Nyra first came into focus waaay back in 2012 - on A Sagittariun's wonderful E-Dreams imprint. A small hiatus ensued, then he returned with three releases on this very Canoe label. Characterized by wild, untamed excursions into techno and the tuffer end of late night house music, I'm surprised the producer hasn't milked more of the limelight as his productions really speak for themself!

"Zodiac" kicks things off with flailing acid lines gurgling and spitting as a rampant booty beat bangs away. Sure to get em running wild across the lino with mad energy, it's got peak time written all over it.

With its wigged out, buzzing low stabs, "Orbiter" plants itself in the more strung-out section of the dance. Casually firing off this highly simulative one note melody (rhythm?) across another brilliantly programmed dance beat. Clever stuff!

"Think I Know" accentuates the drums till they bangin' in the red, places a dark minimalist vox over the top then applies some tearing and squashing sounds - recording the whole thing onto a fried DAT or saturated c90. Fans of Jamal Moss, Poindextor and Ste Spandex are gonna be feelin' dis one! 

Three records in and Bring Back continue to take us back to the golden years of jungle. I wasn't old enough to go to clubs and my mum certainly wasn't letting me go to raves in '93, but I was lucky enough to taste this underground culture through CDs by people like Moving Shadow & 2 Bad Mice and there was plenty of features in the dance music rags of the time. It was exhilarating, exciting, totally new sounding and I loved the fact that it was a completely UK thing - for once we weren't copying dance music from America; it's one of the few dance music sub-cultures we can truly call our own.

I don't recognize any of these three tracks, so they're most probably new constructions but using the timeless old methods. The vibe is moody, nodding to break hardcore whilst also adding the 'rude boi' element that'd be re-hashed a thousand times up to the present day. All the massiv!

Various Artists

Popcorn Lung: A Polytechnic Youth Collection

    Barring any last minute curveballs like Christmas Day released lathe cut 45s, the last release for 2018 on Polytechnic Youth is an absolute beauty. The long planned “Popcorn Lung” compilation brings together a richly assembled cast of exclusives and a previously released lathe cut only, gem.

    Rare are the free flowing, fluid compilations that flow effortlessly as opposed to some hastily cobbled together assorted odds n’ sods full length. This -much like it’s predecessor label collection “They Make No Say” that sold out 2 pressings in 2017- does exactly that. A heady mix of full on synth pop, darker more industrial electronic textures through kosmische / kraut grooves to whacked out electronic pop then back; ie styles may alter but it enhances the seamless feel, the free flowing vibe in no small part and quality remains incredibly high throughout.

    Highlights include exclusives from Australian Testing Labs Inc who follow their ‘underground hit’ full length “Music for Air-Cooled Motoring” with their first new music in 2 years, (the majestic motorik of “Alpenstrasse”) to smash 6music ‘hit’ “Tisch Tennis” from Matt Hookworms’ side project Xam Duo (Gideon Coe’s single of 2017 no less, and a £70 discogs 7” A side made available again), East London’s mysterious Karen Novotny X with a previously unreleased gem straight outta’ Mute / Blackwing studios 1980 territory, teasers to future PY full lengths from Canada based Gabe Knox with ace LP opener “Look and Listen”, and Bernard Grancher, Stephen Buckley’s fab Polypores project, PY old hands Detox Twins with another Germanic nugget of minimal synth- alongside many more treasures culminating in the -wait for it, as you’d never guess- trombone freakout of closer by Kendo Nagasaki (all be it heavily treated, synth aficionados rest easy!)

    A fabulous album, which on one hand acts as a perfect intro to the label for newcomers, it also more than pleases older hands in equal measure; and comes in a sleeve designed by label head Dom with tasty Nick Taylor designed insert. One time Pressing of 500 copies on vinyl only.

    Jaki Whitren / John Cartwright

    That Will Be That

    Emotional Rescue comes back to the music of Jaki Whitren & John Cartwright for a special 7", putting previously unreleased "That Will Be That" and "This Time" on to vinyl for the first time.
    Originally part of the International Times reissue project (ERC004) in 2013, the songs have previously only been available on CD and digital formats as 'out-takes'. However, all that time the plan was to release the songs as a stand-alone vinyl release at some point.
    Discussion with John continued over the years and the plan was for a release as part of the label's fifth anniversary, until sadly the project was put on hold due to the untimely loss of both Jaki and John in late 2016. The recent repress of their masterpiece that is their privately pressed album, "International Times", led to these songs being revisited for the first time since and so here at last are both available together, as much in homage to these two wonderful musicians.
    More than studio-plus recordings, "That Will Be That" actually appeared in rerecorded form on the couple's Rhythm Hymn album of 1983. Here though is the original (and superior) version, with all the hallmarks of classic Whitren and Cartwright song writing craft, musicianship and production skill. Again remastered by their son (and at the time, teenage drummer) Joby Baker, the song drips with a confidence of masters of their instruments, full heartfelt, righteous and as relevant today as then lyrics, all backed with some deep white funk and enough soul to move mountains.
    This is accompanied by one of their greatest compositions in the spine-tingling "This Time". Only ever known on this live recording from Glastonbury Hall, Jaki's vocals and light accompaniment from John's keys let the song shine. If the sheer power of her voice and words don't move you, then something is missing in life. A pure, sad, joyous way to thank and remember this wonderful music and people.

