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Technicolour trooper, 8 bit badman and DJ inspo Ruf Dug takes a break from his latest Mario speed-run, turns the air green and switches into studio mode with his first new music in OVER THREE YEARS!
So, welcome to "Ruffy's Island", a fun filled tropical hideaway which falls somewhere between Donkey Kong Jungle Beat, Pikes on the Club Trop shoot and the toilets at Cocktail D'Amore. Our host arrives in full safari suit, like a totally chill version of Robin Williams' dad in Jumanji, throws our luggage in the ocean and helps us aboard a Floridian drug yacht to start the party quicker than a call from Kickin' Pidge.
Jamming the ignition with an orgonite butt plug, Ruffy gets the engine purring nicely (or whatever the oceanic equivalent is), letting loose with neon tinged synth stabs, gurgling bass and a solid beat. Tacking between disco and house, the Ruf Kutz boss brings us to a peak via saturated chimes, wild percussion and some spaced out jazz-funk keys reminiscent of Harvey's Locussolus doing Kool & The Gang.
We disembark in the gloom of a "Techno Cave", flipping into Nightvision on the hunt for cyber tories and nug bandits. Swelling pads hint at Moritz & Mark's Berlin haze, while the sci fi synth tones and occasional Rhodes shimmer drop neat Motor City flashbacks. Fast paced, intense and ultra moody, this is Ruf Dug at his deepest - don't get it twisted.
Baddies banged out, we get to play the level in reverse thanks to a sizzling, shuffling machine funk remix from Detroit hero Sharif Laffrey, complete with whacked out radio static, off beat sampling and a wall shaking bassline. Hitting blocks, chomping mushrooms and sparking bongs, Ruffy unlocks a hidden exit in the cave wall, transporting us to interdimensional boss level "Abandoned Pyramid". Opening out after the claustrophobic Spelunker-vibe of the previous zone, it's all orange skies, excellent birds and 8-bit boulders here, a future primitive playground for the part time Zools and midlife Bandicoots. Ruffy creates an air of intensity via faux-pan pipe and moody bass throbs then has himself a little percussion party, tumbling tombs, bongo bango and 4/4 thump. Look left and he's clattering mallets, look right and he's rocking the keytar, but don't look away or you'll miss the cutscene. At the tip of the Pyramid, there's a treasure chest baby...and you got the secret, you've got the key. Just get there before the bad guys and a thousand Drench Coins will be yours...


Patrick says: The guy's a fucking hero. Moustache, keytar, jaunty hat - MCR's Mario doing his thing on Futureboogie. Bassline bubblers, techno tropical romps, jazzy keys and mystical movers from the one and only Ruf Dug - it's Ruffy's Island folks.

Created and recorded by hordes of sweaty musicians, a handful of talented producers plus a bunch of skilled studio engineers. Edited and adjusted by some Berlin based Belgian (A2 and B1 with the help of a Swede) for maximum disco dancing delight. 'Fuifnummers' is Dutch for 'party starters' and that's exactly what you get, even down to the added intros for double copy beat juggling fun! 
Get your sweet ass down on the A1 to the proto-house / post disco brilliance of "Gucci Shoes", a synth fuelled Prelude / West End style smasher with plenty of sassy spoken vocal action. From there we dive headfirst into the cocaine rush of Italo as "Kijk Uit" doles out the sequencer bass, optimistic keyboard motifs and big Roland snares - a technological fantasy for lycra clad dancers. We stick with La Belle Paese on the flip as "It Began In Italy" finds the moment when Italy's Hi NRG nudged into Euro techno - expect M1 bass lines, jacking percussion and echoing leadlines. Finally the "Asian Angel" gets its moment in the spotlight, playing us out with killer J-Boogie moves, synth pop motifs and exactly the right amount of cheese for this disco chef!


Patrick says: New heat from the OYE camp via a quartet of floor friendly edits plucked from 80s obscurity. Dip in for proto house, pre techno, Italo and boogie groovers diced and spliced for ultimate dancefloor impact.


Camino Del Sol (Joakim & Todd Terje Mixes)

    Some words for those who donʻt know Antenaʻs album "Camino Del Sol"; itʻs an electro-samba classic back from 1983, including several tracks produced by John Foxx. The album inspired many of the big names in pop and dance music, such as Jarvis Cocker from Pulp or the Pet Shop Boys. Moreover several tracks of the album were essential material for the true cosmic sound djs back then in italy. Daniele Baldelli, Mozart and Loda didnʻt end a dj set without playing at least one track of the album, and the track "Camino Del Sol" was one of the biggest hits there. Shivery electric this is.

    Now onto the killer remixes on this excellent package. French electro master and head of now defunct Tigersushi Joakim turns the original into a deep and very tense electro-house track, that should burn down any dancefloor. He uses 100% the chords and harmonies of the original plus bits of the vocals in the beginning and in the break. This is pure chordal magic or quality prime time material we would say, you wonʻt regret playing this tune in your set :)

    Osloʻs wonderboy Todd Terje,  and re-edit maestro rule the cosmic, nu-disco world, comes along with a wonderful extended samba-electro-disco version, that stays closer to the original. Nonetheless this rework builds up top class with its ever twisting bassline. This is sth for all the DJ Harvey diggers out there.


    Sil says: Second chance for those who missed this classic. For me it is all about the Joakim revision. But Todd is not far apart at all. A staple in my record bag since released. Make it yours this time!

    Eddie C

    Think (About It) / Hot Hands

    Our favourite disco picker, Mr Eddie C gets that engine purring and takes us on the 19th road trip on his Red Motorbike, cruising through a smooth 80s groover and fierce flamenco funk bomb on the way to the party. Before you get it twisted, A-side cut "Think (About It)" is not a snide Lynn Collins edit, but instead a bouncy 80s bomb replete with wah guitar, subtle jazz flute, gurgling synths and glorious vocals, all riding a superbly sliding bassline. As ever, the chops are tight as it gets, and Eddie's additional drums understated but totally impactful. Jump onto the flip for a fierce bit of barrio funk, as "Hot Hands" hammers the pinata with dramatic strings, big brass, flamenco guitar, castanets and another killer b-line. If you dig on disco, funk, soul or the Balearic beats, you'll want this in your record bag!


    Patrick says: That classy MF, Eddie C swings through with another essential 7" on his Red Motorbike imprint, hitting us with a rare groove reheat on the A-side and Flamenco funk sizzler on the flip.

    Relmer International

    Relmer International

    Amsterdam newcomer Relmer macks the fuck out on his self titled debut, donning the Roland bodysuit for a four tracker of advanced hardware manipulation and floor filling vibrations across a range of styles and feelings.
    We're rocking in Rimini on opening cut "Bluff Dance", a muscular Italo pumper which speeds through the night with the guttural thrust of a Lambo Countach. The relentless bass sequence plays off interlocking leadlines and off beat synth stabs before spinning out into an ectoplasmic eruption of neon and LSD. If you play it loud enough, you'll probably summon Il Bosco. If that energetic shizzle has you in need of a breather, look no further than the A2 and "Nightingale", a supremely Balearic bit of early hours exotica which harnesses the future primitive power of 84 Laurie Anderson or Art Of Noise for the ultimate New Age dancefloor delight.
    Flip it and don your Drexciyan wetsuit for the wavejumping sounds of "Paraiso", the mechanical electro anthem for those blue people in Avatar and the dubby tribal roller "Wokota", a shamanic jam for the froglickers of the world.


    Patrick says: Dope debut from Dutchman Relmer International here, covering nuovo Italo, Balearic beat, nuanced electro and rainforest house. Already stashed for my coolest customers.

    In the fall of 2013 Maria Minerva mapped an 8-show United States trek up the west coast and across to Chicago but, being newly emigrated from Estonia without car or driver’s license, needed a traveling companion who did. Given the grueling itinerary only one road warrior / joie de vivrist came to mind: dear friend, penpal, and SILK sister Chelsea Faith AKA Cherushii. The two covered over 3,000 miles together, performing in bars and towns not known for leftfield electronic patronage (i.e. VFW halls in Missoula, Montana). Though attendance was occasionally minimal they bonded deeply, in ways specific to arduous American DIY touring.

    In subsequent years the pair shared bills, traded tracks, and remained close – even playing live together a few times – yet the dream of a proper collaboration always loomed. The tragic Oakland fire of December 2016 cut short such plans but not before they’d written, recorded, and mixed the better part of six songs. With the devoted assistance of David Last, Adam Gunther, and Brian Foote these recordings were posthumously polished and finalized and now it's time to share them with the world. Drawing on Minerva and Faith’s most vibrant Venn diagram overlap, the tracks evoke mirror-lined music video sets, downtempo night drives, rainbow eyeshadow, glittering skylines, and sweaty discotheques, flowing from lush to lavish, highly finessed and full of feeling. It’s the sound of true union, Faith’s divine dancefloor DNA threaded through Minerva’s chic pop hooks, rhythmic and revelatory, the best of both beautiful worlds. The collection closes with a swooning ambient edit by Glassell Park hardware-whisperer Leech, Maria’s voice dubbed into a gauze of otherworldly emotion: “I’m going astray.”

    Levon Vincent

    Dance Music Pt.2

    It's another winner in the Novel Sound series as Levon drops three more beauties in his delectable style.

    A1 offers up a lush, rippling melody placed over a simple kick and reinforced with synthesized orchestral elements. It's like one huge trance breakdown without the 16 bar drums rolls or momentous drops and should sound track horizontal mind transportation perfectly.

    A2 glows with an unnatural radiance as Levon gently warms up his various machines for a serene and calm electronic glider that is undeniably from the producer's great mind.

    Finally, on side B, we have a dark, epic, mainroom monster with all those Vincentian traits we've come to know and love - helicopter blade hats, dark strings, deep bass and wobbly kick - amazing!

    Limited copies as always, move quick! 


    Sil says: Classic Levon sound. If you dig his sound, get this pronto.

    TJ Hertz’s first original release since 2014 comes in the form of "Objekt #4", a continuation of his club-focused white label series and a tribute to the sadly now defunct Basement Q, a formative and beloved haunt in Berlin’s Schöneberg district which quietly but profoundly shaped the musical identities of Hertz and several of his contemporaries until its final closure in 2012. 'There really was no place quite like it,' remembers Hertz. 'Even in the later years when Joe [Call Super] and I would go, the sense of vitality was palpable; you had all these regulars who must all have been pushing 50 years old but still had more energy and passion than any 25 year olds we knew at the time. God only knows what it must’ve been like in the 80s when it opened. I think it changed a bit over the years but I know the horse fresco on the ceiling was there from the start and the custom-built soundsystem too. Bogdan, the sage and amiable but somehow kinda unhinged old Bulgarian dude that owned and built the place, he had this obsession with right angles; he hated them, said they were fascist or something. So everything was slightly askew and you never quite knew which direction was up, much less when he or Emil or one of the other residents were playing. It was disorientating and beautiful and in the midst of such an experience your eyes would offer your brain no valid explanation for the wonderful confusion of sound that your ears were reporting. Meanwhile this old, fabulous, rave-weathered crowd of 40 to 60 people would be gradually losing their shit, feet glued to the floor but bodies flailing as if caught in a hurricane. It was something else.'

    The two tracks on Objekt #4 pay tribute to two of the many musical facets of Basement Q in its later years. A-side "Needle and Thread" aims to condense several hours of a Thursday night in the Basement into 9 minutes and 26 seconds, embellishing a hypnotic rolling techno backbone with hyper-detailed atmospherics, enchanting melodies and tight, strident breakbeats. B-side "Theme From Q" is Hertz’s reinterpretation of a Basement Q anthem, owner and founder DJ Bogdan’s own "Love Inna Basement (Morning Dub)", which never saw an official release despite providing the soundtrack to over 20 years of late morning love-ins in the cellar underneath the Sattler & Söhne glue factory. Together, the two tracks offer an incomplete but nonetheless seductive illustration of one of the most idiosyncratic and overlooked clubs in Berlin’s recent history.


    Matt says: Objekt turns in a tribute to an overlooked Berlin nightclub zeitgeist an conjures some essential dance music in the process!

    Ultra (Orlando Voorn)

    Planet Ultra

    This Planet Ultra EP is compiled of five previously unreleased compositions from the Multiplex album of the same name, plus the Barwork track - finally on vinyl after more than twenty years.

    On ice for two decade these classic electro tracks reference the early UK breakbeat of the 90’s as well as the obvious sci-fi connection. To that effect we kick off with "Teflon" and "Plasma", followed by the funky "In The Galaxy" which adds a touch of Herbie Hancock. On the flip side "Ultra Light" evolves to an all-encompassing, atmospheric trip, before the deep "Barwork" and finally "Open".

    What a package, fellas. Buy now or regret later - no repress!


    Sil says: This is a breakbeat and electro feast. A nostalgia ridden journey that will keep you on your toes. Not too hardcore. Highly palatable and dancefloor friendly.

    The label Ziemia (Polish for earth) is centred around a growing group of friends from Poland. Administered by Bartosz Kruczyński (Earth Trax), Adam Brocki and Jan Wójcicki (Private Press), it is a natural extension of a studio in the heart of Warsaw, where the majority of their music is being created. Ambient sounds and club vibes make the foundation layers of this collaboration, and you can see this theme evolving in some of their first releases on labels such as Growing Bin, Shall Not Fade, Indigo Aera, Phonica Records and Dopeness Galore. Ziemia's focus positions itself between club music and ethereal with an Eastern European background.

    The first release encaptures a moment when all three label founders started to utilise dub techniques in their club sound. Private Press explore an ethereal side of techno, which is in contrast to the duoís previous releases. A1 and A3 are essentially beatless and meditative, while B2 plunges into reggae sounds with a pulsating kick drum, strong bassline and plucking synthesizers emerging from an echo chamber. Earth Trax expresses a darker sound, all with biting stabs, deep sub and frenzied pads on A2. As we flip to B1 (when heís teaming up with Newborn Jr. again) the release develops an ambient house feel (as featured on a couple of previous records) with a slightly more experimental approach.


    Sil says: Clean and spacey sounds emerging from the new breed of Polish techno producers - the Basic Channel, Chain Reaction, Maurizio and Moritz Von Oswald inspiration is difficult to hide though. Not a bad thing when done right!

    Caravela are an Afro-Brazilian quintet with members from Portugal, South America, Australia and the UK. Their music is an exploration of the communal traditional and spiritual music of Lusophone countries like Brazil and Cape Verde, approached with a contemporary groove and feel.

    Caravela shine a light on traditional rhythms and styles and reimagine them with a jazz attitude of improvisation. Blending influences like Baden Powell, Mayra Andrade and Lionel Loueke, Caravela's exploration of Afro-Brazilian music on their debut EP is not to be missed.


    Millie says: Caravela breathes new life into jazz incorporating Afro-Brazilian music for a contemporary spin on things. Fresh and upbeat, let this wash over you in a wave of rhythm and vibrancy.


    Motivation / Extract

    Another classic from Brit Funk pioneers Atmosfear. This time it’s the turn of the mighty ‘Motivation’ - pure dance floor, feel good vibes, produced by the amazing duo of Andy Sojka and Jerry Pike, cut loud at 45rpm. As per the original release it comes backed with the track ‘Extract’ a percussive lead jazz-funk workout with some tight bass work by Lester J. Batchelor, which was a regularly favourite at DJ Harvey’s legendary Moist club night.


    Sil says: Mr Bongo come through with a pair of Jazz Funk classics from UK heroes Atmosfear, which play perfectly next to house, disco and soul sides - tried and tested winners for the DJ.

    Classic jazz/funk/disco cut that became an instant anthem on all discerning dance floors when it was originally released, and for decades to follow. Includes the previously commercially unreleased Sax Mix of ‘Journey’, cut loud at 45rpm. Championed by DJs including Francois Kevorkian, David Mancuso, Larry Levan and more, it’s a record that, alongside tracks like Atmosfear’s ‘Dancing In Outer Space’, become synonymous with the UK influence on US club music at the time. A sound that many forward thinking DJs in New York, Chicago etc. embraced to stand out from the crowd and bring depth to the dance floor. Driving jazz/funk, legato bass, grooving beats, subtle keys, dubbed out percussion and guitar licks that bring you to a simple but infectious piano melody.


    Patrick says: Quite simply one of the finest dancefloor records of all time. Armed with precise percussion, an irresistible bassline and sublime melodies, this baby slays, and that's without mentioning the wild fx abuse or searing synths.

    Born in 1950 near Constantine and raised on a parental diet of traditional Arabic music, Zohra quickly took up singing and playing the guitar and kept doing so after she and her family moved to the North of France. Playing gala events and receptions during her first years in France it took an encounter with multi-talented instrumentalist, composer, arranger and conductor Joel Hannier to take her into the world of recorded music. Joel Hannier’s experience in writing and interpreting music for ballets, television, orchestras and a vast array of French and international musicians made sure their collaboration – sung in a Berber dialect – was destined for success. The title track ‘Badala Zamana’ gets picked up by various radio stations, most notably in Arabic speaking countries. In France the song did not go unnoticed either, but until today - although championed by Habibi Funk among a few others – it remains relatively unearthed.


    Patrick says: Music Take Me Up come through with a reissue of Zohra's sought after 1977 rarity "Badala Zamana" with an extended version on the flip. Organic Arabic disco with a French twist? Sounds Balearic to me, and Radio Soulwax agree!

    Celso Rubinstein

    É A Vida Que Diz / Enquanto Houver

    With the fifth release and the first 7inch on the quality imprint, Notes On A Journey turns its attention to Brazil. Finally, one might think, since it’s an open secret that the guys behind the label all have a soft spot for music from the leading coffee exporter in the world. So, when Brazilian DJ, record collector and digger extraordinaire Junior Santos brought this Celso Rubinstein 7-inch EP (called «Compacto» in Brazil) to the Berlin label’s attention he hadn’t to do a lot of persuading to have NOAJ reintroduce this beautiful piece of music to fans around the world some 36 years after its first appearance.

    Born in Brazil to a family of Holocaust survivors, Celso Rubinstein’s career as a singer allowed him to take residency in several countries including Spain, Portugal, Israel and Britain. He performed as an artist in numerous clubs and supported other artists as backing vocalist. In 1982 he booked studio time at Chico Batera’s studio in Rio De Janeiro to record two songs for an intentional debut album.

    On «Enquanto Houver», written by Paulinho Mendonça and Gerson Conrad, Rubinstein tried to infuse some rap flavour: «I wanted to get away from that style of singing where you sing a bunch of notes without breathing. You can hear that all the words in the song are pronounced properly but the cadence is broken up, so the intention was to do a kind of rap without it seeming to be rap.

    Marina Lima and Antonio Cicero contributed «È A Vida Que Diz», a song as marvelously written as much as performed sophisticatedly by Rubinstein with his star-studded studio crew. Amongst them: Oberdan Magalhães and Claudio Stevenson from Banda Black Rio, Rique Pantoja, keyboard player, arranger and conductor Reinaldo Arias, as well as American session musician Don Harris. Celso Rubinstein wanted to create a unique atmosphere for the recording sessions, inviting numerous people to the control room to amplify the spontaneous live feeling even more (the control room was filled with people like Ney Matogrosso, As Frenéticas, Claudia Telles, Fátima Guedes.) You definitely can hear this vitality on the record originally published in 1982 by Rubinstein himself.

    Since there was a massive vinyl shortage at the time in Brazil, no label had any spare material to waste on newcomers. Only the label Tapecar, which had its own pressing plant, helped Rubinstein out and used the left over material from the manufacture of Gal Costa’s latest album («Minha Voz») to have his 7” privately pressed. Needless to say that it missed any recognition back then. But now, 36 years later, thanks to Junior Santos and Notes On A Journey a broad audience has the joy to finally embrace this beautiful music wholeheartedly.


    7" Info: Limited to 500 copies worldwide.

    By the 5th instalment, they say, a label has carved its sound and its target demographics. So you know the deal with this one. Edits, edits and more edits. These are not hard-to-find rarities for to stroke your chin to.

    These are for the people and by the people! With a heavily tried and tested formula, SB Edits recruits another four different re-editors to spin and convert some disco and boogie into disco house and make it dancefloor friendly. So you know now reader, if you are after some exciting dancefloor vibes, this is totally for you.

    Looped-up disco house, lo-slung 80s boogie funk jams for the people by the people!


    Sil says: With hedonism and pragmatism in mind, SB Editz reaches number five with more disco house for those punters who just want to enjoy - no chin stroking material here.

    It is time for the fifth release of Discos Nutabe, this time coming from Bogotá’s Lunate, who pays homage to his home town with some serious house music.
    "A La Sombra de los Cerros" is the first track, composed with a jam of synthesizers and rhythm machines where Lunate evokes certain nuances of the past, as a tribute to his life as an artist in the great city of Colombia.
    "Bogotá Adentro" is based on the narrative of the book "Toño Ciruelo" by Evelio Rosero, who describes the diverse reality of a city like Bogotá, city of brutal contrasts. Lunate describes this track as an ocean of sensations, a markedly atmospheric and serene track, a mental interlude for the dance floor.
    "Luz de Domingo" marks acid and atmospheric textures where Lunate wants to reflect the calm of Sunday in the big city. A breath, a recharge, a change of reality, a truce agreed by the city and the calendar before the incessant evolution of the frantic days that follow.
    Great package oozing with quality and variety. Just what the doc ordered.


    Sil says: Analogue sounds, a bit of acid and that retro sound that Environ Records managed to cement so well in the early 00s are all here in one way or the other. For the brave ears out there!

    It starts off unassumingly, with a bright, airy beach boogie that's all gentle drums and trebly synth figurations, but it quickly turns its eye to the strobe-lit nightclub, first with “Delusions of Grandeur,” an angular hypnosis of syncopated rhythms, then with “Aerial,” a 130 BPM blitz with an epic build and an equally dramatic breakdown.

    Capping it off is “50 AM,” which, as the name indicates, is a woozy shuffle that'll help you land the plane nice and easy.

    Pepe flexing his muscles and we cannot get enough. His trademarked sound is now on our minds and the bar has been set high enough. Keep them coming, we say!


    Sil says: Two Pepes in one week is never mucho Pepe. We are very grateful to be blissed with his productions. Expect the usual glimmering, shiny and clean musical journeys and cross genre bending. Another future classic!

    Prolific Manchester producer, Jozef K’s latest release, Dawn Of A New Era, showcases Afro Acid’s introspective side, with a series of post-apocalyptic, shimmering acid landscapes - which are sequenced, notably, as a complete work.
    The EP begins with “I Felt A Presence”, a both heartfelt & dystopian 303 cut containing an atmospheric vocal that alternates between undefined parameters.
    We continue with “Between Two Worlds”, Jozef’s acidic ode to Twin Peaks/David Lynch, portrays an intricate interplay between dark and light, (which is an underlying theme of the show for non-TP fans). There are also further meanings Mr. K wanted the listener to discover for themselves, which in itself is a very Lynchian concept indeed.
    Josek K also grants us a dreamy and pensive “Agkistrodon Contortix“. Another shimmering sci-fi 303 cut worth your time.  The EP’s title track would seem to be the EP’s euphoric peak. A continuation of the isolated, sci-fi-esque 303 based introspection here.
    A very nice package from versatile Josef K that you should be listening to right now!


    Sil says: Jozef K goes all out with his smooth deep house. Four cuts of beautiful landscapes filled with afable and home friendly acid lines. What is not to like?

    Scott Fraser & Joe Hart

    Spit From The Sun / Igniter

    This monster features two banging club tracks written and produced by Fraser and Hart at Fraser’s!

    The A side, “Spit from the Sun” is a peak-time jacking acid number which will set any dancefloor on fire. Its rattling drums and pulsing bass stabs capture all the intensity of the convict poet on the vocal telling his story and lamenting the waste of his life behind bars.

    Over on Side B, “Igniter” strikes a more subtle tone with its gently rising strings and breathy vocal. But don’t let the subtlety deceive you as those kicking drums and thumping bassline come through to get the dancers screaming for more as it hits its crescendo.

    Top release that will render results guaranteed. Fierce, no shade. sistas. Fierce and no shade. 


    Sil says: Relentlessly urban and heavy machinery aesthetics on the mega A side on this jacking acid megatron!
    Flipside focuses more on the bassline but heavy on the beat filled with melodic flares here and there. Interesting.

    Black Bones prove they possess some of the deepest mining equipment on the market, excavating some more sonic gold from the rich seams across the world.

    Not a groove of precious vinyl wasted as we get another indispensable 4-tracker turning up Bayou funk, 80's Spanish pop, a classic mid-80's UK hit (that was bigger in Chicago's burgeoning house scene than it was in Soho), and winding up with a wonderfully sordid slab of early 90's Weatherall channeling psychedelia...

    Limited, hand-stamped vinyl 12".


    Matt says: Worth the entrance fee alone for "Feel Sureal" - the John Rocca sample that went onto inspire Carl Craig and Derrick May's "I Want It Be Real" track - boooom!

    The Five track EP kicks off with a slinky jazz funk, Balearic mover entitled "Camera Dans La Nuit" that weaves the influences of Wally Badarou, and early Brit Funk bands such as Freeez and Light Of The World into a melodic affair that could've come straight out of the summer of 1981. In fact the second cut ("Une Vie Elegante") wouldn't have been out of place on Level 42's Early Tapes if Wally Badarou had taken said band to sunny climes to record it.

    The B Side eases us in with the phasing pads and circling arpeggios that we've come to expect from Rudy's Midnight Machine. Taking more of a Pat Metheny influence and combining it with a steady early 80s Jazz Funk feel, which is all underpinned by Robin's thumb bass line.

    It's the bass that get's the main feature in the middle cut on the B Side. "Secret Garden" is a melodic and reflective track with bold bass guitar melodies being held up by the ebb and flow of piano arpeggios. The finale, entitled "Shifting Sands", harks back to the previous two EPs with more electronic synth bass and drum machine textures, with a guitar solo giving us the required organic relief.


    Patrick says: Rudy's Midnight Machine take us a million miles away from the drudgery of daily life with a five tracker of escapist ecstasy. Chucking Level 42, Badarou, Crusaders and Pat Methany on the mood board, Robin wigs out in the studio, putting together a primo EP of breezy, funk fuelled Balearic brilliance with cuts for the dancers and the dreamers. Scorchio - five coconuts out of five.

    Not content with running two of the world's hottest record labels (Periodica and Futiribile), and owning dancefloors with vibes from his tribe, Dario di Pace also finds time to rip up his West Hill Studio in solo mode, as evidenced by his mega "Night Of Cheetah" LP last year. Now the Neapolitan funk hero returns to his Periodica imprint with four killer retro futurist cuts inspired by the synth heavy sounds of the 80s club scene.
    "Jurakan" opens proceedings with a insistent proto house percussion and dubby synth bass, before the melodic magic lifts us from the tracky to the transcendent. Sophisticated, breezy and jazzy keys play out that "Supernature" chord progression, consulting the star maps before the flashy funk licks power out of every synth in the room - mega. "Metatemplum" moves at a slower pace, squirming and shuffling through West Coast boogie moods like a hustler at a dice game, before "Tropics Of Capricorn" plays around with freestyle, cosmic and synth funk courtesy of chiming sequences, robotic fx and mechanised drum breaks. Finally, "Parisienne" drops deep into the pocket, capturing the lazy and hazy atmosphere of a carefree afternoon sunbathing by the Seine, all bubbling bass, steady perx and glistening keys. Exotic, erotic and en route from Naples to your errogenous zones. 


    Patrick says: ANOTHER Periodica powerhouse! This time it's label boss Mystic Jungle who harnesses the synth power of the West Hill Studios, unleashing a fresh four track EP of boogie strollers and proto house rollers - top marks.

    I remember back in 2017 Interzona put out another the first Stasera... and it was a stormer. Definetely much darker than this beauty we got here today. However, it left its footprint in my brain so when the name Stasera popped up again on my review list, I prepped up accordingly. Man (and woman), you got to give a listen to the monster that is 'Birds of Happiness' to understand my excitement. 
    But directions have changed on their latest instalment. Bring together the sound of...err... Sound Stream? Loop some good string arrangement, flood it with filter et al and make it as tight as you can. Then you get Stasera's 'Trainhouse' pretty squared. Both 'Trainhouse' and 'Seasons' are drenched in disco - the good kind. 'Trainhouse is an all-out party stormer with loads of funk to offer. The drumming section and that guitar will keep you going nicely. 
    'Seasons' on the flip side is, and I am sorry for the comparison, very close to Sound Stream. Holding that high note up there for the entire lenght of the track gives you the clue. This one is a bit deeper but nonetheless superb. 
    Stasera and Outerzona. Names to note down because they are definetely not flagging. 
    Buy on sight!


    Sil says: Banger on A Side; a trip on the flip side. You can't go wrong with this label, folks. And in particular with Stasera second 12". This time more focused on the disco genre yet manages to keep it off-the-beaten track.

    Ruby Rushton

    Eleven Grapes / One Mo' Dram

    Ruby Rushton kicked down the door for the UK jazz renaissance back in 2015, and continue to lead the way in 2019 with this new genre-defying recording. The music is rooted in the spiritual concepts of jazz heroes such as John Coltrane and Yusef Lateef, whilst adopting influences from hip hop, Afrobeat and the UK underground culture.

    “Eleven Grapes” is a song that was first conceived back in 2013. Its catchy time signature and playful melody fit together perfectly. The intricate interplay between Tenderlonious’s flute and Aidan Shepherd’s keys transport you back to the heyday of Bennie Maupin and Herbie Hancock.

    “One Mo’ Dram “is a tune reworked from an early Tenderlonious studio production. The groove is deeply rooted in traditional West African rhythm. Tim Carnegie’s tough drum break builds and wraps itself around a slick trumpet solo from Nick Walters, before rolling back into the intricate melody that binds the track together.


    Millie says: Ruby Rushton's been at the forefront of the UK jazz scene since 2015 and is storming ahead with a unique all encompassing mixture of jazz, Afrobeat and hip hop. Sit tight until the new album, not so long now...

    Erol Alkan invites two of electronic music's most exciting producers to expand on both sides of his first solo single in five years, ‘Spectrum’ and 'Silver Echoes'. Techno-mastermind Matrixxman adds serious pressure to 'Spectrum' on his remix, upping the tempo and utilising the original’s halcyon synth line to create a high-energy version with moments of pure sensation. Techno at its best with ideas of Tresor flying around when spinning this bad boy.

    Machine Woman , on the B side, delivers two contrasting reimaginings. Going deep and psychedelic on the ‘Minimal Machine Woman Remix’ of ‘Silver Echoes’, and then on the ‘True Machine Woman Remix' reversing the tempo entirely, reinventing the melancholy cut as a erratic freakout.


    Sil says: Pretty sure you know the deal with Phantasy and Mr. Alkan. No surprises which is a good thing for the devoted follower. Just to say that the A side with that Matrixxman mix is a techno belter in its own right. Machine Woman on the flip will not leave you untouched either!

