winstanley

                                          While other clubs may be able to argue they were the birthplace of Northern Soul in the UK, few can claim to have the same popularity or influence as the mighty Wigan Casino. The venue became a Mecca for fans of rare, imported soul records, with a passionate, dedicated fanbase. No-one could have predicted the club’s enormity and impact on Northern Soul. Perhaps it was a combination of circumstances: the untimely demise of the Golden Torch in Stoke-On-Trent, the escape from the workplace that the “scene” offered, a sense of belonging, and something your parents couldn’t begin to understand!
                                          This new LP album, presented on 180g heavyweight audiophile vinyl with sleeve notes, collects some of the classic tracks that were played at the famous club from 1973-81 including exclusive songs not on the 2013 CD edition (CHARLY661X).
                                          It features a host of legendary artists including The Ringleaders, The Jerms, Ohio Players, Blanch Carter, The Inspirations, The Young Savages, Little Richie, Maurice Williams, Ron Holden, The Combinations, The C.O.D.’s and more.

                                          With previous releases including tracks from the likes of Agents of Time, JoeFarr, and raising talent R.O.S.H; plus support from DJs like Laurent Garnier, who licensed one of the previously released tracks to his Tsugi 'Electro' mix (Francois V ‘Electro’ taken from Cod3QR001) Cod3QR’s profile is steadily growing as a label releasing quality music.

                                          With music being the main focus you'll have to wait another 2 months to find out who is behind this latest release. The curiosity continues.

                                          Head to their Instagram page (ig: cod3qr) for clues to the artist identities of Cod3QR001, 002, 003 & 004!

                                          STAFF COMMENTS

                                          Matt says: I think this is my favourite techno series of the year! Every single one has entered my record box with a feverish excitement. Uncompromising and tuff but still with plenty of harmonic & melodic pleasure; technological advanced but still resonating vaguely with our humanoid receptors. I love it.

                                          COD3 QR, the killer mysterious techno label from last year, keep offering up more top drawer music from the underground. Garnering lots of support across the dance music global village, volume 6 sees another four anonymous artists ply their most hazardous wares on wax.

                                          A decidedly taut and tense selection greets side A, with "Fury" and "Antonov 004" both creating a sense of unease and forbodding as they delve into a dark, technoid electrofield.

                                          Flip the disc however and the mood is instantly elevating by the euphoric, endorphin rushing mini-anthem that is "Alma". It's been a while since we've heard pianos this big guys! Sure to cause a flurry of excitement and joy when this one plays out and loud....

                                          "Nacaduct" concludes and instantly flips the mood again. Delving right into the Earth's crust for a subterrainain rhythm rumbler with a hi-tek outlook and soundsystem damage in mind.

                                          Ready to blow minds and move bodies, one of the strongest on the label so far and in seriously short supply - move quick people!

                                          The Cod3 QR battalion fire off another salvo of techno rockets into our receptive air spaces. Now revealing clues as to the labels assailants via their Instagram page (ig: cod3qr), whoever will end up being behind these exemplary technoid workouts is still a mystery but all the tracks have been seriously high end so far; effortlessly traversing a creative line between techno, industrial and electro music but with a fine level of production and ingenuity which sees them run miles ahead of the pack. Possibly my favourite one yet, but they're all mega.

                                          Highly recommended! 

                                          STAFF COMMENTS

                                          Matt says: Who da fux behind these amazing Cod 3QR records I hear you ask??! Well, now you can find out! - via their Instagram page. I can't, cos I don't have the cursed thing. So if someone can check and please fill me in I'd be eternally grateful. Cheers!

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

                                          Various Artists

                                          Come Play

                                            "Our first showcase album featuring the best of the artists CPWM works with.

                                            First time collaborators and long-time friends; American inventor and songwriter Thomas Truax and James Konopinski of Leeds Art-Rock quartet Post War Glamour Girls are proud to debut the first fruits of their very occasional labour.