    So, somewhere during the last ten years of perma-recession, around the time Trump got elected, we went full Brexit and whole "war on terror" imploded, shit got dark. So here's Afrobot cutting up four wavy 80s tracks perfect for the global gloom which envelops us all. On the A1 we get Ensemble Pittoresque's sleazy minimal wave banger "My Baby", originally recorded in The Hague in '84 and now trippled in duration. Post punk bass, new wave drum machines, acid squelch and rabid animal sounds collide with the growling vocal, fully freaking the dark wired dancefloor. Next up, "DN Goes To NY" hits us with a heavyweight punkish B-line, echo drenched vocals and distorto-guitar, all wrapped into an electronic framework of nagging sequencer and tough drum machine. One for metal dancers and the Shriekback fans. Skip to the flip and find yourself immersed in the gothic glitter of 80s UK, first with the mash up madness of "Inhale" and the slow pound of "Empty Words". "Inhale" sees Afrobot fuse a 7" B-side with a deranged and druggy wrong speeder, serving us glistening synth loops, brooding bass and cinematic textures - play this one with your favourite Ministry and Sisters of Mercy jam. Last but not least "Empty Words" twists and turns through queasy tonality, tumbling drum programming and trippy keyboard lines before a big, snipped chorus enters the arena and causes an eruption of art school poses.


    Patrick says: My favourite AM offering to date sees Afrobot fully embrace the dark wired sound, twisting strange synth cuts, post punk electronics and techno-tribalism into an excellent edit 12".


    12" Info: Comes with an insert and a stamp both drawn by Frank Koedood.

    Having already made a name for himself in Nollywood (the Nigerian film industry) and in the sweatiest of London’s sweaty clubs. Ekiti Sound fuses Chicago house, Detroit techno and African poly rhythms with deviant electro synth patterns and a sub bass so deep you can hear the speakers rattling from Manchester. Throw in some cowbell, (what sounds like, to my uneducated ears anyway) arabic vocal and you have a dark, brooding, wall shaking, floor filling Lagos via London bomb.

    Bert Innis National Recording Orchestra & Mighty Sparrow

    Slave / The Slave

    “Slave” is a dark instrumental of Sparrow’s “The Slave” from 1963 by Bert Inniss National Recording Orchestra with backing vocals by March of Dimes Quartet. It was the first release on the National label, which would become Sparrow’s home from 1963 to 1967; Spicy, rhythmic, mournful, classic, full of emotions.

    “The Slave” was taken from the same title album released in 1963. This album marks a new era in the matchless career of Sparrow. He could not have launched his National Recording Company on a higher note. “The Slave” is a gem of composition and one of the most memorable works created by a calypsonian in this generation. Maybe it will remain historically significant in the traditional musical development of Trinidad & Tobago for generations. The song is a scathing telling of the fate of slaves in Britain's West Indian colonies. If you've ever wondered where calypso came from this song will tell you. You can actually feel the emotions of the Slaves being expressed in this great Calypso. The genius Mighty Sparrow has taken us back to the plantations so that we can get a front seat view of the hardships of slavery. This narration in song is a must for all students of history in Trinidad & Tobago.

    Many of the world's great craftsmen have, at one time or another, created works which were not entirely free from flaws. An astonishing exception in this respect is the greatest calypsonian Mighty Sparrow. From the day he skyrocketed to fame with his composition “Jean And Dinah” in 1956, Slinger Francisco has not made a weak calypso. All of his long-play records have been best-sellers throughout the Caribbean, in the United Kingdom, the United States and even in Europe.

    P SH

    Beyond The Wave Image & Synthetic Terrain

    Udacha always manage to introduce us to the freakier end of the electronic spectrum, and this new LP from Moscovite artist Vasily Stepanov. Operating under the name P SH, Vasily collages found sounds, submerged vocal snippets, gurgling electronics, synthetic birdsong and detuned guitar into a disorienting journey into a pan dimesional plane of populous sonics - and that's just covering opener "Indigo Swamp". "Yellow Bird Singing" sets the aforementioned ingredients to a drifting cosmic house rhythm, somewhere between Vakula and Group Ongaku. ")(-" brings more gurgles and burbles, alongside elements of New Age and fourth world ambience while "Naam Drops" sounds like trying to hum along with Hailu Mergia after a double dose of research chems. The relatively sane and soothing "After Dream Image" closes out the A-side with a lullably for the microdosers, and then it's onto the dissonant and dusty drug house of "Figizi", and the vertigo-inducing "See That Slack Times". As impenetrable as the title suggest,  "-" shuffles through chimes, arps and market bells like a particularly smacky trip to Thailand, before "Beam Machines" turns the saturation up to full and drops us into a sensory deprivation tank filled with neon hued ectoplasm. 