    'Heat It Up' rocks and roll you with its discordant synth pads and that great sample. It has a certain breakbeat touch that brings it up to what is in vogue at the moment. The climax is worth the wait but do not expect stadia-like eargasm at the end. It is more on the flat side but still worht the wait. 
    On 'Don't Go' the beat is slowed down a bit and it feels a bit more nitty gritty, More low grade sandpaper and less polished marble. The vocals or sample is beautiful and refines the edges of this menacing acid monster. 
    On the flipside, things turn more dancefloor focused and boy it is good. 'Losing Track' is an infectious bad boy with a melody that seems taken from the Game Boy Super Mario Land hidden stage. Gets even better when the basline kicks in. No stone unturned. 
    And finally, on 'Never Get Enough', good man Jordan releases all the acid that he has been menacing us with through the entire 12". Perfecto business for y'all! 
    Highly recommended. 


    Sil says: Disco house well done by Jordan for Belters. Acid is present all over the place in a not so obvious fashion until it hits you hard with never get enough.

    New industrial / shamanic superpowers Dreems and Kris Baha reunite as Die Orangen and return to Malka Tuti with their third EP for the Tel Aviv label. 
    On the A side you can find an epic Goa leaning version of the now classic Yaranabe track (off their debut LP Zest), by non-other than Full Circle, aka Joakim and Alexis Le Tan. The proto-goa aficionados, owners of the label Crowdspacer and huge inspiration to Malka Tuti’s sound have delivered a banger like nothing else around, and its already getting mega support by the likes of Vladimir Ivkovic, Ivan Smagghe, John Talabot and many more. After a steady percussion build up (with maximum flanger) the track locks into a pulsating throb complete with vocal samples, heady synth motifs and trippy fx, driving at a school safe speed towards the rasping acid lines which await. One immersive breakdown later and we're lost in smoke and strobes, under the influence of Belgian saw waves and croaking bass sounds. 
    On the B-side you can find a new Die Orangen track, "A Perpetual Race", which is more like a Journey than track. As the duo dance through industrial, EBM, trance and motorik elements we're taken on a 15 minute trip through sonic spaces, ancient futures and alternative dimensions. 


    Patrick says: In case you hadn't noticed, trance is back in a big way, and this Malka Tuti banger sets a high watermark for the revival scene. Joakim & Alexis Le Tan take us to Goa on the A-side, while the Die Orangen boys get interdimensional on the flip - #zingersnotpingers

    New Order

    Ceremony : Version 1 - Remastered Edition

      Recorded at Eastern Artists Recordings in East Orange, New Jersey, during the US visit the previous September, New Order’s first single might, in an alternative universe, have been Joy Division’s next. The 12” single, originally released in March 1981 (the 7” having been released in January) including the original version of ‘Ceremony’, will feature remastered audio on heavyweight vinyl.

      New Order

      Ceremony : Version 2 - Remastered Edition

        The alternative, re-recorded version of ‘Ceremony’ now also featuring Gillian Gilbert in the band was released later in 1981 and will feature the later alternative ‘cream’ sleeve rather than the original green and copper. This 12” will feature remastered audio on heavyweight vinyl.

        Ian Blevins

        The Serpent/ Unse - Inc. Austin Ato & Kiwi Remixes

        Innovative opener ‘The Serpent’ is a suitably snaking, slithering groove with acid twitches, rubbery drums and raw percussive energy. It pings about in dynamic fashion and really keeps you on edge. First up to remix, Austin Ato takes the ‘The Serpent’ on a luscious and deep trajectory that would make Larry Heard proud.

        The second standout original is 'Unse’, a dark stomper with cosmic rays that strike right to the heart of the dancefloor. It’s menacing and absorbing music that is steely and unlike anything else. To remix is 17 Steps regular Kiwi, who takes ‘Unse’ in a tougher and more robust direction that will really make you sweat properly.

        As ever this is a brilliant and stylistically diverse package from Me Me Me. We hope you appreciate the quality that is presented here. 


        Sil says: Although a dancefloor-made record, I find this one to be as good in my headphones or laying on the sofa as it is on a dark, humid basement with a huge smoke machine, strobe lights and a red velvet carpet. Excellent output from the Man Power towers.

        Vital Idles


          “superb one chord thrash, somewhere between the oblique minimalist pop of Flying Nun and early Rough Trade signings such as The Raincoats.” CLASH MAGAZINE.

          “Glasgow’s Vital Idles are a great example of all of those things: the DIY ethos that produces the best kind of post-punk; guitars so thin they sound as though they could topple over at any second; tightly wound, groovy rhythms that take you with them rather than leaving you behind.” LINE OF BEST FIT.

          Brand new 7” EP from Glasgow’s Vital Idles, following on from the band’s well-received debut LP and a rigorous Marc Riley BBC 6 Music session from last year. Vital Idles are touring Europe in support of the EP, finishing up in the UK playing a series of UTR showcase parties in celebration of the label’s 15 year history.

          If there isn't yet a tradition of following a magnificent debut album with a, shoelaces-tightened, excellent mission statement of an EP (one would be forgiven to think that the debut long player was the mission statement already, breaking in on the scene/ry with such unmissable and rarely seen sensory delight, but then upon hearing the subsequently released EP one is tempted to think: "Wow! That debut was truly astonishing but now they are REALLY on a mission!"), well, if this tradition doesn't already exist - and thinking about Young Marble Giants' scene-defining "Final Day" 7", Pylon's absolutely essential "!!" 10" and Carla Dal Forno's recent-yet-already-classic "The Garden" 12" one might argue that this tradition is undoubtedly fully existent (more so: alive and well) — then this self-titled extended play from much beloved Glasgow quartet Vital Idles would surely be a striking argument for the genesis of such a tradition.

          On the other hand, when taking sides with the many seasoned critics arguing that this tradition has indeed long been established, one might confidently list this effort as a bona fide example of such practice, sharing with the aforementioned not only an astute and accomplished artistic ability but also a sense of minimalist psychedelia that transcends restrictions set by redundant referencialism and grateless genre parameters such as "Post Punk" or "Minimal Pop" (on which the same critics, of course, often disagree).

          That being said, ping-ponging from gritty post punk smashes to minimal pop moments and vice versa, Vital Idles' sphere of stripped-down efficiency and sharp personal observation also brings to mind crucially overseen half-chord-wonders Glorious Din as well as antipodean contemporaries like Constant Mongrel (who also had their latest release mastered by the fantastic M. Young), Primo! (who also had their latest release mastered by the fantastic M. Young) and Terry (who also had their latest release mastered by the fantastic M. Young).

          The EP reveals itself as a steady, hypotenusal rise of intensity and momentum, starting with the hallucinogenic restrain of opener "Break A", building tension throughout the gothic-noise flourishes of "Seconds" and "Rustle Rustle" and culminating in "Careful Extracts", a 2 minute burst of carefree introspection that might as well be the unintentional answer to early career highlight "My Sentiments": "just me and my/ tired ire/ a a a a a a a a a a"

          In conclusion: Vital Idles' debut was truly astonishing but - wow! - now they are truly on a mission.

          Originally privately released on Pittsburgh's Jeree Records, ‘Steel City Disco' is one of the most sought-after disco records in existence, searched for by most yet the treasured possession of but only a few fortunate DJs and collectors. A grail in the truest sense of the word, this is a masterpiece in disco form, guaranteed to set any modern discerning dance floor alight.

          Featuring an evolving line-up of various Pittsburgh-based students from the band's inception in 1975, Steel City Connection featured a multi-race make-up of musicians, led by bassist Keith Stewart. They rehearsed religiously in their parents' basements, and quickly developed into a well-trained group, performing at top venues across the city such as The Crazy Quilt and Pinball Wizard, accompanied by their manager and even their own roadies.

          In 1978, with their hard-earned money secured from previous gigs, they paid to record and manufacture the single at Pittsburgh's most popular studio, Jeree, who then released it on their own label. However, upon its release the record sadly failed to make the headway that it deserved, mostly due to their manager's failing ill health and the band's inexperience in promoting music in the record industry. Although it received airtime on a few Pittburgh-based radio stations, it was soon lost into distant memory.

          'Steel City Disco' has since become highly sought-after as arguably one of the best privately pressed disco releases ever put to wax, lifting its status from a mere 'rarity' to a true grail for many collectors and DJs. It is our honour to officially offer it here for the first time once more, backed with an unreleased extended version of 'Dansation', sourced from the original master tapes.


          David says: Aw man. You can't help but feel bad for SCC. What we have here is an absolute bomb that should have filled dance floors from Paradise Garage to Wigan Casino. Instead it sank without a trace (and until this timely reissue would have set you back £650). So, put your hand in your pockets, and a smile on their faces, lord knows they deserve it.

          The afrobeat-inspired eight-piece Kokoroko drop their hotly-anticipated debut, a horn-fuelled, soul-shaking introduction to the young collective.

          Kokoroko are part of the thriving scene that’s grown out of london’s young, jazz-influenced musical circles. Led by bandleader Sheila Maurice-Grey, their self-titled ep is the group’s first solo release, following their early 2018 debut with ‘Abusey Junction’, a track that has gone on to accrue over 15 million plays on youtube and 2.6 million on spotify. Across the E.P’s four tracks, the eight-piece deliver on the promise of that memorable introduction, offering a bigger vision of their afrobeat-influenced, soulfully-imbued sound, west african roots shaded with inner London hues.

          ‘Abusey Junction’ was first featured on we out here, the 2018 Brownswood compilation documenting London’s bright-burning, jazz-influenced musical underground, picked by Rough Trade as compilation of the year 2018, and praised by the Wire, Monocle and the New York Times. Writing and performing as a group since 2014, Kokoroko have played at iconic venues from ronnie scott’s, performed at the festival, Afropunk, and toured in Brazil, Colombia and France. Inspired by Fela Kuti, Ebo Taylor, Tony Allen and the great sounds that come out of West Africa, Kokoroko put on a performance to honour the masters that taught them.


          Emily says: Kokoroko have (deservedly) attracted a lot of attention since being featured on Brownswood’s “We Out Here” compilation. The promising London jazz ensemble are now offering their debut EP which draws inspiration from afrobeat giants Fela Kuti, Ebo Taylor and Tony Allen. “Abusey Junction” is a slowly unfolding ballad tinged with melancholy and nostalgia. “Uman” begins with a bittersweet horn chorale and slowly builds into a joyous afrobeat stomper. A record filled with moments of wisdom, celebration and fabulous musicianship.

          After a frankly viral response to its digital appearance last summer, HAAi fires up the lathe and slaps "Motorik Voodoo Bush Doof Musik" on fat wax for 2019!
          Speaking about the EP, HAAi says: “This EP was made after I realised that what inspired me most was to combine my love of electronic music with the music I enjoy outside of the club. I decided to collaborate with friends from a couple of my favourite bands, including Fay Milton (Savages) who provides live drums on Motorik Bush Doof Musik and Taigen Kawabe (Bo Ningen) who performs on I Never Cared That Much For Jungle. For me, having live instrumentation on the EP adds an extra depth to the tracks & has given me a vision of how I’d like future releases to sound.
          My fave track off the EP, Growing Up With Muscle Cars, is an homage to my step dad who repairs and restores old muscle cars. He also used to take me to the drags in my hometown when I was little. We would push the race cars out onto the track. Some of my favourite memz as a lil kid.”
          ‘Your Disk Is Full’ is an atmospheric EP opener, and also became a favourite set opener for Denis Sulta and other DJs over the summer. Title track ‘Motorik Voodoo Bush Doof Musik’ raises the tempo with shimmering percussion and psychedelic looping vocals over a propulsive sub bass, prompting fans to ask for IDs in HAAi’s recent mixes.
          ‘I Never Cared That Much For Jungle’ features the distinctive vocals of Taigen Kawabe of Japanese noise band Bo Ningen. The echoey samples are paired with a heavy hitting jungle-influenced production tailor made for the larger clubs and festivals HAAi is increasingly playing. A dub version of this track is also included in the package.
          ‘Growing Up With Muscle Cars’ brings a climactic end to the EP. Over the course of over ten minutes, the ambient intro gives way to an emotive breakbeat, with rumbling sub bass and glitchy synths making for a rich, multilayered production.

          Detroit bred and Los Angeles based producer Kenny Larkin has long been a force to be reckoned with, both in the studio and in the DJ booth. Under his 'Dark Comedy' alias Larkin crafted some of the deepest and most soul-searching Detroit Techno sounds to grace human ears. 'Corbomite Manuever' was originally released in 1992 and is the complete epitome of a game changer, this was Techno at its most sensual, intelligent and human, the antithesis of a lot of what was masquerading as the real-deal at the time. These qualities are what have stood this record in it's evergreen good stead for all these years - decades, in fact. Truly genius music made by someone who lives and breathes Techno. A truly staggering collection of music that still dumbfounds today and inspires generations of producers and DJ's to this very day. The most essential of the essential, classic material from front to back.
          Reissued for the first time across 2 x 12"s for pure sonic superiority.


          Sil says: If you dig your techno drenched in Detroit sauce, this is for you. As good as it gets. a 1992 gem that was the precursor and inspiration for much techno released afterwards. Ahead of its time and definetely sounds as fresh as way back when. Reissue of the week for me.

          7” singles were instrumental to the development of the Jamaican music industry, more affordable than full lengths for the consumer, they also allowed the labels to turnaround what was being recorded into music played from their booming sound systems as quickly as possible. In that spirit, Get On Down will be reissuing some of the most crucial reggae and ska sides on 45. This time out Get On Down has collected two Bunny Lee produced masterpieces into a never before issued 45.

          On the A Side, King Tubby works his magic on The Aggrovators “A Noisy Place”, the instrumental version of John Holt & Horrace Andy’s classic cut “A Quiet Place.” Rather than drop “A Quite Place” into the mix, a second and more rare Tubby dub of the cut known as “A Ruffer Version” rounds out the single. The argument can be made that no one was more instrumental in the development of dub reggae than King Tubby, a statement even his friend and sometime rival Lee Perry would agree with (let's not forget Scientist! - ed).


          Patrick says: Utterly batshit, rasping redux of "A Quiet Place" from Tubby here, showcasing the full range of mixing desk insanity. Matt heard it yesterday and needed a day off today...

          Lee Scratch Perry & The Upsetters

          Jungle Lion / Freak Out Skank

          7” singles were instrumental to the development of the Jamaican music industry, more affordable than full lengths for the consumer, they also allowed the labels to turnaround what was being recorded into music played from their booming sound systems as quickly as possible. In that spirit, Get On Down will be reissuing some of the most crucial reggae and ska sides on 45. This time out we revisit a single Lee Perry first issued right after his fabled Black Ark Studio was first up and running. On the A-Side you know you’ve got something special when a cut kicks off with Lee Perry growling like a lion, borrowing heavily from Al Green’s “Love And Happiness” for “Jungle Lion.” On the B-Side Perry lets The Upsetters do the roaring with the cut being remixed into “Freak Out Skank.” First issued in 1973 on Perry’s own Justice League imprint with a UK issue following almost immediately, miss this and you’ll miss one of the most crucial developments in the sonic evolution of Scratch’s 1970s output.

          Reuben Wilson And The Cost Of Living

          Got To Get Your Own / Tight Money

          A limited edition 7” release by Reuben Wilson, featuring two tracks taken from the “Got to get your own” LP. Again Dynamite Cuts give us super fresh loud 45 cuts of these club classic. Including a wonderful re-production of the original sleeve  On the A-side,  “Got To Get Your Own” is a rare groove club classic, a hard to find 7” release now reissued Djs favorite.  On the B-side we have another rare groove dancer in the form of “Tight Money”, a killer cut combining classic vocal funk with a perfect mid tempo bump. Buy on sight!

          Mid-tempo bumping vocal funk classic. Another Rare groove dancer. Great


          David says: Owwwww. Records don't come any funkier than this folks. A side 'Got To Get Your Own' is a certifiable club classic that has been sampled and edited to within an inch of it's life. You could put this on in a morgue and still get people dancing...

          Wetsuits at the ready! Canoe 009 with Nyra on the oars it promises to be a white water rapid listen!

          "Make It" sees highly frenetic programming - drums, pad stabs and staccato bass - all firing on all cylinders before a well placed diva vocal courses through the track. Thought the 90s house revival was over? Think again?

          "Xecute" also pays tribute to that most golden of decades as it collages vintage breaks, old skool idents and a charging B-line into a stadium techno masterpiece that's destined for big things.

          "Comet Commuter" treads that recently re-opened path of 'Cornish Acid Optimism' (coined by one KP...), concocting a track that both Ceefax, Legowelt and Squarepusher could well be jealous of. Finally, "Globe Gazer" is pure starry-eyed nocturnal techno off the highest order - further cementing Nyra's addition into the galactic hall of fame. Top stuff. 


          Sil says: Unapologetic techno a la Nyra. Nothing unfamiliar in this 9th installment of the series. Rave nostalgia and memories will fill the space in between canoes.

          Bakk Heia Records has evolved outta the celebrated Manchester / Salford based club night of the same name. The label appears to mirror the clubnight's ethos - 'blurring the lines between ambient drones, performance, abstraction, hedonism and dance music.' Add to that a keen ear for the cutting edge and brand new sounds and you've got, in our humble opinion, a recipe for success! The clubnight, currently based at the White Hotel, has brought over a who's who of underground modern music players (Toulouse Low Trax, Radioactive Man & Intergalactic Gary amongst others) and if this first record's anything to go by, they're gonna present a who's who of modern music MAKERS!

          Johnny Phethean aka Shuttle was born in Newcastle and currently resides in Mancunia (alongside label head Jack Tomson) and heads up this killer first release. "Grade 1" deconstructs B-boy and electro references into a angular, jaunty trip into the inner workings of the mainframe. Add some eerie, AFX-indebted keys and you've got a haunting and skeletal midnight dance ritual for broken hearts. "Speke" is beautifully stripped back and poised. Elegant, slightly Detroitian, synthesized rhythms jostle against delicate melodic flutters as a steady kick keeps time.

          After the warming bosom of side A, B-side track "Utensil" is much more fierce and gnarly beast; a weaving, dark n dusty corroder you wished was on the last I Love Acid EP. Finally, in keeping with the multifaceted moods and feels of their clubnight, "Grade 2" provides a gentle return to the atmosphere; a celestial slice of space-aligned ambience that wouldn't sound out of place marking the much celebrated return of the Moomins to our humble planet.


          Matt says: A ridiculously well conceived beginning to this project; perfectly encapsulating both the mood of Bakk Heia by night, and exposing this new producer to some very willing minds, ears and bodies. Top one lads - keep it up!

          New single from our favourite block rockers, The Chemical Brothers. Arriving ahead of a much anticipated summer touring schedule alongside a brand new LP in April!

          "Free Yourself" combines the playful, electro-house flurries that have characterized their more recent productions with a cheeky female vocal part. Rachet up a load of buzzing sawtooths, sine waves and harmonic distortion and you've got the kinda stadium-slaying electronic battle weapon that we know they are capable of!

          "Mah" is equally punishing; rolling out more buzzing low end synthesis and glitchy rhythmic sequences as a slamming 4/4 marches forth. Blistering hats and a growling mid-range hook make this another electro-house barn-stomper for the peaktime! Tom and Ed ride again! 


          Matt says: Brothers Chem return with a double A side of stadium splitting, electro-house bang n clatter.

          Young Pulse

          Paris Edits Vol. 6

          Young Pulse's last installment of his Paris Edits series got maximum fist bumps and air punches here at Piccadilly, so we're well up for the arrival of Volume 6. The Frenchmen is getting more soulful by the minute and this latest platter finds him re-tweaking an Angela Bofill Jazz-funk cut and a super soulful L.T.D. classic.
          On the A-side, "Ruff Times" sees the producer tackle the homophonic hit from Angela Bofill stretching the arrangement for extended pleasure and adding some subtle percussion adjustments to add extra rocket fuel to the jazz funk classic. Expect disco syncopation, walking basslines and wild, face melting guitar licks. Flip it for a Young Pulse power-play as our man from France re-EQs, boosts, twists and reshapes L.T.D.'s 1978 banger "You Must Have Known I Needed Love" - squeezing every ounce of raw funk and sweet soul out of the disco banger. Not only are these reworks extended and trimmed in all the right places, they also boast top of the line audio quality that will sound absolutely gorgeous on a proper sound system. Full marks!


          Patrick says: The man from France swings through with another pair of pearlers from the soulful end of the disco spectrum. Fist pumping, life affirming disco stewed in the richest funk around!

          “I was raised off tapes by Skibba
          Learnt the streets off Skinner
          Where the walls are thin and the grey cloud thick Tick tock, another day’s lost
          As I drown in smog..."

          Peckham MC & DJ Pinty drops his debut EP "City Limits" on Rhythm Section International. Following the recent release of his debut single "Tropical Bleu" , a laid-back broken-beat roller produced by friend and collaborator King Krule under his DJ JD SPORTS alias, Pinty has quickly become the talk of the town.

          As the new voice of South London, Pinty’s witty wordplay and effervescent club sound take influence from the introspective poetry of The Streets, the downbeat moods of King Krule and the jazz tinged house tones of production partner Maxwell Owin. Since his self-released 2015 mixtape, the ten-track spectacle "Midnight Moods", he has also begun to make waves with his distinctly individual live performances, playing in Paris with hip-hop star Rejjie Snow, in New York with RATKING, and locally for the likes of Boiler Room and Just Jam. Features on Glenn Astro and Jamie Isaac tracks along with gracing the Autumn issue of the Peckham Peculiar round off a noteworthy rise to prominence.

          Lead single "Tropical Bleu" boasted the hallmarks of Marshall’s late-night production coupled with Pinty’s unique MC-led approach to the dancefloor.

          Now "Nightcrawler" presents a simmering nocturnal dance cut, charged with glowing bursts of deep house, candid lyrics and a self-directed video portraying a woozy tale of London’s underbelly.

          Flitting between hip hop, house, UKG, and darker electronic sounds, Bradley Zero’s Rhythm Section International makes perfect sense for Pinty’s debut release, which takes its title from a prolific early 2000’s South London graffiti legend. With deeply personal lyricism and wry humour, "City Limits" adds colour to a mostly grey city. Music and creativity was a core part of Pinty’s youth, his dad was a poet and older brother an MC during the golden age of garage and jungle. Fast forward to 2019 and he’s part of a dynamic collective of producers, singers, musicians and rappers, as well as hosting radio shows on influential stations Reprezent and Balamii.

          Already a major pull in the capital, ‘City Limits’ marks Pinty’s graduation from local sensation to international proposition, as he prepares to fly the nest of the city that spawned him. 


          Matt says: Tasty shiiiit from BZ's camp as Rhythm Section enlist local celebrity Pinty for a wide ranging EP that skirts between garage, downbeat and of course, Peckham-step. Thick with that humid London air, the mini LP's woozy nature lends itself perfectly to the environment that spawned it.

          It's a Piccadilly debut for Dutch production Lamellen here, who join the ever swelling ranks of the Dekmantel family with a five tracker of atmospheric, emotive and groovy Balearic house. Keeping true to the original island ideal, the duo barely break a sweat over 100bpm, keeping it easy and breezy as they provide the perfect soundtrack for sundowners the globe over. 
          A tranquil and trippy opener, "Horse Massage" calls to mind the cosmic explorations of Farbror Resande Mac, all space port idents, sparkling sequences and slow moving bass tones. "Spider" ups the tempo to a comparitive sprint (though still in reality glacial), injecting a little 80s Italo funk into the bassline, toughening the percussion up a bit and adding some glassy mallet tones for a nu disco-tinged heater. "Oyster" takes the intensity back down, savouring the same nebulous vibrations as the opener, but with a fresh Oceanic twist - think A Vision Of Panorama and you won't be too far away. 
          So far so 4/4, and the duo throw us a curious curveball with the skipping rhythm, tropical bubble and chiming chords of proggy pearl "Railrunner". We're back in the deep to close as the duo deliver "Pippo Denemarken" a downbeat shuffler decorated with insistent organ tones and bright and glassy synths. Luscious stuff from the Dekmantal debutants.


          Patrick says: The eagle eared selectors at Dekmantel introduce us to more fresh talent, namely Dutch duo Lamellen, who drop the tempo and up the groove for a quintet of synth heavy Balearic jams. Cocktail killers folks.

          The Distillers

          Man Vs. Magnet / Blood In Gutters

            This vinyl 7”, pressed at Third Man Pressing in Detroit, is the first chance to own new music from The Distillers in over 15 years.

            To call The Distillers simply a punk band doesn't do justice to either the band or the word "punk”. Guitarist, lyricist, and vocalist Brody Dalle, uses her medium as a platform for a higher plane of visceral lyricism and independence. Few modern day punk icons have not only embodied the genre so truthfully but also transformed the depth of what it can mean so thoroughly. Originally formed in 1998 in Los Angeles, the energetic band, with Dalle at the helm, released a string of damaged and powerful albums, EPs and singles with California punk labels Epitaph and Hellcat, then released their third masterpiece of an album, Coral Fang, on Sire before going on an untimely hiatus and ultimately splitting in 2006. After breaking a 12-year silence on social media late last year, these two new tracks from the group are a triumphant return for their rabid and devoted fanbase.

            “Man vs. Magnet” kicks off with crashing drums, thumping bass and melodious guitar, before transforming into a rough-and-ready punk anthem. The b-side “Blood in Gutters” is full of a wistful, wild energy from start to finish, with Dalle’s raw vocals gleaming as the chorus hits. Third Man is honored to be a part of The Distillers' continuing legacy by releasing the physical version of this single.

            STAFF COMMENTS

            Barry says: Bringing me right back to the days when I could stand in the midst of a reasonably rowdy mosh-pit without worrying about spilling my tea, The Distillers return with the thrashing crunchy 7", Man Vs. Magnet / Blood In Gutters. As ferocious as Brody & co were back in the day, this is a confident and mindblowing return for one of the forerunners of 90's and early 00's pop / skate punk. Amazing.


            Strawberry Cheese Cake / Modern Noise

              This is THE single. 1979. Detroit, Michigan. A-Moms, a.k.a. Algebra Mothers, were one of the Midwest's early cutting-edge new wave punk groups, who would go on to play shows with like-minded artists Pere Ubu and Destroy All Monsters. And this is their only release ever, that is, up until Third Man released a compilation of unreleased and live material last summer. Now you have the chance to own a reissue of the single that sparked it all.

              “Strawberry Cheesecake” is absolutely frantic and infinitely catchy, popping right off of the platter into your ears. Lightning bolt melodic synth punches, desperately human but then briefly robotic vocals and no shortage of freewheeling guitar solos make no secret why this track so beloved. On the flip side, “Modern Noise" is an alien punk keyboard-cram blaster with a decimating, canonical guitar freakout feedback ending that successfully melts minds.

              Golpe De Estado

              Liquido - Inc. Marc Pinol Remix

              Recorded a decade ago in a former sauna room over the infamous and ill fated Stattbad club in Berlin with the genius of Satch Hoyt on all kind of percussions and the perfect no wave touch of James Ausfahrt on sax, this Oklo Gabon & Capablanca production was originally submitted then to certain label which rejected it for being "not catchy enough". The track was dismissed and forgotten until recently, when Capablanca re-found it on his drive looking for unreleased material, played it to Marc PiNol who instantly loved it and offered himself to remix it, resulting in perhaps his most sophisticated remix to date (it does still rip dancefloors). On the AA side, the original jam proves the initial rejection a foul mistake, and stands the test of time as a clear winner with an irresistible dislocated groove, not so veiled but freshly reinterpreted NY Noise references and its urgency and raw appeal, exuding charisma and originality. A one day band crafting a forgotten post punk hit you can dance to. Sleeve art originally RISO printed and scanned by Dominic Brucia.

              STAFF COMMENTS

              Patrick says: First up - the sleeve art is the effin tits! Secondly, how this didn't manage to see the light in the NYC No-Wave / punk funk renaissance of the noughties I'll never know. Loose percussion, pulsating synthesis and maximum groove on the O.G., Carl Craig vs Arthur Russell on the flip!

              New Musik

              The Planet Doesn't Mind / 24 Hours From Culture - Part II

              From the mists of 1981 comes the most contemporary and ground breaking of the criminally underrated London group New Musik, helmed by prodigious writer, producer, mixer and engineer Tony Mansfield (Nick Straker Band, B-52's, Captain Sensible & more).

              'The Planet Doesn't Mind' is a flawless piece of shimmering electro disco, uptempo, synthetic, futuristic - almost a perfect fusion of pop and 'proper' electro. A truly exceptional track that stands out through its originality and its sonic aesthetic, the mixing, the lyrics.... everything. An early 80's electronic masterpiece. On the B-side we have the very different, but equally as exciting and forward looking '24 Hours From Culture - Part II', a heavy and moody slice of instrumental dub. A record that, over the years, found favour with contemporary DJ's and producers who sought inspiration from the left-field fringes of popular music, counting Ame and Todd Terje among its fans it is a true left-field nugget, deep and soaked in atmosphere.

              This is pretty much a flawless 12" all around, and the fact that it is 37 years old and sounds like it could have been made next week makes it an essential record for any music lovers collection. Sublime.

              STAFF COMMENTS

              Patrick says: Finally! We get a neat reissue of New Musik's classic synth pop curveball with the deep and atmospheric "24 Hours From Culture - Part II" on the flip for all the true heads.

              Home for the freakish and frazzled, Bahnsteig is back with another four track of advanced, unconventional edits from regular contributor Dunkeltier. We're in whacked out industrial funk realms on the A1, as the giddy sequences, shuffling percussion and demented chimes of "Arcade" weave their way through the tape-chewed, VHS mastered majesty of the sound design. Chuck in garbled vox snippets and serious sampler abuse and you'll be in psychoactive heaven. Speaking of which, A2 offering "Arabian Town" is a serious bit of desert psych with plenty of post punk gloom. Think a lost Bauhaus soundtrack to a Texan zombie flick, as heard in the drug addled churn of an Ivan Smagghe set. Flip the disc for a little coldwave chaos via the clattering industrial percussion, blarring sequences and grunting fx of "Ce Soir", before "The Blade" plays us out with more post punk / psych strangeness and red lined drum box thump. Not for the weak of heart...

              STAFF COMMENTS

              Patrick says: Operating under a whole host of monikers, Dunkeltier experiments with industrial, techno, coldwave, synth pop and post punk, keeping the focus dark and danceable. This EP sees the German producer slice his way through VHS funk, propulsive post punk and deranged cold wave keeping it strictly for the freakz...