                                            They have shared ‘The Best Things’, their debut collaboration which will be released by the Leeds based CPWM Singles Club as a part of ‘Come Play’, the first full length compilation to come from the label and social enterprise project.

                                            Written over the course of a year, whenever Thomas was on tour in the north with a night off, he would stop by James' house and they'd spend the night chipping away at it. The next morning James would go to work. Thomas would go to the woods. They'd meet in the evening and listen back to what they'd captured prior in the twilight zone. Eventually something clicked. 'The Best Things' is Roy Orbison by way of The Cramps but the cherry on top is Truax's unique way with words, painting a love story, rich with visual metaphors, humour and sorrow.

                                            Talking about the collaboration, Truax explains: “I think we actually started talking about doing something together right at that first night back in 2011, it just took a while for us to finally get to it, and I had to physically plant myself in that room and refuse to leave until we got something down. James is right about me being stubborn and a perfectionist but I don't really know what I'm doing either...”

                                            ‘The Best Things’ will be available from the 27th October with the full 26 track compilation available on the 1st December.

                                            The release of this single also coincides with the release of the full 26-track listing for ‘Come Play’. Joining previously announced Leeds post-punks ZoZo and Truax & Konopinski are up and coming West Yorkshire acts Fizzy Blood, Magic Mountain, Deadwall & Crake as well as some very special tracks including a Wild Beasts remix of Napoleon IIIrd and a track from Leeds legends The Wedding Present re-recorded during sessions for their last album in 2015."

                                            Various Artists

                                            Come To The Sunshine: Soft Pop Nuggets From The WEA Vaults

                                            Superb collection for the seeing in of spring. 24 tracks of American soft pop including Harpers Bizarre, Association, Music Machine, the Monkees and loads more. Special mention must be given to the packaging which is a gorgeous foldout digipack with a psychedelic colour wheel. Grooovy and essential!!

                                            Various Artists

                                            Compunktion Vol 1

                                            Compilation of UK ska, ska-punk, pop-punk and punk acts that regularly gig all over the country and have solid fans. Includes exclusive tracks from the UK's big three skacore bands - Spunge, Capdown and King Prawn and many other 'known' bands on the compilation making it a 'Best Of UK Scene CD'. Featuring the likes of Spunge, King Prawn, Farse, 4ft Fingers, Fat Jabba, Uncle Brian, Lubby Nugget and Ex Cathedra.

                                            Various Artists

                                            Compunktion Vol 2

                                            Compilation of UK ska, ska-punk, pop-punk and punk acts that have made quite a name for themselves through their gigging and sheer hard work. Exclusive tracks from two of the best, Spunge and Farse and many other 'known' bands on the compilation making it a 'Best Of UK Skacore'. Includes exclusive tracks by 4ft Fingers, Spunge, Farse, Not Katies, Whitmore, King Prawn, Gash, Schism and Spankboy plus many more.

                                            Various Artists

                                            Cool Cat Club

                                              After the highly successful volumes Crazy Rhythms Of Mata Hari and Shake Your Bones this is Volume 3 in the Stag-O-Lee DJ Set series. Again a compressed 80 minute set of a whole evening of DJ-ing. This time behind the decks - Thorsten Dietsche, Stefan Christiansen and Jonas Rein. The trio is known as Cool Cat Club and they are from Hamburg. They made their name with residencies at the Komet Club and as organizers of the yearly Hitch-Hike weekender. This limited double-disc features 32 tracks of pure 50’s Rhythm & Blues - hits and rarities well mixed. This is for the dancefloor.

                                              Olivier Carrié aka Uncle O chose to explore this effervescent and eclectic inter-zone for 'Cosmic Machine, The Sequel'. A second opus that takes us a bit further in time to introduce us to the dark corners of a French musical landscape where recording studio workaholics like Jean-Pierre Massiera or Roger Roger produced endless strings of records that challenged the laws of gravity (and sometimes the laws of good taste), where teenage heartthrob singer Alain Chamfort launched Araxis into space with a few synth notes, where drummer Cerrone enrolled in the Brigades Mondaines for the charms of a cover girl imagined by Gérard de Villiers and where the Anarchic System, The Peppers, Moon Birds or Arpadys dreamed of winning a one-way ticket to the moon. Some managed to land on our satellite, but all of them contributed to the space conquest aboard the Cosmic Machine. Châtelet Metro Station, Cassiopeia-bound vessel, the odyssey is just starting.