    Patrick says: P SH joins the Udacha family with an exploration of sound, soul and spirit (music, mythology and magick). Utterly insane abstract electronics with a highly psychedelic slant.

    Ron Trent

    Aquarhythmatica / City Beat

    Ron Trent is arguably one of the most 'organic' house music producers. The man has been caning it for decades now and the knowledge is palpable on all his productions. From the seminal (and personal favourite) 'Morning Factory' which I came across when it was included in the 'Freezone' series on SSR/Crammed Discs back in 1995 to the very deep and melodic 'Aquarythmatica' with its funky bass, playful cowbells and Anthony Nicholson's voice. You almost do not realise this is electronic music, with all the live instrumentation around. 
    On B Side, the beat takes centre stage. This one is more dancefloor oriented. But you still get Ron's signature all over with the congas and the vocal sample. 
    This is one to keep, one that has no expiry date. HIgh calibre house music for y'all. 


    Sil says: Two mega house tunes with an organic feel all over them. You need this as they will sound as fresh now and in 20 years!

    Soweto's Thandi Zulu started her musical career in 1984 with the South African music dream team of Peter Moticoe, Phil Hollis and Attie Van Wyk. "Sugar My Love" and "Are You Ready for Love" were produced and arranged by Attie Van Wyk.
    Taking to the Delphon studios, T.Z. Junior rocked the mic right, laying her smooth, soulful and occasionally wild vocals over the a classic bubblegum groove for "Sugar My Love". Not only does this winner work the room with all round grooviness and a killer arrangement, the electrofunk flourishes and mega synth bassline take this one straight to the T O P. Over on the flipside, "Are You Ready For Love" is an uplifting major key masterpiece of SA boogie / proto house, once again featuring slick synth work and Thandi's irresistible vocals. 

    Few producers can capture atmospheres and moods like Heinrich Dressel. The Minimal Rome boss left jaws on the floor with his first appearance on Bordello A Parigi, "The House of the Rising Synth", demonstrating the breadth of this Italian musician’s sound. Now Dressel returns, this time with a full eight tracks for "Lost in the Woodland". In this analogue forest anything is possible. From the whimsical resonance of the title piece, a sonic pathway through a verdant soundscape is laid. Gentle melodies caress and embrace before the road bends into shadows filled with dramatic twists and unseen dangers. Romantic moments are juxtaposed by triumphal chords and daring drums signalling immediate panic or outright victory. This is a woodland of divergent emotions, one where sounds give way to feelings and where Heinrich Dressel is the piper leading his followers through what can only be described as an unforgettable journey.


    Barry says: Much like ambient dub pioneer Biosphere, Dressel excels at crafting an atmosphere which is both alarming and alluring. Through the snappy synth envelopes and progressive twists and turns, 'Lost In The Woodland' moulds a visceral world of light and dark, the central and contrasting twisting around each other and presenting themselves in bursts of static joy and shadowy glimmers of malaise. A stunning work of narrative beauty.

    The C.I.A

    The C.I.A

      “This record is an encapsulation. The omnipresent fear and anger. Why? Why? Why? Why? Why? Why? Why? Why? Why? And what is really going on? Consternation…today… There is difficulty, frustration, strain and a large snake. You can feel the pressure of it breathing on the streets, in media, and in your lunch. This s/t, by The C.I.A., is an urgent musical notice. I feel it immediately. The pointed vocal cadence and lyrics of Denée Segal is a sharp scythe, and the actual time is…now. “I feel the same distress call and disposition from Crass records like Penis Envy or DIRT. In fact, if you took that, mixed in “Black Silk Stocking” by Chrisma and a touch of early Nic Endo (Atari Teenage Riot) and even Dinah Cancer (45 Grave) Autopsy era, you can get a feeling. And, similarly to those mentioned, Denée is putting a time stamp on this time. The spirit and her viability is strong in many a corner, and in many a heart. The alarm is ringing. “This is survival sound, put on record well backed by Ty Segall and Emmett Kelly, who have added anything-musthappen, mercurial, constantly moving instrumentation. The sounds, consistent with unique monochrome, move like an engine, made gas-tight by piston rings. Sonic rings moving in tight machine patterns. And at the vocal helm is Denée, steering this machine in vocal directions across an exclamation point motorway. No salt, all salt. Traction and reaction. They built a sound machine with, and for each other. Survival sound lifts its head up when it needs to. Thankfully it gets put on record and released when it needs to.” —Tim Presley