              Echovolt continue to switch between the archival and upfront, this time treating us to some contemporary retro from Aquarius TX, a UK duo at the forefront of the 4core scene, pushing to recreate the sound of acid summer '89. Particularly influenced by European pool parties, ATX combines house music with classic acid and floaty euphoria, intended to submerge listeners in hot waves of summer daze. A-side cut "Sunset 17" sees the guys succeed in their mission, turning out tapey 909 perx, blankets of shimmering synth, fizzing acid and occasional jack, all brought together by Chicago-style piano and vocal. This one's gotta be getting rinsed by the Wet Play crew right? "DX-FM" sees the duo diving deeper into the wavey and hazy sound design, submerging a deep but optimistic acid track in melting pitch and lo-fi scuzz, without losing sight of the dancefloor. Dope though the A-side is, the best comes thanks to Mülheim maverick DJ Normal 4 who does it nice and proper, teasing "Sunset 17" with warming breakbeats and trancey sequences to tell you exactly where it's at in 2k19 - savage.

              STAFF COMMENTS

              Patrick says: Not only do we get two lo-fi acid jackers from Aquarius TX on the A-side (sound design by walkman @ chewed tape studios), we also get an EPIC rework from Normal 4 on the flip, brimming in breakbeats, acid basslines and trance pads. This is the sound of 2019 folks!


              Cyberia / After The Flood

                From the same producers that brought you the "Timenet" release, here we have a mighty fine re-issue of the very first Hi-Ryze record. "Cyberia" was originally released through cult label Brainiak back in 1990. Since then the Ubik production team released half a dozen of EP's under the Hi-Ryze name through various other classic imprints such as General Productions and Certificate 18. Here we have two of our faves handily compiled onto one jazzy AF disc: "Cyberia" - a twangy, highly kinetic, and massively shuffled affair that lands right slap bang between Chicago and Detroit; and "After The Flood" - a rave-indebted big room roller with hoover leads and more drum machines shuffled to oblivion! - don't miss the vintage woodblock attack on this one! Remastered from the original DAT tapes and sounding frrresh - do not sleep! 

                STAFF COMMENTS

                Sil says: Mega and raw old school techno with killer basslines to make sure your neighbours keep appreciating you. Rave til you die and do play this loud for max effect.

                Re-issue of this sought after Kumulus rarity originally released as a one-off on Electric Soul in 1992. Belgium pioneer Jan Van den Berghe is responsible for some all-time classics such as Wet's "That's The Game", Liaison D's "He Chilled Out" and Mappa Mundi's "Sexafari"; to name just a few. Under the Kumulus guide, he produced an unforgettable and mesmerizing take on Detroit-ish techno. Inspired by all the great tracks that he licensed for the excellent Buzz label releases and compilations during the early 90's. Timeless!

                STAFF COMMENTS

                Sil says: Intergalactic techno with plenty of melodies and evocative soundscapes. Old-school rave emotions and memories will flourish nicely upon listening to this cracker.

                Brand new and fabulous electronic house music here straight outta the stables with a fierce intent. Hvmble, both producer and record a label, look to be filling any gaps in the interstellar void with two full frequency, galactic-aligned rub-downs that land somewhere between Dream House, Sparky and Fear Of Flying. While "Moeraki" chimes with an angelic sentiment, echoed through its spectral bassline that seems on the verge of shattering into a thousand shards; "Plitvicer" bangs with a kind of tribal-campfire-on-Mars intensity that, on +8 could easily see it blended into some Purpose Maker-era Jeff Mills or vintage Oliver Ho. It's nice to know other planets have harboured their fair share of indigenousness ravers that like nothing more than to have it right off around the (plasma) camp fire. Top stuff.

                STAFF COMMENTS

                Sil says: Gentle and smooth melodic techno / house on A side and a more punchy with tribal flairs on the flipside. Dancefloor ammunition for those who know.

                Chaos In The CBD

                Orange Blank / Green Dove

                Chaos In The CBD have become an institution already here at Picc HQ with each record before this, on their own In Dust We Trust label, becoming feverishly collected items by house heads and music lovers alike.

                Sticking to the previously celebrated format, the pair return with another double A-side of rich deep house flavours. "Orange Blank" actually recalls the acid-Balearic brilliance of Gat Decor's "Passion" as its fluttery leads and enveloping pads sweep over the listener; you could well be 3 pills deep sat on a protruding rock off the coast of your favourite holiday house destination - eagerly anticipating that classic breakbeat drop to elevate you further on your high.

                Or on "Green Dove", a more obvious reference to the golden days of MDMA-fuelled revelry across abandoned warehouse and motorway bridges, and again packing a retro-inspired punch that aligns it with the best of the proggy warehouse vibes of the era. More gated vox flutter through a heady mix of breakbeats and warm strings; bolstered by a punchy low end b-line and carried on the wings of e'd-up angels.

                Number six in the series and just as imperative as each one before it. Do not sleep on this! 

                STAFF COMMENTS

                Matt says: Chaos In The CBD drop two blue punishers and raise our spirits into the clouds with an XTC-flavoured deep house romp.

                Cosmic Rhythm herald the arrival of spring with a fresh and balmy production born during the Summer of 2018. As Ketama soaked up the tropical breeze on their hometown streets, munched a melanzane and downed a grappa, they took inspiration from the Mediterranean coast, the White Isle and the cosmic club and locked into the nearest studio. Opening cut "Voyage" throws out shapes and feelings from the off, immersing us in pillowy dream house pads, breathy scat vocals (a la Cosmic) and a Sueno Latino style sequence, all of which rides a languid bass groove and some subtle percussion. Next up "Dreamscape" sharpens into being from a loose ambient opening, finding form as a precise slice of Don Carlos informed Italian house - steady and euphoric like good quality ecstacy. The terrace tackle continues on the flip with "Agaua Para Ti", a wonderfully European take on those early 90s ballroom records that get everyone vogueing. Sampled vox, sustained strings, jazzy piano licks and extended breakdowns? Yes please. If you like your crust crispy, and the US influence made the B1 a little too deep pan, the B2 "Metamorphosis Mix" is on hand to straighten things out with another dose of Sueno Latino-style magic. 

                STAFF COMMENTS

                Patrick says: New Cosmic Rhythm alert! This time it's Italian crew Ketama bringing us a dreamy dancefloor workout inspired by their native house music and the carefree attitude of Ibiza.

                Guadeloupe 1986. The football World Cup has all the Islanders' eyes riveted to their TV sets. At every half time breaks, local TV channel RFO broadcasts a music video on repeat: ‘’Tou’t Jou Pa Min’m". Max Rambhojan, the local singer responsible for this monster tune, has arrived.

                In the video, he effortlessly sings and kickstarts a joyous street party with his band, Show Man, his dancers, kids, friends, family and what seems like the whole neighbourhood. The song will gain cult status from then on, cementing the power of the 'Zouk Chiré' sound, a high tempo version of Zouk, highly influenced by Guadeloupe's Carnival mass drum bands. Max self-releases his first solo album on vinyl in 1985, enrolling some of the best musicians the scene has to offer: his band leader King Klero, Guy Jacquet of les Vikings de la Guadeloupe fame on production duties, Ramon Pyrmée on synths, Claude Vamur, Meliza… In 1992 a new solo album follows. By then the artists have familiarized themselves with computers and the sound has gone full-on digital. In that album Max records an updated version of his “Tou’t Jou Pa Min’m” anthem to great effect.

                Reducing Max Rambhojan to a zouk artist would be a mistake. He’s first and foremost a master of Gwo-Ka, a musical practice born during the transatlantic slave trade and performed by all ethnic and religious groups of Guadeloupe. It has never ceased to exist and has become a major part of the Island folk music culture. Max Rambhojan was schooled as a kid by Gwo-Ka pioneer Guy Conquette, and quickly joined the backing band of another legend, Ti-Sélès. That sound is the root of his particular style, especially vibrant on two tracks in his repertoire: “Cecilia” and “On Jou Matin”, both featured on this release's b-side. A touch of Spiritual Jazz is also palpable, allowing a magical vibe to spread, giving birth to some of the deepest music from this era.

                In 2019, Max still performs Gwo-Ka every week-end in Guadeloupe and also hosts a show on local radio Media Tropical, 88.1FM. Secousse and Hot Mule are proud to present those 4 lost gems on wax and digital, carefully restored and remastered.

                STAFF COMMENTS

                Patrick says: Totally tropical, groove heavy and boasting that dizzying 80s blend of live and synthetic instruments, this is zouk at its very best. Don’t sleep, just dance in your hammock.

                Mighty Whities give us another killer 12". This one is going to twist your brains more than your hips. 'Temple' sports a gorgeous metallic and playful sound marimba style. Do not get stuck on the marimba bit. Give it a listen first. The rest is a cross between Aphex Twin in its more pallatable ways. 
                'Tour' is the one for me. This one is deep with a solidly formed 4/4 beat and those tribalesque beats and sounds permeating through the track as it evolves. 
                'Seize Sept' is that track that wants but cannot. Asyncopated beat and a powerful groove welcome a bad boy bassline that can cause serious damage in any club with a decent crowd. This one is one to pay attention to. A true sleeper. 
                So there you have it, another Whities, another hit in my books. Get it as this label sells out pretty fast. 

                STAFF COMMENTS

                Sil says: Terrific 12" on Whities as it is the norm with this monster label. A bit for the head and a bit for the body. This will fly.

                Prolific synth warrior Lucas Croon dives into the fax machine and re-emerges tripped out on toner in the Aiwo offices. Causing a stir as one half of Bar, one fifth of Stabil Elite and one solo don who's smashed out a couple of killer EPs for Dusseldorf's Themes For Great Cities, Croon comes into this one with plenty of expectation - fortunate then that this man's talents know no bounds. 
                We're in wigged out Bboy mode on the A1, wading through a mountain of ket to try and transition into a flair. Flanging pads, rattling breakbeats and Art Of Noise vamps clatter around the room before that smooth bass groove takes you back to green hued days listening to K&D. "Spinal Chord" comes wheeling in with killer cosmic licks, a rolling B-line and the wide eyed optimism usually reserved for afternoons in the park on hallucinogens - off kilter boogie for intoxicated BBQs. Flip to the B1 and Lucas lets loose with detailed Badarou style drum programs and insistent Lil Louis organ vamps, translating two cornerstones of the house experience into a new future primitive hit. Finally, "Spiritus Sanctus" does the deep, slow and sleazy chug thing, dishing out neon keys, chest busting bass and slick sequences alongside a little bit of One Flew Over The Cuckoo's nest. Leftfield disco excursions for those that know. 

                STAFF COMMENTS

                Patrick says: Fresh off a mega techno-tropical, retro futurist hit on TFGC, Lucas Croon joins the Aiwo party with this four tracker of low tempo synth workouts for the cognoscenti. Chuggers and bubblers people - buy now before the Lizard people take over...

                Another brilliant suite of dubby acidic techno and Drexciyan electro from Australian producer, Jeremiah R on Voodoo Gold. We kick things off with the appropriately titled 'Arp', with flickering sine waves backed by filtered pads and a slow, churning filter sweep into the heavy hitting follower, 'Far Away From Everything'. Here we start to feel the true force of Jeremiah's hardware collection with frenetic beats and soaring stacked saws punctuating the machinated throb before cooling things down into the rhythmic dubby beauty of 'Legacy'. 

                It's this contrast that has always been at the forefront of JR's legacy and continues to form the backbone to his sound, with full-force spectral meltdowns being closely followed by loose dubby rhythms before launching once again into the stratosphere. 'Thinking Of You' picks up the percussive aspect once again whilst retaining the slowly sweeping pads and soaring delayed saw waves. 

                'Signals From The Parallel Universe' could easily have been a more modern outing from Drexciya, keeping the skittering percussion in-line with resonant filter notches and plucked vactrols over the top, complete with rapidly changing chords and airy stabs before ending on the stunning closing duo of 'Get Down' with it's shimmering euphoria and the industrial churning of 'Globular Cluster' making sure things don't get too cheery before closing things out. 

                STAFF COMMENTS

                Barry says: A brilliantly immersive and perfectly written collection of post-industrial drones and head-bobbing 130bpm electro. Perfectly balanced throughout, and prime listening for darkened dancefloors. Killer.

                A haunting collection of experimental music by the celebrated electronic artist and sound designer, "Refraction" continues Caminiti’s exploratory path of deconstructed electronic sounds and structures as showcased on his last album (2017’s “Toxic City”), presenting four new pieces created on a Make Noise modular synthesizer with an emphasis on tranquil atmospheres and dub-influenced production.

                This Make Noise Records release was Mastered by Rafael Anton Irisarri at Black Knoll Studios.

                Pressed to 12" Clear (140gm) vinyl and inserted into a black inner dust sleeve and matte jacket featuring artwork by Sean Curtis Patrick.

                This release is pressed in an edition of 500.

                STAFF COMMENTS

                Matt says: Gotta love these Make Noise curated releases using the custom synthesizer. Arresting, dramatic and tension-wraught releases that sound like nothing else on the market.

                FORMAT INFORMATION

                Ltd 12" Info: Strictly limited clear vinyl press. 500 copies. Artwork by Sean Curtis Patrick

                Ilja Rudman gives birth to 'Essential Dynamics' which is also offered in many forms on this 12". The original is a disco pop tune with a bit a heavy electronic feel. A gentle acid line acompanies the soothing vocals and an ominous bassline. 
                Fred Everything ups the ante a bit and makes the beat more housey and dancefloor centered. He also throws in a great synth key that gives the track the oomph that perhaps is lacking on the original. This is the one for papuso here. 
                Kai Alce goes Moodymannesque on his revision creating a groovy, intimate journey with the vocals and sytnths the focus of attention. This is a house tune ladies and gents. 
                Ashley Beedle brings some exoticism and organic feel to the track as he always does. He exctracts the funk that was always there and brings it to the forefront. Killer bassline there for you. 
                Decent package of remixes that elevates the status of the original. One to look out for. 
                'Tour' is the one for me. This one is deep with a solidly formed 4/4 beat and those tribalesque beats and sounds permeating through the track as it evolves. 
                'Seize Sept' is that track that wants but cannot. Asyncopated beat and a powerful groove welcome a bad boy bassline that can cause serious damage in any club with a decent crowd. This one is one to pay attention to. A true sleeper. 
                So there you have it, another Whities, another hit in my books. Get it as this label sells out pretty fast. 

                STAFF COMMENTS

                Sil says: Pretty good compendium of remixes of the highest order on this Ilja Rudman 12". Fred Everything and Kai Alce fit perfectly in any house mix.

                Nikolajev is a Tallinn, Estonia based producer: DJ, half of Dima-Disk with Ragnar Rahouja and co-founder of the club Kauplus Aasia and the now legendary Lekker before that.

                His “LEL” EP on Incienso is a diverse affair containing many moods and styles - All recorded live in single takes. From the Devo meets deep disco shuffle of “Plasticine”, to “Left”, a song from an alternate universe where John Carpenter movies were scored by Bunker Records - and the sweeping ambient passages that bookend them, “Lumipoly” and “12 AM Monday” - the real question is where does the EP start and end? You decide. Raw emotion for raw people, everywhere!

                STAFF COMMENTS

                Matt says: Really, REALLY feeling this one folks. That "Plasticine" track is fire, no matter what musical fodder you like to pack your box with. While "Left" provides the new generation of electro-goths with a micro-anthem to paint on the black eyeliner come Saturday night...

                Roza Terenzi's Planet Euphorique drops its fifth release Planet Euphorique. Australian-born, London-based Nite Fleit brings some heavy electro-breaks hybrids drizzled in a futuristic sheen. "Overcast" is a teeth-baring soundscape guided by commanding, rhythmic spells. The record’s acidic slaps and punishing basslines are uncompromising, recalling her darkly transcendental DJ sets. "Overcast"’s masterful doom is punctuated with enigmatic sparks throughout the light beckoning listeners into the darkness and onto the dancefloor. Recommended.

                STAFF COMMENTS

                Matt says: Nuther winner from Roza's firm who seem intent on dropping the tuffest warehouse breaks this side of Montreal.

                Anastasia Kristensen destroying the dance with four new tracks. Moving effortlessly between poised electronic rhythms and future-exotic soundscapes, there's nods to all the good stuff that's existed before it - techno, jungle, glitch and breaks, but somehow Kristensen gives it all this unique paint job that makes it stand out as a whole new musical lifeform in 2019!

                Already causing a stir due to promos being linked thru the digital underground, we can really hype this anymore than it has already. The future is bright for electronic music if cats like this are coming up!

                STAFF COMMENTS

                Matt says: Warp sub-label Arcola drops some mind-melting future biznis via the highly skilled Anastasia Kristensen, who brings forth four highly arresting electronic excursions frivolously skirting between techno and breakbeat led construction but occupying a whole new territory on the dancefloor.

                Sound Voyage

                Schattenspiel Dub / Golden Garuda Khidja Remix

                It's been a little while since post kraut tag team Sound Voyage first graced our shelves with their debut 7" (later crowned Vinyl Factory's 7" of the year), but the crew have been in busy in the meantime, unleashing a full length of exotic bass music and working on reissues and re-edits.

                Here the duo take a highlight from their LP, "Schattenspiel" and transform it for the dancefloor with a weighty dub variation, given a heavy pressing on one side of a 12". The SE Asian tones of the folk harp are chopped and dropped over a hypnotic rhythm track, taking your brain to another dimension while buzzing synth drones and swelling bass ensure your chest cavity rumbles like a N64 controller. 
                Skipping to the flipside and we find ourselves in Khidja's realm, joining the Romanian duo for an acid laced rave in the bowels of the Shadow Temple. The dark disco princes rip "Golden Garuda" apart at the seams, slapping a resonating bass sequence under swathes of echo laced zither (koto?) locking into a hypnotic machine rhythm and adding their own sonar bleep motifs to keep the tension and intensity building throughout. Essential material for forward thinkers and backwards dancers!

                STAFF COMMENTS

                Patrick says: That's it, Sound Voyage can officially do no wrong! The German duo pluck the standout track off their 2018 LP, giving it the 12" pressing and extra meaty dub mix it deserves. On the flip, they show off some true A&R expertise, enlisting Romania's Khidja for a deep and techy translation of early single "Golden Garuda" laced with the dark wired sound. Vibes!

                FORMAT INFORMATION

                12" Info: Hand-stamped cover, limited to 350 copies.

                London-based Psychedelic soul evangelists Beauty & The Beat are back in the store with their third release, a heady collaborative 12" with the Beating Heart project, an initiative which saw a whole host of international talent sample and remix field recordings made by Hugh Tracey in 1950s South Africa with kind permission from the International Library of African Music.
                The keen eared selectors at Beauty & The Beat cherry picked the four finest cuts, had them remastered by Frank Merritt at the Carvery then pressed them onto a crystal clear vinyl.
                North Eastern boy George Robertson opens proceedings under his Boys Ride Bikes alias, transforming a traditional South African chant into an emotional rich slice of synthetic house flavoured with 21st century pop tropes, autotune and ecstatic chord progressions. Shop favourite Nabihah Iqbal continues the journey into yearning, conjuring thrilling cinematic synths, drifting ambient guitar licks and a soft focus shimmer around folk whistles and clapping patterns for "Wonderful Sushi". Over on the B1 South African artist Thor Rixon cooks up the kind of slow, mournful and moving trip we've come to expect from a BATB release, gently shifting focus from spidery guitar to glassy key, soulful vocal or mind bending effect, while the stately rhythm and subtle bassline roll underfoot. Finally, The Happy Show rinse the filter and fire up the high hats, tripping a Gumboots original into a driving bit of Afro-centric psychedelia I can imagine mixing into that Noir Desire edit on Mindless Boogie. 
                Not only does this 12" give you four diverse and dope tracks, it features wicked artwork from Peter McDonald, a dope sleeve design from Gina, and a donation to charity! Proceeds support gender equality in South Africa through the Women’s Legal Centre, as well as helping to teach music production skills to kids at Grahamstown’s Access Music Project.

                STAFF COMMENTS

                Patrick says: Party with a purpose! Beauty & The Beat return with four heart melting tracks based around 50s field recordings from South Africa. If you want yearning synth pop, shimmering psychedelia and nuanced grooves then this is the platter for you!

                Sillyboy’s Ghost Relatives can proudly claim to be “Greek radio’s favourite soft rock band”. The Athens-based quartet – fronted by basswielding former TV commercial composer turned Balearic poster Charalambos Kourtaras – are rising stars in their home country, with listeners warming to their distinctive blend of atmospheric guitars, retro-pop synths and head-in-the-clouds grooves.

                So far, international stardom has passed them by, though their distinctive songs have caught the ear of a range of DJs across the globe. One was Claremont 56 founder Paul ‘Mudd’ Murphy, who has worked his magic on one of the band’s previously unreleased gems, “In A Small Place”.

                Perfectly capturing the claustrophobic reality of life in a small, remote town or village where everyone knows everyone else’s business, the song sees Sillyboy plan his escape over a mesmerizing backing track rich in ghostly synthesizers, chunky bass guitar, spacey electronics and a shuffling groove that sits somewhere between pitched-down dub disco and early ‘80s West Coast AOR.

                Murphy’s “Extended Version” allows the track room to breathe, teasing out the clandestine and atmospheric instrumentation – eyesclosed guitar solos included – before introducing Sillyboy’s rueful and paranoid vocals. You’ll find the Greek band’s slimmed-down – and arguably even more trippy – original version on the B-side, completing a fittingly high quality musical package to kick-start Claremont 56’s 2019 release schedule.

                STAFF COMMENTS

                Patrick says: New year, new Claremont, this time from Greek outfit Sillyboy's Ghost Relatives. While their name may call to mind either a Studio Ghibli movie or Steve Wright's drive time idiocy, their music is a masterpiece of low slung Balearic funk, packed with slick grooves, dubby fx and serious hooks. On the B-side, Mudd matches his A&R expertise with a hefty extension in the same league as his Bodies of Water mix on Aficionado (high praise folks!).

                What's left to say about this sublime slice of disco soul that hasn't been said  before?
                Lamont Dozier was part of the legendary Motown songwriting team Holland/Dozier/Holland who wrote (amongst many MANY others) 'Heatwave'; 'Where Did Our Love Go'; 'Baby Love' and 'Nowhere To Run'.
                'Back To My Roots' came out in 1977 and features one of, if not THE, greatest piano intros of all time. Covered by Odyssey, Richie Havens and FPI project, it's probably one of my all time favourite records, it's impossible to hear it and keep still.
                So, if by some chance you've spent the last forty years as a prisoner in a Vietnamese pow camp and never heard this (original) version all I can say is I envy you (not the Vietnamese pow camp, obviously) I'd love to be hearing this record for the first time.
                Oh and no biggie, some guy called Danny Krivit has done a remix on the B side...

                Retrospective from the exemplary Telephones' catalogue. Rescued from a humid attic on the rural island of Sotra, outside Bergen, Norway. Long presumed lost, the material featured on this first collection was originally conceived and programmed by a juvenile Mr Telephones on ancient PC-software at turn of the 90s / Y2K - at a time when the local Bergen-scene was percolating with main dogs Torske and Erot. A time when Norwegian DJs were still allowed to play Peacefrog-records on national FM radio (!!!!!!), and house, techno and disco was united under one umbrella. 20 years later, the tracks have been salvaged, exported and meticulously overdubbed, re-recorded and sound fuckin' WELL crisp mate.

                No-one exudes that coastal brightness, optimism and scent quite like Telephones. Holiday house of the highest order, you can almost smell sizzling calamari as sun spots blind your focus and a warm breeze drifts up your shorts. It's everything you need to take you away from the miserable, grey, Manchester Winter and that my friends, is why this is one of the best records you'll purchase this week! Do not sleep! 

                Though Best Records may have beaten Rush Hour to the punch, landing their own reissue of Klein & MBO's classic a matter of weeks ago, the Dutch label strike back with an ace up their sleeve. Though the A-side of this DJ friendly 12" may boast the standard version of Mario Boncaldo and Tony Carrasco's proto-house pearl "The MBO Theme" (all unstoppable groove, neon tinged moves and light flashing brilliance), the flip houses a heavy (and unheard) South African version from the group Warrior.
                Rush Hour explain how they came across the track: “We bumped into this version on a South African record digging trip. It took us a few months to realize the scarcity of this version. Ian Osrin, a well respected engineer in South-Africa who was involved in many 80ties and 90ties Bubblegum, Kwaito and South African disco records, explained us about music distribution in South Africa during apartheid. Because the country was culturally banned at the time, a lot of releases weren’t imported or exported. Even when a track was huge, like “The Klein & MBO Theme”. So South African musicians would create their own versions which were sold locally. We got in contact with Tony Carrasco from Klein & MBO. He also hadn’t heard Warrior’s version before, but he liked it as much as we do!”
                The SA version teases the groove into a sliding variation with added cosmic power while the lively synth licks bring their own otherworldly flavour to the dish.

                STAFF COMMENTS

                Patrick says: How good is this! Not only do we get a fresh pressing of uber funky Italo / proto house winner "The MBO Theme", we get a previously unheard heavyweight South African cover version on the B-side. Rush Hour are bringing their A-game here.

                The Idealist

                Inner Space Dub / The Fire Of Moses Dub (feat. Genesis Breyer P-Orridge)

                (Psycho) Active in deranged electronics for decades through work with outfits Saturn and the Sun, The Skull Defekts, Orchestra of Constant Distress, and numerous collabs, The Idealist has been bringing the weirdness since day one. But the dub has never been in full focus. Not until now. Two cuts recorded at the Gothenburg Sound Experiment; "Inner Space Dub" which is a sick, capturing thing and the flipside, "The Fire of Moses Dub" which features vocal by the legendary Genesis Breyer P-Orridge of Psychic TV and Throbbing Gristle. Dub music as close to the late 70's industrial music scene as the classic Jamaican stuff which the Idealist loves to the bone. Passionate, honest music which pays tribute to its influences but also succeeds to look forward into the eternal future.  

                STAFF COMMENTS

                Patrick says: If you've caught any of our Kickin' Pigeon's recent sets, you'll have tumbled through the cyclone of lysergic weirdness and rumbling dub - so expect this to feature heavily next time you land in the coop!

                DJ Rocca returns to Wonder Stories with a stunning EP that only the Italian legend could produce. Steeped in his style, the eclectic producer submits three original tracks dedicated to his favourite types of pastas.

                Known for his collaborations with Dimitri From Paris, and Daniele Baldelli, Rocca’s playful energy and original song writing shines through. On remix duty is the enegmatic DJ Fett Burger who combines "Spaghetti" and "Fusilli" into an inspired if chaotic amalgamation of stabby synths and percussive drums.

                "Spaghetti" is a leftfield house tune with muted bass and eerie synth melodies. 90s house stabs and lo-fi broken beats amp up the track with sultry vocal lines accenting throughout. "Fusilli" immerses the listener in simultaneously tribal yet futuristic landscape of a forgotten and out-of-date biotic engineering. Think a rave in the backroom of the club that was surely hidden away on the Total Recall mothership. Rocca’s studio prowess really shines here, as his analogue. synthesizer and drum machine collection are brought to the forefront.

                "Penne" slows things down into a slow-mo funk disco-esque tune with sharp stabby synths and a growling bassline. Rocca, ever the multi-instrumentalist, let’s his flute playing shine here, culminating in a seriously vibey aesthetic. 

                First Choice classic, "Love Freeze", gets the DJ Spinna treatment turning the soul-laden, 6-minute 1975 version into a near 10-minute disco soiree, which has never before been on vinyl.

                It’s a delicate task taking on productions of this quality, yet Spinna stays true to the ’75 version tweaking it for the modern-day dancefloor - upping the tempo, adding an accapella intro before the subtly beefed drums drop alongside that majestic horn section. Graceful touches and reverberating echoes enhance choice phrases and breakdowns, added passages are weaved in backed with cosmic swirls, as Spinna expertly manages to extend the feelgood fire this First Choice classic commands.

                With the original long version on flip, the choice is yours! 

                Recorded in Curve Pusher’s former Hackney premises over a series of sessions during 2016-2017, L-R is the name for the sounds that have emerged from the collaboration of friends Simon Lynch (London Modular Alliance), Monoak (Freerotation) and Radioactive Man. Oscillating modular sequences from the units Simon brought to sessions, multi-MPC powered beat programming, and TB 303 patterns being fed to a MiniMoog is the backbone of this record, some of the last sessions at Curvepusher studio, London, before its move to Hastings. Where we get the best out of these three singular producers.

                Asking for Trouble is Keith Tenniswood (Radioactive Man’s) record label - established in 2017 to home his solo and collaborative studio work.

                Helena Hauff - 'THIS IS GREAT'

                STAFF COMMENTS

                Matt says: When Helena Hauff and Radioactive Man both get behind a record you better bloody pay attention cos they know where they're on about! Released on Keith's inspired Asking For Trouble label, and currently supported by the German electro-goth poster girl. Unstandably (as it's mastered by Tenniswood), the record bangs, bites and snarls in a fiercly nice fashion.

                Formed in Brixton in 2006, afrobeat band Yaaba Funk have released two albums with Sterns Music and performed numerous acclaimed live shows — including support slots for Seun Kuti and Ebo Taylor.
                Rapidly rising star Danvers (also of Kassian) takes the infectious energy of 'Oman Foa' into a triumphant new direction, with one of his broken beat rhythms at its core — recalling his big summer track 'Aye Ata' which received heavy support from the likes of Gilles Peterson and Midland. With a succinct arrangement that lets the joyous brass and powerfully harmonised vocals shine potently, it's a feel-good party music that works wonders when deployed at the right place and time.
                'Hwe Hwe Mu Na Yi Wompena' is Yaaba Funk's cover of the Ghanian highlife singer K. Frimpong and his Cubano Fiestas' irresistible 1977 track, which Ben Gomori strips back into two instrumental-focused versions. His 'Message Of Love Edit' is a summery, housey flip with trumpets mutated into synths and the bass pumped up with chunky distortion, while his 'Message Of Love Live Dub' zones in on the live grooves with just a little extra embellishment.

                STAFF COMMENTS

                Patrick says: Ben Gomori and Danvers take note of the recent change in weather and energy here, revisiting a couple of Yaaba Funk tracks with a new dance floor focus. Mile wide smiles all round I reckon!

                Over the course of the last few months a small coterie of DJs have been armed with specially encoded secret weapons. From clubs and festivals across the globe, COD3 QR 001 & 002 have been road tested, extensively scrutinized and passed fit for public intrigue…

                For now the artists are known only via their encrypted aliases. This is Music to Arouse Curiosity. Quite simply, Cod3 QR (Code QR) puts the music first. The who, the what, the where will be revealed over time on the label’s website but for now we venture into the…?

                The people behind the label remain in the shadows, curating for the curious, the seekers, the adventurers and the brave. Cod3 QR is about going back to basics. About that feeling of discovering hidden gems and long sought after oddities. Not knowing who made what. If it’s good, it’s good. The music is the message.