                                              All tracks newly re-mastered.

                                              Features rare cuts by Bob Darin, Gray Fox, Dennis The Fox, Cherokee, Gritz and more.

                                              What in the hell is country funk you ask? The answer is a complicated one, in part due to the fact that Country Funk is an inherently defiant genre, escaping all efforts at easy categorization. The style encompasses the elation of gospel with the sexual thrust of the blues, country hoedown harmony with inner city grit. It is alternately playful and melancholic, slow jammin’, and booty shakin’. It is both studio slick and barroom raw. And while these all may seem unlikely combinations at first glance, upon close listen, it all makes sweet sense.

                                              Light In The Attic presents Country Funk 1969-1975, a melting pot concoction of the music of Dale Hawkins, John Randolph Marr, Cherokee, Johnny Adams, Mac Davis, Bob Darin, Jim Ford, Gray Fox, Link Wray, Bobby Charles, Tony Joe White, Dennis The Fox, Larry Jon Wilson, Bobbie Gentry, Gritz, and Johnny Jenkins.

                                              Featuring extensive liner notes by Jessica Hundley (MOJO, The New York Times, Vogue), original album/label artwork, and new illustrations by Jess Rotter (, Rotter & Friends), this down home package is not only a treat for the ears, but a feast for the eyes. Think of this as a fantasyland where the Josie-era Meters back young Elvis singing Kris Kristofferson-penned slices of rustic American life and you’ll begin to understand the country funk vibe. It’s from the swamp to the city and all points in between.

                                              STAFF COMMENTS

                                              Darryl says: Supreme reissue label Light In The Attic celebrate their 10 anniversary in style with this wonderful compilation. Rather than being a definitive genre, "Country Funk" is more of a tag-line for a certain style, a certain feel, a certain cool; it’s a melting pot of sounds and styles, "a badass playlist" as Pitchfork puts it, that all somehow come together to create a distinctive vibe, it’s “Country Funk”.

                                              FORMAT INFORMATION

                                              CD Info: CD with 24-page booklet with liner notes plus Jess Rotter’s illustrations.

                                              Various Artists

                                              Crash Of Thunder - Boss Soul, Funk & R&B Sides From The Vaults Of The King, Federeal And Deluxe Labe

                                              "Crash Of Thunder" is the third 'all-killer-not-a-single-filler compilation from Vampisoul, following "Explosivos" and "Action (Speaks Louder Than Words)". The 20 tracks have been specially compiled for the label by fantastic NYC DJ Mr. Fine Wine, from his personal favourites of the King records catalogue. we are talking about 'raw-soul' and 'crude-funk' here, including ultra-rare tracks by Wayne Cochran, Lord Thunder, Jeb Stuart, Marie Queenie Lyons, Robert Moore, Frank Howard & The Continentals, Leon Austin, Eddie Kirk, Peggy & Artie, Charles Spurling, James Duncan and many more.

                                              "The Criminal Sessions" compilation features 19 of Criminal Records artists. Last year Criminal Records went overboard and signed 20: This compilation is a celebration of their newest music and diversity, featuring various upcoming new bands. This is one of 18 releases from the nutters at Criminal, who had this mad concept of releasing all these releases on the same day. The Criminal Sessions features Norton, Kent Thompson, Lowstar, Kaibosh, The Kut, Shuffle, Crow, Crayon, Spider Redundant, Morviscous, Sonja Van Linden Tol, Giantkind, Daniel, Dead Eye, The Mystery Artist, The Dirty Pins, Les Figurines, Kallinger Co. and DTI + Hypercube.