      Doris Troy

      What'cha Gonna Do / You Got Me Baby

      Hot on the heels of their last 12" smash (Kon's remix of Devoted Souls - fire emojis all round), SuperDiscoEdits return with a sweet little slice of unreleased Doris Troy. 
      Known the world over for her classic, “Just One Look,” New York-born Doris Troy (who passed away in 2004) was much-loved among British soul music devotees for her dynamic live performances and treasured recordings for Atlantic Records. London became her home in the early ‘70s during which time she recorded for The Beatles’ Apple label and became a renowned background vocalist on sessions with Pink Floyd, The Rolling Stones, Dusty Springfield, George Harrison, Billy Preston and many others.
      Doris met UK music journalist David Nathan on one of her first visits to London in 1965 and they became lifelong friends. A few years after David moved to New York in 1975 as US correspondent for ‘Blues & Soul’ magazine, he began working on music with John Simmons (former member of the R&B group The Reflections and later, musical director for Stephanie Mills, then Whitney Houston); when Doris came to visit New York in 1979, David and John produced a disco-oriented session with her which included an original composition, “You Got Me Baby.”
      The following year, 1980, David was working with the popular group, Mystic Merlin on some of his own recordings and asked if the group would do a session with Doris. The result was a reggae’n’funk revival of Doris’ 1964 hit, “What’cha Gonna Do About It” which has never been released. SuperDiscoEdits’ founder Russell Paine has done a brand new mix of the original 1980 recording by Doris, produced by David Nathan and the result is the hypnotic “Whatcha Gonna Do,” making its debut release as a 12” single on Nefer Records through SuperDiscoEdits.


      Patrick says: Killer club soul / late disco shizzle all round here, but I'm giving the maximum respect and also spirit fingers to the sublime instrumental arrangement on "You Got Me Baby". This is up there with the sweetest disco ever made.

      More Miss You aceness from the Sound Metaphors camp as they hit us with a bigly yuge reissue of Risqué's sublime slo-mo disco bomb "Starlight" - pressed loud AF and ready to tear the dancefloor asunder! Approved by none other than Sarcastic hero DJ Harvey-himself (check his Boiler Room for a damage report), the track materialises with twinkling arps, soft pads and jazz-funk guitars, all underpinned by that solid kick which carries us to the pay off. Two synth vamps later and we're rocking under the influence of that MASSIVE synth bass, swaying from side to side as the cosmic sequences and big female vocals reach for the ecstatic. What very heaven it is to peak at 98BPM! 


      Patrick says: Top five slo-mo disco weapon here - originating in Holland 1982, now back in press for those who know in 2k18. WTF is powering that bass sound? Did these girls came from outer space? Have I just necked a gary? This record is the only answer you need!

      Slowthai’s music is unmistakably British, treading a line between grime, rap, dubstep and garage – riding rough-edged beats with an adolescent charisma and confidence that recalls buzzy pirate radio sessions and handicam freestyles. All of this is encapsulated by live shows that are drenched in sweat and spit and booming with the sound of slowthai’s hooky flows and street-smart bars being chanted back at him.

      He began releasing music over two years ago, while Grime was quickly solidifying its presence in the mindset of the UK’s youth without the necessity of US Hiphop co-signs, slowthai’s own brand of alternative UK rap was beginning to work it’s way into the circles of truly engaged seekers. Fast forward to 2018 and with each single release slowthai has continuity stepped up a gear, proving himself to be an unpredictable force in UK Rap and one responsible for ushering in a new wave of exciting artists moving into 2019.


      Patrick says: Ooof! Slowthai broke the internet when "Jiggle" dropped on Youtube and this 2018 EP hits hard AF with moody beats, brutal kick drums and street ready UK flow. If you're looking for something feel good you're fucked - if you wanna hear a totally accurate review of the miserable state of societal affairs, this is your shit.

      Groovin's latest visit to the well of musical wonders brings us a fine reissue of Lola's "Wax The Van" complete with all those wonderful mixes from its original 1987 release. Written by Arthur Russell, featuring vocals from Lola Blank and production from her husband Bob, this is a perfect reflection of the underground dance scene of that era. The bassline and dubby groove and hypnotic beat capture the post disco / proto house spirit, while the uplifting vocals and warming percussion look from NYC to the White Isle and its imminent Balearic explosion. On the A1, "Kenny's Club Version" (presumably named after keyboard man Kenny Blank) sees the track groove on and on with a continuing string of killer keys, piano vamps and synth licks while Lola's wild vocals drift in and out of focus. If anything "Cherry's Club" is more Balearic, cutting back on Lola to give us a little more Arthur as well as a more stripped back approach to the arrangement. The radio mix comes on the B1, bringing us a condensed helping of the record's off beat excellence, before the killer, classic "Jon's Dub" blows us away for seven stunning minutes, prompting the question, 'Who is Jon?'. A true underground anthem, back on 12" and sounding better than ever!