                Ricardo Tobar

                Birds (Continuación)

                After a brief wander ‘round the garden, Chilean-born Ricardo Tobar returns to the ESP Institute bearing earthly delights. With 2017’s "Liturgia", he introduced his creative point-of-view, instantly substantiating a sense of rhythm that was deliberately complex yet slightly rough around the edges, while touching upon his musical origins from the guitar-driven corners of psychedelia - however with his debut 2xLP "Continuidad", he leaves us gobsmacked and seeking shelter as he leaps from dancefloor comforts and descends into absolute chaos (in more ways than one). Emotionally, the artist has crossed all previously self-imposed and subconscious thresholds, putting his true imagination on display and exposing an unwavering attraction to all things loud, orgasmic and transcendent. He’s not subtly hinting at a fetish, but opening his arms wide with conviction, abandoning genre taboos and personally inviting everyone to join his enchanted caravan. Sonically, his appetite for intensity is clear throughout - epic chord changes, ascending peaks in arrangement, accumulating layers of grit that build into impenetrable blankets of distortion and feedback - a kind of aural hedonism that translates visually into the potent video abstractions our Mario Hugo has summoned for the album’s packaging. The first single surrounding the "Continuidad" album is "Birds (Continuación)", a glorious extension of the album track that conjures imagery of shaman-led rainforest exploration and illustrates the artist’s affinity for Latin-American percussion. The flipside is an exclusive non-album cut "La Venida Del Mar", a bonafide big room thumper that carries all the rave seasonings we’ve come to crave from Tobar.

                FIT Siegel & Kassem Mosse


                An inspired collaboration from two veteran producers on top of their game - Kassem Mosse and FIT Siegel. Three well-crafted techno and house tracks created from sessions recorded at Omar-S' FXHE Studios and FIT's studio at Submerge in Detroit in 2016, then mixed down by Siegel in 2018 after a few years of playing rough versions in his DJ sets in clubs around the world.

                Resplendent with both producer's uncanny knack at eeking out new sounds and textures from old machines and synthesizers, "Saboten" opens proceedings with a serpentine acid weave; peppered nicely with Roland snares and rising string patches. The epic "West World" carries on like a soundtrack to an interstellar Western with its synthetic harmonicas, heart wrenching chord progression and evocative atmosphere. Finally, "Cycle Blue" plunges into blackened recesses and seems to blend Fit's warehouse-scuffed darkness with Mosse's ear for the otherworldly. An amazing collaboration - do not sleep! 

                In what must be one of the hottest twelves to arrive on FXHE for some time, Omar S drops some anthemic, piano-driven Detroit house business to keep us jiving through the dying days of Winter.

                Lead track, "Light Year Flight" dips its toes into that anthemic machine-driven territory that's fast become Alex Smiths forte. Gritty perc and punchy kicks churn with the hum of the factory whilst Detroit pinball wizard lays down some solid and emotionally charged piano chords. Add space-age swirls, a single, hung string and you've got one of those 4am moments that begs the lighting engineer to fill the club with smoke as you merrily lose your shit, eyes-wide-shut, in the darkest corner of the dancefloor.

                "1992" is even more mechanized, plunged us deep into factory line as ghosted vox drift over the machinery. Omar's uncanny ability to program new and inventive rhythms out of his boxes more apparent than ever.

                "Homey Trinitron" sees us up the tempo into a full throttle stomp, with a twisted take on the faster and more urbanized sub-genres of North American dance music - somewhere between jit, electro and ghettotech; it's delightfully on trend and certain to ignite excitement amongst the nocturnal connoisseurs of the club. Limited copies as per and highly recommended! 

                Hip hop heads, 7" buffs - Check this one!

                Earth shattering early 80's Bronx sounds transmitted back to us as fresh as the day they were terraformed! NYC's Easy Street label is known for its contributions to house music, electronic disco and boogie, but there were a handful of early rap singles on the label too, including this megaton bomb from the freshly monikered Lil' Jazzy Jay & Cool Supreme from '85, all the way live. This record has it all, dubbed out FX, vox, cuts and brain frying vocoders..... not to mention the monolithic drum machines and dope braggadocios rhyming.

                This is the FIRST TIME this mid 80's rap rarity has been made available on a 7". Both the 'club vocal' & 'dub instrumental' are featured here, cut at 33 rpm for maximum sonics. Shout out to Easy Street, %100 legit re-issue, re-master & re-press, essential wax!

                STAFF COMMENTS

                Patrick says: Brimming with wild synthlines, freestyle sequences and ruff drum machines, this ain't just for the B-boys - boogie, electro, streetsoul and cosmic kids enquire within...

                Hmm, what's this then? 'Sliced tomatoes' sounds very familiar.... that's right, it's entirely possible that when your needle hits the groove on this classic 1972 slab of surf-funk you will have a 'oh yeah!' moment. Sampled by one of the UK's biggest DJ's and producers and propelled into the charts this one will have you 'Rockafella skanking' around your frontroom in no time. An essential 45 to have in your stash, an instant party starter for sure. Reissued here in its original form on the Music Merchant label and backed with its original '72 B-side 'You've got the love to make me over' - a lovely piece of danceable and breezy soul of the Northern persuasion. All in all, a dope little reissue for all you 45 fiends out there, remastered from the original sources and fully legit. Essential business.

                Grammy-nominated Hot 8 Brass Band return with “Take Cover”, a fresh slew of cover versions done in their iconic, 'brassed off' style. Turning their attention to classic tracks from Joy Division, Michael Jackson, George Benson and The Jacksons. Fans include Lauryn Hill, Spike Lee, Mos Def, Questlove, Gilles Peterson, Quantic and many more and these guys have become somewhat of a staple for music lovers around the world, spreading their message across festivals, bars, clubs and coffee tables with their multicoloured and vibrant energy. Excellent! 

                STAFF COMMENTS

                Barry says: A veritable horn-ocopia of fun and amusement, tromboning and trumpeting their celebrated modern jazz covers to the world in assured form.

                FORMAT INFORMATION

                Ltd 12" Info: Red vinyl.

                Gratitude's rare Canadian disco 12" is well know to the heads, there is also a VERY rare 7" with a slightly alternate mix that is almost entirely unknown (not even listed on Discogs).

                'We Are Here To Party' is a driving Deepfunk disco banger in the vein of King Tut. On the flip 'Loving You' is a Chic influenced disco production as strong as the A-side, always good when its a solid flip as well. We have taken the 12" Versions and put it on to 45, the forthcoming David Haffner compilation will have the even rarer 7" Version on it. Back into disco turf, loads more on the way.

                Ark X & FFF

                Diamond Life 06

                Is Coco Bryce the saviour of modern jungle? The Dutch-based producer is certainly doing what he can to both keep the scene fresh and exposed in 2019. With a multitude of labels, mixes and tracks to his name he's a one-stop-jungle production line! Fresh with a new artist in-tow, sub-label Pearl hits its sixth release to date and it's a blissed-out liquid rolling affair from Supercharger head honcho Black Orchid who goes in for some seriously deep and authentic sounding breakbeat driven D&B under his Ark X moniker.

                "X2LV" is basically the perfect representation of the
                vibe Diamond Life was set up for in the first place: lush pads, solid beats and a slightly euphoric yet
                melancholic feel throughout.

                On the flip Myor Massiv and Diamond Life stalwart FFF drops one of his prettiest cuts to date.
                "Know How" showcases the breakcore legend's ability to keep things sparse and beautiful, a slow
                burner of epic proportions.

                As one of the UK's most hyped and anticipated new producers, 23 year old Sam Shepherd aka Floating Points has a lot to live up to, but definitely doesn't disappoint on the truly wonderful "Vacuum EP". Main track "Vacuum Boogie" brings the warmth and emotion of 1980s Detroit techno to the table, with the addition of a boogie bassline and soaring synths. "Truly" posits jazz-funk inspiration on beatdown house grooves for more head-nodding 4/4s, and "Argonaute II" brings up the rear with a swinging amongst jazzy "Galaxy II Galaxy" style keyboard work. Having already rocked wonky-hop and UK funky and beatdown soul, the "Vacuum EP" shows Shepherd as a real renaissance man about the house. All three tracks are already getting heavy rotation on the playlists of Benji B, Mary Anne Hobbes and Gilles Peterson. Essential 2009 music!

                Floating Points

                People's Potential / Shark Case

                  Floating Points shows us just why he's so hot right now with this highly anticipated new 12". "People's Potential" carries on where his "Vacuum EP" left off - seering synth lines and wobbly, funky leads all played live via his classically trained ear and his original ARP synth (yes, I have been doing my research!). Jazz-tinged chords and unique, shuffled beats reveal more clues that this is one sophisticated producer even if he is down with the urban kids too.  "Shark Case" on the flip has a lo-fi 4/4 disco break looped up and sampled before a heavy-ass bassline fills the room and keeps the UKF crowd moving and shaking. The whole track is a roaring, low-end monster; gritty beats, grinding bass and a serious amount of low frequency pressure - reach for the sub-woofers! Early players include DJ Spinna, Harmonic 313, Benji B and Gilles Peterson and for the hoardes of new fans eagerly following his movement, this will not disappoint. Another stormer from Sam, the man that can! (that's his real name yer know...)

                  Emotional Rescue returns with the third (and final?) King Sporty & The Ex Tras releases with the first ever-official reissue of cult boogie jam Do You Wanna Dance? Coming as remastered vocal and instrumental, plus again featuring a special Discomix, this time courtesy of acid-disco slayer Felix Dickinson.
                  Appearing shortly after the success of the band's only album, "Extra Funky", "Do You Wanna Dance?" pointed the way forward, moving further from Disco and closer to the rising electro-boogie sounds that were sweeping the dance floors.
                  The confident up / jump electro drum programming, slap bass and trademark Sporty guitar chops are propelled by a monster swamp inducing synth arpeggio that sings the funk electric, while hip-hop-shout-outs ride the rhythm. If the vocals are too much for some, then the original Instrumental (dub) is also included for those just wanting that infectious groove.
                  As many will recall, Do You Wanna Dance? featured on Felix's "Originals" compilation for Claremont 56 back in 2011, so when the King Sporty reissue project was coming together there was only one name to be asked for the Discomix. With a long history of DJing and music production, as well the man behind the Recycled Records, Fools Gold, Urban Myth and Bastedos labels, as well many, many releases on the long running and aptly titled Cynic Recordings, his remix arrives on point.
                  Teasingly drawn out, his mix switches back / forth between versions, the interplay between vocals, guitar, bass and electro-glide synths hypnotically building, with Dickinson's deftly dubbing tripping it out, making the title's question irrelevant, as mind and feet involuntarily move.

                  STAFF COMMENTS

                  Patrick says: I first came across the squelching brilliance of "Do You Wanna Dance?" on Felix Dickinson's Originals comp and I've loved it ever since. This top notch reissue gives us the instrumental and original as well as mega Discomix from Felix who wonks things around wonderfully.

                  Another on point project from Berlin's creative record store hub OYE! Following a sun soaked day on a trip to Tel Aviv, OYE counter culturist Delfonic wandered into an intriguing spot called Kuli Alma. Coincidentally Berlin based Tel Avivian Moscoman was playing at the club that very afternoon. Call it fate, call it afternoon drinking, call it sun stroke - whatever the reason, after a mind-blowing track dropped, he asked Moscoman about its origin, and not so long after, Disco Halal was born. This fresh label dedicated to Middle eastern and Oriental sounds, is gonna hit us with a string of originals and edits from artists such as Acid Arab, Memhet Aslan, Red Axes, Naduve, Autarkic and Moscoman himself, so make room in your collection! Volume 1 features a trio of edits alive with those hypnotic and psychedelic touches which are so central to middle eastern music. Acid Arab kick us off with the blistering electro-tech and 303 sequences of "Le Gaz Qui Fait Rire", a mindbending collision of tradional folk violins and vocals with all out club filth! On the flip Autrakic calms things down a little with the bordeline Balearic dub of "Palgey", a lilting lullaby with a touch of synth strings which could only come from the coast of North Africa. Last but not least, Mehmet Aslan drops "Yasadim", a beefed up house rework of a traditional Turkrock groove which balances a thumping bottom end with the high register strumming of the Baglama Saz. Exotic, inventive and addictive, Disco Halal looks set to make an instant impression on the dance music world.

                  Fresh from 1986 comes THE all time proto-house / Afro crossover classic from Mr Winston Jones. "Ma Foom Bey" is one of THOSE records, totally flawless in production, arrangement and impact, and which causes a total shockwave everytime it's dropped. Forged out of stripped back drum machines, that cavernous, instantly recognizable bassline and those chants, it's been killing sound-systems stone dead since day one. Edited by the legendary Tony Humphries, who has a better grasp on chugging afro house, it has been subsequently caned by three generations of DJs across the world (a massive track at Electric Chair in the early 00s). Every home should have a copy of this, and no collection is complete without it. A record that will never go out of style and will always provoke buckwild reactions on any dancefloor it's dropped on! Shout out to Easy Street, for this 100% legit re-issue, re-master and re-press, essential wax!

                  In the summer of 2017, Kees Berkers (Baby Galaxy, YAYAYA) & Yves Lennertz (Bounty Island) started writing and recording songs in a ballet school in a remote village atthe foot of the Plateau of Doenrade near Alpaca Mountain. Being avid record collectors, with both members having a collection spanning almost every musical era and genre, details from many different genres seep through in their music. Using South East Asian music from the 60 ́s and 70 ́s as a main inspiration, whilst also bringing their individual musical backgrounds and interests to the table, the recording spree resulted in a remarkable set of songs mixing world music, disco, funk and electronic music.

                  STAFF COMMENTS

                  Patrick says: The best Bongo Joe in aaages for me this! On the A-side Yin Yin cook up a slow rolling syrup groove, then get deep into molam organs and thai guitar, coming on strong like a Khuruangbin - Paradise Bangkok collab. They save the real magic / madness for the B-side though, sending us into the stratosphere with the wild "Dis Ko Dis Ko", a street market "I Feel Love" with lunatic guitar licks and echo drenched vocals.

                  Official remastered reissue from the original tapes of The Fresh Band's highly sought-after 1984 classic 'Come Back Lover'. Produced by The Strikers' Darryl Gibbs and mixed to maximum effect by the one and only Tony Humphries, this super cool disco boogie floor-burner made it big in the Underground dance clubs of Chicago & New York, receiving heavy rotation from legendary DJs like Mancuso, Larry Levan and Ron Hardy. This special re-release from Best Italy contains for the first time all the four versions mixed by the legendary Tony Humphries : including the astounding Tony Humphries Vocal, Dub, Remix and the rarest Dub Remix which moves towards a deeper, headier groove, with atmospheric echoing vocals and mind-blowing piano breaks.

                  STAFF COMMENTS

                  Patrick says: Absolutely vital groove music on the boogie / proto house overlap. Mixed by the one and only Tony Humphries, this bad MF throws out dojo moves in the heart of the dancefloor. All four versions should tickle your pickle, but the bass-heavy bump of the "Dub Remix" is on another level of trouser-tenting excellence.

                  Ishmael Ensemble

                  Severn Songs 3: The River Feat. Yazz Ahmed

                  Hot-on-the-heels of their performance on BBC 6 Music, for Gilles Peterson's ‘UK Jazz Special’, at the hallowed Maida Vale studios (alongside Nubya Garcia, Joe Armon-Jones and Fatima), Ishmael Ensemble bring their Bristol-inspired "Severn Songs" project to a triumphant finale. "Severn Songs 3" pays homage the mighty river itself, in both title and mood. Field recordings from the banks of another iconic river - the Ganges - made by keyboardist and co-writer Jake Spurgeon meander in and out of focus, whilst celestial percussion ushers in the full-bodied tone of celebrated jazz trumpeter Yazz Ahmed's horn. The track climaxes in true Ishmaelian fashion with a whirlwind of pulsating synthesizers, crashing drums and hypnotic brass flurries, before easing back into the dulcet rhythm of oars lapping through water.

                  On the flip, a reprise takes the listener on a much gentler ride. However, the tension and dynamics of this twin version are still very much apparent. Throughout the release, an array of new instruments open up in Cunningham's armoury; most notably bass clarinet, alto-flute and the sarod – leaving the listener just a few strings shy of a full orchestral experience.

                  As a whole, the "Severn Songs" project has seen Cunningham develop an already diverse palette into something more focused. Tiptoeing between the current British jazz boom and Bristol's rich musical ancestry, the group have found a truly unique and refreshing voice.

                  "Severn Songs 3" follows media praise, radio airplay and DJ support for the first two 7”s in the series from the likes of Dan Snaith (Caribou), Gilles Peterson, Tom Ravenscroft, DJ Mag, Complex, Self-Titled, The Vinyl Factory and XLR8R.

                  Pete Cunningham: saxophone, synths, keys
                  Jake Spurgeon: modular synth, keys, sarod
                  Yazz Ahmed: flugelhorn
                  Ross Hughes: bass clarinet, alto flute
                  Rory O'Gorman: drums
                  Stephen Mullins: guitar
                  Jackson Lapes: percussion

                  STAFF COMMENTS

                  Emily says: The Ishmael Ensemble craft a hypnotic groove with rich brass motifs, crashing drums and shimmering percussion. While reminiscent of middle eastern tonality and the spiritual jazz tradition, the undulating synth lines bring it firmly into the realms of new UK jazz.

                  On The Corner follow up a well received but truly out there debut record with another maverick release. Khalab's "Black Noise 2084" received bare plaudits last year for its beguiling mix of electronic and tradiitonal elements. Now the label enlist a trio of modern music pilgrims to reinterpret three of the tracks. "Chitita" is handed to Chicago's experimental dance demigod Jamal Moss, who dons his Hieroglyphic Being moniker and churns out a tribal, morse code bleep n bash symphony that's become one of his defining trademarks over a vast career. Hong Kong's Blood, Wine & Honey are new to the field, but display fresh legs and creative input as they remix "Dense" into a futurist-afro jam rich with UKF flavours and a weighty low end. Finally Afrikan Sciences aka New York's Eric Porter Douglas shows just why he's so in demand at the moment thru a tasty take of "Black Noise" which mixes his typically chaotic percussion elements around discord and harmony like no other - the ultimate juxtaposition of electric and humanoid; and a great insight into the mind of this highly experimental producer.

                  STAFF COMMENTS

                  Matt says: On The Corner follow up their impressive debut with another brilliantly oddball curation. Three cutting edge producers drafted in to remix the wonderfully electro-esoterica of Khalab.

                  Shanti Celeste & Hodge

                  Soba Dance

                  Oh yeah, papi, toma temazo! Hodge and Celeste team up to produce what I understand to be and unapologetic banger but let me be clear, fellow reader, it is a banger in my books! To be banger and in my books it has to be solidly off the beaten track and not able to please the masses - just the literati. Are you in? Surely you are. 'Soba' with its galloping rhythm and misty pads encompass my definition of... banger masher. So does the more trippy journey and slightly sombre corners displayed in 'Pips' and the irrevocably great 'Alula' - a true dancefloor destroyer. 
                  This is the record that finds Shanti and Hodge teasing new ideas together whilst retaining dancefloor magic and sensibilities. Did I say 'Oh yeah'? Well... oh yeah to myself then! 
                  If you are short of dough, make this the only 12" you get this week. No regrets. 

                  STAFF COMMENTS

                  Sil says: Dancefloor realness that it has been much needed through all my prelistenings this week. Hence I get extremely excited and I even start to shake my aging hips. But who would not with this 3 scorchers that see Celeste and Hodge kill it with such elegance? Top draw wax.

                  South London virtuoso keys wizard Joe Armon-Jones returns with two freaked out dub versions, re-rubbing two entries from his debut for Brownswood earlier this year. ‘Starting Today Dub’ is stripped back and stretched out to maximum effect. ‘Mollison Dub Vocal Version (Feat. Asheber)’ spaces out the original and adds in extra vocals from West London dub staple Asheber.

                  His debut album, Starting Today, came out in May 2018. Part of the vibrant young jazz scene in London, it brought together a bunch of players under that umbrella. It was praised by Pitchfork, Loud and Quiet and CLASH. In the words of The Wire, it’s "bass-rich music hustle straight out of the London soul-jazz-dance lineage.”

                  Well they got the title right on this one didn't they: "Confuse The Marketplace" brings together the three CD bonus tracks from "45:33", but all have also been previously released on vinyl too - yes, you knew you'd seen them somewhere before. The EP kicks off with the brilliant "Freak Out" (on the flip of Harvey's mix of "All My Friends") - a better tribute to Edwin Starr's "Get Up Whirlpool" you will not find. Here's the difference though, where as the original mix was blended into "Starry Eyes" here you get a little break so the drum solo won't mess up your mix. Over on side-B we have the Onastic Dub of "North American Scum" (previously promo-only) and last up is the absolutely brilliant "Hippie Priest Bum Out" ("North American Scum" B-side cut). Out of press for a decade, but still fresh as it gets. 

                  STAFF COMMENTS

                  Patrick says: Long live LCD. Just days after I had the pleasure of their recent "Electric Lady Sessions", New York's finest repress this classic EP of B-sides and remixes. "Freak Out / Starry Eyes" is as good as anything they've recorded, that Onanistic Dub is a triumph of kraut-laced nu-disco and "Hippie Priest" is full on live-jam Fall tackle. Ace!

                  Three 1982 disco classics from boogie trio Plush (formed under the guidance of Angela Winbush, René Moore and Bobby Watson), get the official, remastered & reissue treatment from the original tapes.

                  Opening up the EP, an Angela & Rene original "Free & Easy" is taken on by the Plush troupe, with the legendary Tee Scott providing a trademark extended mix. It kicks off with cosmic synths that dissipate into heavy funk, electric bass riffs, whilst scorching top lines and choice guitar licks trade off over the top. Scott’s magic is clear to see in the composition of this extended mix. A man who clearly knew how to work a dancefloor, his use of breakdowns especially, extending the anticipation and power the track commands on its dancers. From the bass breaks that weave in modulated synths, to those that utilize the glorious sustained piano chords, cutting to just vocals and percussion before everything is added back in for ultimate dancefloor elation.

                  First up on the B side, "We Got The Love", a more soulful, slowed down tip where staccato guitar plucks and chunky slap bass marries with warm Rhodes chords, and lush vocal harmonies blend with the power of Siedah Garrett commanding the lead vocals. A passion ingrained in their voices that cannot be taught, hanging in the air, as they hang onto their phrases.

                  Lastly, "Livin For Your Love" a boogie-based serenade written by Herman Chainey and Tony L. Phillips, intertwines Phillips’ deep dulcet tones with Plush’s backing. Add in a dose of pure ‘80s bass synth, twanging funk flashes and juicy bass guitar ripples and you’ve got a recipe sure to woo any wandering hearts out there. 

                  Schoolly - D

                  What Does It Mean

                    Ok ok - "B.I.G. is making this cream, bitches always say what the hell does that mean?"
                    No? ok... "Woke up quick, at about noon, just thought that I had to be in Compton soon."
                    Ah shit, it's "6 in the morning police at my door, fresh Adidas squeek across the bathroom floor"...

                    That's not it. Before Biggie, Eazy and Ice T, there was another mother fucker running the game - a true O.G. and undisputed badman who started all this gangsta shit. His name was Schoolly-D and this record started it all. Take a militant and minimal 808 beat, a titular nod to notorious gang the Park Side Killers and a groundbreaking rap style and you've got a hit son. Cited as a major influence by everyone who matters, this track changed the game back in 85, paving the way for Public Enemy, KRS One and NWA. Classic!

                    STAFF COMMENTS

                    Patrick says: You might not realise it, but Schoolly-D invented gangsta rap right here. Ripped by Ice T, Easy E and B.I.G. amongst others, "What Does It Mean" is the blueprint for the whole movement. Time to get educated.


                    Techfunkers The Album: Techfunk Is Where It's At (Vol 1)

                    Sex Mania return with another killer, under-the-radar reissue. These guys are smashing it at the moment!

                    DJ Duke aka Techfunkers' "Techfunkers The Album: Techfunk Is Where It's At" was originally released 1995 in three volumes and sounded reassuringly ahead of its time; melding techno, electro and a Chicago mindset. The first volume is repressed here with three breath taking tracks, stylishly constructed and effortlessly cool; it's makes just the kind of statement and impact you require when taking over the 1s and 2s...Inabit everyone else! Hard to pick a favourite, "Looking 4 Da Perfect Beat" are tougher jackers, but I can't resist the sensual bass glide of "Techfunk Revenge". Fabulous!

                    STAFF COMMENTS

                    Matt says: Another one from 1995 that's escaped my radar up until now. Not sure if I'm a) genuinly devo'd at myself for not doing enough homework or b) mega buzzed that I get a chance to play it out now. Oh the quandary!

                    Lenny Williams

                    Changes - Joaquin Joe Claussell Edits

                      Joe Claussell is at it again, always searching for that groove and that re-edit that has yet not been discovered. Always going for under the radar stuff that deserves to be amplified and retouched. 

                      On A side you get the original with plenty of soulful disco to fill that big room in that mega cool club in your home town, five minutes of blissful craftmanship that Joaquin is gonna extend to a whopping 9 minutes affair on the B Side. Here the focus is on the break for me. A groovy, hypnotic and very organic attack on the original take. If edits are your thing, you know that there are good ones and bad ones. This one is in the former camp and not just because it is a Claussell one but because it inmensely improves the original track. 

                      The price tag is dear but this track is worth every penny and it will become a rarity in its own right. Bravo, mr Claussell once again!

                      STAFF COMMENTS

                      Sil says: So far, Claussell has not failed. There is not an edit that he has not mastered and nailed. This one here is no exception. Let it go at your own peril!

                      Melodies International brings forward its latest disco 12” reissue single and another You’re a Melody peak time classic: Shahid Wheeler – Just One Dance Before You Go. The song was written and recorded by producer James Hartnett – having studied music theory and composition back in high school and recognised back then for producing a charted northern soul spin in the UK titled “Hipit” in 1976 with his studio band “Hosanna”, it’s in 1978 that Hartnett produced and self released the scarcer and more compelling “Just One Dance Before You Go” which he refers to as his masterpiece. With a fairly stripped back line up for a disco tune including a rhythm section, hammond organ, horns and vocals, Hartnett manages to do so much through seemingly simple but clever arrangements and thumping, contagious energy. Hartnett had also invited friend and singer Leroy Shahid Wheeler to perform lead vocals, who’s signature high pitched falsetto lifts the whole operation above ground – a true feel good party anthem! 

                      Two sizzling South African boogie tracks from Kabasa’s Tata Sibeko. A killer producer, arranger and bass wizard, Tata channeled the gloomy current affairs landscape of 1985 into a glimmering Afro-synth nugget. As SA pop embraced 1980s synth sounds, Maxi Singles on 12-inch vinyl became a new canvas of expression with wider grooves for fat beats and extended mixes that suited dancefloors.
                      The supergroups of the 1970s fragmented into solo recording artists with the likes of Harari’s Sipho ‘Hotstix’ Mabuse releasing his seminal “Burnout” single in 1984. Former Kabasa frontman Tata Sibeko dropped “It’s A Mess” in 1985, addressing the world’s Cold War climate with an appeal to “learn to love each other” and “save ourselves from catastrophe.” The B-side “Afro Breakdance” marked the evolution of Tata’s Afro-global sensibilities from “Afro Funkin’” that had appeared five years earlier on Kabasa’s self-titled debut in 1980. Tata Sibeko (RIP) passed away in 2017 after approving the restoration and reissue of this single. This release is dedicated to his kindness, charm and creative zeal.

                      STAFF COMMENTS

                      Patrick says: Was there a more OTT decade than the 80s? I think not. This 1985 mover sees former Kabasa frontman prove dry ice drama made it as far as South Africa with a sizzling synth funker about the cold war. Swtich it up on the flip for an e-e-e-lectro flyer called "Afro Breakdance".


                      I Was In New York / A Prayer For Maya Angelou

                      Payfone bring a double header of NYC styled heat for the inaugural release on their newly launched Otis Records. Marrying modern boogie and classic R&B, with cosmic leanings and Balearic touches, Payfone manage to keep all the essence of the early days whilst bringing a contemporary swagger to the floor.

                      Each element in "I Was In New York" gets the space it deserves. Palm muted guitars and sashaying synth echoes flutter over the top of a strutting slap bass courtesy of Giulio Granchelli. A simplicity that sings - simultaneously giving your mind the space it needs to drift off into a daydream of sunsets over cityscapes. Introspective, meditative and innocent, Dayna Talley’s spoken word vocals lull listeners into memories of tranquil times. Set to be one of 2019’s standout songs, its refreshingly original and sure to cut through the noise.

                      The B side, "A Prayer For Maya Angelou" takes a Balearic boat out across calming seas. Gravitating around a metallic, pulsating synth, modulated to bounce at points and brood at others, mystic flurries drift in the distance, as pads wash across the horizon. Len Xiang’s melancholic tale reverberates throughout, with those sweet sax sounds from Billy Brooks Paul and a spring reverbed guitar riffing off into the ocean - elevating this into pure paradise.

                      Mahbunzi Nahgo Pihndi

                      D Ebando

                      Following a run of sought-after releases on cassette from artists including Anthony Naples, Xvarr and E Ruscha V, Good Morning Tapes switch to vinyl for their latest offering by Mahbunzi Nahgo Pihndi ("All the Healing Green Leaves of the Forest”) aka Brian Close, one half of New York avant-garde duo Georgia:

                      “This record is an extension of a foray into trance ritual music. It is structured as a companion for film, meditation, vision seeking & sound rest. It is by nature a nature worship record, combining acoustic percussive improvisation, sensory foley, vocalized staccatos, and a specific brew of physical / metaphysical sound relations... mind hush / thought flush / spirit rush / sun rise. Inspired by an initiation ceremony of the Bwiti / Fang people of Gabon. This collection relays a fragmented branch of timings of this ceremony and proposes other paths for the sacred (Mougongo) instrument.
                      Recoded + Restructured + Reflected as a time capsule, with fullest respect / blessings to breeze the Bwiti understandings through the current climate." 

                      STAFF COMMENTS

                      Matt says: Perilously dark neo-shamanism here that kicks off a new spellbook of sonics. Quite terrifying in parts - I advise caution when consulting with The Other whilst on entheogens.

                      Ahead of the imminent second instalment of the Soul Sega Sa! compilation, Bongo Joe hits us with a sweet 7" boasting two of the greatest moments in Mauritian music.
                      Unique character and overexcited singer Roland Fatime (also known as Ti L’Afrique) began his career on the Mauritian scene in the early 70’s, along with the group Features of Life, with Eric Nelson’s saturated electric guitar and Raoul Lacariate’s untamed rhythms; Fatime sparked a new raw, funky and explosive Séga style.
                      His superb Séga-Blues lo-fi tune “Bal Souki Souki" is reissued on this very 7” along with another nugget buried on the island: “Soul Reggae Prisonnier” by Ramone, Ti l’Afrique’s ex-rival! In the same blues and soul vein, this Séga immerses us in a dramatic story of judicial error and prison environment, which are unfortunately all too familiar with some mauritian musicians!