                                              First entry in an on-going annual report style compilation programmed with the same sensibilities as 2005's "Invisible Pyramid" comp by label owner Chris Moon. Over two hours of music on this 2CD set, featuring works from: Brad Rose's North Sea, Western Automatic, Ilya Monosov, Andrea Belfi, Paper Wings, Northern Cross, Brasil And The Gallow Brothers Band, Sunken, Kawaguchi Masami's New Rock Syndicate, and the never before heard Oaxacan.

                                              The second in Numero's series of exploration into the pan-American funk experience, "Cult Cargo - Grand Bahama Goombay" is a deep overview of Funky Nassau's red-headed sister city, Freeport, GBI. From 1969-1976 Frank Penn's GBI studio and label cranked out a dozen LPs and twice as many singles infected with the Miami sounds drifting in over the 100 mile strait. The catalog is a fruity blend of rake and scrape, bush, junkanoo, calypso, reggae, and of course, goombay, with a twist of American soul.

                                              FORMAT INFORMATION

                                              CD Info: CD comes with 16 page full colour booklet featuring full musical history of the island.

                                              Here we have a trio of Cult Edits from Manfredas, Simple Symmetry, and Siabus guaranteed to burn the house / club / teepee down. These top-secret jams have been extensively tested, ended countless epic parties, soundtracked highlight-reel Boiler Room moments, and prompted innumerable feverish attempts at track IDs. Heard in the sets of illuminati DJs, the cult exclusivity now extends with this limited edition vinyl only release. The set kicks off with some psych funk insanity from dance floor renegade Manfredas via "Mani From The Block". Funk backbeats and a niggling bassline lay the foundations for hot horns, a soulful organ drone and some entirely unhinged vocals. Tasty! Turn it over for some post punk / freak funk attitude from Siaubus and his angular, aggro "Hare Hare", a prefect combo of rough drums, spiky guitars, low slung bass and skronking sax. Finally, Simple Symmetry play us out with "Yalla", a tribal and tirppy bit of exotic action with chanted vocals and an insistent bass throb. Drink the Kool-aid...

                                              More secret edit weapons from the vaults of DJs like Manfredas, Iñigo Vontier, Simple Symmetry, Dreems and Thomas Von Party, aka the Multi Culti Family. New wave Latino body music, peak power extended space disco and wiggly electro funk combine for definitive dancefloor approval and chin-stroking trainspottery that comes approved by us all here at Picc HQ.

                                              This is the sound of the edgy underground right now; honestly, you couldn't be more on-point if you traversed Striding Edge on ice skates. Mega stuff.

                                              Various Artists

                                              Czech Up! Vol 2: We'd Be Happy

                                                Second volume of Vampisoul's "Czech Up!" series, which compiles 60s and 70s gems from the vaults of Supraphon and Panton labels from the former Czechoslovakia. Freakbeat, soul, baroque pop, prog-funk, garage rock, psych-jazz... all that and more is contained within these 22 tracks, wonderfully produced and now carefully remastered, many of them never reissued before. 

                                                Various Artists

                                                Damaged Goods 1988-2018

                                                  Seems like only yesterday but it's 30 years since the first Damaged Goods release! As part of the anniversary celebrations we’re releasing this compilation bringing together a selection of top tracks, deep cuts, lost gems and personal favourites. Punk, garage and indie are all well represented, with artists including Thee Headcoats, Holly Golightly, Johnny Moped, Manic Street Preachers, Cowbell, Pete Molinari, Fabienne Delsol, Thee Dagger Debs and many more!

                                                  The past is a foreign country and there’s certainly been many changes in the musical climate since 1988. Formats have come and gone (and returned!). Online, digital and streaming music were all pure science fiction then. But good music is as they say timeless. With this in mind we bring you some of the best music Damaged Goods Records has released since its humble beginnings in Ian Damaged's front room. With 500 releases to date it was difficult to whittle this collection down onto two pieces of vinyl and two shiny compact discs but we’re happy with the result. As a handy best-of or taster for further investigation we hope you’ll enjoy this selection.  Place it on your turntable, crank up the volume and enjoy! 