      Patrick says: Chilled out, hypnotic and utterly irresistible, this collaboration between NY underground stalwarts Arthur Russell, Bob Blank and Lola Blank is a unique proto house jam which became an instant Ibiza anthem. Don't miss your chance to bag a copy of a loud and proud 12" pressing.

      Sound Metaphors reissue sublabel Thank You comes through with an official, remastered reissue of two top notch post Italo / Balearic house beauties from 1989 here, Jacky Ferreira's "Summer Night" and "Eu Já Não Sei". In its original incarnation "Summer Night" sees the Portuguese producer fuse optimistic synth strings and delicate chimes over a hydraulic bass synth and solid club 4/4 to create the ultimate beachside pumper. Label fellows Castro & Nemo offer their own extension on the A2, bringing the romantic chimes and dreamy down tempo piano riffs to the fore and slowing the beat slightly - finding exactly the right balance for end of night euphoria - buzzing!
      The B-side belongs to "Eu Já Não Sei", an uptempo bit of late 80s Euro-pop complete with crooning vocals, Spanish guitars, twinkling arps and a strong smell of Brut. If you're not feeling those sleazy Portuguese vocals, might I suggest you wrap your ears around the Versão Instrumental and dance away into the sunset.


      Patrick says: Euro-pop / Balearic house perfection here from those fine folks at Sound Metaphors. Jacky Ferreira's "Summer Night" is as tasty as a Portuguese tart and sounds fresh as it did in 89!

      En Dag (Rick Tomlinson, Chris Walmsley And Pete Hedley)

      En Dag

        Recorded one day at Konst & Ramar studio, Stockholm, while touring the Voice of the Seven Woods album in January 2007, En Dag is the previously unreleased collaboration between Rick Tomlinson, Chris Walmsley and Pete Hedley.


        Ltd LP Info: Limited to 300 vinyl LPs. Sleeve by Rick Myers.

        After a pair of hallucinatory rainforest house heaters on Lovefingers' ESP Institute, and two more 12"s as Greenvision with Oscillator DJ Trent, Juan Ramos graces Berlin's Cocktail d'Amore Music with a new outstanding EP. A-side slammer "Incorporeality" powers out the speakers as Juan's toughest release yet, all heat treated techno drum patterns and hyper-real Italo synthlines - hardcore for the holodeck. On the B1, "Liquid Sky Drone" does the techno-pagan thing with a little less intensity, taking us for a low altidude flight over a high neon alien landscape. Multidimensional is the right term to describe Ramos' music and these two retrofuturist anthems turn like a tesseract. Melbourne / Berlin badman Kris Baha is on point and on remix duties, transforming "Liquid Sky Drone" into an industrial ballad - cinematic and romantic, at the same time bouncing and synthetic.


        Patrick says: 5D foreplay across three tracks here from the double hard Juan and only. Numerical mastery aside, this EP sees techno, Italo and industrial twisted into a neon tinged vision of alien worlds.

        Providing consistent banger for your buck all year round, Bahnsteig 23 sign off for 2018 with release number 48 - brought to us in conjunction with Autarkic and Hectik, two brothers in arps from the midi-East. The party platter opens with the punkish dub disco of "You (& You)" an oddly propulsive cut complete with brash guitars, odd sound fx and dislocated female vocals - well weird, well wave. Next up "Dolphin Dub" gets deep and dreamy, all tapey vocal murmurings and sumptuous pads riding a driving synth sequence. New age or new beat, this mystical mover will fill the club. Flip it and prep for launch as "Francois Energie" blasts into a different disco dimension, flirting with tekno on its way through the acid wormhole. Finally we get "Eastrumental", a killer new age dancer on an IC tip. Expect well-tempered drum machines, proggy synth riffs and an uber-groove.


        Patrick says: Ah Bahnsteig 23, you're too good to us. Another week, another amazing release, this time from Autarkic and Hectik, who do Euro disco, new beat and new age in their own special (spacial) way.

        Tony Esposito

        Rosso Napoletano (Mushrooms Project 2018 Rework)

        After 44 years, Tony Esposito's extended, expansive and progressive jazz-rock masterpiece "Rosso Napoletano" sees the light of day again thanks to a sprawling 13 minute remix from Mushrooms Project on the mighty Archeo Recordings. As you'd expect from those cosmic conquistadors, this new version from Mushrooms Project straddles the Psychedelic and Balearic, bursting with otherwordly fx, hypnotic and dubby bass and some classy Mediterranean chimes. Slow, churning and superb, with an Anti-Skate tool on the flipside.


        12" Info: Limited single-sided 12".