                      One of the most beautiful soul records Melodies International have reissued as of yet: Jack Jacobs – I Believe It’s Alright. Jack Jacobs grew up in Philadelphia and started out his singing career with an acapella doo-wop singing group before becoming lead singer in some Philly R&B bands. After a while he decided to take up the keyboard so he got a full-sized Hammond B-3 organ, which he used to lug back and forth to gigs from his 3rd floor apartment. Jack is remembered by friends and family as an incredibly talented musician and one of the most soulful vocalists they’ve ever known. Childhood friend and jazz guitar legend Pat Martino recalls: “I’ve had a chance to work with some seriously heavy-duty singers, such as Ray Charles. He (i.e. Jack) was so spontaneously prolific; he was a poet. I can play some things for you right now and you would be shocked to find out he had no idea what he was about to sing. The lyrics were absolutely phenomenal, and they were extremely spiritual in context in terms of the message he was talking about. They were Biblical lyrics; absolutely overwhelming – just incredible”. After Jack moved to Atlantic City in the 1970s, he wrote and recorded “I Believe It’s Alright”, initially released on Libra, a small local New Jersey music label. The record barely got any exposure at the time despite how good it was. It channels honest, raw soul energy in its purest form - a truly uplifting song! Fully licensed and remastered, MEL014 is presented in its original promo 7” vinyl format with the extended version on the flip, accompanied by the latest issue of the Melodies Melozine!

                      These lush Liverpudlian Belters have been supported by Gerd Jason, Michael Mayer and the Innervisions lot thus far; and with good reason! The impeccable label deliver a quadruplet of melodic technoid musica from Jemmy, whose previously released via Mule Musiq.

                      "A Cherry Valley" starts the adventure with a truly elasticated low-mid section, pulls and contorted a bendy synth array around rising strings and plinky-plonk tek beats; landing somewhere between Innervisions, Four Tet and Auntie Flo. "3 Stars" deploys an intriguing sound palette, mystic in colour and mood and coerces it into some kind of triplet-based exotic house romp. "Perfect Rose" opens side B with more thrusting bass pressure achieved again through some seriously rubbery low end - loud n wobbly just the way we like it! "Angel" closes off the EP with a beatless excursion; drifting into a thick swamp of plucked strings, keys, pads, celestial sounds and morphing filters.

                      STAFF COMMENTS

                      Sil says: Suave techno a a la Innervisions drenched in musicality and lollipop flavours. Not bad at all. Is it a belter? You are to decide! Worth a listen though!

                      Yo yo yo. Sucker Mc's was the B side to the first ever Run DMC single, 'It's Like That' released on Profile records in ninety eighty muthf***** three.
                      Ignoring their disco sampling, fancy dress wearing predecessors, Run DMC, looked and sounded exactly like their audience, dressing 'down' in Adidas tracksuits and keeping their sparse beats pared back to their brutal essentials.
                      You could say that in this respect they had more in common with the British punk scene of 1976 in that they made normal people think, hey! I could do that and boy did they...

                      STAFF COMMENTS

                      David says: What is there left to say about this epic jam that hasn't been said better by better people than me? Hip Hop doesn't come any better than this, people...

                      FORMAT INFORMATION

                      7" Info: Limited to 300 copies.

                      House music eh? Bloody Hell. You think you've heard it all before and then along comes 1-800 Girls. With a tweak of a 303 there and an 808 hi hat there all of a sudden it's the second summer of love, the sun's breaking over the horizon and, you just can't help it, your arms just have to be in the air.
                      This 3 track twelve is so uplifting it has euphoria actually pressed into it's grooves.
                      Whether it be the tropical 303's on 'Suncream', the warehouse peakin' of 'All Day All Night' or, the MDMA soaked 'U,Me and Madonna' (TM the best house record you'll hear in 2019) this is a record I'll come back to again and again and I never thought I'd be saying that about house music in 2019.

                      STAFF COMMENTS

                      David says: Time travel is real and happening right now.It's 1988 here in Piccadilly, someone call Stephen Hawking...

                      Craven Faults

                      Springhead Works

                      Springhead Works is the second release by Craven Faults.

                      The journey picks up where Netherfield Works left off. We’re still in no rush to reach our destination. If anything, we’re travelling more slowly than before. For this late night drive through the Yorkshire moors, the Farfisa drone is a constant companion over another two long form pieces. The mist never clears to reveal the scale of the scenery. There are brief glimpses. Patience is rewarded.

                      Where have we been since the last time? The UFO Club, 1966. Runcorn via Stockholm a few years later. Progress. But at what cost? The Scottish Borders have been mentioned. The landscape is reminiscent of home. Rolling hills. Long hot summers. The smell of dusty 1/4” tape. Fairfield Halls, 1970. It’s all a little hazy. Ask a question, but don’t be surprised to get a question back in reply.

                      When was the last time you listened without distraction? Do you remember how it feels to lose yourself completely? Each tiny variation becomes seismic. A lost cause? Perhaps.

                      Progress. But at what cost?

                      Support from Kieran Hebden, Demdike Stare, Dan Snaith, Graham Massey, James Holden, Gold Panda, Bill Kouligas, Luke Abbott, Not Waving, Resident Advisor, NTS and Beats In Space.

                      STAFF COMMENTS

                      Barry says: Two glistening longform drone pieces here from the shadowy Craven Faults. Swirling pulses and slowly screaming resonance work their way around a churning, pulse-width modulated landscape. Beautifully hypnotic and completely brilliant.

                      La Compagnie Creole

                      A.I.E - Larry Levan Remixes

                      Another week, another Parisian party crew making the jump from DJ to label, bringing the sophistication and Gallic flair of their hometown to decks all over the globe. This week, it's the turn of Pardonnez-Nous, who open their account in reissue mode, unearthing a hidden track by one of the most famous band from the French Islands. La Compagnie Créole. Born in 1975, this mythical band have spread their message from the Antilles throughout the entire Francophone world with over twenty albums to their name. Tucked away amongst all those classics is a cover of Afro-disco smasher "A.I.E (Mwana)" by Black Blood, in its original form an emotive dancefloor groove much loved by the Balearic deejays, disco heads and the digging scene. This cover retained the energy and emotion of the original, but injected its own Creole flavour to send the dancefloor in a different direction. Fast forward a couple of years and in 1988, a NY DJ, known by the name of Larry Levan, produced a remix of this track for the soundtrack of the film Sweet Lies. Driven by pinging proto house seqeuncers and snapping drum machines, the coastal guitar licks, heartfelt synth riffs and descending chord progression take on even more Balearic appeal in the hands of the great Larry Levan, blowing all the other versions out the water. Unstoppable Balearic dancer folks!

                      STAFF COMMENTS

                      Patrick says: This is the tits! I'll admit that I'd overlooked La Compagnie Creole's version of this track for years (I'm all about Black Blood's original), but this Larry Levan remix is FIRE! Powerhouse sequencers, Spanish guitar, bittersweet chords and big vocals - what else could you ask for in a Balearic dancer?

                      Willie Graff & Darren Eboli

                      The Tribeca Tapes - Part Two

                      Following on from 2018’s “Tribeca Tapes Part One” release, Willie Graf & his musical partner Darren Eboli deliver another fantastic 4 tracker on Copenhagen’s Music For Dreams Label.

                      Willie Graff splits his year between DJ residencies in New York and Ibiza (Pacha). In this second outing with studio partner Darren Eboli, the influence is a merger of African rhythms & NY house styles, with a shot of Mediteranean sunshine thrown in for good measure. 

                      “All Is Bliss” opens up the record, a fun loving but nonetheless emotional waltzer of coastal influences skillfully morphed into a feel good house roller perfect for the daytime. 

                      “Ahimsa” follows suit with poised, elastic bass notes keeping us suspended across its tight breakbeat and vintage cosmic sample for an interstellar house trip of epic proportions. 

                      Side B's “La Sirena” finds Willie in relaxed, mid-tempo mood. An Adriatic flavoured, mid tempo chugger that, with those subtle marimba melodies and coastal washed vox, is more that suited for extended beach party play. 

                       If you are a Cafe Del Mar connoisseur and longing for that sunset moment “Bellatrix” does the trick featuring bits of Spanish guitar, flute, oboe and floating warm pads creating a dreamy Balearic mood that shows off Graff & Eboli's rich musical prowess and ends the EP on a blissfully dreamy note. 

                      In every collection there's some space left for a classic, no matter if you've already had it for years or it's just released in a different format. True? With #11 of the Soopastole edits series comes the 1986 Run-DMC classic "Peter Piper" in 4 different mixes. The "Raw Remix" cuts the track back a little for extra Nautilus action then snaps your neck with the B-boy breaks of the "Beatapella". Over on the flip the "Breaks Mix" serves up Run and DMC's unique bars over a full fat funk beat while a scratch friendly acappella brings the curtain down.

                      STAFF COMMENTS

                      Patrick says: For their 11th edition Soopastole bring us four twists on an all time classic, Run DMC’s schoolyard smash “Peter Piper”. Aint’ no school like the old school folks.

                      New York Underground

                      New York Underground #7

                      Those naughty buggers down at NYU usher through and flurry of illicit edits and cuts from the annals of dance music's underbelly.

                      "Track 1" is a groovy proto-house / boogie jam that's got Tony Humphries and Ron Hardy written all over it. Fizzy synths, solid drums, wigged out leads... all that's escaping me is the original artist and title! "Track 2" goes back further to a late 70s disco-rock / soul cut with searing guitar lines and ace vocals. This one's so pleasurable I can't believe I've never heard it out! Finally, NYU make it a white wash on their behalf,, bowling me out with THREE UNKNOWNS this week (the first time this has happened I might add...) as "Track 3" concludes with an Loft-friendly, orchestral disco number somewhere between Billy Frazer and Salsoul Orchestral. Gotta grab these while they're hot as once they're gone they are gone! 

                      STAFF COMMENTS

                      Matt says: Love em or hate em, these bootleg joints keep rollin' thru under cover of darkness. I like the idea of arming the peasantry, so they get my vote!

                      Shaluza Max / Tabu Ley Rochereau

                      Manganese / Hafi Deo

                        Soundway Records present a special summer tribute double A-side 12" with two tracks from African musicians that both passed away within a couple of months of each other at the end of 2013 / start of 2014. Both tracks are perfect summer tropical DJ box essentials for the dancefloor.

                        On the first side South African singer Shaluza Max's massive Mashkandi / house anthem from 2002 gets a first release on vinyl. This track was a huge hit in South Africa and around the world on its release. With a soaring Zulu vocal and big sound it's a fitting reminder of a very talented musician who worked as a very well respected producer, composer and arranger. He died tragically young at the age of 47 in January of 2014.

                        On the flip we drop a fairly unknown track from the mid 1980s from one of the biggest names in African music, Tabu Ley Rochereau. A kind of almost Balearic proto-house congolese pop cut with drum machines and trademark sweet Congo horn section, 'Hafi Deo' is a beautiful track that fell into obscurity outside the Congo by perhaps being too smooth for the 'world music' crowd in the mid 80s. Tabu Ley passed away in November 2013 in his late 70s with over 250 albums and 3000 songs to his name. A true pioneer of the Congolese soukous sound, he was also one of the most influential African musicians of his generation.

                        Grammy award winner Louie Vega set the worldwide music and club community on fire in 2018 with his renowned "NYC Disco" album. Representing Louie’s personal homage to the disco genre that has played such an important role in the evolution of music. In furthering his goal of making this album available and accessible to DJ’s and fans of all formats and configurations, he has now made 7” edits of select tracks from the album, released as a triple 7” collection with a custom jacket on Nervous Records.

                        'It was important for me to release vinyl on the NYC disco project for all our vinyl family worldwide. And now doing the 45 / 7” project even takes it a step further giving you eclecticism in our musical landscape. Enjoy the musical flavor of the NYC Disco, Nervous, Sam Records & Vega Family sounds!' – Louie Vega

                        STAFF COMMENTS

                        Matt says: Funky fresh disco flavours from Vega that takes me back to those heady 'NYC Roof Party' themed nights at Sankeys circa 2002. Ie. DEAD GOOD.

                        Star Creature look to our fertile soils for their newest release. Situation are a collective of DJs, producers, editors and musicians, based in Five Valleys, UK. Andrew Espeut is a vocalist and songwriter. Born in London Andre has been involved with many labels since the early 2000's, within the soul / funk / boogie / disco and house scene.

                        "Never Thought I'd Get Ya" comes with four (count em!) remixes. From the galvanized electro-boogie of the OG, Dom Thompson keeps the fire alive with his more soul-flecked version. Afro Acid drop a steady 4/4 over the stems, bring out some warm piano chords, playful perc and a rounded B-line to create a simmering mid-tempo number that should find favour right across the board. The lights gets further blurred by Frank Situation who drops a nocturnal house refix that glows by a midnight candlelight. All in a all a solid addition to the Star Creature twelve inch collection. Top stuff. 

                        STAFF COMMENTS

                        Matt says: You know the script by now right? Star Creature bring you the tightest n freshest modern soul flavours loud and direct from Brooklyn. The first excursion onto home soils sees UK outfit Situation joined by esteemed LDN vocalist Andre Espeut and is so good it's garnered the most remixes per record to date! Booom!

                        Mogwaa Ft. Andrew Gibson

                        I'm Just Sayin / Angelica

                        Mogwaa is a musician from Seoul, South Korea. His second release for Star Creature, "I'm Sure Sayin" perfectly hits that late night smooth soul slot; decorating beautifully with gilded keys and bright, burning synth lines. Mogwaa's vocal delivery is assured; both sultry and masculine at the same time - the very epitome of boogie. "Angelica" is a pure lovers, bedroom romp. Much slower than its predecessor, it utilizes big gated synth bass, picked guitar lines and a sludgy, sub-110BPM beat. As usual, limited copies, move quick!

                        STAFF COMMENTS

                        Matt says: Always landing in pairs, triplets or quadruplets, one of three tasty Star Creature releases to kick start your February dance movements.

                        Love Cryme

                        Give It 2 Me / She's So Freaky

                        Herrrre's Star Creature, the world leading authority on all things modern funk & bedroom boogie related. The Brooklyn label, ran by Tim Zawada and 'fellow boogie munster', Ben Van Dyk continues to be the one stop shop for lovers of the scene.

                        Ben Johnson and Tim Tucker make up Love Cryme, who here drop a double-A side of funked up, hardware pleasure - beautifully decorated with vocals by the two producers in a true DIY fashion.

                        While "Give 2 Me" boasts sludgy drums and thick squelchy bass, "She's So Freaky" injects some pace through its big square wave synths and vintage Jomox hand claps. Both come correct with subtle guitar and keyboard flurries and niggles, working in unison with the vocals in an authentic, call-response style. Top stuff as Star Creature add more weight to their roster - what else did you expect?!

                        STAFF COMMENTS

                        Matt says: Star Creature rock. You know this. The third release this week adds a new signing to their impressive roster. Need a double-A side of bedroom boogie badness? Check.

                        Italian multi-instrumentalist, DJ and producer Giovanni Damico should be a familiar face to the Lumberjacks faithful, gracing the imprint a number of times over the years with his dusty house and disco flips. Now he's back on the black stuff with a mindblowing homage to Italy's Disco Sound of the 80's. Taking his lead from the recent Naples scene, Damico refines his love for synths and cheesy vocals and charters new territory with this wonderful 4 Track EP. Club med boogie, Pino D'Angio style vocals, laser fire and squelching bass run riot on this one - winning over even the toughest skeptics (Dave) with ease.

                        Frank Booker

                        Frank Booker Edits Pt. 2

                        Another Frank Booker set of edits. At Piccadilly Records we regard him as a 'very good' editor. Not 'mint' but 'very good'. So attention is given to anything that lands at the counter with his name on it. 

                        Straight off the bat ‘Be Yourself’ takes you on a sensuous journey around the disco cosmos. Interplanetary echoes, stratospheric strings and a bass and brass beamed down directly from the outer galaxy are brought together with those heavenly vocals alluring any lost souls. What is not to like?

                        ‘More’ follows up – a hair raising, funk fuelled edit combining luscious vocals, a badass bassline and the kind of guitar riffs that will leave you straight up salivating for more. This is peak time, delectable disco with an added umph and rhythms that are kind to the discerning DJs out there.

                        Closing out the EP things get slowed down to galactic chugger territory, marshalling the funky starship to the underground with the pied piper of supercharged jazz flutes leading the dance. Totally bonkers? No. Just genius.

                        He may be reaching the 'mint' status fairly soon at this rate!

                        STAFF COMMENTS

                        Sil says: Top notch high quality and high octane edits from a man who knows what is doing. Buy on sight!

                        San Francisco's 40 Thieves introduce the second instalment on this Classic series and is all about their fantastic cover version of one of our alltime disco favourites, 'Don't Turn It Off' by Hot Chocolate, with the amazing Qzen on the mic. And for the first time all remixes and versions are finally on one vinyl - the Greg Wilson Dub Edit is exclusive to this release.
                        But for me, fellas, it is all about the monster remix on B side by maestro Brennan Green. A cosy, woozy and playful acid line underpins the beautiful vocals and the whole track for that matter. converting this disco not disco, almost poppy affair into a timeless weapon for the discerning disc-jockey / selector. Infectious and driving. Perfect dancefloor dynamite. Second chance to get this cool classic. 

                        STAFF COMMENTS

                        Sil says: The term classic is appropriate for this timeless version of the Hot Chocolate hit by San Franciscan collective 40 Thieves (I think they are down to two members now). For me as I wrote above, it is all about the Brennan Green mix. Just gorgeous, like the original.

                        Fine Jewelers is the duo of Dan Helmer (solo Helmer releases on Valcrond Video and Anomia) and Matt Korvette (vocalist of Pissed Jeans). Working at dangerously high BPMs, Fine Jewelers create neurotic industrial rave music and inhospitable gabber. This four-track debut is a techno headbanger's paradise, primed for subterranean club performance, dungeon Crossfit and outdoor bonfire parties with kids on dirtbikes. If that doesn't get you fired up, just braindance through the midnight d-beat and try again. Always wear head gear!

                        STAFF COMMENTS

                        Matt says: This'll put hairs on your chest! Never has the impending human apocolypse sounded so real! So worryingly on trend with the current world mood it's quite terrifying.

                        After three great LPs in 2018, Amsterdam's Super-Sonic Jazz label now introduces Niels Broos & Jamie Peet. With free improvisation as key element the talented Dutch duo takes you on a colorful and adventurous ride through landscapes of hiphop, electronica and jazz.
                        Rising stars within the free-form hip-hop, electronica, and jazz circuits. Respective Dutch talents Niels Broos and Jamie Peet have teamed up for their debut collective EP on Super-Sonic Jazz Records. Niels Broos, having come to attention through his music with Brainfeeders Jameszoo and The Kyteman Orchestra, creates a tapestry of hypnotic melodies and frantic harmonies atop the dexterous, and tight drum rolls of drummer Jamie Peet. The collaborative alliance creates an EP that sits within the young contemporary jazz scene, while it’s seeking for peculiar and adventurous sounds.
                        The self titled debut from the Dutch pair is full of free-improvisation, sterling electric sounds, trademark Rhodes warmth, electronica and jazz. From across Europe, artists are helping redefine our understanding of what jazz is, with Niels Broos & Jamie Peet falling directly into that vision. Niels Broos and Jamie Peet create that balance between classic sensibilities with a contemporary sound very much influenced by East Coast electronica exemplified by Broos’ work with Daedelus and Alpha Pup’s Daddy Kev. Jamie Peet, who more recently has collaborated with Cuban pianist Ramón Valle Trio and Cinematic Orchestra collaborator Dominic J Marshall, lays down a sequence of stirring highs, broken beat rhythms and a wide palette of rolling kicks. The EP creates a sound that stretches from the Brainfeeder-like of trippy melodies of ’Saitama’, through to the gritty minimalist overtures of 'Conundrum', to 'Heist', an electronic mesh of electronic and percussive explorations.
                        The Niels Broos & Jamie Peet EP is the first body of original pieces to be released on Super-Sonic Jazz, following recent reissues of records by Hal Singer & Jef Gilson, Beverly Glenn-Copeland and a tribute LP by Palm Unit. Super-Sonic Jazz Records is runned by Dutch DJ KC The Funkaholic (a.k.a. Kees Heus) and brothers Tenzers (a.k.a. Vincent & Siemen Tenzer). Besides the label, Super-Sonic Jazz hosts a successful six day festival, monthly concerts and club nights at Paradiso Amsterdam, where the three are responsible for bringing in exciting names in the global music scenes. Heus was also responsible for the running the Dutch imprint Kindred Spirits, that released records by international heavyweights, while championing local pioneers simultaneously.

                        STAFF COMMENTS

                        Millie says: Improvised electronic jazz in full swing from Niels Broos & Jamie Peet, joining in the jazz revolution they have stamped it with their own unique sound. Hypnotic and original, give this one a listen!

                        Matt Whitehead & No Data Available Present Manor House Boys

                        Temple Of Set EP

                        Matt Whitehead back on Super Rhythm Trax and for this outing, he’s joined by No Data Available (fresh from a recent outing on Null & Void) and together they’ve come up with something super special. "Sahara" and "Temple Of Set" conjure strong images that match their respective titles with the mood alternating between majestic and mystical. Both modern acid masterpieces.

                        These two tracks are sandwiched by the hypnotic and acidic tendencies of "Full Resonance" and "Panic In Flat 13". You may be surprised to know that this is not the first time the two have collaborated on Super Rhythm Trax, and eagle eared listeners will be able to spot their previous collaboration. Limited to 350 copies and certain to be one of the more collectable moments on this cult label. Check!

                        STAFF COMMENTS

                        Matt says: Flamboyant, but ruff-as-a-bear's-arse acid attacks from the bunker that is Super Rhythm Trax. Manor House Boys manning the big guns...Take cover!

                        Pinchy Don, the disc-jockeying purveyor of all things off-kilter, esoteric, eccentric, and left-field has been wobbling around the world with his singular sensibilities and releasing DJ’s-DJ mixes for years, and now he’s finally channeling the accumulated energy and color into a series of vinyl-only releases under the aptly named P&F Recordings.
                        There couldn’t be a more perfect, fitting starting point for the endeavor than Aamaringo (a mysterious alias of synth extraordinaire John Caroll Kirby) which is an homage to the deceased Peruvan Ayahuaska painter Pablo Amaringo, whose art is featured on the cover.
                        Just like Kirby himself, a purveyor of left field exotica (who’s list of collaborators includes Sebastian Tellier, Solange, and Blood Orange – to name just a few), the release is simply too slippery and menacing to fit into any one genre bucket - as it rubberbands between blocky, percussive tribal stompers and lazy new age synth jams.
                        The opening tune, “Manto de Fuego (Clock of Fire),” is a heavy, plodding, party-starter that, accompanied by smatterings of reverberant, brassy horns, marches along on the one. Following it is a jazzier number, “Supai Rana (Spirit Frog),” all aqueous, rich bass figurations contrasted with bright, spongy synth cascades.
                        The flip is a more drawn-out affair, with “Yacurunas (Water People)” stretching past a ten-minute runtime and being a study in hypnosis through earthy hand-drum loops, marimba and pan flute flourishes. It starts bright but turns on its head as it morphs into another meditative dance floor stomper.
                        We finish the ride and tumble back into the station with “Angleles Avatares (Angel Avatars),” a tranquil, slo-mo twist on lo-fi tropicalia.

                        STAFF COMMENTS

                        Patrick says: Dublab favourite Pinchy Don turns his Pinchy & Friends platform from mixtape to 12" with a freaky four tracker of shamanic shenanigans for slow motion dancers all over the globe. Squashy, skew-whiff and littered with lysergic frequencies - this is getting mad love from the Talking Drums camp.

                        FORMAT INFORMATION

                        12" Info: 12 Inch Full Sleeve shrink wrapped with an obi strip.


                        Satan In Love

                        DJ Ionik's Traveller imprint start a new series for the new year, reissuing a series of overlooked gems from his native Finland on the small 7" format. The inaugural release is a much needed reissue of Emilia's "Satan In Love", a red hot bit of weirdo disco / sexy synth funk much beloved by Balearic DJs like Leo Mas. Soaring through the stars on a bed of spacey synth pads, squelchy bass notes and propulsive sequences, this campy cosmic bomb takes us along for the ride via breathy vocals and a big Bee Gees style chorus. On the flip "Filmi" serves the same synth funk ingredients (albeit with way more coked up guitar riffs) in a different dish, maybe more in keeping with the international cabal of AOR disco, but still with more than its fair share of stardust.

                        STAFF COMMENTS

                        Patrick says: DJ Ionik unveils the reissue arm of his Traveller empire here with Emilia's excellent, extravagant and totally coke-y synth funk. Take the Bee Gees slow disco formula, add loads of fat synth tones and twisted guitar licks and then sizzle in a vocal jus until the fumes knock you dizzy. Ace!

                        Nourdine Staïfi

                        Aye Leli Lelou

                        Born the 26th of October 1956 in Aïn Azel near the Algerian city of Sétif, Nourdine Staïfi, real name Larbi Smati, was very young when he emigrated to the French Chambéry region.
                        After having recorded 'Sraoui' style songs, his real devotion as a singer took place in 1978 when publishing the song 'El Ghorba S'hiba', a disco version of a traditional East-Algerian piece. This song would revolutionize the modern Algerian music, and made Nordine one of its most important protagonists of the 1980s. For nearly ten years he dedicated himself to the modernization of his music, traversed by the themes of exile, love and the nostalgia of his country.
                        Nourdine Staïfi died prematurely on December 17th 1989 in France, at the age of 33.
                        A-side mover "Aye Leli Lelou" soars out the speakers to a sizzling disco 4/4, bounding through hypnotic bass, twisted synth riffs and vocoded motifs all topped with the super saturated, Bollywood-by-Biskra lead vocals. Over on the flip, "Goutili Bye Bye" is a slower and smoother affair, which injects a heroic dose of sunkissed funk into an easy rolling ballad. Think Bee Gees eating bhajis or Boz cooking up Scag...

                        STAFF COMMENTS

                        Patrick says: If you've spent the last decade rinsing Ahmed Fakroun's "Soleil Soleil" or "Mots D'Amour", you're gonna buzz off this one. Algerian gee Nourdine Staïfi updated the traditional Sraoui style with disco grooves, snapping drum machines and out there electronics to create some revolutionary floor fuel throughout the 80s. This Talking Drums approved 12" from Versatile brings us two of the best, complete with tape saturation and spangled sound design.

                        Panoptique / United Assholes

                        Objectif Jeune / Là, Les Chachats, Là, Les Chienchiens

                        Panoptique is probably one the most prolific guys from the electronic punk scene in France. A member of various collectives: Simple Music Experience,  Violent Quand On Aime, Les Simplists, Succhiamo and here, with United Assholes, his old roomates Maxime and Yasade.

                        These two songs were originally released on casette via Lost Dogs in 2017. "Objectif Jeune" is a dark, sultry, minimal wave ballad with echo-drenched perc hits, deadpan vocal and eerie organs, not to mention a killer, flanged B-line executed in the most gothy of styles. 

                        "Là, Les Chachats, Là, Les Chienchiens" is a more wigged out, spring-reverberated exercise in home grown electornics and circuit fried funk, a snap-back vocal echoing incomprehensibly against the metallic framework. Mega this RIYL: Outer Reaches, Dark Entries, Stroom etc. Well good artwork on this baby too, don't sleep! 

                        STAFF COMMENTS

                        Matt says: Has the whole world caught up with the madness inside mys head or have I just lost my edge? I'm opting for the former as yet another release adopts the lysergic, spring reverb-heavy aesthetic and able destroys any frilly, hippy chakras along the way. Long live the dark side!

                        Left Ear continue their cross-continental excavations. This time with two stripped back mid-tempo dancefloor winners from 1980’s South African studio artist Lungile Masitha (AKA Sello ‘Chicco’ Twala).

                        Lungile Masitha was the short-lived studio name for renowned SA artist Sello ‘Chicco’ Twala, who played with such iconic bands as Harari and Umoja. However, in the mid 80’s his name was under license to one of the major labels and in an effort for self-expression recorded under the name ‘Lungile Masitha’, here he linked up with long term friend Jimmy Mngwandi to co-write and arrange the two tracks ‘Vuyani’ & ‘Makoti’, both sung in his native Tsongan tongue. "Vuyani" is an upbeat tune that matches Chicco’s unique vocal style with percolating drums and distorted choruses to incredible effect, while "Makoti" is a mellower blend of floating keys and choruses sung by local kids in an effort to expose “emerging talent”.

                        STAFF COMMENTS

                        Patrick says: After seriously smashing it with the New Age dance of Jean Pierre Boistel's esoteric percussion music, Left Ear turn their attention to SA, and the bubblegum magic of Sello Twala. Adopting the Lungile Masitha alias for this 1985 release, Sello served up the kind of rugged drum machine bump, keyboard funk and boogie bass he mastered alongside Harari and Umoja. South African proto-house with the mouthwatering sweetness of the impending bubble gum era - ace!


                        Karam Bani

                        Get ready to freak the fuck out! Not only do we have an official, remastered reissue of this disco tinged, Afro funk treasure, now for the first time the ‘Karam Bani’ single has been cut to 12” – maximising every ounce of highlife soul from Sidiku Buari’s productions.

                        That undeniable US funk flavour coupled with Buari’s Ghanaian rhythms bring a zest to these grooves even the tangiest of forbidden fruits would fail to match. Those fuzzy keys and dusty highlife guitar licks sprinkle the West African flavour, whilst drumming demi-god Bernard Purdie provides the wizardry behind the infectious, yet precision like beats that make the track so unique. Purdie’s killer breaks combined with Buari’s jubilant vocals give a spirituality to this cut that’ll liven up any dancefloor - alongside being a gold mine for samples.
                        Flip it over and you’re hit with the joy filled jam, ‘Ye Koaba’. Tribal drums lead the way for a chorus of jubilant chants supplemented by glistening synth sounds and funk fuelled guitar riffs. It’s a feel-good slice of Ghanaian sunshine, capturing that community spirit and good-hearted nature Ghana’s famous for.
                        Two afro funk sensations sure to put a smile on your face, even when the skies are grey and you’re 5000 miles away from the glorious West African coastline.

                        STAFF COMMENTS

                        Patrick says: Two of Sidiku Buari's hardest Afro-funk heaters finally find their way onto a remastered 12", officially repressed for the DJs and dancers. On the A-side "Karam Bani" stomps and sizzles, packing the platter with more heat than jollof rice, while "Ye Koaba" brings the mile wide smiles and ecstatic highlife on the flip.