                                                  Various Artists

                                                  Danny Tenaglia - Choice

                                                  If all you know about Danny Tenaglia is that he's a DJ who plays tracky, druggy house, then think again! He's been DJing for years and years and was influenced by his trips to the Paradise Garage in the 80s, and therefore this compilation includes 80s disco / soul tracks (Imagination "Changes", Sylvia Striplin "Give Me Your Love", Alicia Myers "I Want To Thank You" etc) and 80s and early 90s house classics (Vicky Martin "Not Gonna Do It (I Need A Man)", Mr Lee "I Can't Forget", Frankie Knuckles "The Whistle Song", Loni Clark "Rushin'", Nomad "(I Wanna Give You) Devotion", Designer Loops "I Believe" etc).

                                                  FORMAT INFORMATION

                                                  2xCD Info: 23 track DJ mixed CDs.

                                                  Various Artists

                                                  Dawn Of The Dead - Unreleased Soundtrack Music From George A Romero's...

                                                  This is a truly fascinating record, the holy grail for any self-respecting horror movie buff; the never-before-released soundtrack music from George Romero's classic 1978 zombie flick. Apart from the original score by Italy's Goblin, the film included many pieces of incidental cues and muzak moments. These were collated by Italian director Dario Argento and culled from various sources, concentrating on European music libraries and passing off some as the muzak of the Monroeville Mall in Pittsburgh where the movie was shot. Jonny Trunk and Joel Martin have sourced many of these rare pieces and issued them for the first time here. From the quirky march of Herbert Chappell's "The Gonk" to the Kinks-ish beat stylings of "Cause I'm A Man" by Electric Banana (AKA The Pretty Things!), this comp provides all the "Dawn Of The Dead" music you could possibly ask for. The perfect soundtrack for mall roaming, Zombies ice-skating, rednecks a-hunting and motorbike gangs getting eaten!

                                                  Various Artists

                                                  Death Before Disco

                                                  Great compilation to help kick start new San Francisco label Prince House, a real genre-defining punk funk comp of sorts, combining both dance and electronics with punk rock. From San Francisco's minimal techno funk artists Broker/Dealer to the trashy rock and roll of the Pattern. 15 tracks, including soon to be classics by Paradise Boys, Adult, Numbers, Gogogoairheart, A Tension, Hint Hint, Ghost Orchids, the Vanishing, the Pleased (like a West Coast Interpol), the Lovemakers, Dance Disaster Movement,and I Am Spoonbender.

                                                  Various Artists

                                                  Deconstruction! The Compilation

                                                  A quality, big name Punk acts compilation with Lagwagon, Boysetsfire, Good Riddance, Sick of it All, Mad Caddies, NOFX, Snapcase and loads of others.

                                                  Various Artists

                                                  Deep River Of Song : Georgia

                                                  Georgia has one of the USA's richest musical heritages. These groundbreaking recordings from the 1930's and 1940's are from the Alan Lomax collection and reek with authenticity.

                                                  Seven bands from urban Pittsburgh through to rural Nebraska, each performing their own distinct ethnic musical variation of the polka. There is Polish honky-style and Norwegian polkability in this collection that exemplifies the continuing polka tradition captured in its glory by Smithsonian folkways.

                                                  Various Artists

                                                  Destination Crampsville: The Finest In Demented Rock 'n' Roll, Rabid Rockabilly And Oddball JD Pop...