        Sweat Till Your Body's Wet

        As is so often the case, "Sweat Till Your Body's Wet" was originally tucked away on the B-side, away from prying eyes and free of the straight jacket of perceived chart conventions. Co-written with Miami Vice actor Philip Michael Thomas (Rico MF Tubbs), the track is a synth and drum machine reggae bomb, complete with cosmic synth work and crazy vocoder. Imagine Sly & Robbie teaming up with Larry Levan on the Easy Street payroll, except it's all a figment of a Ruf Dug DMT trip. Check the clip - lose your shit!


        Patrick says: Well this is entirely off its rocker! Rico Tubbs teams up with Dhaima to create a slo-mo vocoder reggae bomb based around a killer machine riddim. Ace


        Ltd 12" Info: Limited to 300 copies.

        Back in stock Cover of Fantasy (Shelter DJ Mix) / Can't Hide Love (MAW Album Mix) by Earth, Wind & Fire.

        Earth, Wind & Fire

        Fantasy (Shelter DJ Mix) / Can't Hide Love (MAW Album Mix)

        Booom! One of the finest funk outfits of all time, Earth, Wind & Fire, remixed by one of the finest house crews there ever was. Obviously this is some buy on sight tackle, and these remixes are works of art in their own right. On the A side we have the much in-demand Blaze 'Shelter' remix of "Fantasy" which stretches this classic to 8.55 and finishes with an unbelievable Phillip Bailey acappella. As though that wasn't enough we've put the much sought-after Masters At Work remix of "Can't Hide Love" - a staple for all the finest house jocks since its debut in 2002. 

        Night Beats

        One Thing / Watch The Throne (Black Friday 2018)

          “One Thing” is the first collaboration with Easy Eye Sound, the label curated by Dan Auerbach [The Black Keys]. What makes this pairing even more special is Auerbach worked very closely with Night Beats on their forthcoming album in regards to writing and production. The B-Side to “One Thing” is an exclusive non-abum single titled “Watch The Throne”, written with Matt Shultz [Cage The Elephant]

          The Decemberists

          Traveling On

            The EP “Traveling On” is the next iteration of The Decemberists B-sides series, a tradition that began in 2005 and serves as a follow up to “Florasongs” and “Long Live the King”. It’s comprised of five B-sides related to their last album ‘I’ll Be Your Girl’ (4 tracks that were exclusive to the Exploded Edition box set + a full band version of “Traveling On”).

            The Go-Betweens

            Right Here

              The death of singer/songwriter Grant McLennan in May 2006 brought an end to one of Australia's greatest musical partnerships. McLennan and Robert Forster, the founding members of seminal Brisbane band The Go-Betweens, had been close friends and collaborators since their late teens some thirty years before. Their body of work across both group and their solo albums has seen them recognised as Australia's own Lennon and McCartney and the legacy they and their fellow band members forged through the late 70's, 80's and into the 00's has become the stuff of legend.

              'The Go-Betweens: Right Here' is a feature length documentary about the people behind this seminal band. It is a heartfelt story of discovery, uncovering the intensely passionate, creative and fraught relationships at the heart of this much loved and influential group. It is also the universal story of a great creative adventure that spanned three decades, through countless successes, failures, romances, break-ups, betrayals, triumphs and tragedies. It is a compelling investigation into the exhilarating, unpredictable, and precarious lives of musicians, that reveals the true price paid by them to pursue their art.

              As it unfolds, we discover how relationships - both creative and romantic - are continually tested, challenged, remoulded and, in some cases, destroyed. In Forster we reveal a man who finally learns how to survive and reconcile himself with the ephemeral nature of fame and success, whilst in McLennan we discover a man with a ferocious talent, who struggles with inner demons and emotions that eventually begin to consume him. And in Lindy Morrison (drums) and Amanda Brown (violin, oboe, guitar) - who were also in romantic relationships with Forster and McLennan respectively - we get a profoundly moving insight into their, as yet never told, side of the story and of their fight to be recognised as musicians in their own right.

              'The Go-Betweens: Right Here' doesn't assume knowledge of the group or its music. It offers an evolving revelation of them that truthfully exposes all the highs, lows, joy, pain, sorrow and beauty of being in a cult band and of trying to survive the harsh, brutal realities of an at times exploitative music industry. Unflinching, insightful and at times painfully honest, the film tells the story of The Go-Betweens from the inside out, from the people who lived it and from those whose lives were transformed by it.

              Based in Flint, Michigan, USA, the four young sons of an electrician welded together their debut album. This album, titled "Elektroworld", is a personal tribute to the well known pioneers of the electro-disco-beat; Kraftwerk. A rarity amongst the electro scene, as well as a masterpiece in DIY electronix, Clone Classic Cuts reissue the illustrious album from 1995 - the only one the band ever completed!

              The bar is set high as "Future Tone" opens with skilled sound design as well as a solid grasp of the aesthetic. "Perpetual Motion" sets off the Drexciya alarms straight away as fizzing oscillators drift in and out of time and tune with a rigid, mechanized beat. "Japanese Electronix" sees the first forays into more electro-pop sensibilities, nodding to their German pioneers as they vocoder a tasty hook alongside the gliding electofunk backing. "Check Mate" combines more classic degraded synthesizers with inventive drum programming that hints at were footwork and juke would take these blueprints in coming years....