                        Brand new imprint Banquise open their account with a major fucking bang here, delivering a first ever reissue of Zogo's unstoppable Afro-disco bomb "Africa". Originally released forty years ago, "Africa" saw the Cameroun-born artist pair Chic-style rhythm guitar with hip-swinging bass and hot African brass to tear the disco apart. Chuck in slap bass solos, chanted vocals and wild wah chops and you'll see why serious selectors like Hunee and Rahaan have been rocking this joint for time. Now, in much the same way that the sleeve pays homage to the original but with a classy 21st century update, the record does the same, with TVfrom86, Dan Shake and Folamour turning in their own reworks of the track. Parisian producer Tvfrom86 is first to the plate, smashing out a filter disco redux in the vein of a lost Alan Braxe classic, while Leeds man Dan Shake kicks off the flip with his own take on filter house, electrifying the track for the mainroom crowd with major emphasis on that wah guitar, looping bassline and huge percussive breakdowns. Folamour opts for a different tack on his rework, dropping the intensity a couple of notches and increasing the energy via additional synth riffs and a more dynamic arrangement. 

                        STAFF COMMENTS

                        Patrick says: Banquise reissue a nice slice of Cameroonian disco here, recently played with maximum impact by Hunee for one. On remix duties Tvfrom86 and Dan Shake go in hard with filter house variants, while Folamour takes his foot off the pedal and pays closer attention to the groove.

                        Jaye Williams / Semi Automatic

                        Let Me Be The One

                        No deep dive into the Local Records back catalogue would be complete without a reissue of the prized jewel that is Jaye Williams "Let Me Be The One".

                        Electro tinged street soul from the N17 ends, with ever reliable label boss and in-house (literally, in his front room) producer John Collins working his magic once again. That sultry voice? Local singer, Jaye Williams blessing the mic with some of the most dynamite lyrics Local Records had to offer…'I can see that you’ve been looking, for a love that’s new. Well let me tell you I’ve got something cooking… I know you’re feeling hungry and I’ve got enough for two'.

                        The flip houses the instrumental, bringing Tim Sanders on tenor sax and John Kpai on guitar to the DIY living room booth and adding another layer of sensuality to compliment that punchy synth bass oh so well. Think smokey, low lit bars, Cabernet Sauvignon flowing as easy as the conversation - this is one for the lovers and those that got away.

                        Pushing £100 on Discogs "Let Me Be The One" is A grade, rarefied street soul gear, long buried deep within the wantlists of many a collector, who never thought they’d see this glorious day. 

                        STAFF COMMENTS

                        Matt says: Ooof! Someone call the (street soul) cops. Local Records follow suit (from Be With), popping the cork off another choice tipple from the mid-80s.

                        It feels like it's been a while since ol' Shir Khan's powered up his Black Jukebox for more hot house adventures on wax, but here we are at the beginning on y2k19 with a brand new jam!

                        Based in Colombia’s capital, Bogota, Felipe Gordon is one of the new champions of the Colombian movement, effortlessly fusing the natural instruments and rhythms of his native area to the globally celebrated phenomenon we know as house.

                        Eyes-down and jazzy, the four cuts on offer here will find a natural home in backrooms & basements with low ceilings and dull lights. It's a perfectly realized exercise in proper deep house, combining passages and inspiration from Columbian music and jazz whilst keeping things forward propelled and lively. Excellent stuff!

                        STAFF COMMENTS

                        Matt says: Friendly face around these parts Shir Khan. Always on hand to drop off some feel-good house music. Felipe Gordon, his latest signing, brings some quality Brazilian-tinged beats to the label and it's bangin'!

                        Lovely lush emotive dance tracks full of cosmic vibes. Dance in the techno side of things as this are pretty fast to what I am accustomed to and the four tracks ooze energy on each side. They also have a certain rave element on them - you will find such aura when the old school breakbeat drums kick in and on those simple yet effective keys. Are we back in the 90s Sil. you will ask. Not quite, sir. The housey / techno beats are actually quite punchy. Very modern, very now. 

                        Think of Ian O'Brien but a tiny bit less luscious and more punchy. Then you will have entered the world of Intimacy.

                        This cracking producer will  drag you from one musical dimension to another. His outerworld soundscapes and propelling drum rhythms will make you doubt whether or not you are still on earth. Enjoy the trip! And if you feel you are still have with us mere mortals, do pop around Piccadilly Records and get yourself a copy of this bad boy. 

                        STAFF COMMENTS

                        Sil says: Top notch techno or house - I do not know where to put it with a melodic and vintage feel to it without being on the face retro. Pretty punchy and surely will please you dance heads out there.

                        The Horn

                        The Counter Counter Offer EP

                        Fresh from rocking me with the twisted tribal of Dos Ritmos, Klasse Wrecks treat us to a collection of old and new music from seasoned producer Steven Horne aka The Horn. The Horn's productions date back to the mid 90s, his series for Mark Pritchard's Evolution label being a stand out and signifier of a true studio obsessive.
                        Steven Horne's back catalog of unsigned demos runs deep and ranges wide in style and tempos and after remixing his 'Villager' track Luca Lozano quickly signed up to sign on a collection of tracks. The "Counter Counter Offer" EP collates music produced in-between the years 1994 and 2018 and offers them up as an introduction into the world of the The Horn and his music making process. Melodic and simplistic in style, Horne's music ranges from trippy and playful to deep and ethereal, employing his orchestra of various studio hardware pieces, all working in perfect unison.
                        Opener "Hermit House" swings with an irrepressible NJ NRG, though the synth brass and steamy pads hark back to the mid-80s magic of Pet Shop Boys - infectious and accessible house music with a fine retro twist. "Trinity" takes crunchy drum samples, tracky Detroit bass then buries them under the minimalist sparkle of concentric keys. The sci-fi stylings continue via the atmospheric and uplifting electronics of "Jagg", a synthetic serenade so sweet those Showroom Dummies would be proud. Steven brings the beat back round for "Schmaltz" turning out a trippy technoid snarler which sounds a little like your tape deck has gone rabid. "M1LF" closes the set in emotive fashion, a sad acid lament for heartbroken robots all you online daters. 

                        STAFF COMMENTS

                        Patrick says: Klasse Wrecks give us a great introduction to The Horn here, bringing together unreleased material from the last 25 years. All styles and flavours get a warm welcome, from swinging house, through trippy techno to abstract electronica - highly recommended!

                        The "Utopia EP" is Mira Calix’s first release on Warp in a decade. A decade in which mixed media installation and exhibition work, with a focus on classical instrumentation, has been the main focus of her practice. Her most recent project was a sound installation that featured an ambitious choral work, performance artists and a unique speaker diffusion system. Part of Beyond the Deepening shadow at the Tower of London, it ran from 4-11 November and saw over 300,000 visitors, creating an international media storm.
                        The basis for the new EP title and lead track - rightclick - was Utopia, a Random Acts film written and directed by internationally acclaimed novelist Adam Thirlwell (released on 6 December 2018). In the short film starring Lily Cole and Lily McMenamy, a girl tries to set up a commune in a tiny apartment and finds her ideals of utopian living tested and expanded as an alternate version of Calix’s fragmented track acts as the bedrock throughout.
                        Calix’s return to electronic instrumentation and the laid-back dance floor, is routed in the physical landscape. By creating these frameworks and parameters she uses found sound, off cuts of existing sonic material from her personal library, taking a collage approach to music. Exploring this fragmented approach further, she deploys her own voice as an instrument, a cut up that refractures and recontextualizes the material in order to conceive a sound that is directly influenced by sight.
                        "Rightclick" was made specifically for the film, the subsequent 3 tracks followed on and were very much conceived as an EP in graphic form, a sonic découpé if you will. The concepts behind the individual tracks’ riffs stem from the role of the muse, the male gaze, nostalgia vs modernity and the distribution and categorisation of art and the utopian idyll: "Upper Ups" references the muses of some of the world’s most famous artists, "Bite Me", a podcast discourse on art, while "Just Go Along" explores escape, obsession and the male gaze.
                        Calix has always created drawings and graphic material as part of composition process - visible on her Calix Portal - where she has been releasing material old and new from installation-based work over the past 18 months.

                        STAFF COMMENTS

                        Matt says: What's going on here then?! An assured return of glitch / micro-house flavors for the new year? Sign me up boss! Essential listening for fans of Burnt Friedman, Marionette, Jan Jelynek, Vladislav Delay etc.

                        Austin Ato Featuring Brushy One String

                        Oh Mama

                        It is not a St. Germain reissue of that 'Oh Mama'  track from his first album (the best one). But it is as good as that one! It is actually a hot hot hot big room billy big balls house track that is about to land at the Picc towers.

                        It has a certain commercial appeal without being too glossy. It is a Defected release after, folks, so you must know how the label rolls. Disclaimer aside, this is a proper banger for anyone in need to please a raving crowd. It is warm and accessible, soulful and incredibly catchy. 

                        'Oh Mama’ is a stripped back release, giving space to the folky qualities of Brushy One String’s voice alongside the warm acoustic tones of a double bass line. The Dub does away with the majority of the vocals, substituting saxophone and synths. 

                        Fellas, this is dynamite. 

                        STAFF COMMENTS

                        Sil says: Big room affair with big results guaranteed. Head for the vocal with its controversial lyrics about cocaine and obvious mass appeal. Top release from a classic dance music label!


                        Jos Vois (Crossroads) / Taikausko (Superstition)

                        After opening his new reissue series with the killer cosmic funk of Emilia, DJ Ionik introduces another lost Finnish gem, this time from the singular Aaron. Rather than giving us a pound 4 pound reissue of a charity shop (or whatever the Finnish equivalent is), Ionik instead takes the best two tracks from Aaron's 1975 "Miten Ois?" LP, both cover versions, and slaps them either side of a transportable 7". On the A-side Aaron tackles Neil Sedaka's "Crossroads" with new Finnish lyrics from Chrisse Johansson, maximising the inherent AOR funk, and minimising the general Sedaka-ness for a much more pleasing sonic experience. On the flip, Aaron works his magic on Stevie Wonder's funk masterpiece "Superstition", treating the lovingly obtuse DJ to a refreshing alternative to Stevie's OG, which retains all that funk power without causing the out-of-towners to dance on tables like a pissed auntie at a wedding.

                        STAFF COMMENTS

                        Patrick says: Major flavours for the AOR funk / Balearic disco crew here, as Aaron's ace covers of Neil Sedaka and Stevie Wonder leap off his 1975 LP and onto the grooves of a freshly pressed 7".

                        Franco F / Marika Lenny

                        Welcome To Paradise ADE Bonus Disc

                        Nice, limited, almost-white label business here from the Safe Trip crew - purveyors of both "Dream House" compilations alongside 'nuff tasty new house music. This release was given out exclusively at the Amsterdam Dance Event last year, but somehow we've managed to bag a few limited spares!

                        Double-sider of exquisite house music pressure. Franco F's "Ray-Tracing Sauna" is a wavy glider with punchy low end, thick swirling pads and a steady beat. Add a few ascending arpeggio flurries and you've got a dreamy house epic that's not only in keeping with the label's ethos, it packs a serious vibe for the floor.

                        Marika Lenny deploys vintage house organ chords, a bubbling synthline and kinetic house beats for a mid-session romp that'll put smiles on everyone's face. Add a careering synth-flute cruising through the middle of the track and it's only gonna accentuate the buzz! Literally the last remaining copies of this hit, so don't delay if you want in. 

                        STAFF COMMENTS

                        Matt says: Eagle eared and keen dance music enthusiasts will be aware of this record that circulated during last year's Amsterdam Dance Event. We've got huslted a few spares for us meagre peasantry that were unable to attent. Don't mess about, once it's gone its gone!

                        FORMAT INFORMATION

                        Ltd 12" Info: Super limited 12" release in conjuction with Amsterdam Dance Event

                        There are some people out there who can't help but make you feel inadequate - fantastic, charismatic bastards whose boundless energy, brilliant talent and superior skill suggests they're actually just more evolved than the rest of us. So it is with Leon x Leon, a Parisian doctor, digger, DJ and producer, who climbs mountains, makes your earth move and grooves you greatly whenever he's up in the spot. And when he isn't ripping it up on a rooftop DJ set, saving lives or tackling a multi-pitch ascent without breaking a sweat, Leon x Leon can be found in his home studio, fusing italo, house and boogie into neon tinged heaters for the likes of Red Laser Disco or Good Plus, the label he founded with his friends at Les Yeux Orange. 
                        Now two years on from his last EP, our hero finds himself on Cracki, coming in hot and heavy with a five track frenzy of mature and diverse dancers for party people everywhere. The titular "Rokanbo" rocks your socks and sandals right off, bouncing out the A1 with an infectious fusion of acid, house and zouk. An intoxicating tropical tipple, "Rokanbo" delivers a string of bright and buoyant synth riffs, subtle percussion and a KILLER bassline, before blasting into the stratosphere via a bubbling 303 and massive synth brass solo - pure Rubicon tackle. Next up, "Formant Sweep" treats us to a squiggling bass line and spiralling synthlines, picking up a couple of classy keys on the way to mid 80s New York. If you're a fan of FK, Boyd Jarvis and Timmy Regisford, this proto-house peach will have you reaching for your Prelude jams. "Jungle Juice" transplants the party from Zanzibar to...well...Zanzibar, simmering sultry melodies, warm pads and a discoid bassline into a true techno-tropical jam, while "Red Footpath" and "Horizon" get deep, deep, deeper into this thing, balancing tougher NJ house percussion with atmospheric pads, tacky bass with trilling flute, Mediterranean optimism with New York grit.
                        Exotic, evocative and utterly irresistible, this is the Frenchman's finest work to date. 

                        STAFF COMMENTS

                        Matt says: KP tip - double dose with a can of Rubicon for the ultimate party power up.

                        Patrick says: Beat the seasonal blues from the comfort of your own turntable with Parisian producer Leon x Leon. Ignore the EasyJet offers clogging up your inbox and invest in something way groovier. Acid zouk? Island disco? Proto House? If you're after a breath of fresh air and a blast of high end floor fuel, this is for you.


                        Ba Hu Du (Wolf Müller's Unreleased Version)

                        After landing around the ADE weekend as a special Safe Trip bonus, Young Marco lets the last few copies of this one sided killer out into the wider world. A companion to Jan Schulte's ace remix compilation "Sorry For The Delay...", this no nonsense power platter sees the Dusseldorf producer adopt his Wolf Müller guise to radically rework a track from one of his other acclaimed projects, Bufiman. “Ba Du Hu (Wolf Müller's Unreleased Version)” includes all of the ingredients that make Wolf Müller reworks so special. Rich in loose and heavy, densely layered percussion, Schulte’s trademark Jew’s Harp, liquid electronics and breathy, mangled tribal chants – the latter presented in a handy locked groove at the end of the single – the track is little less than dancefloor voodoo for basement botherers and slacker daydreamers alike. Well wonky, packed with off kilter funk and steeped in kosmische melodies, this is best played when the room's spinning and the walls are starting to melt. 

                        STAFF COMMENTS

                        Patrick says: Ooof! Right, we've managed to snag a few copies of this ST promo, originally only available from the label's webshop, released as a companion to the recent Jan Schulte remix collection. Tying all his varies guises together (more or less), this battle weapon is high grade voodoo lysergia - cosmic house for the froglicking crowd.

                        FORMAT INFORMATION

                        Ltd 12" Info: Limited Single Sided 12".
                        Tone arm balancing tool on the B-side.

                        As we hurtle headlong into the panic inducing reality of a no-deal Brexit, the recent trend for post-everything, irony laced pop seems utterly redundant. If I stick my head out of the musical bubble for even a moment, it becomes abundantly clear that we're absolutely fucked, and I think that calls for a different kind of music. A band who are pissed off but not po faced - cynical but still sincere. A band like Ist Ist.

                        Born out of the brutalism of Ancoats, the four piece fuse early noughties post punk with power electronics into condensed shots of angst and energy. "Everything Is Different Now" is a place where riff and rhythm collide, be it in the bleak and cinematic "Exist", the creeping groove of "Son Is The Father" or driving indie-dancer "Jennifer's Lips". The references are there...Joy Division by way of Interpol, Bloc Party, White House or early Ultravox... but this is far from a fanboy pastiche - Ist Ist combine their influences, create their own sound, then pack it with energy and emotion. If you're after further proof of the talent on offer, check B-side pairing "I Want To Disappear" and "Undignified", ambient meets Kid A balladry and gutteral, gloomy post punk of the highest quality. Get you a band who can do both...

                        STAFF COMMENTS

                        Patrick says: Manchester's post punk masters Ist Ist return with another blink and you'll miss it 12", musing on the constant uncertainty of post-modernity. Essential listening for fans of Interpol, Bloc Party, Joy Division and Radiohead.

                        FORMAT INFORMATION

                        12" Info: Limited 12" vinyl with sleeve photography by Tom Houghton.

                        Nils Frahm

                        Encores 2

                          Following the release of Encores 1 on June 1st, Nils Frahm releases of Encores 2, the second in a series of EPs following the release of the universally acclaimed album, All Melody, released in January of this year.

                          While Encores 1 focused on an acoustic pallet of sounds with just a solo piano and harmonium, Encores 2 explores a more ambient landscape from the All Melody sessions, the pinnacle of which is the astral 12 minute showpiece Spells. Recorded through an amplified stone well Frahm found on Mallorca, Encores 2 is at once unique but familiar; orbiting the universe of All Melody while inhabiting its own world.

                          “The idea behind Encores is one we had from before All Melody; to separate releases each with their own distinct musical style and theme, perhaps even as a triple album. But All Melody became larger than itself and took over any initial concepts. I think the idea of Encores is like musical islands that compliment All Melody”

                          STAFF COMMENTS

                          Barry says: A beautiful counterfoil to last years' 'Encores 1', we get a wealth of beautifully textured field recordings, icy and crepuscular loops bolstered with beautifully weighted and perfectly paced piano, as is Frahm's style. Encompassing elements of dark ambient and minimalism, this is further evidence of Frahm's domination of the modern classical field, and it shows no sign of slowing down. Lovely stuff.


                          Hanko / Sync Dancehall

                          After releasing on Music From Memory sister label Second Circle, Androo starts his own label Poly Dance. As usual, his music is infused with percussive rhythms and emotive melodies and sits neatly under any outdoor canvas. "Hanko" is pure jubilation for the daytime, a relaxed conga pattern careering effortlessly through some seriously vibing piano licks, bouncy organ stabs and punchy b-line. Sublime!

                          "Sync Dancehall" offers some more abstract and digitized rhythms, a squelchy analogue bass underpinning it all while some obsolete vintage drum machine provides the forward momentum. Perfectly formed fx decorate the track beautifully as it jostles on in a non-linear and quite cerebral fashion. Strong stuff here, unique, intoxicating and pull of life. Recommended. 

                          STAFF COMMENTS

                          Patrick says: I loved Androo's debut on Second Circle and this double header on his own poly dance continues the left of centre dancefloor vibe. "Hanko" is a bit like listening to a Peech Boys dub, Sly & Robbie Riddim and Villalobos groove, all at the wrong speed while taking all the right drugs. On the B-side "Sync Dancehall" is straaaaange digi-tackle for the mind and body.

                          Armed with an unstoppable intro that Daft Punk turned into one of their most well-known anthems, ‘Harder Better Faster Stronger’ - Edwin Birdsong’s ‘Cola Bottle Baby’ is straight up insatiable, late ‘70s funk fire.
                          To think this was made nearly 40 years ago - it sounds as delicious as the day it was released and one of those classics that was way ahead of the game. It’d be hard to find anyone that doesn’t feel some level of nostalgia in those opening 15 seconds, but not many would be able to name the original behind the sample.
                          A futuristic leaning jazz funk sound, in part created by the quacked-out bass synth and ringing ride cymbal but grounded in the grooving funk bass, twanging guitar and electrifying keys. An amalgamation of sounds from pop, disco and funk to jazz and electro, there’s no denying Birdsong’s talents - a flair that would lead him to collaborate with the mighty Roy Ayers.
                          On the B side, ‘Freaky Deaky Sities’ ramps up the tempo but carries on that mix of the futuristic and the funk – an ode to all the disco dancers out there. Talkbox business married with Birdsong and his backing’s call and response, bongos and cowbells side by side with rock styled guitars, it’s a pure power play for the dancefloor.
                          An underrated talent given a new lease of the life - officially, remastered and reissued for the first time on 12-inch vinyl for a fuller, louder pressing.

                          STAFF COMMENTS

                          Patrick says: CLASSIC ALERT! All right, the sample spotters and heads know "Cola Bottle Baby" from Daft Punk's "Discovery" bomb "Harder, Better...", but you prolly don't know the whizz-funk melter "Freaky Deaky Sities" tucked on the flip. Get it bought!

                          E.C. Illa

                          Grade School Dropout

                          Nice slice of Chicago rap history here with a limited white vinyl release of E.C. Illa's Kanye produced cutz "Strugglin'" and "Mask and Pump". Produced by none other than trainer mogul and celebrated political thinker Kanye West, just before he hit it big with the College Dropout LP on Jay-Z's Rocc-A-Fella. As you'd expect from '02 Kanye, we're in peak Chipmunk Soul territory, all smooth grooves given that sweet MPC bump to compliment Illa's flow and lyrical dexterity.

                          STAFF COMMENTS

                          Millie says: Limited seven-inch Grade School Dropout hits all the right spots, the production from legendary Kanye West is woven in with Dilla-esque beats. Brought back from the depths of 2008 this is what you need to be listening to!

                          Monster package of edits that standout from the rest because they are daring, off the beaten track and covering a wide range of genres. The last two Belpaeses set up the bar pretty high and this third instalment is no less. 

                          You are greeted on the A side (in its full splendor) by 'Vai di Samba', a gentle yet energetic 80s synth rich brazillian underrated tune with sweet vocals and that casio-flavoured piano typical from this era. The climatic sax mid way through this track is pure glory. 

                          On the B side you get an italo-tinged 80s Italian female pop beauty that could have easily come out from the 'Call Me By Your Name' soundtrack that, by the way, is also excellent. The beat is rushed but by no means stressful. It possibly can cause some heads to turn - for good reasons though. 

                          The third edit is the one for me. A drum reach, vocal free fest called 'Electrosamba'. The title says it all - althoug the emphasis goes on the samba and not the electro. A great tool for alternative peak times. 

                          This label does fly off the shelf. We are getting some copies but do get yours now or repent in future times!

                          STAFF COMMENTS

                          Sil says: Part three of a label coming strong into the overcrowded world of edits. These ones, however, are pretty good and varied from the ordinary run of the mill stuff out there. Definitely one to go for.

                          The second part of various artists samplers featuring numerous gems from the Big Shot archives.

                          Part 2 is yet another treat and fresh selection of Big Shot sure-shots. Following on from the initial sampler this one is chock full of classics from the label, every house (head) should have one! Mr & Mrs Dale's all-time anthem 'It's You' kicks things off in fine style, this one truly is a classic and those opening bass notes tell you all you need to! Strap yourself in. Also featured is How II House's 'Time To Feel The Rhythm' - some killer piano driven House moves courtesy of the man Ron Allen from way back in '89, showing that Canada was bringing the heat too! Over on the flipside How II House appear again with the 'Acid' mix of 'Unlock The House', another spoken word jammer that does damage. Jillian Mendez appears again, rounding things out, with her 'EZ Mix' of 'Get up' from 1988, another slick piece of Freestyle driven vocal House, perfect minimal production frames Jillian's vocals perfectly and will keep the dancefloor moving! Top notch business all over here!

                          Keep an eye out for more high quality Big Shot reissues, all remastered from the original source materials and with the full involvement of the rights holders. A collaboration between Above Board distribution and Big Shot records, Canada. Remastered by Optimum Mastering, Bristol UK. 2018.

                          STAFF COMMENTS

                          Sil says: 'It's You' is a sublime piece of early house filled with variety and an infectious bassline. Perhaps the most chilled of these four beauties. How II House and Jillian Mendez are proper dancefloor material. Few times I say there are no fillers here. This is one of those occasions. Buy on sight.

                          Black Label no. 3 from established Bristol firm Banoffee Pies who have cut out a truly unique and sincere pattern from the house, disco and downbeat clothes of today.

                          New signing Monotronique delivers a 118bpm, sample heavy bopper in the form of "Baggage With A Secret". Peppered with loose breaks and reverb-heavy brass, it possesses a dark, cinematic mood whilst ensuring enough dancefloor focus through its sub-heavy kicks and sharp snare hits.

                          Freerotation resident Tom Ellis contributes a sublime almost-micro-house offering. Utilizing those Akufen-esque vocal chops, a skitty, swung house beat and warm Rhodes it recalls the golden years of glitch whilst keeping up to date with the current players. Mega!

                          Filip Szostak drops a beautifully eyes-down dnb flavoured roller with subtle touches of footwork and electrofunk thrown in for good measure.

                          Finally the firm invite Lyssna Records own Flord King with another micro-inspired gem for the head bopping late nights on “Shanti”; which should tickle the fancy of fans of Jan Jelinek and vintage Matthew Herbert. Another sterling set of sizzlers from Banoffee Pies!

                          STAFF COMMENTS

                          Matt says: It's almost getting tiresome how frequenty these cats are appearing in our ROTW lists. But you can't ignore good talent; and these four producers offer exactly that.

                          Another Basic Fingers gets us all smiling and wanting to dance. Superb disco edits as always. We start with 'Come Party' an appropriately title for a track exuding warmth and good feelings all over the shop - percussion heavy and with a very good bassline leading this number. 

                          On B1, 'Where's Eugene', the string arrangement and the piano loop that works as a bassline makes you think that you are in a set of some 1970s blaxploitation b movie. Just wait for the bassline solo mid track. Excellent tune. 
                          The last edit on this package, 'Rob Can't Stop' on B2, is definetely my favourite. The echo effect and those trumpets are a bliss. A bit faster than the former two but this is going to cause some heavy damage. Think of Idjut Boys and you are getting close to this golden egg. Stunner. 
                          As always Basic Fingers do not fiddle around, they go for the good stuff with no qualms! 

                          STAFF COMMENTS

                          Sil says: Premier class edits from a top draw long lasting record label. All of them are ideal for the dancefloor hungry. Special attention to 'Rob Can't Stop'. Unadultered dynamite for whose who know.

                          Mr. K turns to the funkier side of disco on the latest 12-inch from Most Excellent Unlimited, working his magic on a couple cuts that still retain the same power to fill dance floors they had back in the day. '"Love The Life You Live" is one of those rare songs that was big for me when I first started DJing, and still jams today,' notes Krivit, who gives another stripped-down, bass-heavy edit to the irresistible Kool & The Gang classic. One for the b-boys as well as the Loft heads, Mr. K's edit gradually builds on the hard-charging rhythm with a slinky keyboard solo, punchy horn riffs and breaks, breaks, breaks.

                          Gary Toms Empire ruled the summer of '75 with "7-6-5-4-3-2-1 (Blow Your Whistle)" and progressive DJs looking for a follow-up soon discovered another mover in the band's repertoire. "Drive My Car" is a Lennon / McCartney cover that bears little resemblance to the original, and indeed most fans would be hard-pressed to identify any similarities at all in Danny Krivit's reworked version. Stripping out the vocals and chorus and leaving just the rumbling low end groove, Mr. K's edit motors along for a cool 7 minutes, laced throughout with short change-ups to elevate the energy.

                          Both tunes spread over their own sides of a well pressed 12" to ensure full fidelity, clarity and power! Yum yum!

                          STAFF COMMENTS

                          Patrick says: Fuck me! Danny Krivit's succeeded where so many have failed and got me committing to a diet and training regime - just so I can break out the old b boy moves to this super funky Kool & The Gang edit. Lethal!

                          Genom Grundet is the new release by Swedish analogue explorer Ekolali on new imprint Patience. A pulsing, entrancing study in sustain and release that washes over in ecstatic waves throughout its 35 minute duration, "Genom Grundet" is a shimmering summation of Ekolali’s approach and an auspicious blueprint for the virgin NYC-based label.
                          Recorded on a modest setup at his almost-off-grid compound in rural Möljeryd, Sweden, "Genom Grundent" (Through The Shallows) gently bubbles with a sampled stream, baked tape delay, droning broken organ and pitch-shifted rhythm, blooming with vocoder chants and klassic kosmische guitar as the track unfolds. Repetitive to the point of rapture, Genom Grundet reveals it’s wonders over subsequent meditations.
                          Mattias Lagerkvist has previously issued similarly potent musical balms as Ekolali via Bakk and Not Not Fun.
                          Patience is a new outlet for artists to explore ideas further and longer than they otherwise might imagine. Inspired by the music we like to listen to – with E2-E4 representing the format’s high tide mark – each release will be one artist’s deep dive down one inspirational wormhole - or two different interpretations thereof - spread across two sides of vinyl. Throw it on, lock in, bliss out.

                          STAFF COMMENTS

                          Patrick says: After taking us far fucking out with a recent split release on the BakkPlafond series, Ekolali slips his moorings and floats down the spiritual stream here with a totally fried bit of kosmische ambience. One for the mushroom crew.

                          Funnuvojere is the new imprint founded by Massimiliano Pagliara. Now marking his third album release, after countless remixes and EPs, the Panorama Bar resident widens the horizon of his musical contributions by launching a label 'deep as the ocean' as the name suggests, and open to different musical genres. The first installment comes from James Booth. Known also as The Gardener and North Vest, the Manchester born producer has been known for his distinctive deep sound very dear to Los Angeles based imprint 100% Silk and Hamburg's Growing Bin Records that released his latest LP in 2017. "Bath Time" is a thrillingly deep, cosmic-house cut, rich in melodies and emotion and looking longingly up to the heavens. The EP starts off with a spiralling, spacey Italo-themed cut where form assumes a different dimension as the music layers intertwine in an everlasting flow. If the title track seems ironically like a perfect place to start a party night, "Roller Chrome" is an emotional ballad for hopeful dancefloors; while "Such Is Life" is a nostalgic piece of Balearic house - given an electronic boost thru Booth's tasty outboard. Nicely!

                          STAFF COMMENTS

                          Matt says: Dunt matter where you reside, that OG Manc spirit will always permeate thru your character. James Booth hit full party mode and turns out four bona fide floor pleasers.

                          South London's Troy Town follows up a tasty Wbeeza EP with the rave-flecked optimism of Copper Green Sedan's "Pedestrian EP".

                          A multi-intrumentalist who was living a nomadic life through northern Europe, these tracks were inspired and conjured up on the road before being finalized in a rapid and creative studio session.

                          "Pedestrian" opens proceedings, a perfect hybrid of garage and house, it's both shoulder-rolling and elbows-out grooves instantly work their magic on the body, while quiet sustained strings lurk in the recesses. Bursts of rich piano cut through this tribal blueprint, shining a bright light through the murky, club-seasoned darkness.

                          "Rolling In The Long Grass" is a smooth and techy affair, with those patented low subs powering the bottom end, it's immediately tailored towards the crisp and heavy soundsystems of the global dance village. An intricate arrangement litters the mix with elements, darting synths, reversed perc, elastic leads; all with a very textured and detailed perspective.