                                                    A double CD of wild and irreverent music as preferred by The Cramps’ Lux and Ivy. A vintage splattering of thunderous rock ‘n’ roll, deranged teen pop, juvenile delinquent idealism, ridiculous new dance trends, jump blues, demented rockabilly and simply strange instrumentals. Covering high school etiquette, sensually transmitted rock ‘n’ roll fever, angst and radicalism via plenty of maniacal performances, Destination Crampsville is a steamy sax-powered assault on the senses begging the question – how did these three minute salvo’s ever get thought up. Featuring The Ikettes, Little Eva, Tiny Bradshaw and Bobby Parker amid the oddball Don Eee (real name!), Guitar Gable and the wonderful Gin Gilette; it’s a cavalcade of rare and rambunctious tunes. Also includes several indecipherable lyrical excursions. Remastered from the original sound sources with sleevenotes by MOJO magazine’s Dave Henderson

                                                    Opening with the recent epic Carl Craig rework of Theo Parrish's "Falling Up", this CD only compilation features 11 remixes, six of them previously unreleased or now unavailable. There's an Amp Dog Night rework of Malik Alston's "Butterfly", a Marcellus 'Malik' Pittman (3 Chairs) mix of Darren Abrams and other remixes by Gilb'r, Beatdown Brothers, Kuumba Project, Mike Huckaby, Charles Spencer and Daz-I-Kue. These take in deep electronic house, techno and tough boom-bappin' broken beats.

                                                    Various Artists

                                                    Detroit Special - Motor City Roots

                                                      Following on from the success of our first two volumes in the Motor city Roots series comes, "Detroit Special". Features the first two compilation albums ever released by the legendary Motown label plus 36 bonus tracks featuring the superb Motown artists: Barrett Strong; The Miracles; Mary Wells and more. Also on offer here are many US chart hits from the likes of: Marvin Gaye and The Supremes plus some of the earliest recordings from such artists as: Martha Reeves, Stevie Wonder and once again The Miracles. Fully detailed liner notes make this another great collector's item.

                                                      Various Artists

                                                      Deutsche Elektronische Musik - Experimental German Rock And Electronic Musik 1972-83 - Part 1

                                                      The objectives of German experimental rock and electronic music in the 1970s were to create a new music, ‘free’ from the past. A music that gave seed out of the cultural ‘nothingness’ that young Germans felt as a consequence of Germany’s role in the Second World War. A generation who grew up stifled by the recent history of Nazi atrocities, the guilt of their parents’ generation and their disillusionment at the reintegration of old Nazis into mainstream society.

                                                      The first seeds of German rock and experimental electronic music were planted in 1968, as students and workers in Paris, Prague, Mexico and throughout the world demonstrated against mainstream society, the war in Vietnam, imperialism and bourgeois values. The birth of a counter-culture, drug experimentation and social change expanded musical worlds. Germany experienced its own cultural revolution fuelled by these worldwide student and worker revolts and by a generation’s desire to rid itself of the guilt of war.

                                                      Many German youth turned their back on mainstream society. From the opening of the first collective / cooperative in 1967, Commune 1, in Berlin, to the formation of the Baader-Meinhof terrorist group and the bombings, kidnappings and killings of the Revolutionary Armed Forces (RAF), young Germans sought out new values and a lifestyle outside of ‘the system’. These cooperative and communal experiences led to a number of new radical German bands including Amon Düül, Faust and Can.

                                                      Many artists and musicians believed a complete rejection of everything musically that had gone before was also necessary in order to build a new identity for German culture. At this time German music meant ‘schlager’ music – insipid pop music that hardly confronted the country’s recent historical events.

                                                      The first recordings of groups such as Kluster (later Cluster) were extreme experiments with sound; un-music, anti-melody and anti-rhythm - attempts to destroy any musical links with the past. Holger Czukay and Irmin Schmidt of Can studied music under the radical avant-garde composer Karlheinz Stockhausen and Conrad Schnitzler studied art under the conceptual artist Joseph Beuys. German rock groups were as interested in musique concrète and serial composition as they were in the psychedelia of Pink Floyd or the rock, soul and jazz music played by resident American forces.

                                                      From this beginning German rock music began an evolutionary journey of experimentation. Electronic music became a pathway to notions of space and the cosmos. Conversely, the emergence of communal living led to a number of musicians setting up live/work spaces in rural areas and developing a ‘pastoral’ outlook, with musical ideas engaged closely with nature.