              Look we're not even half way through yet at it's pure power 100%. One of the high watermarks of the electro genre and an absolutely imperative LP for hardware heads. You'll only get one chance at this one folks! Don't miss out.... 

              After pledging a long term commitment to cutting edge electronics through the second volume of their "Danzas Electricas" compilation, Macadam Mambo offer more razor-sharp music from the fringes of clubland, courtesy of Berlin duo As Longitude. The collaborative partnership of Eva Geist and Laura ODL (also known as Ondula), As Longitude made waves with a brilliant debut on Knekelhuis and show-stealing contribution ot the "Eine Welt Vol.1" compilation. Now they plug straight into the mainframe once again to hold some sort of bizarre synth seance for all the freaks on the floor - future primitive in the most ritualistic way, this is slow-mo cyberpunk for the druid class.
              Setting up their place of power in the middle of the neon swamp, Eva and Laura embrace radioactive gurgles, mechanised cicadas and a fading shortwave signal, enhancing the otherworldly effect with an eerie lead line and churning bass while the tribal rhythm lollops on. Berlin frontman and songwriter Paul Arambula's twisted vocal contribution reveals the duo’s wavy tendency in an unexpected song-form, translating the track into an opiated nonsense poem for all the eyeball lickers. Heading deeper into the heart of the ceremony, "Na Numbers" sees the duo summon Simone's haunting saxophone, open a portal to the black ark and lose themselves in a bizarre Bermuda Triangle between dub, no wave and psychedelic synth-funk. Sway through "I Thought It Was Summer" and your transformation will be complete. The buzzing bassline, delay-riddled synth ragas and hypnotic beat pinning you down, spinning you out and turning you into your animal persona.

              STAFF COMMENTS

              Patrick says: Since Macadam Mambo turned their back on the edit industry (arguably a shame given their track record), the quality, consistency and insanity of their release has increased tenfold. This latest 12" sees Eva Geist and Laura ODL hold a synth seance in the neon swamp, laying out the slow and low weirdshit for the eyeball licking acolytes.

              Gwen McCrae / Aretha Franklin

              Funky Sensation / Respect

              New label Home Hitters bring us 2 crackers just in time for Christmas and previously unreleased on 7". First up, Masters At Work massive remix of the classic "Funky Sensation" by Gwen McCrae, recently jacked by Disclosure. On the B side is the One Rascal edit of Aretha Franklin's timeless "Respect". Both are guaranteed dancefloor bombs! 

              The Cecil Holmes Soulful Sounds

              2001 / Freddie's Dead

              Dynamite Cuts signs off for 2018 with a limited 7" edition of this killer from Cecil Holmes, giving us a super fresh loud cut 45 of these monster monster B-boy jams. Side A features club classic and DJ favorite b-boy banger "2001", a superb version of the classic theme, with added big sample and drums break. Track B2, “Freddie’s Dead”, is a great cover of the Curtis classic and a super loud cut.

              Fjaak graces Seilscheibenpfeiler Schallplatten with a trifecta of hits from their expanding catalogue.

              "Drugs" has the brilliant insanity of early hardcore hits that'd openly advocate explicit drug taking. Over a militant techno beat Fjaak places the vocal loop 'drugs' and lets it repeat over and over again. Genius.

              "Quilmes" buzzes with a kind of uncontrollable voltage as circuits fry under excessive force and strain. An almost gabba-like kick drum underpinning the chaos as a whole manner of synth lines fizz and burst around the stereo field.

              "3XL" sees a nassteee ass palette of sounds attempt to tear us a new one under growling sawtooths, hyped up rave vox and a demolished breakbeat. Mega!

              The Honey Drippers

              Impeach The President / Roy C's Theme

              Awww shit - the deepest funk with an easily digestible, entirely relatable political message. Organs, horns, chicken pickin guitar and the smoothest voice of political oppression make this MF move and groove from start to end. Flip it for the roll call heater "Roy C's Theme". Sampled liberally by Spoonie Gee, Biggie and J Cole in recent years, this is a killer.

              STAFF COMMENTS

              Patrick says: Rallying cry for Trump’s eventual certain demise? Let's have a go at the Prime Minister while we're at it. Fuck it, let's go for the whole political class - lizards one and all. A timely re-press to enforce the message….


              7" Info: Limited to 200 copies.