                          Final OG from CGS, "Gene", ditches any beat syncopation for a driving 4/4, galvanized with shimmering keys and rising strings, this is the euphoric rush of endorphines required to close off the EP in epic style. Growing in intensity, with some subtle but arresting switches, and highly mobile bottom end you're gonna struggle not to lose your shit to this in the club!

                          Desert Sound Colony gets their mits on the stems of "Pedestrian", turning out an able-bodied and stylish tweak that stays true to the original on many levels, just dressed it out in some alternative instrumentation. Mega stuff!

                          STAFF COMMENTS

                          Matt says: Top drawer tackle here. Skilled beat programming, a primal understanding of groove and a keen ear for texture and sound design mean Copper Green Sedan's just hit my 'one to watch list'.

                          Proper standout release from Kleft on Domestic Exile. Must have for fans of DMZ, Shackelton, Jon E Cash and the darker Sophie tracks.

                          Glasgow's Kleft makes 'devastatingly deplorable and malevolent recordings that are sure to corrode yet electrify your ears'. A melting point of gabba, breakz, techno and industrial and an ethos that, to the more intrepid listener, seems to point to its point of origin.

                          Kleft aka Vickie McDonald is rooted in and has actively propagated the underground DIY radical queer punk and feminist movement in Glasgow. Their projects have included the skull crushing sludge doom of Cartilage, the unflinching and infamous multi-membered hardcore stars that were Divorce and the sacrificial, druid drone glitch of Mourn.

                          For this record "H+ Sexualis", Kleft explores the neo-modern space where flesh is left behind. Negotiating, analyzing and tearing to shreds the relationship and balance between flesh and technology. Kleft’s expansive and palpable sonic offerings delve into themes of transhumanism and body hacking and seep into our collective skin begging the question; can flesh ever be created digitally. Does a lack of physicality alienate human experience in a post transhumanism society? Are we all destined to be skinless yet digitally connected? Will the body become superfluous? Toward 'the utopian dream of the hope for a monstrous world without gender,' as stated on Donna Haraway’s essay 'A Cyborg Manifesto'.

                          From the opening track "Ossein" the listener grasps a foreboding & lethargic build up, lurking out of the spatial ritualistic shadows into a sea of suffocating nothingness. A void where there is no gravity. Skeletal and brittle, shattering rhythms which echo DMZ / Skull Disco dubstep, alongside the more frozen, glacial ominous explorations of grime are often felt, proving Kleft is an artist whose inspirations run deep and wild and generally exist in the darkest recesses of our subconscious. These fearful, disjointed rhythms are set against weightless atmospheric oscillated synths, as if roaming through bleakly opaque, claustrophobic narrow corridors on a first person survival horror video game such as Resident Evil.

                          This record transports us to the hyperkinetic mutation scene on the cult cyberpunk film Tetsuo The Iron Man where the organic flesh / mechanical rust of the Iron Man metamorphoses with the Metal Fetishist during the rebirth sequence and we say 'LONG LIVE THE NEW FLESH!’'. 

                          STAFF COMMENTS

                          Matt says: A futureproof slash to the face from an original cyborg here, determined to make their presence felt amongst us meagre earthlings. Mega.

                          Surprisingly good 12" straight from the solid Local Talk label, this time is Boddhi Satva providing the soundtrack. 
                          On A side up is the 00s mix of 'Basic Knowledge', a near-epic track, riddled with emotion and deepness, certain to cause more than just a few goosebumps. The key stabs and strings makes this one of the deepest cuts of house we've heard in a minute.

                          On the flip 'Together' is another elegantly realised stylistic track where all the moving chords are exposed and pushed to the front. A grand tour through the deep-rooted rhythms with a minimal yet spiritual sound. My favourite track by a mile on this ep. 

                          Last but not least is the 90s mix of 'Basic Knowledge'. It takes all the ingredients from the A side mix and infuses it with more jack, together with the kicks, snares and the swollen bassline.

                          An absolute killer all round!

                          STAFF COMMENTS

                          Sil says: As said above, absolute killer with a special mention to the very very deep 'Together'. Lessons in deep house available from the man Boddhi Satva. Bravo.

                          Rejoice! For deep house master Glenn Underground returns to the seminal Strictly Jazz Unit for a BRAND NEW house jaunt. Always certain to cause a ripple of excitement over these parts, it also comes loaded with a classic CVO mix and instrumental. 

                          Championed by some leading tastemakers from the second it emerged, "Feel It (Only When The Music's Real)" is a sumptious patelle of clavs, keys, organs and strings, underpinned by warm bassline and powered by lively, biotic drums. A proper 'song' structure guides us through vocalist Yaminah's inspired delivery while Glenn's effortless knack at dynamics and arrangement ensure our attention is hooked till the very last bar of music.

                          Donning his CVO guise, Glenn flips the track with a more electrofied version; tailored more towards late, nightclub play and for me sounding like it belongs on the dancefloors of Barbarellas (Croatia), Shelter (New York),  Fabric (London) and Mint (Leeds). Wonderful stuff.  

                          STAFF COMMENTS

                          Matt says: New stuff from Glenn who refuses to hand over the deep house music heavyweight belt just yet. Coming out the blocks with a tasty new jam, funky and soul on the A side with a more nocturnal flavour on the flip. Check!

                          Aided by airy pads and shrouded ambience, “Hammers” drives a 303 bass line right through its centre, perfectly balancing the tracks emotive and darker sides.
                          Hodge (Livity Sound/Hemlock) comes on board with an industrial sized remix, carving out some heavyweight tribal drums and additional percussion and letting the acid do its tweakable thing.

                          “Denergy” meanwhile channels some electro tinged bassline moves over super funky, tight drums, a flourishing acid line, and laced with the futurism and sound aesthetics that’s keeping James Welsh at the top of his game.

                          A dark techno/electro 12" with acid flirtations for the hungry dancer.

                          STAFF COMMENTS

                          Sil says: If you need a soundtrack that is as cold and dark as a Eastern European desolate, abandoned concrete-made social housing building you just purchased as an investment in the hope that it will be the next pocket of hipsterdom, this is the 12" you truly need. It is pretty good at conveying such feelings.

                          Soul Sisters

                          Edit In Love (Jim Sharp Edit)

                          I know what you're all thinking. Does the world need a re-edit of Beyonce's 'Crazy In Love'? A song so good, that even if your idea of a good Saturday night out is sticking your fingers down your throat in the mosh pit at a Cradle Of Filth gig you'd begrudgingly admit that, even though,you know, you'd never actually CHOOSE to listen to it, it's okay when it comes on the radio.
                          Well, the answer, surprisingly, is yes! 
                          Top notch masher upper, Jim Sharp, extends the original Chi-lites break, uses a bit more of Jay Z's rap extends the killer bongo break and generally makes an already great song even greater. 

                          STAFF COMMENTS

                          Millie says: Possibly the best R&B song ever, Beyonce’s ‘Crazy In Love’ gets an edit from Jim Sharp to extend and emphasis all those golden parts to the max. It’s an absolute classic, sing it Soul Sisters!


                          May 1932 / Of Cotton

                          A thumping  and melodic techno attack is happening on the A side. It is proper and respectable. The build-up is surprisingly powerful and something you could definetely hear the big boys spinning in a big room in a big club or in a small room in a small club in a dark, humid basement somewhere. You could also come across this beast in your headphones and you will still find yourself not noticing you started to dance. It is that good, fellas. 
                          The B Side is a different kettle of fish. Here I picture the man that used to play the casio in the jungle that is Piccadilly Gardens during the summer months (oh man, that grass is something from a different galaxy - when will MCC sort it? tThey have been hiring all kind of contractors for years, and they all do a crappy job and run away with the money!). Anyway, coming back to the man and his casio. This could have easily come out of such machine. It is a mad number that will likely empty the entire dancefloor if you are not careful. However, surely will entice your appetite for a bit of off-the-beaten track vibes. It is definetly a rude number. 
                          Summarising, it is a really good 12" that all techno heads out there should be listening to. We have played it in the shop and we have to stop it because customers where going totally bananas. Yes, it is that good. 

                          STAFF COMMENTS

                          Sil says: I wrote the above so everything I had to say is already said. But in a few words, a genuinely good straight dance record on A side, flip it and you get a more, let's say... introspective approach to techno.

                          Red Pig Flower & Thought Crime

                          Thought Crime (Inc. Wareika Remix)

                          Kicking proceedings on A Side is the almighty ‘Thought Crime’ which opens the package with murky atmospheric textures, skippy hat patterns and shuffled organic drums grooves driving the composition before the focal stages see the introduction of eerie piano chords, spoken word vocal samples and acid tinged bass which ebbs and flows within the depths. ‘No Fear’ follows next, laying focus on a bumpy drum groove, modulating synth swells, ethereal tension building pads and a snaking sub bass groove to create a dynamically unfolding, hypnotic cut.

                          Ravingly good Perlon’s Wareika step up to rework ‘Thought Crime’ which opens the flipside, as always from this trio shining light on chuggy bass grooves and jazz tinged ever-unfolding drums whilst stirring in the original’s eerie voices and choppy pianos to create a frenzied, dynamic feel throughout. On B2, ‘Since 1984’ is next to round out the release, an interlude of sorts featuring a bubbling arpeggio, dreamy piano melodies and an amalgamation of swirling, dubbed out echoes spiralling amongst muted kicks. 

                          Folks, do not let this beauty pass you by. 

                          STAFF COMMENTS

                          Sil says: Ravingly good and effective minimal house. There are aplenty of these so called minimal cum house records. Few are worth your time. This is one of them and cements Red Pig Flower among the most promising producers out there. Cheerio.

                          Moving on from their time holed up in a leisure resort relic, the Dutch retrogressive, analogue synth machine obsessives and tape fanatics Betonkust & Palmbomen II have teamed up together once more for a new EP.

                          An immediate follow up to their debut LP "Center Parcs", the new EP pays fictional homage to a now deceased famous TV star, who instead on working on the screen, took up a new direction in making music. More replete with esoteric experimentalism, analogue jams, drums machines, synths, and a healthy dose of acid basslines, the production duo advance upon their aesthetic with a new extended EP of nostalgic, melancholic electro.

                          With Palmbomen II aka Kai Hugo, based out and working in Los Angeles, collaborations with Dutch-based partner Betonkust happen less frequently than they should - especially when you acknowledge that they do not use, or record to computers. When they do happen though, their distinctive sonic palette of saturated distortion and warm melodic waves shine through. This time recorded in a bungle somewhere in the Dutch countryside, the two producers have created a concept record about Bart, a local hero and his imagined life in a parallel universe. In this reality, instead of making it in TV, Bart is a successful music producer, the track titles detailing his journey through this new and imagined life. "Bart Is Alone Again" kicks off the record with its wistful melodies, and harmonic leads, before "Underground Dance Floor" kicks in with its predominate bassline, and squelching deep-rooted, undercurrents of hardcore. Along Bart’s odyssey there are moments for "Bart's Jam", an early days Warp Records / Detroit belter; "Rejected Demo Tape" a downbeat moment of anguish; ending with "A Series of Bad Decisions," in which the EP plays out to somber, yet harmonious conclusion.

                          STAFF COMMENTS

                          Matt says: Lo-fi tape sizzlers from this creative pairing who impart a level of evocative narrative through the six track journey. A must for fans of Legowelt, Person Of Interest & Ed DMX, fans of the recent RAMZi are also gonna enjoy this.

                          Black Rain returns with "Computer Soul": the final part of a sequence of Blackest Ever Black releases that began with 2011's "Now I’m Just A Number: Soundtracks 1994-95", and a first glimpse of the project’s richly imagined future. For this outing Stuart Argabright (Ike Yard, Dominatrix, Death Comet Crew) is joined by BR founder member Shinichi Shimokawa as well as more recent recruit Soren Roi and Zanias (vocalist on 2015’s "Dark Pool") - making for the most group-oriented iteration of Black Rain since its earliest days. Sonically too, there is a sense of evolution but also of coming full circle: the cyberpunk techno of Argabright’s celebrated William Gibson soundtracks (compiled on "Now I’m Just A Number") and extrapolations of Dark Pool’s neuromantic yearning cut with glimpses of the thrash and industrial rock energies that animated Black Rain’s incendiary live shows - and sought-after tapes for Kombinat and TPOS - in the early 90s. More than ever, Black Rain is propelled by a powerful science fiction impulse, whether responding to the themes and characters of Gibson’s Sprawl or the Blade Runner universe (particularly K.W. Jeter’s spin-off/continuation novels which extended its mythology, and timeline, further).

                          It’s not news that many of these works’ most powerful predictions and prophesies have come to pass - the replicants are already living among us - so "Computer Soul" projects further into several possible unforeseen futures, its events 'set' in the second half of the current century, fifty or so years after those of "Dark Pool". The hyperpopulated metropolises of "Dark Pool" are no more; the apartments are empty, haunted by ghosts of AC current, devices and machines running lonely without their owners...a melancholy internet of things. Where has everyone got to? Gone but perhaps not gone. Oblivion beckons - always does - but on the other side of that, something else... another time, another place, a river….and a new way of living. 

                          STAFF COMMENTS

                          Matt says: Pitch black electro-goth attire here. You gotta love Blackest Ever Black for keeping true to their haunting methodology whilst casting their net far and wide. A merry band of witches indeed!

                          Linda Williams

                          Elevate Our Minds

                          Classic 1979 officially reissued for your listening pleasure has just arrived in our lovely shop.

                          ‘Elevate Our Minds’ became a huge rare groove record in the mid to late ‘80s. It is supremely arranged, blending a bossa nova beat and trumpet thrills with Linda’s distinctly New York authenticity that comes through in the vocals. Like a trip to the blissful beaches of Rio whilst bringing a touch of the New York disco glam along for the ride. Exotic yet familiar, all in the same breath.

                          On the flip, ‘City Living’, a straight up New York disco killer - oozing with funk, dripping in brass blasts, off beat hats and spruced up synths, it’s a primetime ode to the hustle and bustle of the city. Williams’ glorious tones, assisted by a majestic troupe of backing singers, glisten alongside the classy drumming and polished bass badness that lays behind it.

                          A solid 7" that should become a staple on every record box out there.

                          STAFF COMMENTS

                          Sil says: Essential 7" for those who like bossa nova and/or disco. It is not cheesy, it is a classic and we already have the A side on repeat!

                          First release on the feverishly anticipated Shelved Recordings - a new label from some familiar friends that looks to shine a light on the golden age of the remix: 'Pioneering techniques, over-dubs and an exploratory period of pop production resulted in many lost dub versions and mixes. Mixes, which invariably were left on the shelf, deemed too 'out there' by the bosses of the hedonistic label managers who commissioned them. Shelved will present a series of limited double 12" releases comprised of carefully reconstructed and rebuilt lost classics from someone who was there the first time around!'

                          And what a debut set. A1 kicks us off with a lesser known (than "Life In A Northern Town" anyway) fuckin' Dream Academy EPIC that's feels like you're watching the sun rise over the most paradisiacal part of Ibiza whilst coming up off the strongest and cleanest hit of ecstasy the body can physically handle. Waves lapping at your feet, angel choirs rising over the ocean - peak experience guaranteed!

                          Then it's into unchartered waters as "Flight" pairs emotive piano licks, seductive spoken word vox, warm bass and evocative pan pipes with a loose baggy breakbeat for a slice of downbeat flavoured comedown bliss.

                          Eagle-eared obsessives might recognize China Crises' "Feel To Be Driven Away" close off the first disc, a perfectly wacky slice of kraut-inspired new wave / synth-rock emanating from Liverpool around 1982 and expertly excavated from a lesser known album by the band - a testament the depths the editor / curator involved is prepared to go in order to present the weird and wonderful to our more than receptive ears.

                          Disc two keeps us more than delighted as "Unlimited Love" displays a rarely aired (but quite easy to acquire) Grace Jones nugget in all its glory before "Magic" concludes with a joyous canter into shallow coastal waters.

                          One-time limited press on this one folks - do not f**k about!

                          STAFF COMMENTS

                          Matt says: An inspired collection of edits kicks off this new label. We're under painfully enforced but faithfully adhered to instructions not to give the game away, but rest assured - this is unmissable!


                          The Attic / Sexor

                          "To understand where “The Attic” came from, we have to go back to one of my oldest memories: watching Der Phantastische Film on German tv. The movies that left the deepest marks on me were the ones that zoomed in on the possible bad sides of technology and predicted the downfall of mankind. A next personal cornerstone was Tubeway Army's “Are 'friends' electric?”, from 1979: it was the first time I was blown away by the sound of synths. It felt so new, an expression of the perversity of technology through music. The song was about androids who seduced humans in order to rape them. The shortcomings of human beings transported to technology. It was machines turning against humanity. It wasn't like Kraftwerk who were very first degree, unpersonal and too clean.

                          I was an early adopter of home computers, but the instruments and studio stuff to make music were still out of my reach in the early eighties. So when sampling came along, for me it was not only an important change in sound image, but it opened up all these possibilities too. And then finally, in the mid-eighties – I was working in the military – people started selling their hardware to make the switch to digital. I bought loads of old gear and started experimenting with sound. It was around the time when the whole new beat thing exploded in Belgium. I despised it. To me they were yuppies with smileys plundering a subculture, shitting out one bland record after another... At the time I was listening to B-2 Unit by Sakamoto, or the weird electropop of YMO. That's probably where my idea of techno was shaped: this idea of electronics mixed with the German Bauhaus school, or with abstract Malevich paintings.

                          I quit the army around 1990, and shortly thereafter I had a dark dream that caused me to make 'The Attic'. I was in the attic of a house. It felt magical, but there was a sense of underlying danger. I looked up and the roof came off and started to dissolve, and I heard voices with bird like frequencies calling from the cosmos: “come with us, come with us.” Maybe it was about the deification of technology? Anyway, the image and the feeling of the dream were so vivid I transcribed them to music in maybe two days.

                          When the demo was finished, we went straight to Boccaccio and handed it to Olivier Pieters, who immediately played it. 'The Attic' went on to become one of the signature songs for which they switched on the big lasers. It started to live its own life: I heard it in shopping streets in Amsterdam, it was blazing from cars, it was huge in Germany after the wall fell, etc.

                          I quickly realized the music business wasn’t something for me though: all these people with their profiling urge, the bootlegs, the fact that music got pushed into formats ... In retrospect, I was part of a scene without really taking part in it."
                          Alain Raes, Lhasa

                          STAFF COMMENTS

                          Patrick says: Taking a break from the ambient, wavy or weirdo releases, Nosedrip drops a couple of killer 12"s featuring his favourite Belgian bangers from the New Beat / techno / pre trance era. Boccaccio classic "The Attic" kills it on the A-side with chirping electronics, lysergic synth leads and doomsday pads riding a rugged drum box breakbeat and sequenced bassline into the future. On the flipside, "Sexxor" ups the tempo to rattle through the most vicious acid techno around. Huge!

                          Sound Mercenary / Groove Mercenary


                          Landing in tandem with their Lhasa reissue, Stroom treat us to another pair of Nosedrip's favourite Belgian releases from the early 90s, this time from Stefan Van Elsen in his Sound / Groove Mercenary guises. The salesnotes tell us we're listening to "trance / new beat embodied as a shovel in mud", and I'd be hard pushed to disagree as "Dilemma's" cinematic synth stabs and precise drum programming drop into Inner City keyboard vamps and that looped out vocal wail. Chuck in a robotic synthline and some murky bass and we're sweating one out in the throb of Boccaccio. Skip to the flip and Stefan takes us into the most distant reaches of deep space with the bleep heavy, break-driven, ethno-sampling smash of "Switch". Twisted and techy, this floor filler takes me straight through the Stargate into a distant planet where you can still find a Laser Quest - if I'm not totally mistaken, Lena Willikens and Vlad played it at the last night of Salon, so you know you're onto a winner.

                          STAFF COMMENTS

                          Patrick says: Almost anticipating our newly christened New Beat section, Nosedrip re-ishes a couple of his best loved bangers from early nineties Belgium. Here we feel the force of Stefan Van Elsen’s post Detroit techno-tonker “Dilemma”, and the cybernetic new beat of “Switch”, a break-led beauty for peak time heat.

                          A regular at Cocktail d'Amore, Bell Towers is a Berlin-based Australian producer best known for his long-lasting collaboration with Munich's Public Possession. Next to that, a number of projects under different monikers - namely Rim Boys, an evolving b2b with Andras. "I'm Moving To Berlin" is his first EP for Cocktail d'Amore Music. It's a sparkling celebration of the party; its influence on the city and on the producer's life tangents. "It's too late now / There's no turning back / I gave it all for Cocktail d'Amor..." Rohan confesses, while a hybrid EBM-synth pop sonic adventure unfolds. What happens next is presented in "Sexual Intruder Alert" and "Approach and Identify". The first comes through as a quirky multidimensional future-disco tale, while the second plunges deep into the cosmic hole with punchy percussions and an euphoric groove pattern.

                          STAFF COMMENTS

                          Patrick says: Aussie ex-pat Bell Towers pays homage to Berlin's best party here, with the frisky post disco meets EBM camp of "I'm Moving To Berlin". Comes complete with sirens, synth vamps and Pet Shop Boys references. "Sexual Intruder Alert" is deeper and darker, joining the dots between Basic Channel, leather bound EDM and the many limbed GHB melting pot. Finally "Approach & Identify" flips the themes into a retro-futurist post minimal romp for 21st dancers.

                          Sleep D Presents DJ Mind Leaf & The Herbalist & DJ Fett Birger & Sleep D


                          Another super special split and limited 7inch from Butter Sessions HQ! This time Sleep D present their dub influenced moniker, DJ Mind Leaf & The Herbalist for the first time with the deep dancehall tinged party original 'See Mi Rockin' before joining forces with the man from Moss and former collaborator DJ Fett Birger! The twisted rhythms, earth shaking basslines and synths were originally recorded at a jam session in Melbourne in 2016 and later Ricanstructed by the birger man for the special rooftop party in Melbourne on November 25th.

                          STAFF COMMENTS

                          Patrick says: Weird and wonky dub / digi / house hybrid here from Sleep D and Fett Birger, who take the Idjuts approach to mixing desk madness, drench it in patchouli and push right through the other side of the free party scene.

                          FORMAT INFORMATION

                          7" Info: Limited to 300 copies and comes in 4 different sleeve colours!

                          It's a Munich club music meet-up on this split 10” by Rave And Romance Records and Jahmoni Musik who drop two 100% fire tracks on tasty 10" vinyl.

                          Jahmoni Musik label boss Belp opens "Lion" with some future jazz inflections before he flips the tune into a ragga-breakbeat face melter with layers of funky-as-hell percussions, wubbing bass and that wonderfully dubbed out 'lion' rastaman vox.

                          On the other side you’ll find Schlachthofbronx firing off a 130 bpm bassline anthem that builds up tension with one of their far-travelled synth melodies and then plunges into a monster of a rolling bass line that satisfies all your soundsystem & low end pressure needs.

                          A big one for carnival crowds and big soundsystems, let em know party season has arrived with an early hi-octane bass missile. Recommended!

                          STAFF COMMENTS

                          Matt says: Big n bad rastaman breaks & tropical bassline business from a killer Berlin - Munich collaboration. Watch yer bassbins!

                          Record store owner, DJ, producer, and Wet Play fave Tom Noble comes to RNT with a superb EP of sought-after Caribbean and African sounds, edited up for the most discerning of dancefloors. The A side burns hot right out of the gate with the explosive and percussive Soca-disco pulse of "They Came To New York", then settles into the laid back lilt of "Zouk Pour Esa".

                          On the flip, "Disco Massamba" is a wild Afro-disco burner while "Parang-A-Teng" brings it back to the Western hemisphere for some Latin-tinged funk from Barbados. Well worth it for the value of the original source material alone, this 12” is nothing short of dance floor destruction!

                          STAFF COMMENTS

                          Matt says: Tom shows off just why he's one of the best of the new school with four mesmerizing edits that should captivate anyone who caught his two mindblowing MCR appearances; there's a reason he's one of Wet Play's most rated!

                          "Brussels, monday 1 AM. Capital of a united Europe, its inhabitants separated by cultural spheres along lingual lines. Yet, in the back of a dimly lit pub they encounter one another surrounded by nocturnal buzz and the smell of skimpy beer. The night is a place where poets, authors and musicians dwell, in an attempt to leave everyday reality behind in favor of a universal nowhere in particular."
                          Nachtdichter (poet of the night) is the world of Victor de Roo, assisted by the words of Alex Deforce: “Meer naar café's, ze gaan dicht zonder ons”. Expect to hear melancholic guitar, spoken word and fragile synth tones, quasi new beat lullabies, cinematic vignettes and opiated experiments, all set to the neon buzz of a flickering striplight.

                          STAFF COMMENTS

                          Patrick says: Knekelhuis start the new year with a majorly wavy offering from Victor De Roo, who uses guitar, synth, drum box and voice to transplant Hopper's Nighthawks to 21st century Brussels. Music for loners, poets and perverts.

                          Not content with a red hot re-ish of Radiance's boogie bomb "You're My Number One", Best Records rock our spot with another reissue this week - and it's effin' massive. Originally released in 1983, and attributed to the production team Andy Rabbit and Bob Hurtchi (both totally fictitious) "Don't Leave Me Know" is an entirely unique bit of Italo disco, based around a tough minimal breakbeat, intermittent, but devastating bassline, and super Euro female vocal. Though sparse, the arrangement is constantly moving, shifting through unpredictable twists, turns and bleeping motifs. It's easy to see why this was such a hit with Detroit's futurists. Now quite rightly regardd as one of the best rare Italo gems, "Don't Leave Me Now" is in high demand from the collectors and smartphone kids, so props to Best Records for this official reissue. Dip in for the original, extended instrumental and a killer sleeve!

                          STAFF COMMENTS

                          Patrick says: They don't make 'em like this no more. Strange, skeletal Italo, which twists and turns through about a dozen killer synth riffs, a huge Euro vocal and the biggest bassline around. Flash your lights!

                          Limited remastered official reissue of a boogie masterclass from 1983, mixed by the legendary Morales and Muzibai (M & M Productions), this grabs you from the off with its super-funky bassline, tight double handclaps and compulsive cowbells before Andrea Stone's dreamy falsetto vocals jab funk shaped holes all over the heady groove. Flip over for the mind-blowingly tasty full dub mix including full intros and reprise (for some reasons unavailable on the original and promo releases), a big favourite of many in-the-know disco DJs and hugely in-demand since being one of the standouts on Dimitri from Paris' Nightdubbin' compilation.

                          STAFF COMMENTS

                          Patrick says: Oooh weee! It doesn't get much better than this, does it? Italy's Best Records nip down to the archive and come back with a high grade boogie bomb which just oozes optimistic feels. It's the dub mix for me I think...

                          Illicit edits as always from the Unlimited Love cartel, determined to skirt past red tape conventions. Fresh Band's "Come Back Lover" makes an appearance here, a sumptuous mid-eighties boogie jam that's crept up again in price recently, despite being bootlegged in 2012. No one likes a clever clogs, so I'll give the sleazy disco-funk of "Track 2" to the UL crew, making it one point each at the end of side A.

                          Side B kicks off with a slice of anthemic and energetic disco, with sing-along chorus, lovely brass section and a lively percussion section. Another blank face from me puts the Unlimited Love crew one in front with only one most track left to go! Slowing down the breaks and deploying some screeching organs, high-waisted bassline and velvety male vox highlights "Track 4" as a true soul gem, surely big on the weekender scene but escaping my inquisitive ears for a third time at this encounter! - those pesky editors! I'll get you next time ....! 

                          STAFF COMMENTS

                          Matt says: Unlimited Love continue to quietly usher through the unknown, hard to acquire and stupendously expensive hits from disco, soul and boogie's bussom.

                          Armed with a bottle of patchouli oil, a wrap of mushroom powder and an A&R masterplan, Multi Culti man Dreems charted a course for Berlin. Upon arrival, well, after a three day rave at Berghain, GHB romp at Cocktail D'Amore and falafel at Khartoum, Dreems tracked down MC affiliate Sascha Funke and hatched his plan. The seasoned producer was sent to a sub zero warehouse space, where he found percussion hero Niklas Wandt finalising his collaborative Growing Bin LP with Wolf Müller and debut single with NWD upstarts Neuzeitliche Bodenbeläge. In the longstanding DIY tradition of balls out experimentation, Funke had him record a variety of slapped, bowed and scratched percussions (congas, talking drum, prepared cymbals played with a bass bow) over his tracks. These first efforts were later expanded into joint sessions at Sascha's home studio and, within a few weeks, the journey reached it’s destination: Wibe strasse, Deutschland.

                          At first glance, they seem an odd couple: a techno veteran of almost thirty years meets a side-burned upstart socialized in Free Jazz and Krautrock. but the shared sonic influences come through in the hypnotic, dubbed-out sound, perhaps rooted in the close connection the two share to the Rheinland region in West Germany, Funke as part of the Kompakt family and Wandt by origin and socialization in the Cologne and Düsseldorf music scene centered around the Salon des Amateurs. Regional flavours, global appeal.

                          Multi Culti, promoting local collaboration, one freaky record at a time.

                          STAFF COMMENTS

                          Patrick says: Proper post kraut weirdness here from Funke & Wandt, who fuse blurry synthwashes, unpredictable percussion and spoken vocal into bleeping NDW pop - perfect for daytime sessions or nights on the pipe.

                          G. Markus

                          G-Edits #6

                          Two chunky house workouts on this sixth instalment of the prolific series G-Edits by G Marcus and I have to say that this is probably the mos dancefloor killer of all of them. 

                          On A side you get ‘Red E’ channeling classic 90s piano and sassy spoken vocals with thumping beats and a plump-ass bassline, whilst ‘Cum Thru’ is a woozy slice of late-night deep house with a garagey twist in the second half.
                          Both must be shorlisted as part of your peak time weaponry - that is if the crowd is right! One full side of wax for each of these mega tunes. 

                          I am getting one myself!

                          STAFF COMMENTS

                          Sil says: Killer house numbers here to complement your surely great selection of peak-time killers. Best G-Edits for me so far!

                          Sinnamon’s ’83 NYC boogie scorcher "I Need You Now" gets the official remastered reissue treatment - complete with the 'Fierce Reprise’ dub mix alongside the accapella, providing essential sampling material.

                          Marrying the old with the new, "I Need You Now" is drenched in funk bass slickness and colourful chords, yet embraces a wealth of synthesized sounds from electro sequencers to synth-based strings, giving it that early ‘80s post disco, boogie feel. Bernard Fowler of Peech Boys fame steps up on guest vocals bringing a deep, R&B tone to proceedings, complimented by the all-female vocal prowess of Sinnamon adding their trademark feminine touch to the track.