                                                      And despite an aversion to the politics of American society, German rock bands were nevertheless fascinated by the emerging stateside counter-culture of psychedelic music and drug experimentation. A band such as Ash Ra Tempel even recording an album with drug guru/theoretician Timothy Leary ("Seven Up", 1973).

                                                      And whilst some of the bands featured here slipped by the wayside over the years, others such as Faust, Cluster, Can, Tangerine Dream are now well into their fourth decade having firmly established that which they set out to achieve – a new German music.

                                                      Dig Nitty Records was founded in Brooklyn, NYC in 2005 by Chris Clark, after witnessing the decline of the major and indie labels first hand. In this 'do-it-yourself' age of ever evolving technology, and vast marketing outlets, there is no longer a need for artists to seek the support of a major label. Chris foresaw where the music industry was heading, and decided it was time to embrace truly independent artists who were making a name for themselves. With a minimal budget, and a lot of hard work, Dig Nitty Records now has a roster of visionary artists worldwide. Slim Francis: Brooklyn based Slim Francis is led by Aric Carroll, an extraordinary songwriter and vocalist, whose eclectic guitar stylings and soulful vocals tell haunting tales of life and love in the big city. Bobbie Peru: Manchester based Bobbie Peru cook up a particularly demented stew with their ever-changing musical palette, which is an unpredictable mix of stabbing guitars, social commentary and a rhythm section coming through like a freight train. James Catholic: It is with sincere purpose that extremes flourish in Mr. Catholic's muse; and drama arrives in the form of distinct vocal characters under the restrictions of elementary modern form. After all, its dramatic range that attracts Mr. Catholic to the Matt Johnsons (The The), Peter Murphys, Stooges, and Pixies of the world.

                                                      Such was the response from press and public to "Dirty Water - The Birth of Punk Attitude" that Kris Needs has been filling the bathtub again with another riotous selection of proto-punk scorchers, garage band delights and seminal figures who either revolutionised a movement or upset their chosen apple-cart; all filling the arteries which would explode in 1976 and change the world.

                                                      The new set casts its net even wider than the first, corralling sonic marauders such as Germany’s Faust, New York’s wilfully shambolic Godz, George Clinton’s barrier-trampling Parliament, original folk activist Woody Guthrie and deathly 60s electronic trailblazers United States Of America. The set stretches back to primitive rock‘n‘roll‘s early salvos, including Bo Diddley and Johnny Thunders’ favourite Eddie Cochran, plus the hot-wired tremors of UK outfits such as Kilburn and the High Roads, Doctors Of Madness, Stack Waddy, Hammersmith Gorillas and the Edgar Broughton Band. New York City is represented by Patti Smith, Blondie, the mighty Jayne County, demented Holy Modal Rounders and Dizzy Gillespie representing the bebop movement which flame-blasted cool jazz’s rigid trouser-seat, leaving a wide open orifice for the raw, spiritual anarchy of Albert Ayler.

                                                      Needs also exercises his long-standing fixation with obscure, unhinged 60s US garage-psych with the Misunderstood, Zachary Thaks, Human Expression and high-energy Detroit garage bands Unrelated Segments and Tidal Waves.

                                                      This is a second selection of independent disco records featuring rare and classic tracks originally released in the USA between the halcyon years of 1977 and 1985.

                                                      This release features only the finest disco, modern soul and boogie and is compiled by Disco Patrick who last year put together the mighty ‘Disco: An Encyclopedic Guide To The Cover Art Of Disco Records’ 400+ page deluxe book for Soul Jazz Records, as well as the first installment of ‘Disco: A Fine Selection Of Independent Disco, Modern Soul And Boogie.’

                                                      This album is released as a double CD and two separate double vinyl LPs (plus free download codes).

                                                      This album features rare, classic and in demand tracks from the mighty vaults of labels such as New York’s Salsoul and Miami’s TK Records - which, during the main disco era, became the main competitors to the major established record industry - through to killer virtually unknown tracks released on tiny bespoke one-off labels now impossible to find either in the history books or record shops of the world.