              Chubb Rock / Dee Felice Trio

              Treat Em Right / There Was A Time

              It is 1990, your pants are baggy, your bucket hat says Kangol and Chubb Rock jumps upon the scene with the classic hip hop party starter "Treat Em Right". A "Love Thang" break, running man vibes and a day one heavy flow, this cut rubbed shoulders with "Let The Rhythm Hit 'Em", BDP's "Ya Know The Rules" and the Ghetto Ximer mix of De La Soul's "Ghetto Thang". Now, while Chubb Rock isn't really on the lyrical level of the rest of the class of 1990, the original sample source, plucked from the James Brown produced "There Was A Time" by Dee Felice Trio, made up for the lack of steez. Here we get both bangers slapped side by side on a 5BB 7". 


              Ltd 7" Info: Limited to 300 copies.


              Capitão De Area

              Heavily influenced by hip hop, jazz and bass music, Rodrigo Vellutini's solo project, Afterclapp combines samples and edits with electronic sounds and live instrumentation. This EP features Brazilian music from the North and South of Brazil. Based on a novel by Brazilian author Jorge Amado, ‘Capitães da Areia’ captures the nostalgic Bahian vibe of the original ‘twisted tale’ of youth vagabonds living on the streets and beaches of Salvador, Bahia, Brazil. Even more dreamy than the A side, Beiramar, is classic Brazilian trip hop experience and takes us back to the good old days when Ninja tune, Mo wax, and Wall of Sound ruled the genre.

              STAFF COMMENTS

              Emily says: Sunny bossa vibes from Afterclapp, with symphonic samples and beguiling vocals layered over hip hop inspired beats.


              Ltd 7" Info: Limited to 200 copies.

              Ensemble appear with their second collaboration with Crammed Discs. After the vinyl release of Krikor's Aksak Maboul interpretations back in 2016, the Belgian labels shake hands again for the reissue of the mighty "Na Kenda"
              It’s not often a track still sounds forward thinking three decades after its original release. Enter “Na Kenda”.
              The alliance between Congolese musician / vocalist Bony Bikaye and French composer Hector Zazou starts in 1983 with the acclaimed 'Noir et Blanc' album recorded with experimentalists CY1. Zazou Bikaye becomes a touring band, their music shifts towards a unique brand of electronic afro-funk. In `85, mini-album "Mr Manager" follows. Three years later their last joint effort “Guilty” sees the light of day, an LP joining the dots between white funk, Zairean rumba and robotic beats. When Crammed’s Marc Hollander picks the title track for single release, the magic happens on the B-side. Looking for something special, Hollander and partner in crime Vincent Kenis dig out the multitrack of unreleased, 1986 recorded “Le Menteur”. The Mr. Big Mouse duo twist the track and add futuristic drums until it sounds like nothing out there. “Na Kenda” is born. During mixdown, the pair generate a second version, the more minimal, dubby and gritty “Techno Dub”. Both incarnations grace the flipside of the (now sought after) “Guilty” 12 inch. The “Afro-Acid Mix” is added as a bonus track to the cd album.
              These unique works rightly deserved the reissue you’re holding in your hands. This time they also get a bonus track, giving the uplifting Afro e-funk vibes of album cut “Ba Wela” its proper 12 inch premiere. To another thirty years. 

              STAFF COMMENTS

              Patrick says: So, most people know "Lamuka" the slo-mo Afro cosmic killer Zazou & Biyake dropped with CY1 in 83, but they miss out on this nanging Acid techno bomb the duo dropped on a B-side a few years later. Absolutely caned by the elite diggers and top rung DJs, this afro-techno acid assault is back - so grab a copy ASAP!

              Emotional Rescue offer this compilation of music from Elaine Kibaro and her particular coalesce of chanson, folk, balearic and touch of disco, all encased in her strong French and North African roots.
              The music included here, released between 1979 to 1989, is an expression of her development, of music changes matching growth in life, conveyed through her emotions in song. Opening with the spoken word Introduction from her debut album, "Mirrors" and the folk rock of melodies of "Le Reveil" from the 1981 follow up, "Au Soleil", her early works are characterised by band, orchestra and choirs complimenting her voice as one.
              This is further heard on the mystical "Sorciere", through the psychpercussion of "Secret", the marching "Le Guerrier" and the inclusion her first "hit" with "Aurore", appearing here in all its extended, off-kilter guitar meets organ form.

              Exploring sensitivity and desires the compilation matches these earlier folk and world inspired songs with her move towards electronic production that accompanied a return some 4 years later, adding balearic and even pop dance found on 1985's "Le Long De Fleuve Amour" and the following 1989 opus, in "Kiroel".

              "L'Amour Pour Bouclier" and "Ne Doute Pas" lift her music higher towards lovers' heights, with word, melody, and rhythm giving the desire to dance and be free, while her continuing exploration of chanson and spoken word takes on new meanings via the new wave meets estoric "Douleur", while the emotionally charged soundscape of "Kiroel" brings balance.

              Inspired by the purity of song, Kibaro's music's has a timeless essence to behold; a voice and words found through life experience - beauty, discovery, nature and dreams.
              A love and hope in music, her quest for the infinite potential in song.

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