                          First up on the flip side, the six minute ‘Fierce Reprise’ mix. Reversed rides that suck back into the skull, tape delayed vocals and spacey synth echoes blend together, as elements are overlaid and dubbed out for maximum, heavyweight, proto-house vibrations.

                          Last up, a favourite and much used vocal accapella that’s been sampled by a whole host of early house, hardcore and garage producers from 808 State and Criminal House to Ray Keith and Paul Johnson.

                          An essential bit of kit for anyone with a penchant for that early ‘80s boogie flavour.

                          STAFF COMMENTS

                          Matt says: A staple from NTS' Full Beam!FM, there's not many sunnier, more feel-good boogie bombs than this winner from Sinnamon.

                          Riccardo Schiro / GG FX

                          Sine Phase

                          After cooking up one of our favourite releases of 2018, the entirely entheogenic rainforest romp of "Dunas", Italy's Riccardo Schiro is back on his Gravity Graffiti imprint with another hit of DMT-laced dance music. A-side cut "Sine Phase" leads us deep under ground, weaving through root systems and rock formations as the water drips around us. Employing an unpredictible but irresistible rhythm (watch out for that reversed 4/4) Schiro leads the expedition right through the heart of the forest and beyond, into an underground cave where crystaline fragments refract the bioluminscent glow (aka synth trills) and giant worms (aka oozing basslines) roam free. Over on the flip, Schiro enlists the rest of the Gravity Graffiti crew for "Islands", an immense ambient jam recorded live on a mushroom trip. A genuine psy-kraut voyage, this commune killer goes out to the beanbag crew.

                          'Well..I think its universally agreed its been a terrible year for world leaders momumentally screwing the world over! So I wanted to end the year with a nice positive bouncey pop record to blow away the grey and see 2019 in with some much needed love and cheer! And thats what Husbands are about. This Ohio group make joyous jump-up guitar party pop - from the opening singalong of "Karlstad" (yup.. it's named after their favourite piece if Ikea furniture), the romping fun of "I Don't Wanna Die" to the beautiful closer "Youth Group", its an EP of varied styles. 7 tracks in total plus more in the downloads, one of which is a cover of "Believe" by Cher - which is just awesome! Trust me..' - Kev Beard (Box Bedroom Rebels)

                          Yes folks it's another winner from the 'Rebels. Husband are rawkus, boiyant and postive - there's flecks of vintage Cali / San Francisco, a bit of Best Coast and even a bit of garage punk a la The Queers / Ramones... It's a celebratory affair, not as navel-gazing as previous BBR's have (proudly) been. Yes indeedy, Kev's deifnintely attempting to veer us away from the current cycle of doom and gloom and for that we should all rejoice!

                          Limited copies as per - move quick to snag the action! 

                          STAFF COMMENTS

                          Matt says: Box Bedroom Rebels blast us out of our Winter depression with a brilliant, jam packed 7" of pop-psyche-indie-rock business that's impossible not to crack a smile too... always remember to moisturize!

                          FORMAT INFORMATION

                          Ltd 7" Info: 7 track 33rpm EP which comes in one of 3 coloured double sided sleeves with a double sided insert and envelope containing a 10 track download code, BBR Letter, Husbands confetti Popcard#4 which is in honour of Nicolas Roeg who died recently.

                          Hailing from the warm climate that Mexico normally has to offer comes Hotmood, a music-maker which I assume Disco and House are his main genres. This is widely proven in this super cool and exceptionally good collection of edits. Yes, I know we have been here before with the edits debate. True, there is a lot of dross flying around but when you get a good one like this 4-tracker, your ears become more receptive. 
                          Hotmood adapts four not-so-obscured tunes into four shiny and warm club tracks that guarantee a positive reaction with your punters. The whole ep, starting with the song titles, exude positive feelings, warm reception, and a touch of class. 
                          Is Hotmood the Mexican response to Late Night Tuff Guy? Buy this and you will find out!

                          STAFF COMMENTS

                          Sil says: Four top class edits for those who need a mainstream approach to that genre named disco-house. They are pretty decent and we may have a successor to the Late Night Tuff Guy throne after all. Recommended!

                          Love Creation reach the mini milestone of their fifth release. editing Brit funk quintessential "Hanging On A String" by Loose Ends. Adding live percussion, dub delays and extending the arrangement in both original and instrumental version, the crew have managed to inject new life into this stone cold soul staple.

                          Bonus cut, "Is It Love Creation?" brings slap bass and deadpan vox to a post-punk / wave joint from mid '80s New York. Wunderbaa!

                          STAFF COMMENTS

                          Sil says: It is not about quantity but quality for me and Love Creation has done just right. Number 5 is proof of that. Versatility and variety is Love Creation's forte, well proven here with a killer post-punk edit and essential boogie-funk tune for your listening pleasure!

                          Secret Squirrels

                          No. 2

                          The Secret Squirrel returns with number two in this limited edition series of vinyl only, dancefloor delights. Having given 80s unclassic "Ma Foom Bey" the full treatment last time round, the remixing rodent this time takes Eddy Grant and the Coachhouse Rhythm Section downtown with a head nodding rework of "Nobody's Got Time". The intro is super looped, removing the difficulty of finding that first beat (I still haven't managed to work out where best to run the OG from), with bursts of harmonica echoing all over the place, before that killer groove gets dropped to full effect. This edit is close enough to the original to keep it real while adding those little tweaks in arrangement and mix that leave a dancefloor begging for more.

                          On the B-side Herb Alpert's "Rise" groove (you know, the bit from the middle where the trumpet drops out and everything gets real funky. You know, that bit with him clapping on the beach in the video. Oh yeah, that's right the bit sampled for "Hypnotize" by Notorious BIG) gets treated to a seven minute extension. Filtered up, down, left and right and given that slow release treatment where all the little additions from the original come in nice and slow, this is a proper peak time groover with a bumping kick and low end. Note, this comes complete with an awesome acid coda for the last couple of minutes. The artist may remain a mystery, but these edits have revealed themselves as must have.

                          Cut loud and built for maximum club use. Dancefloor devastation is guaranteed!

                          Secret Squirrels

                          No. 3

                          More nuts stuff for the dancefloor from the Secret Squirrel the third in this limited edition series of vinyl-only releases. The A-side sees our mysterious rodent get stuck into Moonshoes' French disco obscurity "Boogieland" which does everything you'd want from such a re-booted tune: mid-tempo 4/4 rhythm slap, filtered female vocal chorus loop, funky guitar licks and super Moogy bassline. Meanwhile the flip takes Blair's classic boogie soul slinker "Nightlife" on a slo-mo acid chugathon. The slow build up to the vocal really pushes the adds to the anticipation here. A simple idea done very well. Cut loud and built for maximum club use. Dancefloor devastation is guaranteed! 

                          Though it may lack the veiled political inferences of the Queen’s Message, the unfathomable misery of the Eastenders special or the hilarity of your uncle’s festive excess, the Themes For Great Cities yuletide 12” is a tradition worth upholding. This year’s Christmas cracker comes from label favourite Lucas Croon, a synth-wielding maverick whose CV includes neu-Kraut freakouts with BAR, technoid ticklers with Stabil Elite and unconventional house hits on a solo tip. Where 2016’s ‘Schlachtof Aufnahmen’ drifted through icy kosmische and ecstatic Anatolian house, ‘Ascona’ offers a digital distillation of Madge’s ’80s resort pop, Hardcastle’s ‘Rainforest’ and those random Euro 7” you dig from Flemish flea markets (check the dreamboat digi-dub of ‘S.W.E.D.’ for ultimate balearic B-side brilliance). Packed with knowing ’80s references, playful production and a whole lotta chug, you can file this next to Phaserboys or the Early Sounds Crew.

                          STAFF COMMENTS

                          Patrick says: More steel-melting heat from Dusseldorf's TFGC, courtesy of synth king Lucas Croon. "Ascona" bounces through Balearic house, tropical funk, and floor ready boogie before taking an impressive detour into blue eyed reggae. I haven't got many of this, so get your skates on...

                          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!

                          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.

                          Benjamin Smith and Paul 'Mudd' Murphy are back with a Balearic-pop gem - "The Distance". Featuring a vocal and instrumental on the A-side, and a remix on the flip by Crazy P production ace - Ron Basejam. Lyrics and vocals are by Quinn Lamont, who's captivating earthy tones playfully tease us with emotional yearning, and it's Quinn who provides a stunning jazzy guitar performance that will have you air guitaring all over the dancefloor, and which sits splendidly alongside the beautiful layers of rich electric piano and Balearic disco grooves. The remix by Ron Basejam recasts the track as an instantly affable yacht-rock-esque anthem, that will fill your hearts and have you reaching for the Campari.

                          Surely one of those record's that's fallen victim to unpredictable manufacturing times and therefore release schedules, this is a sumptuous summer groover, with layer upon layer of blissed out, crystalline, oceanic disco warmth and goodness. As such it's gonna have to stay in the 'cooler' for another couple of months, but wait patiently for those first glimmers of Spring and the record'll really come into its own. 

                          STAFF COMMENTS

                          Matt says: Get this one super chilled and ready for cracking out the cooler once the temperature warms up and party season kicks off again...

                          The Orielles

                          It Makes You Forget (itgehane) EP

                            Limited edition 12” EP (300 only). Stamped white label. Heavenly house bag. Featuring a killer remix and dub by Dicky Trisco and Pete Herbert plus the group’s original and instrumental versions. 

                            Drop drawer release from esteemed Brooklyn producer Darshan Jesrani - famous for work with Metro Area and Siren alongside plenty of solo material. You always sense when Darshan's involved - slowly those chord progressions take hold and it clicks and you're like 'ahhh yeah, of course it is...'.

                            This is perfectly evident on A side track, "Gotta Do", which after familiarizing us with a kinetic electronic groove; mellows out with fluttering Rhodes plumes, adding that patented Jesrani warmth.

                            B-side track, "Take Me" sees a typically fizzy rhythm section dotted with toms and woodblock suddenly give way to angelic keyboard and bass interplay, before re-introducing a new crisp beat pattern to propel the track alongside Umami's sexy and seductive vocal part. Lush n dreamy and very very good! 

                            STAFF COMMENTS

                            Matt says: Jesrani opens up 2019 with a duo of house heaters executed with all the typical style and pinache we expect of this Brooklyn bod.

                            Donny Hathaway

                            I Love You More Than You'll Ever Know (Timmy Regisford & Joaquin Joe Claussell Unofficial Edits & Overdubs)

                              Originally Produced by Timmy Regisford, Donny Hathaway’s I love You more than you’ll ever know. Timmy produces another Shelter classic. Here he creates a back drop of electronic house music that seemly fits with Donny Hathaway’s emotional vocals. The flip side houses an Edits and Overdubs version produced by Joaquin Joe Claussell.

                              Joaquin’s version is an instrumental that can be labeled as soulful electronic dance music and features Joaquin’s signature outwordly keyboard solo- overlaid over his re-aranegment of Timmy’s original version.
                              The end results are a powerfully produced twelve-inch record that can be played and enjoyed by Deep House and Electronic DJ’s alike.

                              Enjoy the Journey.

                              Ian Brown

                              First World Problems

                                Ian Brown has released a brand new single, ‘First World Problems’, his first solo material in nine years. The single precedes the new album ‘Ripples’, which will be released on February1, 2019. Played mostly by Ian, but aided by two of his sons, this  return to pop bodes well for his forthcoming new LP.

                                STAFF COMMENTS

                                Andy says: Bouncy, baggy, uplifting vibes, a top melody and cool message make this a freed-up, groovy return for the erstwhile (but soon to be reinstated!) King Monkey.

                                Art Of Tones breaks the all important first album deadlock with a tasty selection of cuts for Local Talk. 

                                The divine Frenchmen has produced a nothing short of faultless discography of singles and remixes, but has yet to drop a complete artist statement such as this. Set across two parts, and taking his soulful, bumpin', sample-friendly approach laced with funky leads and swinging beats, AOT delves straight into the dance, perfectly encapsulating what the producer is about across two succinct and well sequenced discs. Comparisons could be drawn with Dan Shake, MCDE, Crazy P and Maurice Fulton but these are merely place markers to guide you to the final destination - Art Of Tones rocks the discotheque with his own stance and style and "Unbalanced" competes with some of the best dance music longer players of the last five years! Top marks!

                                STAFF COMMENTS

                                Matt says: Hips swinging, elbows out, shoulders rolling! It's that typical Local Talk canter we know and love and it's fighting fit and ready for action.

                                Art Of Tones breaks the all important first album deadlock with a tasty selection of cuts for Local Talk.  

                                The divine Frenchmen has produced a nothing short of faultless discography of singles and remixes, but has yet to drop a complete artist statement such as this. Set across two parts, and taking his soulful, bumpin', sample-friendly approach laced with funky leads and swinging beats, AOT delves straight into the dance, perfectly encapsulating what the producer is about across two succinct and well sequenced discs. Comparisons could be drawn with Dan Shake, MCDE, Crazy P and Maurice Fulton but these are merely place markers to guide you to the final destination - Art Of Tones rocks the discotheque with his own stance and style and "Unbalanced" competes with some of the best dance music longer players of the last five years! Top marks!

                                STAFF COMMENTS

                                Matt says: The second part further hammers home AOT's favourable house jive - heady, bustling and more than capable of uniting a dancefloor under it's jet-propelled house prowess. Yes mate!

                                Chris Carter

                                Chris Carter’s Chemistry Lessons Volume One.1: Coursework (Inc. Daniel Avery, Radiophonic Workshop & Chris Liebing Remixes)

                                Remixes from Chris Carter’s "Chemistry Lessons Volume One.1: Coursework" alongside a new piece - "Bongo Glow".

                                A work in progress at the time the album was completed, "Bongo Glow" was completed using the same processes as the rest of "CCCLV1", and it juusst about made the cut for the Japanese release date. But for you lucky listeners Mute have ensured its inclusion here. A slowly morphing, elasticated track with mangled, computerized vox, playful melodies and push-pull rhythms; it's deliciously quirky and textured and should appeal to both die hard electronica fans and lovers of leftfield pop.

                                The additional three reworkings included here were created without direct instruction as an experiment to see how they changed with input from external sources. Daniel Avery’s remix of "Usyring" is a slow building, mesmerizing industrial pounder which fits perfectly with the producer's current MO. 

                                Meanwhile The Radiophonic Workshop took "Blissters" and created a more experimental reworking exectued in their unique style and Chris Liebing gives "Tones Map" a brooding end-of-world type feel, adding his 'Slow Burn' remix technique.

                                Erell Ranson

                                Hand In Hand - Inc. DJ Normal 4, Pariah, SW Remixes

                                Kalahari Oyster Cult have been thumbing through their back catalogue and return to a past gem for some renewed attention. 2017 saw the release of Erell Ranson’s "Hand in Hand", a quintet of beautifully crafted machine music. Two tracks have been chosen from the EP and remixed with stunning results.

                                First up is DJ Normal 4’s "Sealife Safari MixX" of "If We Never Try". The sweet, shimmering melody of the original plus the bubbling bass and subtle notes, are transformed in this remake. Silvery chords morph into bold and daring new forms under the tutelage of Tim Schumacher, neon streaked patterns coalescing with broken and cracked percussion for a superbly uplifting piece.

                                Pariah follows with his rework of “Hand in Hand.” A deep dreamscape intricately woven with heady notes, birdsong and endless possibilities.

                                The final odyssey comes care of SW (Stefan Wust) of SUED fame. The Berlin based musician delivers his reimagined idea of “If We Never Try” with Ranson’s version being washed over by lapping lines and gentle currents to create a smooth rounded finale. A trio of unique perspectives from three true talents of electronic music.

                                STAFF COMMENTS

                                Matt says: Market leaders in late night voodoo, Kalahari Oyster Cult revisit a past spell book for some new interpretations; closing off what's been a truly shamanic year in fine style.

                                Fuck your late capitalist, Queen's Speech, Coca-Cola endorsed Christmas snooze-fest, we going full Saturnalia over here! The mysterious Cult Edits shout out all pre-Christian religions, with more mystical floor fuel for your ceremonial shake-downs and mind-elevating rituals. This shit's danker than your average cat, and takes to the turntable with a heavily scent of patchouli. Third eye engaged, ears open, let's go.
                                Russian tape maverick Lipelis leads the procession (presumably dressed like one of those Illuminati types in Eyes Wide Shut) electrifying a hypnotic balaphon track (whose provenance currently escapes me) with a simple, swelling bassline and some fiesty drumbox snap. Perdu gets all Papa Shango on our asses, wielding a Wolf Muller breakbeat, scroll of arcane incantations (+2 attack, +5 foresight) and the faintest hint of acid for the tripped out "Goldrush". Over on the flipside, Lithuania's Pletnev continues the freaky form he showed on Fleeting Wax with the frazzled tropical dancer "Silver Sand". Borderline bedouin guitars meets subtle electronic perx for a red hot romper in line with those Porridge Bullet pounders from a few years back. The Afro-techno vibe continues on the B2, as Multi Culti man Jono Ma gets super (not snooker) loopy with a palm wine pearler, subtly adjusting the EQ, filter and frequency response for maximum transcendence. Finally, M’papamo Dongo takes us full circle with the kalimba, balaphon and kora of "Limba Limba", ably supported with a simple two note bassline and some madcapped post minimal fx abuse. Good JUJU guaranteed my friends.

                                STAFF COMMENTS

                                Patrick says: Fuck folklorica, Cult Edits come through with the Shamanic shizzle for your third eye, fourth world vibrations and your inner ear. These electronic-exotic edits are all killer no filler, but I'm gonna shout out Perdu for the speaker freakin' "Goldrush", an instant entry to my battle bag.

                                Multi Culti take to that dock-off magnet room from X-Men and slip on Professor X's tin foil hat, using their highly attuned powers of advanced telepathic mastery to track down rogue producer Zongamin - presumably in a Camden chem lab. Living under the radar for an unfathomable 13 years, the man who brought us the "Bongo Song" has gone truly off script in his musical pursuit, entering the realm of the alchemical as he transmutes Detroit string-house, futuristic electro, ceremonial flute-jazz and indie folk-tronica into a six track EP of higher dancefloor nonsense.
                                "Nonstop" kicks the set off with brooding bass hits, syncopated hats and Rhythim Is Rhythim string sounds, oddly warped into a Tokyo Bboy underground jam for robotic Bboys. "Underwater Paramid" follows swiftly, submerging a hypnotic electro drum track and frazzled psychedelic chords into an oceanic slammer for robotic Bbuoys. The tonality and textures of Japanese synthpop loom large on "Fractal Maze", a post-YMO hybrid of new wave and experimental pop which says sayonara to Side-A in the most cinematic style. Over the corner and Zongamin rocks us in a disco-not-disco style, squeezing live bass, techy bleeps and more cowbell into "DNA Mutation". The tempo drops and things get mystical on the B2 as the "Cosmic Serpent" slithers into the party, leaving a lysergic trail of crackling percussion, organic drums and evocative flute in its wake. Think Dadawah, Augustus Pablo and Dr John on a mescaline mission to the land of the cave dwellers. Lastly not leastly "High Tension" is a heavily textured, neon tinged translation of Afro-punk and dub funk into the psychedelic and synthetic language of Aaron Coynes' APC edits.

                                STAFF COMMENTS

                                Patrick says: After a thirteen year hiatus Zongamin returns to Earth with an utterly unpredictable EP for Multi Culti. Loosely defined as psychedelic dance music, the EP fuses the organic and synthetic, upbeat and off kilter, in time and on point for all enthusiastic fans of a vision quest. This could just be the best Multi Culti yet...

                                P. Allen


                                Wicked lost Canadian business from 1984. "Fisherman" is a low-fi proto digital masterpiece which predates the release of King Jammy’s "Sleng Teng" by a full year. Hooky as a fishermans rod & equally as deadly! Peter Allen released only one tune, recorded at Aquarius Studio in Kingston, Jamaica in 1984. Allen recorded an album's worth of material with his backing band Food Clothes and Shelter before emigrating to Canada. Unfortunately Fisherman is the only track that survived after a basement flood in Toronto tragically destroyed his other master tapes. In 1986 he self-released "Fisherman" from his new home in Toronto on his Ponko Dread label, hand distributing it to local record stores and sound systems. Perhaps it was too ahead of its time, or too unusual, with its dirge-like synth and deep roots lyrics, but "Fisherman" was largely overlooked until a few copies emerged around 5 years ago, becoming coveted grails by European digi collectors with deep pockets.

                                Shella Records located Peter Allen who lives east of Toronto where he drives a school bus and still loves to sing. 

                                STAFF COMMENTS

                                Matt says: Feel free to celebrate the accomplished vocal side if you want. That's all well and good. Me, I'll be heading straight to that intoxicating digi-dub version everytime. Bad boi!

                                Dukwa makes his entrance, and what an entrance it is! Practically draped in gold, mink and dosed with Tom Ford, this is house music of the highest class. Landing somewhere between MCDE, Nebraska and Dan Shake, these are merely references points as Dukwa stands proud and independently on his own.

                                An expert at squeezing that last bit of juice out of a sample, "Chains" is the most obvious 'anthem' here, as a catchy four bar hook circles fizzy and flanging beats and the odd angelic vocal chop.

                                His devil-may-care, one-take approach to recording his tracks always ensures you’re in for some wildness - stray frequencies, the random attack of the 303 and extra heavy kicks all play a role here.

                                However making grayscale festival fodder house is not Dukwas thing. This is music made on raw intuition and a timely reminder that house and techno in 2018 can still be fun and full of surprises if you put your back into it. Recommended!

                                STAFF COMMENTS

                                Matt says: "Chains" will be finding its way to a party near you during this celebratory peroid. No nonsense house music pleasure executed with apomb. I love it!

                                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!

                                STAFF COMMENTS

                                Sil says: Are we going back in time? If we are, this is your soundtrack. It is 1995 again! What a time to be raving. Junglists, come out of your graves and dance till... you die again! Three proper tunes for those who know!

                                "Comedown" was taken from the "Red EP" by Automation and was originally released in 1991 with three other tracks on the wonderfully named Triple Helix records. A rave / hardcore staple, The Healing Company lift said track from the EP and present it here alongside three new remixes.

                                In its original inception it's surprisingly timeless, and has dated really well compared to a lot of other records from this era. I put it down to the drums which shunned the over excessive breakbeats smashed out by the also-rans for a more stylish, mechanized 4/4 rhythm. It's teetering-on-the-edge-of-climax aesthetic a lesson in suspense and release that most of today's producers could learn from. That said, original writers of track, Automation, offer up the first remix - switching the 4/4 beat for a classy UKG / electro-funk hybrid; tightening up the stabs and smoothing the whole thing out with a shiny gloss and hi-def detail - mega!

                                Johannes Regnier is more well known as a psytrance producer from France (!!). So here he goes by his own name for summat altogether more stylish and restrained than the global dance phenomenon - transforming "Comedown" into a glowing, late night hum that'll find favour with lovers of the We Play House label.

                                Adesse Versions is last to contribute. Another fantastically fresh and inspired take on the "Comedown" stems, it's actually the first act here to utilize the familiar breakbeats present in much of the music from the era. Add to that a deep rolling b-line and you've got a slice of retro-futurist nostalgia that should unite the dancefloor thru young and old - top one!

                                And not a single ecstasy reference throughout... tufty badge for me.

                                STAFF COMMENTS

                                Matt says: More from the rave resurgence. A select group of remixers keeping digging this one out from the grave and revitalizing it with up-to-date electronics.

                                Sylvia Striplin

                                Give Me Your Love / You Can't Turn Me Away

                                Ooooohhh Weeeeee! This tasty 12" contains two of the hottest disco and soul cuts ever produced, available as an official single for the first time in aaaages. After spending the late seventies lending her stunning vocals to Aquarium Dream and Ladies Of The Eighties, Sylvia was snapped up by Roy Ayers for his Uno Melodic label, cutting the killer 1981 LP from which these tracks are taken. A-side cut "Give Me Your Love" is a feel good disco groover for the more discerning dancefloors out there, Sylvia's glorious vocals floating freely over a sumptuous uptempo Roy Ayers track alive with bubbling bass, syncopated drums and funked up clav. Sampled by Armand Van Helden, Deepdown and Madd Rapper, this is as classic as they come. The flipside sees the tempo drop, the lights dim and the mood get sexier than Valentine's night in Martin's boudoir... "You Can't Turn Me Away" is deep downtempo business, boasting squelching bass, dreamy keys and a top notch soul breakbeat. Roy Ayers is at the height of his powers her and Syvia more than does the track justice, serving up a stunner that's been sampled plenty of times since ("Get Money"!). Though Striplin never attained mainstream success, her sweet voice is instantly recognized by devout fans of jazzy R&B and those who made up England’s ‘rare groove’ scene of the early 80’s and 90’s.

                                STAFF COMMENTS

                                Patrick says: As the youth say, I have no words. Roy Ayers musical prowess paired with Sylvia Striplin's stunning vocal is a wonderful thing, and this official 12" puts their two best collaborations together for all the Deejays and dancers. Disco heat on the A-side, rare groove on the B - buy on sight.

                                Jan Bertil Svensson: co-founder of the legendary Börft Records, member of arch techno-primitivists Frak, the man responsible for Villa Abo and all-round underground don active in the field of machine music since 1987!

                                Whilst Jan’s output will always conjure comparisons to Techno with a capital T, he has (and continues to) plough a singular and peculiar path in the realm of electronic music. For the Glasgow-based Full Dose, he presents his first ever solo 12” under the name of J.B.S: a four tracker of sluggish, minimal funk that bears the hallmarks of his most classic work as Villa Abo, and adds dashes of the brutal grit that his Studio SS project is infamous for. If there’s any sort of recurring theme in Svensson’s work, it’s playfulness and humour, a particular Scandinavian form of sonic banter that cuts right through the po-faced, black-clad heteronomy of much of today’s electronic landscape. The music on this record, with it’s odd blend of stripped-back synth pop and brutish dungeon funk evokes exactly that: a body of work that doesn’t even seem capable of taking itself too seriously, yet evades anything resembling a recognisable piss take. After all, nobody said that humour and credibility in music had to be mutually exclusive, and J.B.S is a master at weaving the two together at will.

                                In a world where dance music is often subjected to ludicrous conceptual analysis, sometimes the combined effect of hot circuitry, sincerity, vivaciousness and an anomalous attitude are the only thing for it. But then again, this is not just dance music either…

                                STAFF COMMENTS

                                Matt says: Moon rock crawling, circuit fried hardware dirg from a true machine tamer. RIYL: Grrr, Carlton Doom, leather-clad techno BDSM sessions....

                                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.

                                STAFF COMMENTS

                                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.

                                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. 

                                STAFF COMMENTS

                                Sil says: Boogie goodies via Soweto! Bubblegum grooves for your most intimate dancefloor moments. B Side goes a slightly more disco with a real good bassline taking the main stage. More please!

                                Keith Hudson, Earl Flute & Horace Andy

                                Satan Side / Peter & Judas

                                Bit more reggae re-issue business here for you before we close off 2018. Keith Hudson's "Satan Side" was originally out on UK label Duke in 1972, b/w a different track than featured here. Meanwhile, Earl Fute & Horace Andy's "Peter & Judas" originally appeared on a Pyramid 7" in 1973 (also outta UK) alongside Big Youth. There's very little information on backing bands or recording studios used but the quality of both tracks is very high.

                                Mafia & Dub Store have collaborated to reissue these to reggae gold standards again on 7". All rejoice! 

                                STAFF COMMENTS

                                Matt says: Nice roots n dub number here from Keith. As always with this Dub Store reissues the pressing is 5*


                                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.

                                FORMAT INFORMATION

                                Ltd 7" Info: Limited to 200 copies.

                                Herrre's Levi - MCR's #1 nicest, most enthusiastic and downright charismatic house head / flamboyant DJ extraordinaire and now, label owner and contributing artiste! - is there nothing this man can't do? (he also has a side line in stand up! - ed).

                                Anyway, having made waves with their debut record, "Applebush" that came in at the end of last year, the small but perfectly formed team have been spreading the good word, touring, performing and ensuring even the farthest flungs of the record buying world heard the release - resulting in a rapturous global reception

                                Named after one of the few remaining, truly bohemian spots in Ibiza, "The Ashram EP" sees Levi take the reins, dropping two tracks and featuring a ridiculously good guest vocal on the B-side.

                                "Ashram" begins, gently fluttering in like a butterfly as a relaxed percussion ushers in low droning bass and a cerebral pad sound. It's unforced and effortless, showing a poise and sophistication that belies Levi's somewhat recent entry into record production. It should bring back fond memories of listening to Henrik Schwarzand Âme as the Sun rises or falls over your favourite tropical party spot. Majestic!

                                Side B stems from an afterparty which took place 7 years ago, during which he contacted a very talented vocalist Daddy Molete to narrate that night, in retrospect. It has taken all these years to find an instrumental that did justice to the vocal; in the process converting the whole piece into a New York dub-infused Afro house track, like it was cherry picked from Yoruba and Sacred Rhythm Music's catalogues! Honestly, this is as an arresting a piece of house music as you're likely to hear all year - hats off Levi you've nailed it here mate!

                                Mas O Menos was established in 2015, with the intention to encourage cross-pollination of Manchester and South African culture and music. 'Celebrating a milestone birthday in the serene and almost hypnotic surroundings of Sunset Ashram, Ibiza, gave birth to the title of this EP. It was constructed using the melodies of a struggle song I used to sing with my father; his passing was indicative of a significant point in my life. Chandra's meaning of Ashram is exactly that: a step in the journey of life. To retain it in musical form is not only meditative but therapeutic. As a psychiatrist by day this is something that resonates with me - and it is my intention to transfer this restorative sentiment to the listener.'

                                STAFF COMMENTS

                                Matt says: Yes you know it. Brother Levi returns with his cult imprint and it's a steaming, late night house affair that democratizes any dancefloor!

                                Kamaal Williams

                                New Heights / Snitches Brew

                                Following a stellar 2018 for Black Focus, Henry Wu’s new imprint that set the levels with acclaimed debut LPs from Kamaal Williams and Mansur Brown, worldwide tours and international collaborations, Kamaal Williams returns with a 12” of fresh cuts.

                                Two new pathways to unknown worlds filtering the Kamaal Williams sound through hypnotic hip-hop on the Darkhouse Family (Don Leisure & Earl Jeffers) co-produced 'New Heights', and melted wah wah psychedelia on 'Snitches Brew', which features Mansur Brown on guitar.

                                To echo Kamaal’s friend and collaborator Yelfris Valdés, ‘This aint jazz no more...’

                                STAFF COMMENTS

                                Millie says: Paving the way for innovative jazz-hybrid-hip hop is Kamaal Williams along with Mansur Brown on guitar, these two tracks are in a league of their own (I think Snitches Brew is my favourite name for a song ever!)

                                FORMAT INFORMATION

                                Ltd 12" includes MP3 Download Code.