                                                      Before its mainstream consumption in the late 1970s, disco first emerged from independent record companies run by lovers of this new sound: Patrick Adams and Peter Brown, the powerhouse musical partnership based up in Harlem, New York; Henry Stone at TK, a man with a 30-year old career distributing black music; or the Cayre brothers at Salsoul, linking Latin roots with the deep, soulful music emerging from Philadelphia and New York.

                                                      In fact, as we can see on this album, Harlem was to prove a fertile ground of nascent independent disco with numerous young producers, alongside leaders of the pack Patrick Adams and Peter Brown, hustling to release oneoff or a couple of singles on their own independent labels.

                                                      All the music on this album has been sonically and digitally remastered with love and is presented complete with sleevenotes, original label artwork and full length extended disco editions.

                                                      Various Artists

                                                      Disco Circus Volume 3 - Compiled By Mighty Mouse

                                                        Disco Circus (Volume 3) is the third instalment of the critically acclaimed compilation series from rising DJ/producer Mighty Mouse. In only a short time this disco loving psychedelic Mouse from space has notched up and impressive CV. It was remixing the likes of Gorrilaz, Robbie Williams, Ali Love, Bent, Fenech-Solar, Shy Child, Robortom feat. Au Revoir Simone, Shades Of Rhythm and Roy Davis Jnr, where Mighty Mouse quickly caught the attention of the blog's, becoming an online success.

                                                        Disco Circus 3 is fusion of disco past, present and future. It features some of the most exciting modern disco and electro producers of the moment along with a host of rare gems from the 70's and 80's. 30 tracks seamlessly mixed over 2 CD's. The artwork for Disco Circus 3 is an original illustration but close friend and internationally renowned artist Antony Micallef.

                                                        I love disco because it is all about good music. There is madness and there is darkness, but on the outside it is beautiful. Make your own rules, that's the Circus.

                                                        Having recently signed to Herve's Cheap Thrills imprint, Mighty Mouse will be following Disco Circus 3 with a string of new singles and is currently in the studio working on a new artist album for release later in 2012.

                                                        Welcome to Teutonic boogie wonderland, fellow disco citizens. "Disco Deutschland Disco" presents 18 sparkling disco, disco-funk and Philly anthems from Germany – recorded between 1975 and 1980. While never appreciated by rock critics, disco is actually one of the few musical genres where German productions had a huge international impact and heavily influenced American and British recordings. Marina Records have finally found time to get this documented and appreciated. Shying away from the obvious hits, this compilation digs a bit deeper – with many tracks appearing on CD for the first time. So put on your platform shoes and boogie down to 100% fat-free dancefloor euphoria from Germany! Burn Baby Burn...

                                                        Strut present a new repress of the influential first volume of ‘Disco Not Disco’ compiled by Joey Negro and Sean P as part of the label’s 20th Anniversary.

                                                        ‘Disco Not Disco’ was a perfectly timed compilation back in 2000. Released when interest in the myths, history and playlists of original New York clubs like Paradise Garage and The Loft was at its peak, the album drew on the outer limits of leftfield disco championed by Levan and Mancuso, bringing together unlikely dancefloor anthems by rock acts like Yoko Ono and Ian Dury, obscurities from cottage labels like BC and Splash and selected oddities from the unique mind of avant-garde hero, Arthur Russell. It was essentially a celebration of the sonic melting pot in New York during the early ‘80s, an era when punk had burnt itself out and disco had become commercial and saccharine; in its place, the post-punk movement threw up brilliant oddities which tore up the accepted rulebook.

                                                        Since its release, the compilation title has become a by-word for a whole genre of music and remains a landmark collection of its time. With original copies now changing hands for €100+, this new pressing is a welcome return for an essential celebration of disco’s difficult cousins. 

                                                        Various Artists

                                                        Disposable Music Vol 2

                                                        Second of these quaterly compilation CDs from Disposable Music. A neat little package of cool local (and occasionally not so local) sounds, dipping into just about every genre of music. 22 tracks, and all for the price of a CD single. Can't be bad! (As Ted Chipping used to say)

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